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He didn’t want to hear the second track; he had to get that first one in his mind to understand it. He flipped out over the feeling and the improvisational greatness of it all. ” This may or may not have been the first time Lenny heard Farlow, but there’s no doubt that Farlow’s brilliant bop lines and unique harmonic concepts would have a profound influence on Lenny, as he admitted to Farlow himself almost twenty-five years later during a cameo in the Lorenzo DeStefano documentary Talmage Farlow.
Even though he was doing some remarkably interesting jazz improvisation things right from the minute I met him, a lot of it was just running the E string and paying no attention to the B and G strings except to play one or two notes on them. ” I tried to get him to where it became intimate knowledge. This also included chords and triads. Many times, it started off the same way. ” This was at a relatively primitive stage. I’d say, “Well, I’m playing this and this. ” He’d see a string that it worked on, put his fingers on it and say, “Oh, I can play that.
However, Betty recalls one atypical incident where Lenny summoned the nerve to question his father. “Sonny always got paid the last and if there was no money, he didn’t get paid at all even though he was the biggest asset in the band,” she 23 24 One Long Tune: The Life and Music of Lenny Breau says. ’ Hal told him that he was all done with him. Lenny was fifteen and Hal fired him. ” In the spring of 1956, Pine booked a session at a newly opened recording studio called Event Records. Located a few miles west of Portland in the village of Westbrook, the studio was owned and operated by Al Hawkes, a musician, country music scholar, and electronics wizard who had built the facility in a former blacksmith’s shop on his property.