From Under Pressure: Gail Ann Dorsey on Playing Bass For David Bowie, by Robert Gourley
“Having known him after that for so many years, I know that he had many gifts, and one of his gifts was being able to see something in people that I’m not sure they can see in themselves. He would bring musicians in, or photographers or stylists, you name it. Whoever was involved in a project, he always knew what that person was going to bring to make his vision come to life. And now I realize, knowing Earl Slick and Carlos, and all those people whom I thought were the gods of guitar and popular music, they have limitations as well, the same as me. But what they can do is something very specific, and that’s what Bowie was able to see. It’s like an artist mixing colors. He could read their personalities and know how to put them together, just like he knew how to blend the paints on a canvas. And then boom, there you have the sound that’s indescribably David Bowie. I was just one of those colors, and I didn’t even see it in myself. But he saw that in me, and he allowed me explore and get better at it, and here we are.”
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Lazarus (Michael C. Hall, Lazarus stage performance, 2015). Lazarus (Hall, The Late Show, 2015). Lazarus (Bowie). Lazarus (Bowie, video edit). Lazarus (Hall, Lazarus soundtrack). Lazarus (Hall, live, 2016). Lazarus (Donny McCaslin Quartet, live, 2016). Lazarus (Gail Ann Dorsey and McCaslin, live, 2017). Stage Walking into a performance of Lazarus at the New York Theater Workshop […]
“To create “Star Dust,” a love letter to David Bowie, choreographer Dwight Rhoden immersed himself in the man’s music. He listened at home, in the car, at the gym as he worked his way through decades of songs, personas and styles to select just a sliver of the works for the Complexions Contemporary Ballet’s production.
“The hardest part of what I had to do was pick the song list when I wanted to use everything I have heard and loved,” Rhoden said.
The choreographer’s work on the ballet began well before Bowie’s death on Jan. 10, 2016. Bowie’s music had long been a soundtrack in Rhoden’s life and he knew he wanted to create a ballet to that sound, but that he had begun in earnest just before Bowie’s death was a coincidence, he said.”
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See a sample of the magic here:
April 15, 1977: Iggy Pop and David Bowie were guests on Dinah’s Place. Promoting Lust for Life, Iggy and David, along with Tony Sales on bass and Hunt Sales on drums, performed “Sister Midnight” and “Fun Time.” During the interview segment, Bowie was shown in tears from trying to stifle his laughter when Dinah Shore asked Iggy what it felt like to crawl around on broken glass:
Apparently they were never actually in the same room for these scenes, he was in Berlin and she was in Paris…