docwilko

Anyone know who comprised the horn section overdubbed on Jimi Hendrix' South Saturn Delta? On the posthumous album of the same name, the booklet has a photo of the session with Hendrix, arranger Larry Fallon, and four unidentified musicians: a tenor saxophonist seen from the rear, an alto sax player side-rear, trombonist with face obscured by microphone, and a spectacle-wearing trumpet player who is probably the most easily-identified (if you knew who he is)

Wayne Shorter Quartet with the BBC Concert Orchestra, November 2013 at the Barbican. They're playing a piece labelled as Pegasus by the BBC, but which isn't. It has a naggingly familiar three chord vamp, entering after about four minutes, then doubled by the Orchestra a couple of minutes later. Is it one of his eightes or nineties pieces? Now they're playing The Three Marias. Thanks, Wayne.

Thanks for the clarification. The question would be: was the opening medley (really) an hour long, and the supplementary would be: which couple of tunes did it comprise? And the main thrust was indeed whether there's anyone or anyplace comparing and/or analysing these peformances? Thanks again for guidance.

Hi there, I've been listening to some live broadcasts of Wayne Shorter's quartet (and the Herbie / Wayne touring group of 2004), some of them with the BBC Concert Orchestra, and I'm trying to clarify some of the material they play / work around / touch upon. The BBC in the UK have made some great recordings of this group since 2001 (2006 is my 5* recommendation), but they often jumble or confuse the titles of the compositions. Is Wayne served by any reliable discographers in this regard? Most of the folk posting on You Tube recordings of the Herbie - Wayne group seem to mistake Prometheus Unbound for Aung San Suu Kyi, and I remain unconvinced by the identification of one piece on the setlist (played in London, but only broadcast on the repeat 'full' show) as having anything to with the Visitor From Somewhere / Nowhere pieces from "1 + 1". Can anyone help? docwilko PS I first heard this group in the flesh in London in 2008, and the first medley lasted a full hour. Does anyone have a recording of that one?

Great concert at Dempseys in Cardiff last week, Olie. I'm greatly enjoying your album Immune to Clockwork, and looking forward to hearing some of the interesting new stuff you played for us. A pleasure to hear such a fine band - especially Jeff Williams, who doesn't seem to come over the Severn Bridge as often as we think he should.

Thanks for posting BFrank. Docwilko

Well, I love State of the Tenor, and I was surprised that there wasn't a 25th anniversary reissue. The CDs sound good to me, but I don't remember the sound of the LPs to compare. However, when I saw Joe, at the Glasgow Jazz Festival in the mid-90s with Bheki Mseleku, Mraz and Foster, it was quite underwhelming: pleasant and competent but no fire and very little sense of interaction. Doc Wilko

Hi, I'm going to be in San Francisco for a week in July, but I was slightlyundewhelmed by the music on offer at Yoshi's and the SF Jazz Center during that week. I have pretty broad tastes, from progressive to mainstream. Does anyone know of any events that week - or venues - that might offer something a little more interesting? Thanks Docwilko

Does anyone know who much was edited from the end of Dolphy's solo on So Long Eric at the Town Hall Concert? Priestley doesn't mention it in the booklet, but I think there's an audible edit at around 15.36 as the band decelerate from the double-time section and the theme statement immediately reappears. At Amsterdam, Eric solos for several more minutes after the double-time section.

This is so interesting, I shan't even be disappointed if there are no kazoos at the end. As I write, Dylan's twangy violin is wriggling around inside a little Blue Monk loop.

Hello members, particularly, B Clugston (congratulations!) Dave 9199 and Rosco, some of you were asking all the right questions in November, December, but then maybe you all went off to prepare for winterval or whatever ... I was given this set a few days ago for my birthday and have comments on the phoney One And One, the incredible similarity between the real On The Corner masters and their so-called edited versions, and the material used on the Agharta and Pangaea albums ... 1) One And One unedited master is indeed nothing of the sort. It is, as someone (Rosco?) pointed out on 1 November (page 25), an extended version of "What If" (from Laswell's Panthalassa) - in fact, I think Laswell does a little editing in the last 30 or so secs of his version, but What If is basically the first six and a bit minutes of this thing called One And One unedited master. 2) However, I think Rosco has been tricked into thinking it is McLaughlin on guitar on that one. There are either two or more guitarist or some overdubbing has been used. I imagine it is the wild fuzzy distorted guitar that Rosco took for McLaughlin, but I really think that it is only superficially like McLaughlin. I can only suggest close comparison with the preceding tracks to support this - but I think McLaughlin's guitar effect is less fuzzy, his attack is much heavier, his sustain more powerful and even his note choice slightly different (OK, that's fairly impressionistic). I reckon Creamer was influenced by McLaughlin - good for him! That wouldn't be surprising, would it? 3) My quick first impression of the relationship between the unedited masters and the original On The Corner release is that we have been conned just as badly, perhaps worse, than we were with the It's About That Time master on the Silent Way box. Basically I think there are no differences between the master and the released version of Helen Butte / Mr Freedom X, although they may have faded out the end five seconds early or snipped a second off the beginning. As for On The Corner, Teo with or without Miles, created the first 29-30 seconds of the piece, I guess just copying bits from individual tracks of the multi-track master. So we have the rhythm, those skronky McLaughlin guitar stabs and that one note from Miles 4 times. At 20 seconds, there's a seven note descending guitar run by McLaughlin. It repeats at about 0.29 of the original and that's the point where the unedited master begins, continuing - completely unedited I think, and in its entirety - to the end of Vote For Miles. So, as I see it, we already had the unedited master of On The Corner, we just had an extra constructed intro as well. And to all intents and purposes we already had the Helen Butte/Freedom X master too! However, where the real One And One comes from, I don't know. It doesn't sound like it could have been taken from the HB/MFX, and it can't come from What If aka the phoney One And One. As to Black Satin, I noticed that some of Miles trumpet on the Laswell Panthalassa version of Black Satin wasn't heard on side one of the LP. Enrico Merlin said it was taken from Helen Butte. (I can't remember if I checked or simply trusted him). But now I'm thinking perhaps that Black Satin was/is simply an edited version of the HB/MFX master with the handclap percussion overdubs. That, however, is just speculation It is simply amazing that they can put out such a lavish package and leave you guessing on so many important matters!! 4) Mr Foster is the piece better known as For Dave, but I don't myself hear any snatches of Calypso Frelimo on either Agharta or Pangaea. I think these albums have been laid out pretty well on sites like Losin's (Miles Ahead) and Tingen (Miles Beyond). (But what the box calls Turnaround is not to be confused with Turnaroundphrase) Still, there is actually some great music on this so I am a happy birthday bunny! Best regards, docwilko Due to the complete lack of information in the set, that's one of many unanswered questions. I think the into/ending may be longer, but don't have it front of me right now. Also, maybe I'm not as on the ball these days having a newborn at home, but I'm having a hard time finding the connection between the "One and One" unedited master and the released version.