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monkboughtlunch

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  1. Yeah, the Sharony book was half-baked. I think "GG jr" is really Greg Green and he goes by the stage name "Grant Green Jr" which must be odd as Grant Sr. has another son whose real name is Grant Green Jr. I think Sharony was married to the real Grant Green Jr (not the older brother Greg who uses the Grant Green Jr. stage name). Confusing. Anyway, Greg Green's Facebook page (which is Grant Green Jr) had an update on the 1970s funk video back in 2015. For a couple of years, he's been charging money for a low resolution dub of the 1969 Paris video that he presumably doesn't own the rights to. He sort of implies the money he is collecting is going to help him get this other 70s video. That's cool if it happens. But it's been two years. Presumably, he isn't sharing the money he gets from the 69 clip with the other musicians in the 1969 clip or their families. Unclear if he is sharing the money from the 69 video with his other brother (the real Grant Green Jr.) The 1969 Paris video is great. It would be awesome to see a professionally published higher resolution transfer from the source videotapes instead of Greg's Payloadz dub. It would be cool if Cuscuna's Jazz Icons series or Resonance would publish a legit release of the 69 video. Grant Green Jr May 8, 2015 · I'm getting close to funding the new Grant Green funk video, This will be the final video, it was shot in 70's and in color with afros and bellbottoms, This has been one of my goals to get footage of him because was none and these two are the only that exist, as a youngster this is how I remember him playing, and going home to try to mimic him, These videos are rare there was no footage of him until these finds, So I'm asking my facebook friends to post this on your facebook page, I'm going to drop the price to the Grant Green Live in Paris to 5.99 to get this done and those who purchased the video leave a message at payloadz.com keyword Grant Green and I will send you the free audio the direct link is http://store.payloadz.com/go?id=2119321 here is another clip
  2. Another question I have is about the 1969 London "Blue Mist" color video performance of Green, Burrell and Kessel. Only "Blue Mist" is on YouTube. How much exists from this entire show, and is there more videotape performance of Green from this date? If so, anyone have a full setlist?
  3. Given the extensive live performances Green gave in the 70s, I'm surprised no soundboards from club venues have surfaced. In the new Bob Porter book, he mentions seeing Green perform a stunning version of John Coltrane's "Impressions" at a live venue in the 1970s. The 15 minute previously unreleased outtake "Lester Leaps In" was published for the first time on a compilation compact disc in the early 1990s. This suggests tapes of unreleased material from these live 1973 Person shows survived. Who owns the Eastbound jazz label these days? There's a documentary being released I guess this year. Maybe they will include it in that. From the trailer, it looks like a bunch of talking head interviews from the late 90s conducted for the Sharony Andrews Green book.
  4. Hi Bob, I recently tracked down a mint copy of the Houston Person "The Real Thing" LP from 1973 (live material) that you produced. It's revelatory hearing Grant Green play some traditional straight ahead type material (and jazz standards) in the 1970s on this Houston Person LP since Green's own early 1970s Blue Note albums were more funk (boogaloo) oriented. "The Real Thing" is unique in that it may be the only example of Green playing in a more traditional jazz form on any of his 1970s LPs. Do you remember how many sets were recorded with Grant Green for "The Real Thing" and if additional material was recorded beyond what was published on the LP? in the early 1990s, a compilation CD included an outtake from the live date -- Lester Leaps In. However, I don't think the double album has ever been reissued on CD (aside from a few tracks on compilation discs). http://www.jazzdisco.org/grant-green/catalog/ Houston Person - The Real Thing (Eastbound 2EB 9010) Marcus Belgrave (trumpet -2,5,6) Houston Person (tenor sax) Jimmy Watson (organ -1) Sonny Phillips (organ -2,4/6) Jack McDuff (organ -3) Grant Green (lead guitar) Robert Lowe (rhythm guitar -2,5,6) James Jamieson (bass -2,5,6) Hank Brown (drums -1) Idris Muhammad (drums -2/6) Buddy Caldwell (congas, tambourine -2,5) "Watt's Club", Detroit, MI, March 14 or 15, 1973 1. Since I Fell For You 2. Pain 3. Angel Eyes 4. Easy Walker 5. Could It Be I'm Falling In Love 6. Crazy Legs Various Artists - Together - The Eastbound Jazz Years (Beat Goes Public CD BGPD 071) Houston Person (tenor sax) Jack McDuff (organ) Grant Green (lead guitar) Idris Muhammad (drums) "Watt's Club", Detroit, MI, March 14 or 15, 1973 Lester Leaps In There's a picture of Grant in the LP liner notes playing what appears to be his D'Aquisto New Yorker.
  5. Niko posted a link to these unreleased YouTube Grant Green alternate takes on another thread. These were uploaded on YouTube by Joe Louis. Check out the alternate takes from the Matador album: https://www.youtube.com/channel/UCJcWXaSyAKQKT5k9IoB_nhQ/search?query=grant+green
  6. Did anyone figure out if Belden was referring to an unissued Person date or if he was referring to "The Real Thing" LP? I recently tracked down a mint copy of the Houston Person "The Real Thing" LP from 1973 (live material). It's revelatory hearing Grant play some straight ahead type material in the 1970s instead of just the boogaloo material found on his own LPs from this era. in the early 1990s, a compilation CD included an outtake from the live date -- Lester Leaps In. It makes one wonder how much unreleased stuff form this live date exists. It would be nice if the ownership of the Eastbound label would remix the source tapes and release the sets with Grant in full, unedited. http://www.jazzdisco.org/grant-green/catalog/ Houston Person - The Real Thing (Eastbound 2EB 9010) Marcus Belgrave (trumpet -2,5,6) Houston Person (tenor sax) Jimmy Watson (organ -1) Sonny Phillips (organ -2,4/6) Jack McDuff (organ -3) Grant Green (lead guitar) Robert Lowe (rhythm guitar -2,5,6) James Jamieson (bass -2,5,6) Hank Brown (drums -1) Idris Muhammad (drums -2/6) Buddy Caldwell (congas, tambourine -2,5) "Watt's Club", Detroit, MI, March 14 or 15, 1973 1. Since I Fell For You 2. Pain 3. Angel Eyes 4. Easy Walker 5. Could It Be I'm Falling In Love 6. Crazy Legs Various Artists - Together - The Eastbound Jazz Years (Beat Goes Public CD BGPD 071) Houston Person (tenor sax) Jack McDuff (organ) Grant Green (lead guitar) Idris Muhammad (drums) "Watt's Club", Detroit, MI, March 14 or 15, 1973 Lester Leaps In By the way, here's a photo of Grant in my liner notes to Person's "The Real Thing." Haven't seen this photo before, so thought others may not have seen it either. I guess from the photo he's playing his D'Aquisto New Yorker on this live album.
  7. Here are a couple of recommendations within your price rage. Option 1 (vintage belt drive): Empire 298 or 398 turntable (these were manufactured from 1961-1969 are are period correct for an MC275). Denon 103R cartridge. Option 2 (direct drive): Technics 1200 turntable (used). Audio Technica AT150MLX cartridge.
  8. I'd love to hear some of this unreleased Green material: Here's some interesting Green reject/unissued dates: Kenny Dorham Sextet Kenny Dorham (tp) Charles Davis (bars) Kenny Drew (p) Grant Green (g) Wilbur Ware (b) Kai ??? (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, March 19, 1961 tk.9 Mason Dixon Line Blue Note rejected tk.20 Blues Lament - tk.24 Cross "D" Tracks - tk.26 Blue Ching - tk.27 Spadesville - tk.31 9 1/2 Street - ------ Ike Quebec Quintet Ike Quebec (ts) Freddie Roach (org) Grant Green (g) Butch Warren (b) Wilbert Hogan (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 25, 1962 Sonny Boy Blue Note rejected Take Your Shoes Off - Cop 'n Blo - Early Morning Shuffle - Travelin' - Born to Be Blue - Throwing a Brick - ---------- Ike Quebec Quintet same personnel Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 1, 1962 tk.8 Take Your Shoes Off Blue Note rejected tk.13 Cop 'n Blo - tk.20 Sonny Boy - tk.32 Throwing a Brick - tk.40 Early Morning Shuffle - tk.44 Travelin' ----------- Gene Harris Trio Gene Harris (org) Grant Green (g) Al Harewood (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, October 15, 1962 tk.4 Untitled Blues Blue Note rejected tk.5 Untitled Fast Blues - tk.6 Georgia on My Mind - tk.10 Playmates - tk.11 Please Send Me Someone to Love - tk.15 Sack o' Woe - ----------- Charlie Rouse Quintet Charlie Rouse (ts) Joe Zawinul (p) Grant Green (g) Sam Jones (b) Frankie Dunlop (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, April 17, 1963 tk.4 Clo-E Blue Note rejected tk.13 Little Sherri - tk.17 What Kind of Fool Am? I - tk.24 I Left My Hart in San Francisco - ------------- Grant Green Sextet John Gilmore (ts) Bobby Hutcherson (vib) Duke Pearson (p) Grant Green (g) Butch Warren (b) Billy Higgins (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, February 12, 1964 1299 Untitled Grant Green Tune, No. 3 Blue Note rejected 1300 Minor League - 1301 Grant's Tune - 1302 Un Poco Loco - 1303 Ezz-thetic ----------- Harold Vick Quintet Harold Vick (ts) George Coleman (ts, as) "Big" John Patton (org) Grant Green (g) Ben Dixon (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 27, 1964 1359 Soul Call Blue Note rejected 1360 Like Alice - ----------- Grant Green and others Grant Green (g) a.o. NYC, August 5, 1965 65VK427 Iron City March Verve unissued 65VK428 Angel - 65VK429 Fat Judy - 65VK430 Samba de Orfeu - 65VK431 Chim Chim Cheree - ------------- Grant Green and others same personnel NYC, September 1, 1965 65VK458 Things Ain't What They Used to Be Verve unissued 65VK459 Moon Over All - 65VK460 I Can't Stop Loving You - 65VK461 High Heel Sneakers - 65VK462 Blues Train - 65VK463 Sunday, Monday or Always - 65VK464 Fever - 65VK465 Dream - 65VK466 Uptown - -------------- Grant Green Quintet Claude Bartee (ts) Emmanuel Riggins (org) Grant Green (g) Herbie Lewis (b) Idris Muhammad (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 29, 1970 6478 I Can't Leave Your Love Alone Blue Note unissued 6479 Let Yourself Go - 6480 Love on a Two-Way Street - 6481 Green Acid - 6482 Raindrops Keep Fallin' on My Head - 6483 Something - 6484 Let It Rain - Has Cuscuna commented on the unreleased BN material on YouTube? Does EMI still have the tapes? I guess this stuff is public domain in the EU now since EMI never released it within 50 years of recording it.
  9. This alternate of My Favorite Things (from Green's Matador session with Tyner and Jones) is quite good. What's the story on these alternate takes? Did Cuscuna reject them as bonus tracks for quality reasons or do the alternate takes no longer exist in the EMI vaults?
  10. Going on ten years now, has anyone been able to triangulate which specific artists had their original master tapes (and session reel outtakes) torched in the 2008 fire? First the corporate entity said nothing was lost. Then they said only obscure artists from the 40s and 50s. But we are hearing directly from respected producers like Michael Cuscuna that when he went to pull tapes for the Jamal box, some of those tapes from the 1960s were destroyed. So what the corporate label was saying about 1940s / 50s only was just false damage control. It stands to reason that the Argo / Cadet material may have been impacted in a significant way. One session that has always intrigued me is the 1965 unreleased Baby Face Willette material. They guy didn't record many albums and hearing this additional material would be fascinating. So did it burn up in the fire or did it survive? Is there a curator at Universal or are they only focused on mass market Diane Krall type stuff? Will we never have visibility into what material exisits?
  11. By the way, I picked the Three Sounds' "Out of This World" on vinyl (the new BN 75th vinyl reissue). I think it is sourced from the Grundman transfers. Observations: a very poor, sloppy pressing plant was used. This is a very noisy pressing - pops, ticks that a record cleaning machine couldn't remove. Total garbage. Another observation, the left and right channel are panned closer together, almost like an RVG CD. It's like they are taking a different approach with LPs in this series and narrowing the stereo image for the LP whereas they are not for the SHM-CDs.
  12. Thanks. I have the earlier CD of Wahoo with the same catalog number and that version was published in Japan in 2009. So is it reasonable to conclude new non-SHM CDs are all non-RVG remastering published in 2009. If so, when where these transfers made and what source material was used? Did they use Japanese analog copies of the masters? Do any of these come from the 1990s Japanese TOCJs (pre-RVG)?
  13. Do the new non-SHM CDs of unknown mastering origin have excessive compression and aphex aural exciter artifacts? If so, they are RVG masterings.
  14. Anyone picked up one of the new non SHM, non bonus track Blue Note CDs? If so, do the use old pre-Grundman transfers?
  15. Since we're only a week out from the release of the new batch of Japanese Blue Note CDs (non SHM-CD and no bonus tracks), has anyone heard any info or confirmed what sources / remastering the new series is using?
  16. Michael Cuscuna actually said, "I don't believe he did" (use the Aphex Aural Exciter), which is far from clinching it. You did clinch that Rudy uses an Aphex Aural Exciter as verified by Cuscuna. --> "Michael says that RVG typically uses it for recordings that "need more pop".
  17. I picked up the SHM CD and compared it to my RVG. The RVG CD was squashed like a pancake from compression and the stereo image is narrowed and quickly generates listener fatigue. Additionally, Aphex Aural Exciter artifacts suggest that Rudy used the device to manipulate and goose up the sonics and results in an artificial splashing of the cymbal across the stereo image in a bizarre phasing effect. The RVG of Morgan's The Gigolo is truly one of Rudy's most awful remasters. In contrast, the SHM CD has a wider sound stage, greater dynamic freedom and more natural cymbal presentation. It would be interesting to know if RVG did use the Aphex Aural Exciter on these CDs as it might explain some of the squirrely phasing on some of them. Michael Cuscuna doesn't believe that RVG used it on the Blue Note reissues though. Michael says that RVG typically uses it for recordings that "need more pop". If that's the case, Rudy must have felt every recording made in the 1950s and 60s needed "more pop." The proof is in the pudding. The phasing artifacts heard only on RVG CD remasters (and not any other remasters of the material such as those by Hoffman, Yoshida, Grundman) tell the tale of how Rudy marred his own beautiful recordings with horrid remastering techniques. The fact that Michael Cuscuna apparently confirmed to you that Rudy owns and uses an Aphex Aural Exciter device clinches it. The new SHMCD series is wonderful as I can finally upgrade and ditch some of the worst RVG CD remasters with fatigue inducing dynamic compression and phasing artifacts.
  18. http://en.wikipedia.org/wiki/Exciter_(effect)#Aphex_Aural_Exciter
  19. I picked up the SHM CD and compared it to my RVG. The RVG CD was squashed like a pancake from compression and the stereo image is narrowed and quickly generates listener fatigue. Additionally, Aphex Aural Exciter artifacts suggest that Rudy used the device to manipulate and goose up the sonics and results in an artificial splashing of the cymbal across the stereo image in a bizarre phasing effect. The RVG of Morgan's The Gigolo is truly one of Rudy's most awful remasters. In contrast, the SHM CD has a wider sound stage, greater dynamic freedom and more natural cymbal presentation.
  20. Kevin, When did Cuscuna provide this information and was it specifically in regard to the SHM-CD of Sweet Honey Bee or an earlier reissue (such as the RVG CD)? Since Grundman is transferring the entire back catalog in this new "75th ann" series, is it not possible Grundman came across the master tape for Sweet Honey Bee in the vaults and it was used for this SHM title? Also - if I understand your post correctly, the US RVG CD of Sweet Honey Bee is a dub of a dub of a dub of a vinyl record? For example: US makes a tape of vinyl record -> Japanese receive a tape copy of the US tape of vinyl record -> Cuscuna obtains a tape copy of the Japanese copy tape of US tape of vinyl record --> Rudy transfers a 3rd gen source for the RVG CD. Why didn't Cuscuna just put the word out to find a mint first press vinyl copy and do a new transfer for the RVG CD? So are you saying you are hearing LP artifacts in the SHM CD?
  21. Has anyone picked up the SHM CD of Sweet Honey Bee? I saw a post months back that someone thought it might be from a tape source instead of the needle drop that plagued earlier CD releases. Can anyone confirm if this SHM CD features a tape source for the first time on CD?
  22. Wouldn't republishing the old masterings reduce demand for new masterings, thereby diminishing the possibility we will see SHM CD releases for the upcoming batch of titles any time soon?
  23. And no bonus tracks. Kenny Burrell's Five Spot date, and Una Mas, for example, benefit from their bonus tracks. Since there no bonus tracks, does that mean these are older remasterings being recycled? If so, does that no more CDs of the new Bernie Grundman digital transfers will be issued? It was mentioned upthread that the Duke Pearson Sweet Honey Bee SHM CD may be from a tape source instead of a needle drop. Has anyone confirmed this?
  24. What are thoughts on the 3 Sounds releases in the SHM CD series? Are any of these three titles standouts worth picking up? I'm not familiar with these titles. (Here We Come, Hey There, Black Orchid)
  25. Is there one person who is remastering all the SHM-CDs in the Blue Note series? Or are there multiple folks?
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