CJ Shearn

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Everything posted by CJ Shearn

  1. overly self indulgent albums by an artist

    hmm, never heard that MFT Sundog, but is it possible it felt so good Trane kept it going? I wonder what those 3 hour solos were like, a man trying to get all of the ideas he could possibly think of, out.
  2. overly self indulgent albums by an artist

    Pat had said something also about ZTFS that it was closer to the way he heard music in his head. I can see his point about to him maybe the music not being that different to him from the PMG stuff in terms of melodic and some harmonic elements used but I think for people casually into his music it's probably quite jarring to hear how that came out at first. What about that album "Adult Themes for Voice" by Mike Patton? I don't believe I've ever heard Mr Bungle, probably Faith No More somewhere on the radio, but his album with random noises in hotel rooms (I had d/l several tracks from this) seemed to me to be an act of extreme silliness. Are strange noises a common thread in Mr Bungle and some other stuff Mike Patton participated in?
  3. Blue Note Conns from 1998..

    I think the RVG series is great b/c many of the records reissued are titles I missed/didn't get the first time. I only have a couple duplications with RVG's, "Somethin Else", "Maiden Voyage", "The Sermon", "Cool Blues", and "Houseparty". And I agree with Chuck that it's a good way to update masterings of classic recordings, especially for those of us like myself who can not afford to go the Japanese import route too often, and where I shop o/l like CDUniverse, it's difficult to locate titles actually in stock, import wise.
  4. overly self indulgent albums by an artist

    7/4, I wouldn't agree that the PMG material is safe (except mebbe Letter From Home) so much as melodic, and the goals of each album done with the Group in my mind, serve to expand and investigate ideas that have been created in their own universe. Albums such as "Quartet" and "Imaginary Day" are anything but safe. "Speaking of Now" returned Pat to the melodic base of his earlier work but there are specific things with form (Proof) and rhythm (The Gathering Sky) on that record (and especially evident live with these pieces) that were never addressed before to the extent that they were on this album, and from what I've heard about the new PMG album forth coming, it's really going to take advantage of the new group in a way SoN really only hinted at. But yes, I'm also glad Pat puts out some of these more experimental projects as well. BTW, I think a more fully realized version of the concepts found on ZTFS were more fully realized and refined upon on the free tune "Faith Healer" from "Trio Live".
  5. overly self indulgent albums by an artist

    yeah, "Spirits 17" wasn't all that interesting.... "Spirits" does seem like a very personal project. Part 1 of ZTFS after that heavy strumming it starts with does move into a melodic territory after a while, you just gotta find it. I think it was either Part 2, or 4 that very nearly came close to sounding like a complete tune. Thanks for the info on KJ's album, I wasn't aware of that.
  6. Defunct labels, what happened to their Catalogs?

    JG, are you referring to CTI's first releases which included Jobim, Montgomery and Benson under A&M's banner which spanned from 1967-70? I believe in the early days of CD according to Doug Payne's excellent and very thorough CTI discography which can be found at www.dougpayne.com , some of those albums were remastered by RVG, and housed in digipacks as early as 1984. I know some of the releases such as the Benson's were reissued on CD again in 2000 I believe, and other A&M/CTI titles such as one of the Jobim's and I think a Milton Nascimiento album were released in the Verve By Request series a few years ago. I believe that King is distributing the CTI catalog in Japan as of now and have recently reissued some of those A&M/CTI's before it became an independent in 1970.

    is Thom Jurek paid to gush in every review? He seems to marvel at anything he hears and even for the simplest groovin' stuff like Patton's "Let Em Roll" he analyzes some things like their huge, where in the case of that album everything is for the benefit of the groove, not a necessarily earth shattering technical achievement
  8. Jimmy Smith The Sermon/House Party

    any info as to whether or not the rejected titles from 2/25/58 were with Smith's trios, special trios or quartets with guest artists? I would be interested to hear rejected takes from that session if they exist.
  9. Tony Williams - Unmasked

    Mike, I could not find much on it either, nothing at all. I wonder exactly what it was. I believe Tony participated in a fusion/rock project called Arcana, but I don't believe that's what "Unmasked" is.
  10. Charlie Haden

    Charlie is a great player. I don't have much with him, but his contributions on the duet record with Metheny are very nice...... both those guys are such a compatible pair, love the way Haden's bassline provides tension behind Pat's acoustic sitar solo on "Tears of Rain." Charlie's contribution to Pat's "Secret Story" album and the tune "Above the Treetops", is solid as well. He's just playing the changes really but it works very well with Pat's solo. Charlie is also good on Josh Redman's "Wish". Dig the "Blues in the Closet" quote on "Blues For Pat".
  11. Info regarding "One Night With Blue Note"

    thanks Bertrand. Ten of the same tracks? that is just incredibly stupid. Why not include the rest of the performance? what's in place of the Taylor track.... another dumb move on BN's part. It seems to me the DVD would pretty much appeal to hardcore BN and hard bop fans, I don't know how many casual jazz fans would know about the concert.. and also out of jazz fans I know (many of whom are musicians) weren't aware the concert took place. Maybe they released highlights on the DVD because: a) maybe if the purchase was someone's introduction to the artists and by including mostly representative tunes, they would hope the casual fan would seek the original recordings out. b ) perhaps the additional material when Tom originally went over the footage was of unreleasable quality (maybe the digital film degraded too much, or just bad shots? I remember he said the whole evening was captured by early digital cameras) It's just great to have this music available again on DVD but they could have released the thing on one 2 DVD set. Oh yes, anyone notice on "Summertime" in the first wide stage shot you see some damage in the film? a grey line appears like the type when a video tape is watched too much or theres a wrinkle in the film. Just something I noticed the other day.
  12. VSOP: A Tribute to Miles(Qwest)

    speaking of Herbie in a trio: there are two DVD's that I presume are the same performance with Ron Carter and Billy Cobham: Hurricane! and World of Rhythm Live. Are these both the same or does one have more performances than the other? And is one better quality
  13. This just shipped out to me today from CDuniverse. Been one that was on my list for a while, and technically although it doesn't use the name it is a VSOP Quintet (with Wallace in place of Freddie) disc. Also have been trying to complete my collection of VSOP related discs (tho the very first still eludes me), not to mention load up on more Hancock/Carter/Williams what are some opinions of the "Tribute to Miles" disc vs. the other VSOP Quintet records?
  14. VSOP: A Tribute to Miles(Qwest)

    thanks Jim. I know that by then when those guys were playing in the inside-outside style by 1977 it wasn't anything revolutionary but within a tradition so I think for the VSOP records that where the enjoyment of them lie in that they play within a tradition maybe not as heavy on the consistent elasticity as 10 years before but with enough oomph that it was still fairly fresh. Another album I enjoy is Herbie Hancock Trio '81. Again,nothing revolutionary but things swing very hard, and hey it's Herbie in a trio something he's not featured enough with on record.
  15. Vierd Blues/Trane's Blues/John Paul Jones

    ahh... found some info attributing "Solar" to Wayne: from an AAJ article reviewing a Wayne album. This is mid sentence but it contains the info claiming Wayne wrote the tune. "Since the classic “Solar” is now recognized as a Chuck Wayne composition (see the Feather & Gitler: The Biographical Encyclopedia of Jazz)" it then goes onto say how Wayne should be looked at as a serious contributor, frankly I was not aware of his name until I heard such info a while back.
  16. Vierd Blues/Trane's Blues/John Paul Jones

    Mike, I had read/heard (forget where now) somewhere recently that there was information that Wayne had written "Solar" as opposed to Davis. Could it have been in the bio of Wayne's recently reissued Prestige session on OJC maybe? not sure. Anyway, in a recent live show I have of the Pat Metheny Trio from 11/1/03 on my computer at my dorm, Pat even says the tune may have been written by Chuck Wayne, not Miles, but he was not totally sure either. FWIW on Pat's "Question and Answer" album from '89 with Holland and Haynes, the back cover credits the tune to Davis as ©1955 Prestige Music
  17. VSOP: A Tribute to Miles(Qwest)

    Mike, yes, I was referring to Tony's '93 Atlantic album, unfortunately I haven't heard it. On a second spin of "Tribute to Miles", the pedestrian nature of the music is setting in a little bit, which maybe I was sort of expecting because of the opinions expressed here, and it also got me thinking about the nature of acoustic jazz albums in the 90's being a little on the bland side. I used to listen to WSQX 91.5 the local jazz station here in Binghamton back in the mid 90's when it started and a lot of the recordings they played were pretty conservativve-- though there were some curves like Metheny's "Stranger in Town", and with men the caliber of Shorter, Hancock, Carter and Williams, men who more often than not were capable of stretching the boundaries, even compared to the early VSOP forays, it's a shame that they stayed a bit in the box for the "Tribute" disc, but still something nice to have in the collection. I've traded discs in before and wound up missing shit even though I'd never buy something again. As for that rhythm section, next step is the Plugged Nickel box when I have more $$ to burn, and how is Ron Carter's "Third Plane"?
  18. Info regarding "One Night With Blue Note"

    Tjazz, yep, seems so, if that bonus CD includes most/all of those performances left off the DVD. I hope when it's re released some of the sites put up a track listing so it'd be easier to make a decision. If it includes most of the same tracks plus two or three of the remaining tracks, it wouldn't be worth it at all, but man they should have done this the first time, packaging it all together :-p
  19. VSOP: A Tribute to Miles(Qwest)

    alright, I got the album and listened to it. It's not that bad; something that would make a nice occasional listen (as I like to listen to different versions of tunres and compare/contrast) and also something to throw on unsuspecting listeners (such as my suitemate at school who isn't a jazz fan per se but tolerate) to see if they recognize the difference betweren these renditions and the originals. I'm glad to have the original recordings because had I grabbed it when it came out (I wasn't as critical them as now) I woulda thought it was excellent and not take into account these guys were kind of in a safety zone with the material here. That said, I do enjoy that tune "Elegy", quite a bit of Shorter's playing, and Herbie's "All Blues" solo cracks me up cuz you always when that trill is coming in a climax of a solo But, I pretty much agree now with everything said here.
  20. Vierd Blues/Trane's Blues/John Paul Jones

    So, "Trane's Blues" or "Vierd Blues" whatever one wishes to title it could have been a stock riff like "Royal Roost/Tenor Madness/Sportin'Crowd" that either Miles or Trane could have come up with on the spot and therefore the tune gets credited to them? What about in the case of "Solar" which we now know is written by Chuck Wayne, I have never seen it credited as such. Is that the case maybe b/c Miles was more of a "name" of the two and therefore got the credit?
  21. VSOP: A Tribute to Miles(Qwest)

    Don't know what Wallace is up to now Mike. Was that encore "Chameleon"? that's what it is on the DVD, Darrell Diaz solos on what was Herbie's Arp Soloist spot on the original, and then of course IMO, (haven't heard too many versions of "Chameleon" by Herbie) he nails a solo on acoustic that *nearly* comes close to the original in the heat factor, and that is very hard to do. When I was listening to disc 1 of Tokyo Live the other night, I was thinking the JM parallel too, although the music was pretty advanced compared to that Blakey groove. Didn't Tony actually release a rock album in the 90's called "The Mask"? Before he died he was discussing starting a rock band.
  22. VSOP: A Tribute to Miles(Qwest)

    I agree with you about Freddie, Jim. To all that VSOP music Freddie really brought a quality that is really very distinctive, whereas it's very easy for someone to kind of tip a cap to Miles via the use of the harmon, minimalism in phrasing, etc, whereas someone in the general public could say "sounds like Miles!" whereas it is much more difficult for a non jazz fan to say "oh yeah, Freddie Hubbard". I'd agree. I've been thinking about Roney lately, b/c I have a friend who got the "Miles and Quincy: Live at Montreux" CD for x-mas and thought it was one of the most amazing things he's ever heard. I've heard some soundclips of it and find it to be quite sad b/c Miles really was at the end at that point, and my friend felt Miles was really "on" where more than likely he was hearing Wallace, and I think in that instance he definitely was a huge role-player. He had said he was unable to tell who's who, which I could understand, since many people do not critically listen and analyze the goings on at the same time. I explained to him that the stronger playing was more than likely Wallace because, at that point Miles had gone back to sticking with the middle registers of the horn after that incredibly stratospheric playing of the 60's-early 70's, and that Miles had said the material was just to hard. I also explained that Wallace's phrasing points more to mid 60's Miles and that he does have his own way of expressing ideas. Here I definitely realize how some consider Wallace to be a "clone" (not what I believe personally), but I've noticed recently (like on the Herbie Future2Future DVD) he has more of his own thing going on. In the Jazz in American Music class I TA'ed last semester, we used Wallace as an example of someone who was playing hard bop/post bop oriented jazz and carrying the flame of men like Davis, b/c it was important to explain that these styles are still being played today, especially since before the start of the semester many of these students had no idea of what jazz really was. Anyway, to get back to the original point, I understand how role playing can be dissapointing, especially when giants are capable of so much more. I think, based on what I've heard from Wallace lately (mainly the aforementioned Herbie DVD) his playing has definitely evolved into something able to step out of the shadows, maybe not entirely, but certainly enough to avoid cries of "hack". Another player who I feel has done this recently is Joey DeFrancesco.
  23. VSOP: A Tribute to Miles(Qwest)

    Jim, interesting point you make about by the time "Tribute" was released, all the questions that existed about where or not those guys could return to straight ahead, how would Freddie work etc....... were answered and the buzz about those cats playing that style again greatly hushed, for what reasons say, were Tony Williams' quintet not criticized? that quintet was in the style of Miles' mid 60's straight ahead, he had Wallace on trumpet filling a Miles-esque role, a very individual voice in Bill Pierce, an excellent player in Mulgrew Miller, who's is a big part of "Tokyo Live" (a great album) his playing is in the mode of Herbie and also McCoy on this disc but still hip. To my knowledge no one had complained it was a retread like how critics complained about Wynton's early playing for example. Tony was a hell of a writer as the record shows, too. Was part of the appeal of Williams' playing in this style during the period of the mid 80's-early 90's, regarded as somewhat more "genuine" because he was a founder rather than a follower, or because he was generally finding interesting things to say compositionally rather than derivative? (e.g. Wynton's "Waterfalls" off Bu's Keystone 3)
  24. very nice interview, will have to check the recording out sometime--not all that keen on lots of vocals tho. Will have to get some of the essentials (need Song for my Father RVG, buy Finger Poppin again, Blowin the Blues Away, etc) first. Nice to know Horace has a lot of music in reserve. Let's hope he gets to record it.
  25. Info regarding "One Night With Blue Note"

    Anyone want to shoot off an email to MC to obtain track info for the CD? When I called Mosaic this morning I called off my cel which is prepaid, so in the interest watching my minutes I didn't ask what everything wanted...... based on tracks that did NOT make the cut, I wonder if any or all will be included: "Broadside" "Passion Dance" "Blues on the Corner" "I'm Getting Sentimental Over You" "El Encanto" "The Blessing" "Lady Day"( I think that was the title) "When You Wish Upon a Star" "I'm Glad There is You" "Hat and Beard" I would buy the re release if the CD contained these tracks, if it was merely a CD of the tracks on the DVD or most of them, it's an idiotic package.