hgweber

I hear a young Pete Bernstein with Mike Ledonne. Sounds like the band that Alvin Queen took on tour in the early 2000s. They had an off day in my hometown and a good time was had by all. So probably Jesse Davis and that huge trumpet player whose name escapes me right now. And there is Ralph Moore playing SOS with Ray Brown. Wes' compositions are criminally underrated.

re:latin bit. it's one swinging album. has any other guitarist ever come closer to the whole charlie parker package (sound, phrasing, time, buzz) than grant on brazil?

while this is a weak session, GGreen's solos, especially on 9 1/2 street remind of his playing on the sessions with parlan and ervin and are among his best. 1961 was a great year for him.

another version of opus caprice. wes montgomery with clark terry and pim jacobs trio

amazing. so what is the story here? cory weeds writes: "This footage was found by one jazz researcher sterh86@gmail.com and he is willing to search for many other artists' footage on a commercial basis. " the jazz researcher seems to be from the ukraine. is he legit? he's asking for paypal donations on his youtube account: https://www.youtube.com/watch?v=SJxon1_el5A would be happy to shoot him/her a few quid edit: question seems to be answered above. the paypal went through as well.

That's terrible news. Hung around and played with him in Heidelberg in the 80s. RIP.

so they gave credit to ray leatherwood?

iron city was never my favourite GG album. i only ever listened to samba de orfeu and always assumed it was larry young. the harmonic movement from 4:10 on sounds like LY. he sounds similar on the verve. but the rest doesn't sound very much like him imo. neither the organ sound nor the soloing. there is also this distinct dry voicing LY uses for soloing (i know nothing about organs) that is not present anywhere on iron city but is on all his BN records. crazy theory: LY sat in on samba, the rest is BJP.

ron washington

yeah, i wish i had it.

i did not use software but noticed that sonnymoon was almost in A. but i just did run some software after reading your post. according to my software sonny's "Bb" is at 223,5 hz, a regular Bb should be 233hz. A is 220 as you know, so it is almost a semi-tone

the loosdrecht is almost a semi-tone flat...

yeah. i think i have most of raney's recorded output including many bootlegs. same for doug. i also have almost everything roland prince ever recorded, again including many bootlegs. i got most of grant green's recordings including the unissued KD and quebec, complete session reels from his BN sessions, etc. i got most of wes montgomery (anyone got the unissued portions of ronnie scotts?) and probably one of the largest pat martino collections out there, including the unreleased vanguard album and tons of live recordings from the 60s until 2018.

we've been through this before... Blues similar to cantaloupe GG Blues KB Darn that Dream AZ Straight No Chaser AZ Extensions AZ

newport july 4 1966, guitar workshop

LOL

-running blue note records in 1959 is not the same as curating the historic cataloge in 2019. if a jazz messenger session didn't work out in 1959, no problem, just schedule another session. we do not have that luxury. and why would it be worth a sigh if someone wants to listen beyond the official? i thought that was normal, lol. -of course there is no "right" to hear everything, who claimed that? is there some sort of "moral" obligation not to let historically important works of art rot in a basement until they burn one day? maybe? in other art forms it is rather common to donate pieces of art to a museum. is it so laughable that a 1959 jazz messenger recording might be dotated to some institute? or BN records opening their own historic website, podcast, youtube channel or whatever?

i'm sure you're trying to be condescending but i'm appearently even to thick for that.

grant isn't good on standards either. on the whole, the trio session is much worse than the quebec imo. so i dont really buy the aesthetic angle there. and does it have to be good to be released? is there no historic value to the recordings of the best in their field? i understand if it*s not released because of money. but surely there are no reputations at stake?

just heard the sad news. RIP.

does this kind of stuff happen in classical music as well? are there people sitting on unpublished mozart pieces claiming they are not good enough for release? btw i am convinced that the grant green sessions (the one with kelly an the trio standards date) were only released to cash in on the grant green "revival" a few years back. both are not very good, to put it mildly. grant seems starstruck on the kelly date and totally uninspired on the standards date. otoh, he is totally on fire on the unreleased date with quebec...

yeah, i thought along similar lines. i think he maybe was going for the B7 E7/ A7 D7/G7 C7/ F7 Bb7/etc. cliche. but it sounds so unlike all the standard licks and cycle runs that were played over that progression at that time by byas et al. btw to me the cycle of fifths (i actually prefer to see it counter-clockwise as the cycle of fourths, since chords *fall* a fifth to their resolution) and the chromatic scale are just two sides of the same coin.

hey steve. it's just a blues in Bb during the opening piano solo

yes. i think paparelli was quite familiar with monk's style. the first chorus has some really sloppy monk runs. the first two bars of his second chorus, i have no idea what he's doing. sounds pretty far out. http://www.frankpaparelli.com/bio.htm