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About robertoart

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    Master of the Groove!

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  1. On my mind...

  2. Gabor Szabo

    Here's what Benson is talking about... "I said, “You mean Bird?” He said, “That’s it!” “Charlie ‘Yardbird’ Parker.” “Yeah, that’s the name. Yardbird. They said he was going to destroy jazz.” On the way back to the hotel, I thought about what the man said, what the man felt, what the man believed, and you know what? He was right. Charlie Parker improvised in a sophisticated manner that wasn’t appreciated by every jazz ear at the time. He broke the mold, but he broke it in a way that enabled those who study his work to put it together in a new, beautiful manner, with a whole new identity, an identity that brought us to where we are now. And I think we’re in a pretty good place". I've read the book. I don't read any overblown egotism, the only thing I would raise eyebrows to is his rationalisations about playing South Africa. Otherwise you get a quite expansive and candid insight into the Organ/Guitar era, especially to the days before his Warner Bros era of mainstream success.
  3. Whither Moms Mobley? With an "O"?

  4. Jazz For A Sunday Afternoon Vol. 2: The Guitars

    This is interesting. A review of the Trumpet - Guitar workshop from the Newport Daily News 5th July 1966. They say Grant Green started the workshop at 1.00pm with '15 minutes of the Blues'... 'a single string interpretation of Cantaloupe Woman'. Interestingly they identify the drummer as 'Newporter Mike De-Luce'.
  5. Jazz For A Sunday Afternoon Vol. 2: The Guitars

    Bertrand the GG Cantaloupe Woman is as HGWeber says from Newport 66 Guitar and Trumpet Workshop. Grant, Kenny Burrell and George Benson all did sets, not just one song. There was a review of the workshop in Downbeat which confirms Grant Green, Kenny Burrell and George Benson all did several songs each. Interestingly it appears Wes Montgomery was originally scheduled to be part of this workshop. I assume the whole thing was filmed as there is a full video available on Youtube. The available surviving film has been edited down for TV. But the edited film which was shown and is available on youtube only included one George Benson selection 'Benson's Rider'. No Grant or Kenny beyond Kenny Burrell's presence in the band backing up the Trumpet part of the Workshop. Charlie Byrd also took part in the Guitar workshop and makes up the significant part of the TV edit that was broadcast. I don't know if any of the film or recordings that were made and weren't aired publicly back in the day have survived. The first time I heard these tracks was on an Italian Jazz Guitar box set from the early 80's that included the Grant track LRC keeps in circulation, The Kenny Burrell one referred to upthread and a George Benson version of Ready And Able that doesn't seem to be in circulation anymore but was on the Italian jazz Guitar Vinyl Box.
  6. McCoy Tyner has died, aged 81

    For me, nothing in music compares to The Quartet. Pure love and spirit in sound. This is a sad moment, but the music will remain eternal.
  7. Jimmy McGriff & Richard Groove Holmes 1975

    This interview with the guitarist Mark Elf talks about this album in some detail.
  8. 1974. Who would have been in Grant Green's band

    If it's from '74 this info may be relevant? There is an interview in January '75 edition of Guitar Player magazine (so actual interview possibly occurred late 74 perhaps)?. Grant's band is identified in that article as Desmond Norman vibes, Emmanuel Riggins keys, Ronnie Ware bass, Richard Frierson drums, Rahsool congas. Some commonality from the band recorded at Oil Can Harry's in Sept 75. There is also a live version of Skin Tight dated as from Pittsburgh '74 on youtube, sounds a lot like the medley arrangements on Oil Can Harry's with the Milestones groove. Grant Green's son has also documented in interview a pro shot film short, possibly same era, but just guessing.
  9. Mick Jagger Illness

  10. Hamiet Bluiett R.I.P.

    Simply one of my favourite musicians of all time. RIP.
  11. Serena Williams vs The World

    This newspaper is from my town. The media today full of the usual apologists defending the cartoonist and the newspaper. Recently a champion sportsmen over here called out racist remarks directed at him from someone in the crowd. he was booed and jeered for the remainder of his career into retirement. Supposedly that wasn't racist either, just 'the crowd' reacting to him staging for free kicks. Yeah right.
  12. BFT 173 the answers

    I was right, it was Thornel Schwartz Interestingly, I remember reading an old interview with George Benson who said back in the day the most illustrious guitar player was always the one who held down the guitar chair in Jimmy Smith's band. Hence Thornel Schwartz had a lot of currency among up and coming guitar players back then.
  13. Thanks for the link to the article. Meyers is the first critique I've read that captures why the Antibes performances are my favourite from both these Resonance releases; "Listening to this Resonance release, the jazz-funk tracks sound so much freer and alive for Green, who clearly was tiring of the kind of straight-up that dominates the Paris studio recordings. Listening to him peck away on the Antibes material, particularly Hi-Heel Sneakers and the longer version of Upshot. They are a revelation".
  14. I guess it's all about marketing. Funk In France, Slick. Resonance did the same with the Wes titles pretty much, 'Smoking In Seattle' 'Echoes Of Indiana Ave'.
  15. Yeah I think he's getting Wes Montgomery and Grant Green mixed up. Cannonball Adderley bought Wes Montgomery to the attention of Orrin Keepnews I believe. It was Lou Donaldson who got Grant to Blue Note. I'm personally glad these releases are out there. CJ's right about the drumming marring the overall standard of the band performances on Paris and Antibes. And to be fair, we don't know whether the drummer Billy Wilson was coming in cold for these gigs. Add that to the fact Clarence Palmer didn't have a B3 at his disposal, and the musicians are compromised right there. However I wouldn't want to be without either of these performances, they are precious documents. Slick I feel does add a lot of context to Grant's recorded legacy. From the liner notes, it seems the Oil Can Harry gig was given to Michael Cuscuna back in the day to try and obtain Grant a new recording contract, or thats what seems to be implied? I'm not sure what better Grant Green material Cuscana might be sitting on? Maybe the unissued Verve sessions or the Green Acid session. Although everything I've read here and elsewhere says the tapes haven't survived? Bob Porter also says in his book that the CTI Allstar concerts Grant was featured in (shortly after the Slick recordings?), were most likely not recorded - although that seems a bit odd to me as CTI seemed to do so much live recording of their roster?