robertoart

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About robertoart

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  1. Aww c, mon - that's part of the reason a Lou Donaldson interview will always make me smile - and learn a hell of a lot if you pay close attention to the deeper stuff he talks about. I recently re-read that epic interview with Ted Panken, what an amazing memory for detail and nuance of psycho-social context the great man has (Lou Donaldson).
  2. Ed Asner, RIP

    RIP Ed Asner, I was unaware how much he contributed to trying to make the world a better place. Here is the full tribute from Michael Moore that's been making the rounds; "When I was making my first film, Roger & Me, I was broke, so I wrote to some famous people to ask for help. Only one responded: Ed Asner. "I don’t know you, kid, but here’s 500 bucks,” said the note attached to the check. “Sounds like it’ll be a great film. I was an autoworker once". He also eventually became a union president (SAG), the star of one of the best TV dramas ever (“The Lou Grant Show”) and one of the best animated films of all time (“Up”). He always showed up, supporting progressive/left movements across the country. He took on Reagan and fought against American support of Latin American dictators. Kimberly-Clark (Kleenex) and Vidal Sassoon, sponsors of his CBS drama, told the network that if they couldn’t get Ed to end his political activism, they’d pull their ads from his “Lou Grant” show. CBS told Ed to tamp it down. He wouldn’t, so the sponsors pulled their ads and the award-winning Lou Grant came to an end. He once told me, “Look, it’s never been easy in this country to speak out against the status quo. I’m not going to stop now.” He never did and I loved him for it. It still isn’t easy, Ed, and we will miss you. You once told Mary Tyler Moore on her show, “You know what? You’ve got spunk! (pause) I HATE spunk.” Hahaha. The funniest thing about that line was that you were nothing BUT spunk! R.I.P. Ed Asner. Solidarity forever" .
  3. Agreed. And I think you answered your own questions.
  4. Jean De Fleur

    All The Gin Is Gone on the Jimmy Forrest album has another similar surprise Bertrand.
  5. Did Volker Kriegel influenced Pat Metheny?

    I believe Metheny sites Calvin Keys as a formative influence, his parents took him to Calvin Keys gigs when Metheny was a teenager. Metheny dedicated a song to him.
  6. "Not for use by those with a pacemaker".
  7. Who did Larry Young play with...

    I remember reading the late Bern Nix saying he saw Larry Young playing with James Blood Ulmer at a gig at Berklee. Bern Nix graduated Berklee in 75 so it may have been somewhere between 73-75ish. Possibly a trio gig. Bern Nix said that when he auditioned for Ornette Coleman, he met Ulmer and recognised him from seeing him play with Larry Young at that time. So possibly after or circa the Lawrence Of Newark album.
  8. Grant Green interview

    Is this the Five spot circa '66 ?
  9. Grant Green: "Iron City"

    Not so crazy, that's another theory I'm sure others have thought as well. The original Cobblestone vinyl does have a 50/50 stereo split, the organ across the whole album can be isolated to a virtual organ-drum audio or vice-versa a guitar-drum one. The title track reminds me of the Let Em Roll title track form wise. We need some modern organ masters to do a deep dive into the voicings and harmony on each track lol. Always wondered about the master tapes to this session? Do they hold any clues? The mystery of this session is impenetrable by the looks of it.
  10. Grant Green: "Iron City"

    Is the organ so many shades of homogenous that a lifetime of serious listeners can't categorically distinguish an albums worth of material between John Patton and Larry Young lol.
  11. Grant Green: "Iron City"

    Indeed, the way this story has been framed by Travis Klein, from the info he has disclosed, is not very respectful to say the least. Also, it seems the timeframe coincides with the presumed end of Grant's first contract (or working relationship) with Blue Note and his commencement of a short lived series of recordings for Verve. Who knows what Grant's status was at the point of the recording. Then also, Klein states it was supposedly Gene Ludwig's manager who first approached him to do an opportunistic session? I also remember raising the idea of the recording being part of the lost Verve sessions, however it was pointed out that the recording is clearly not a 'Van Gelder' studio production, so most likely Travis Klein's version of the story is based in some fact. However, the recently released Oil Can Harry's recording liners suggest Grant was in a similar situation in the mid 70's, coming out of contract with Blue Note and Cuscuna saying the Oil Can Harry's recordings were being used at the time as a demonstration record so to speak, to secure another contract (according to Cuscuna). Who's to say the Iron City session wasn't for some such similar end? Probably wasn't, but just throwing around some possible scenarios to take away from the distastefully stereotypical Klein story of the session, that has been un-tactfully thrown out into the margins of the public domain. Also interesting, that one of the 'back in the day' adverts shown upthread, refers to Grant as 'Prestige' recording artist? Perhaps Grant was headed for Prestige, or had a hand shake agreement in place, which then became Verve all of a sudden.
  12. Grant Green: "Iron City"

    Yes, Peter Leitch mentions in the liner notes to the King Funk cd reissue seeing the Green, Patton, Jarvis trio in Canada, but he gets the time frame mixed up I think, I seem to recall he puts it around late Sixties. Getz mentions her experience of those gigs in a memoir, I haven't returned to it since originally reading it, unsure if any timeframe is defined though.
  13. Grant Green: "Iron City"

    Yes it may have been a bit earlier, but Lou says he never took Grant Green on the road with him, whereas he says he did travel with John Patton. Could the Iron City organist be a mysterious 'third person' lol. Another primary source of memory around this 65/66 era was Larry Coryell who also came to New York around this time and talks of memories of seeing Grant Green and Larry Young gigs. Although like Lonnie Smith's recollections these are in the New York area. Coryell mentions hearing live versions of I Want To Hold Your Hand with this trio.
  14. Grant Green: "Iron City"

    Nothing definitive to add, but some historical context from Lonnie Smith interview recollections that I think are firmly rooted in this 65ish time era, Lonnie Smith talks about Grant Green wanting Lonnie Smith to be his Organ player at the time the Benson/Smith band was getting together. Jimmy Boyd was managing them as well as managing Grant Green. Lonnie Smith recalls Jimmy Boyd putting his foot down and telling Grant Green that he already has his trio with Larry Young and to keep Benson and Smith playing together. Lonnie Smith has told this story re-Jimmy Boyd in a few interviews and always mentions Larry Young as Grant's trio organist around this time. https://www.chicagojazz.com/post/dr-lonnie-smith-feature-interview Also in the wonderful, long form interview with Lou Donaldson by Ted Panken, Lou Donaldson mentions that he took John Patton on the road with him. Not sure if this would have been in the 65 period or maybe a bit earlier in 63/64, but it would account for John Patton having other commitments with Lou Donaldson's band at some point. On the Argo/Cadet Donaldson albums from 64/65, Patton is on Possum Head but Billy Gardner on the other ones.