robertoart

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About robertoart

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  1. 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".
  2. 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'.
  3. 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?
  4. Great review CJ really enjoyed reading that!!!!
  5. Obviously CJ the presense of Don Lamond as a drummer for Grant Green is a weak link. Especially considering there was probably no rehersal involved for any 'adaptation' to occur. I doubt Lamond thought he was gonna be hit with a James Brown song to kick off the gig? The first time I heard the set, the Lamond mismatch was the thing that was like a small stone stuck inside your comfy runners. Antibes? Well yeah Candy Finch, Hugh Walker, Joe Dukes or JC Moses or any Organ Trio legend would have been great. So I think everyone who had heard the music on Funk In France beforehand knew there were flaws inherent in the performances. The guitar playing itself on the Antibes tracks are some of my favourite Grant Green. It's the kind of playing and repertoire/instrumentation that reflects to me what a 1969 Grant Green Prestige session might have sounded like (with a proper B3 and a more seasoned drummer). I think you are right to say that these sets are not going to change too many peoples knowledge or perceptions of Grant Green for the better. But they certainly add wonderful content to what some of us already know and love. yes, I'd like to look for it on the back cover of the next Resonance Records Grant Green release.= 'Live At The Left Bank with John Patton, Harold Vick and Hugh Walker :
  6. Yer there is. Put on Slick and wet your whistle chewy.
  7. Unissued/Unreleased Grant Green

  8. GRANT GREEN TRIO

    Definitely Grant Green is only on one track. I remember getting the vinyl about ten years ago and putting it on the turntable anticipating the second GG track and as soon as it started, I realised it was probably another Attila Zoller track. So on the various Italian boots and the concert film we have 3 Attila Zoller tracks, 1 Grant Green, 1 Kenny Burrell, 2 George Benson - Ready and Able and Benson's Rider, and the Charlie Byrd - Michelle. According to the 66 Billboard review we know GG played' a series of impressive Blues performances', Kenny Burrell also did a version of Greensleeves among other 'well executed turns' and George Benson also did Flamingo. https://books.google.com.au/books?id=SxIEAAAAMBAJ&pg=PA38&lpg=PA38&dq=grant+green+newport+1966&source=bl&ots=wpsXZ3o_rn&sig=H_HNBSBzE926j7OEfsY8nByeBPY&hl=en&sa=X&ved=0ahUKEwiylYfAqo7aAhWDUrwKHbmRDFg4ChDoAQg9MAU#v=onepage&q=grant green newport 1966&f=false
  9. Grant Green, Kenny Burrell, Live Newport 1966

    So here is the George Benson film from the Newport workshop. And the workshop concert film. Enjoy all you Charlie Byrd nuts.
  10. GRANT GREEN TRIO

    Yeah there's just one Grant Green selection on the Italian boots which is Canteloupe Woman although its listed as Blues In Green or something. 1966 Newport.
  11. That's exactly what people say about Wynton Marsalis as well.
  12. Unissued/Unreleased Grant Green

    I read somewhere recently that Claude Bartee used a special kind of arduous tonguing technique that gave him that sound.
  13. Unissued/Unreleased Grant Green

    I've heard it. I've got a feeling you won't be disappointed. To me it sounds like the kind of Album he would have made for Prestige circa 69.
  14. Unissued/Unreleased Grant Green

    I suppose that the late Bob Beldon might have conducted a good search to locate the session and the other two unissued Verve sessions. He seemed to devote a lot of energy and passion into Green's re-issues. Perhaps if they haven't surfaced yet they might never be recovered sadly.
  15. Unissued/Unreleased Grant Green

    I bet if someone offered the BN archive officer $64,000 they'd find it quick smart.