Grant Green Club Mozambique UK release

[The Magnificent Goldberg]

REMEMBER THE PART WHERE U WERE TALKING ABOUT HOW 'A DAY IN THE LIFE' CAME ON THE JUKEBOX AND GRANT AND BIG JOHN WERE NOODLING AROUND WITH IT BEFORE THEIR SET STARTED, THAT PART WAS AWESOME!!!!!!!!!!!!!!!!!!!!!!!!!

"REMEMBER WHEN YOU WERE IN THE BEATLES? THAT WAS AWESOME!"

Who's that guy sitting next to Chewy?

MG

[andybleaden]

Just to bring the thread back up for air and to shout that my cd landed this weekend so I annoyed the hell out of the family by playing Jan Jan over and over again......Actually really liked this (yes it is a shame about the sound quality but its not too bad). The nice treat was hearing more Houston Person with Grant Green as I have the Real Thing tracks and this was added pleasure.

I then gave my family the valuable and rare experience of having to compare Alive which was awesome and then Live at the Lighthouse which was also in the same vein.

They all left muttering unmentionables about boogaloo stuff and so I thought I would treat myself to another listen....solid gone!

[jazzbo]

I'm really digging this too. The sound doesn't bug me a bit (I like the bite the organ has!) and it's darned fine groovin' stuff.

[sheldonm]

Soul Jazz, right from the start in the '40s, had the same objective as R&B - entertainment for black adults. So, as R&B changed, Soul Jazz changed in parallel. The most important people to develop R&B in the period between the mid fifties and mid sixties were Soul Jazz musicians anyway - Ray Charles and James Brown.

Please identify the specific bands/records which identified "soul jazz ... right from the start in the '40s".

The early leaders were mainly tenor players: Illinois Jacquet, without whom there would have been no honkers; Gene Ammons; Ammons/Stitt (though half or maybe more of Stitt's career is Bebop); Arnett Cobb; Ike Quebec; Big Jay McNeely; Paul Williams; Willis "Gator Tail" Jackson; Hal "Cornbread" Singer; Wild Bill Moore; Eddie "Lockjaw" Davis (first tenor/organ records in '49). Other big names included Tiny Grimes & his Rockin' Highlanders. Among vocalists, Dinah was the Queen. In the early '50s, there was Wild Bill Davis and other pre-Smith organists like Milt Buckner & Bill Doggett.

MG

None of these people played "soul jazz" as the term is used.

I'm not at all disputing that there is a continuum from those you mention to soul jazz as the term has been applied (by everyone I know save yourself). You might want to call those folks "pre-soul jazz".

This is also the view of Bob Porter, a man whose views on this subject are not to be sneezed at, I reckon.

MG

Bob Porter is never wrong about anything....just ask him!!!

[The Magnificent Goldberg]

Soul Jazz, right from the start in the '40s, had the same objective as R&B - entertainment for black adults. So, as R&B changed, Soul Jazz changed in parallel. The most important people to develop R&B in the period between the mid fifties and mid sixties were Soul Jazz musicians anyway - Ray Charles and James Brown.

Please identify the specific bands/records which identified "soul jazz ... right from the start in the '40s".

The early leaders were mainly tenor players: Illinois Jacquet, without whom there would have been no honkers; Gene Ammons; Ammons/Stitt (though half or maybe more of Stitt's career is Bebop); Arnett Cobb; Ike Quebec; Big Jay McNeely; Paul Williams; Willis "Gator Tail" Jackson; Hal "Cornbread" Singer; Wild Bill Moore; Eddie "Lockjaw" Davis (first tenor/organ records in '49). Other big names included Tiny Grimes & his Rockin' Highlanders. Among vocalists, Dinah was the Queen. In the early '50s, there was Wild Bill Davis and other pre-Smith organists like Milt Buckner & Bill Doggett.

MG

None of these people played "soul jazz" as the term is used.

I'm not at all disputing that there is a continuum from those you mention to soul jazz as the term has been applied (by everyone I know save yourself). You might want to call those folks "pre-soul jazz".

This is also the view of Bob Porter, a man whose views on this subject are not to be sneezed at, I reckon.

MG

Bob Porter is never wrong about anything....just ask him!!!

He certainly exudes an air of self-confidence.

MG

[JSngry]

Haven't read this thread, but based on past experience, I imaginge that there's divided opion on this one. Just got mine in yeasterday, already played it 4x, and put me in the "pro" camp.

I don't know if Grant's group sound has gotten enough credit over the years as being as distinctive as it is. The use of those massive rhythmic unisons (which often include all or part of the drum kit) to create the groove is different from the prevailing funk orthodoxy of the day, which relied on broken & cross rhythms. It's a very powerful effect, and I can't say that I can immediately think of anybody else of the time who approached groove exactly like this.

Interestingly enough, I hear echoes of this approach in a lot of contemporary dance music, where the emphasis is wholly on stating and working the beat in a way not at all dissimilar to how Grant's groups of the time did it. I've no doubt that there is at least some influence there, and that gives what could be "merely" a really nice archeological find some true contemporary relevance to me.

[king ubu]

Finally got it, almost done with a first spin - pretty good! I think I like it better than the two "funky" GG albums I've heard. Only got "Alive" and "Carryin' On" so far... generally I like his earlier stuff quite a bit better.

[king ubu]

oh, and I do like the cover of this CD a lot!

[robertoart]

On 24/06/2006 at 4:53 PM, chewy-chew-chew-bean-benitez said:

u mean u just go 2 blue note and youre tight w/ them and they let u listen to master tapes??? did u listen to a copy there or the actual reel