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felser

Additional Herbie Mann Live at Whiskey

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I'm in for this one eventually.

From theseconddisk.com

LOS ANGELES, CA – While jazz flautist Herbie Mann is often remembered as a pop-jazz player, he was actually a pioneer in popularizing world music and even prog-rock with recordings released on his own Embryo imprint (as part of Atlantic Records). And in the late ’60s, he was fronting one of the most progressive and electrifying bands in the world: guitarist Sonny Sharrock, Miroslav Vitous on electric & upright bass, saxophonist Steve Marcus, drummer Bruno Carr, and vibraphonist Roy Ayers. Together, the sextet cut the dynamic Live at the Whisky A Go Go album in 1969, drawn from a four night run at the legendary nightclub on Los Angeles’ Sunset Strip. Though the band’s repertoire was quite varied on these dates, just two side-long tracks, “Ooh Baby” and “Philly Dog,” surfaced on the Atlantic Records release.

Now, reissue producer Pat Thomas has unearthed the multi-track tapes for these shows (never before mixed), and has programmed a double-CD set that shows this high-energy jazz-rock outfit stretching out – sometimes, on Sharrock’s solos, way out – with, as an added bonus, the appearance of Linda Sharrock on songs that appeared (in studio versions) on the seminal Sonny Sharrock album Black Woman released around the time of these live shows.

All performances are previously unreleased, including a 23-minute jam of Donovan’s “Tangier” blending into Tim Hardin’s “If I Were A Carpenter” and a newly discovered take of “Ooh Baby” that clocks in at 21 minutes! Sonny Sharrock’s searing lead guitar work is featured on songs first recorded by Aretha Franklin, Miles Davis, and Simon & Garfunkel – plus “Black Woman” and Portrait of Linda in Three Colors” with Linda on vocals.  Live at the Whisky 1969–The Unreleased Masters presents two CDs filled to the brim with explosive, yet ethereal innovative jazz-rock at its best. Fans of Bitches Brew, The Inner Mounting Flame, early Weather Report and similar-era titles will quickly realize that Herbie Mann was not just a pop-jazzbo – but a force to be taken more seriously than history has accorded him. File this CD between Soft Machine 3rdand the jazz-funk of The Crusaders.  Packaging includes several previously unpublished live photos of this band in action, with notes by Thomas. A huge jazz find!

 

Edited by felser

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Count me in.

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Jim, I thought that you really, really, really didn't like the Real Gone label.  I'd love to hear this music, but first I'll wait to see what you have to say about the sound, etc.

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What I don't like is those Euro Musiporn Real Gone Jazz Box Sets of, like, 23 LPs on 4 CDs.

This will be from Real Gone Music, which is not the same company.

See here: http://www.discogs.com/label/219427-Real-Gone-Jazz

 

Quote

Real Gone Jazz

Profile:
Series by the UK/EU-based budget reissue label Real Gone.

This is a series, not a label. Only add this to the "Series" field, together with Real Gone as the label.

The slogan "Digitally Remastered and Enhanced for Superior Quality" is typically printed below the release's title. Releases are pressed by www.musicmelon.co.uk.

For the US-based reissue label focusing on reissues from labels associated with Warner Music Group, please use Real Gone Music.

 

and here: http://www.discogs.com/label/340569-Real-Gone-Music

 

Quote

Real Gone Music

U.S. reissue label, established in 2011, mainly releasing material from

Warner Music Group

affiliated labels. Established by by

Gordon Anderson (3)

and

Gabby Castellana

, who previously established

Collectors' Choice Music

and

Hep Cat Records

.

 

For the UK/Europe based budget reissue label that issues multi-disc box sets in a variety of genres with titles such as "Eight Classic Albums," please use

Real Gone

 

and the appropriate series (e.g.

Real Gone Country

,

Real Gone Easy

,

Real Gone Jazz

,

Real Gone Music (2)

,

Real Gone Rhythm & Blues

,

Real Gone Rock & Roll

) as described on the label profile.

 

 

 

The Real Gone Music catalog can be perused here: http://shop.realgonemusic.com/collections/all

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Wow - I will get me a copy. That band, minus Ayers, was my second jazz concert ever, at age 17, so it's a must buy for me.

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Jim, thanks for setting me straight.  It all looked good until I saw that Real Gone Music is being brought to you by the same people who gave us Collector's Choice.  So again, I will await your comments on the quality of the sound.

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Collector's Choice was a great label sometimes. they put out the Atlantic Maynard/Chris Connor album, all(?) of the Dionne Warwick Scepter albums, etc. LOTS of stuff that "needed attention" and got it. Not Bear Family, but hell, who is? Pretty quality conscious outfit. What experiences have you had that have you feeling otherwise?

This being a (potentially) loud band, and these being "leftovers", I'm fulling expecting the "sound" to have "issues". But again, In Bruno Carr I Trust.

The only "weak link" for me in the lineup is Steve Marcus, and I can live with that.

 

Keep telling yourself - THIS IS NOT A RECORD. Because it's not, it's people in a room playing more or less right up in other people's faces. If not exactly, a helluva lot more than playing in a studio right up in the microphe's faces. There was some AIR moving in that room! And the longer it goes on, the more Bruno Carr makes the Groove Babies.

 

I can see why Miroslav resisted groove playing in Weather Report, but the objections must have been entirely philosophical grounds, becuase...he's in there.

An ok, what's THIS?!?!?!?!

 

 

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Jim, I recognize the second song of the second video of your post.  I had Brasil '66 doing it on an early '70s album, maybe Yo-Me-Le.  I never learned the name of it.  It sounds like something Edu Lobo might have written.

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The second song is "Upa Nequinho", indeed by Edu Lobo. That video must be from the tour when they passed through Frankfurt where I saw them. Thanks for posting!

Bruno Carr was a really great drummer. Herbie always had good taste in selecting his bandmates, and was totally unprejudiced, or he wouldn't have hired Sharrock. Geez, I remember I really tried playing guitar like Sonny around that time...

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I'm going to get this too.

In the meantime ordered Brazil Once Again to tide me over in a more sedate vein.

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Having a first listen right now, and, yeah, very promising, the opening cut is listed as "Untitled", but it's "Paper Man", somebody gonna owe Charles Tolliver some money.

Smoking band, not a weak link, and it sounds like it was a hot gig for all.

And yeah, In Bruno Carr I Trust. Definitely.

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I need to get this.

I'm "friends" with Pat Thomas on FB and he talked about this album a while ago.

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I really like this. The sound is better than I expected, and some very nice playing. Groovy!

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10 hours ago, BFrank said:

I'm "friends" with Pat Thomas on FB and he talked about this album a while ago.

You might want to let him know that he owes Charles Tolliver some money.

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Finishing up on this one today...very satisfied. Perhaps not revelatory, but certainly revealing, as this particular band never recorded anything this open and stretched out. Imagine Windows Opened only live and unrestricted (and with Linda Sharrock popping in for a few tunes), that's pretty much what you got here. It was a strong, young band, not particularly concerned with being "commercial" past the point of repertoire.

And - anotehr example of how when you went to hear a "name" band in the late 60s or 70s, you were liable to hear any damn thing from complete conformity to complete phoniness to any point in between. Say what you will about Herbie Mann as a player, "popular artist", etc. he was like Miles in that when he hired you to play, he hired you to play you as well as to play the gig. With this bunch, hey, good times!

I LOL at Steve Marcus on these sides, it's like the guy tries to play R&B tenor, he really tries, but he can't help himself, sooner than later he ends up doing the Trane-isms, and not once is there a sense that Mann is vibing him about it, no Herbie just lets him play on.

And ok, yes, perhaps revelatory - Sonny Sharrock playing totally inside (and in the pocket) funk comp. Not that it's not on record at all, it is (and with Mann), just not this thoroughly documented. It was on the Hold On I'm Coming side with Fathead (another fine live Mann offering), but that sound was real echoey. This is clear as a bell.

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3 hours ago, JSngry said:

You might want to let him know that he owes Charles Tolliver some money.

I just did, and he wasn't aware what that tune was. Added that he will get the royalty situation sorted out. He's a pretty honorable guy, so I expect that he really will take care of it. Pat also mentioned in a FB post that "if this sells well, I'll be doing more Herbie-Sharrock - there's more in the vaults that we uncovered."

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Hopefully good news on all fronts!

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7 hours ago, JSngry said:

Finishing up on this one today...very satisfied. Perhaps not revelatory, but certainly revealing, as this particular band never recorded anything this open and stretched out. Imagine Windows Opened only live and unrestricted (and with Linda Sharrock popping in for a few tunes), that's pretty much what you got here. It was a strong, young band, not particularly concerned with being "commercial" past the point of repertoire.

And - anotehr example of how when you went to hear a "name" band in the late 60s or 70s, you were liable to hear any damn thing from complete conformity to complete phoniness to any point in between. Say what you will about Herbie Mann as a player, "popular artist", etc. he was like Miles in that when he hired you to play, he hired you to play you as well as to play the gig. With this bunch, hey, good times!

I LOL at Steve Marcus on these sides, it's like the guy tries to play R&B tenor, he really tries, but he can't help himself, sooner than later he ends up doing the Trane-isms, and not once is there a sense that Mann is vibing him about it, no Herbie just lets him play on.

And ok, yes, perhaps revelatory - Sonny Sharrock playing totally inside (and in the pocket) funk comp. Not that it's not on record at all, it is (and with Mann), just not this thoroughly documented. It was on the Hold On I'm Coming side with Fathead (another fine live Mann offering), but that sound was real echoey. This is clear as a bell.

Is that the Hold On Im Coming off Memphis Underground? That's got one of the greatest opening phrases of a solo I've ever heard, by Larry Coryell, and It's awesome that Sonny Shamrock is right behind him. And did Herbie Mann keep his shirt on when he played live? 

Love that phrase 'in the pocket" :)

Edited by robertoart

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This one:

666850.JPG

r03ndco2BK.png

So deep in the pocket it oughta be called Lint!

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Oh that one. Seen in the bins many times but never acquired. I better give it a listen! 

And Mr Mann's got his smart casual sweater on:D

Edited by robertoart

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On 3/29/2016 at 11:11 AM, JSngry said:

And ok, yes, perhaps revelatory - Sonny Sharrock playing totally inside (and in the pocket) funk comp. Not that it's not on record at all, it is (and with Mann), just not this thoroughly documented. It was on the Hold On I'm Coming side with Fathead (another fine live Mann offering), but that sound was real echoey. This is clear as a bell.

That's what has stood out to me as well. Sonny is throwing some serious shapes on this gig.

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On 28.3.2016 at 10:22 PM, JSngry said:

Having a first listen right now, and, yeah, very promising, the opening cut is listed as "Untitled", but it's "Paper Man", somebody gonna owe Charles Tolliver some money.

Jim, you're mistaken - it's not "Paper Man" (that Mann recorded for the "Windows Opened" LP) - the tune is Tolliver's "The Ringer" which was on Ayers' first Atlantic LP "Virgo Vibes". 

Yes, they owe him some money, and they could have checked that out.

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I can get those two tunes confused if I don't hear them regularly, and I haven't experienced that for a bit longer than just beginning in 2016.

no matter - pay the man.

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2 hours ago, JSngry said:

I can get those two tunes confused if I don't hear them regularly, and I haven't experienced that for a bit longer than just beginning in 2016.

Me too -- I often confuse a few of Tolliver's tunes, and also a few of Billy Harper's too (but not with each other).

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