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JETman
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Posts posted by JETman
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shoulda see a couple of friends of mine sitting next to me in one of the small rooms at The Knitting Factory maybe around the year 2000.
The first set was Paul Dunmall on bagpipe with Paul Rogers on his newly aquired custom upright bass.
second set had Kevin Norton joining on drums with Dunmall switching to tenor saxophone.
All three of us agreed Rogers was incredible including the friend who was losing interest in jazz leaning towards small EAI type music (which is also a musical interest of mine) and the other who is a long time jazz listener from NYC who goes back to hearing Mingus in the early 70's.
As far as Dunmall, the second set to this day is possibly the most powerful live tenor saxophone performance I've ever heard.
The others thought things like poor man's Archie Shepp from the 60's to zzzzzzzzzzzzzzz
so be it............
Poem About the Hero, baby
that would be poor man at least twice removed!
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the other must for me will be the new Paul Motian re-issue via a box set of the early ECM recordings.
Watch out - Frisell's on the 6th disc in the set!
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Jim
Ever see Nolan Ryan pitch?
I have. Even watched him toss a no-no once.
The guy was a monster!
Not when he was a Met! Typical line: 8 IP, 9K, 9 BB
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Why would anyone expect labels like Music Matters to care about some of these titles when Blue Note obviously doesn't?
"Of Love and Peace"? We were lucky to get the Conn in 2004.
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Here are my predictions for this season.
AL East
Tampa Bay
AL Central
Detroit
AL West
LA Angels
Wild Card
Texas Rangers
NL East
Washington
NL Central
Cincinnati
NL West
San Francisco
Wild Card
LA Dodgers
World Series
Detroit and Cincinnati
(I'm probably WAY off!)
You are! There are 2 wildcards in each league beginning this year.
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Well, Motian recorded six albums for ECM between 1972 and 1984 in his first run on the label. My guess is that it's those. (He recorded another seven for ECM released between 2005 & 2001.)
Yes, first 6 --- Conception Vessel, Tribute, Dance, Psalm and It Should've Happened A Long Time Ago
Oops, edited to add Le Voyage!
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Eskelin, b. 1959
Malaby, b. 1964
McCaslin, b. 1966
Alexander, b. 1968
Potter, b. 1971
So, for the record, McCaslin is NOT a post-Potter player. Potter began recording earlier, probably due in no small part to placing third (tied with Tim Warfield, and behind Josh Redman and Eric Alexander) in the 1991 Monk saxophone competition. Potter and Alexander both began recording leader dates in 1992 for Criss Cross. McCaslin formed a band with Dave Binney (b. 1961) in 1997 called Lan Xang.
For my money, Binney's the wildcard here. Great player who can write a heckuva tune AND play in many settings.
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Someone needs to present the other point of view. I have heard most of the "so-called younger" tenor players mentioned above and don't care for any of them except for
Grant Stewart , Harry Allen and Eric Alexander and a very few recordings I have heard by Joshua Redman (not most of his output). They may not be breaking any new ground, but I am not looking for the newest, most innovative player.
We all have our musical taste, and clearly mine is very different from many who posted on this thread.
Nobody's talking about seeking out the most groundbreaking modern day player just for the sake of it. For me, if I'm gonna listen to hard bop (or whatever) done the way it's supposed to be, I'm gonna pull out a recording from the golden days of the genre. I'm not gonna spend yet more money on a same old, same old recording not done nearly as well.
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Whitfield and Malone seem like the best of the retro guitarists, very much emulating Wes, Grant Green, Kenny Burrell, etc. I don't find them wholly slavish, but they go solidly in that direction, rather than in the more modern and creative directions of Metheny, Frisell, Scofield, Stern, etc.
AREN'T WE AFTER MORE CREATIVE AND LESS RETRO DIRECTIONS?
Try guys like Samo Salamon, Julian Lage, etc.
All I have to say is OY.
FWIW, Eubanks' latest is excellent, and if you want to hear some creative guitar playing from years past from him, just pick up any of the ones where he appears with Dave Holland. "Extensions" comes immediately to mind.
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I have all of Whitfield's Warner and Verve CDs and really like his playing. I have the impressions that the attempt to do parallel work in a mainstream jazz style in the Marsalis wake and fusion didn't work particularly well in his case. There isn't so much room for so many jazz guitarists at the top, but Malone etc. made it.
I have a VHS video with that smooth jazz stuff - bland indeed!
Now what is Whitfield doing right now?
Whether Malone is "at the top" depends wholly on your definition of that phrase. There are several guitarists out there who are at the top of their games, for instance. I don't know.........someone named "Metheny" comes to mind! Guys like Eubanks and Juris smoke both of these guys IMHO of course.
Juris has a lovely soft approach to some very advanced Post-Coltrane modalism for sure (a bit like the Liebman school of Saxophanists), but he's hardly what I'd call a commanding player. Now Malone on the other hand, doesn't really suffer from that problem
Eubanks I haven't heard in years though.
Please take this within the spirit with which it's intended: you are out of your mind!
Not sure who "we" are in the above comment about being "after more creative ... directions". But it sure does not include everyone here in the way you mean it. None of the guitar players you refer to
in a positive way appeal to me.
If retro is your thing, more power to you. There are too many guitarists out there cut from that cloth. While talented, Whitfield and Malone do not stand out among those.
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Do you ever think you'll move to Florida Jetman,
Sheesh....I'd hate to play a round of golf with you and Lou Donaldson.
Try not to get yerself too worked up, junior!
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Do you ever think you'll move to Florida Jetman,
Sheesh....I'd hate to play a round of golf with you and Lou Donaldson.
Yeah, where you be at? We could all eat a sammich together. Just to make it interesting, we could invite that other sterling example of fine Floridian behavior on the bored.
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Whitfield and Malone seem like the best of the retro guitarists, very much emulating Wes, Grant Green, Kenny Burrell, etc. I don't find them wholly slavish, but they go solidly in that direction, rather than in the more modern and creative directions of Metheny, Frisell, Scofield, Stern, etc.
AREN'T WE AFTER MORE CREATIVE AND LESS RETRO DIRECTIONS?
Try guys like Samo Salamon, Julian Lage, etc.
All I have to say is OY.
FWIW, Eubanks' latest is excellent, and if you want to hear some creative guitar playing from years past from him, just pick up any of the ones where he appears with Dave Holland. "Extensions" comes immediately to mind.
>>>>>
I have all of Whitfield's Warner and Verve CDs and really like his playing. I have the impressions that the attempt to do parallel work in a mainstream jazz style in the Marsalis wake and fusion didn't work particularly well in his case. There isn't so much room for so many jazz guitarists at the top, but Malone etc. made it.
I have a VHS video with that smooth jazz stuff - bland indeed!
Now what is Whitfield doing right now?
Whether Malone is "at the top" depends wholly on your definition of that phrase. There are several guitarists out there who are at the top of their games, for instance. I don't know.........someone named "Metheny" comes to mind! Guys like Eubanks and Juris smoke both of these guys IMHO of course.
Juris has a lovely soft approach to some very advanced Post-Coltrane modalism for sure (a bit like the Liebman school of Saxophanists), but he's hardly what I'd call a commanding player. Now Malone on the other hand, doesn't really suffer from that problem
Eubanks I haven't heard in years t
hough.Please take this within the spirit with which it's intended: you are out of your mind!
Maybe, but I'm right. Juris is a Teddy Bear (in a good way)
i also think the idea that some players move in more creative directions - especially those employing processed sound or updating Fusion - to be a bit like smoke and mirrors - and ultimately still just a matter of personal taste rather than 'creative breakthroughs'. The guitar is a bastard of an instrument like that.
You're obviously a legend in your own mind!
Truth be told, if anybody here wants to hear any of the very best jazz guitar ever recorded, I would highly recommend the Jim Hall 3 cd addendum to the "Live" album from 1975 (released by Artist Share late last year). You read that right --- yes, Jim Hall, and from 1975 no less.
Yes everybody knows Jim Hall and yatayatayata......I'm sure a 'true New Yorker' must know what that means
You're still shirking my point. None of the guitar players you (or Milestones) mention, are really presenting anything really new with the emperors clothes they wrap themselves in. Accept for Metheny's 'emergence' in 1700 or however long ago it was now. To think Stern playing bebop lines through a pedalboard is 'more creative' than a Malone who essentially plays the same vocabulary in a Piano Jazz based context is not very insightful.
Frisell is not one of my favourites personally, his clawhammer hillbilly chord melody approach is very creative I suppose, but not my cup of tea culturally. The interesting or truly creative players will probably emerge from the Jazz/Hip Hop movement (or wherever it evolves too) or as always from the Free Jazz Chamber side of things.
You like to throw out veiled insults to prove points that are as old as neanderthals themselves.
Here's a hint for you, though: please learn the correct usage of words such as "accept" if you desire to make your point more persuasively.
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Whitfield and Malone seem like the best of the retro guitarists, very much emulating Wes, Grant Green, Kenny Burrell, etc. I don't find them wholly slavish, but they go solidly in that direction, rather than in the more modern and creative directions of Metheny, Frisell, Scofield, Stern, etc.
AREN'T WE AFTER MORE CREATIVE AND LESS RETRO DIRECTIONS?
Try guys like Samo Salamon, Julian Lage, etc.
All I have to say is OY.
FWIW, Eubanks' latest is excellent, and if you want to hear some creative guitar playing from years past from him, just pick up any of the ones where he appears with Dave Holland. "Extensions" comes immediately to mind.
>>>
I have all of Whitfield's Warner and Verve CDs and really like his playing. I have the impressions that the attempt to do parallel work in a mainstream jazz style in the Marsalis wake and fusion didn't work particularly well in his case. There isn't so much room for so many jazz guitarists at the top, but Malone etc. made it.
I have a VHS video with that smooth jazz stuff - bland indeed!
Now what is Whitfield doing right now?
Whether Malone is "at the top" depends wholly on your definition of that phrase. There are several guitarists out there who are at the top of their games, for instance. I don't know.........someone named "Metheny" comes to mind! Guys like Eubanks and Juris smoke both of these guys IMHO of course.
Juris has a lovely soft approach to some very advanced Post-Coltrane modalism for sure (a bit like the Liebman school of Saxophanists), but he's hardly what I'd call a commanding player. Now Malone on the other hand, doesn't really suffer from that problem
Eubanks I haven't heard in years though.
Please take this within the spirit with which it's intended: you are out of your mind!
Maybe, but I'm right. Juris is a Teddy Bear (in a good way)
i also think the idea that some players move in more creative directions - especially those employing processed sound or updating Fusion - to be a bit like smoke and mirrors - and ultimately still just a matter of personal taste rather than 'creative breakthroughs'. The guitar is a bastard of an instrument like that.
You're obviously a legend in your own mind!
Truth be told, if anybody here wants to hear any of the very best jazz guitar ever recorded, I would highly recommend the Jim Hall 3 cd addendum to the "Live" album from 1975 (released by Artist Share late last year). You read that right --- yes, Jim Hall, and from 1975 no less.
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Whitfield and Malone seem like the best of the retro guitarists, very much emulating Wes, Grant Green, Kenny Burrell, etc. I don't find them wholly slavish, but they go solidly in that direction, rather than in the more modern and creative directions of Metheny, Frisell, Scofield, Stern, etc.
AREN'T WE AFTER MORE CREATIVE AND LESS RETRO DIRECTIONS?
Try guys like Samo Salamon, Julian Lage, etc.
All I have to say is OY.
FWIW, Eubanks' latest is excellent, and if you want to hear some creative guitar playing from years past from him, just pick up any of the ones where he appears with Dave Holland. "Extensions" comes immediately to mind.
I have all of Whitfield's Warner and Verve CDs and really like his playing. I have the impressions that the attempt to do parallel work in a mainstream jazz style in the Marsalis wake and fusion didn't work particularly well in his case. There isn't so much room for so many jazz guitarists at the top, but Malone etc. made it.
I have a VHS video with that smooth jazz stuff - bland indeed!
Now what is Whitfield doing right now?
Whether Malone is "at the top" depends wholly on your definition of that phrase. There are several guitarists out there who are at the top of their games, for instance. I don't know.........someone named "Metheny" comes to mind! Guys like Eubanks and Juris smoke both of these guys IMHO of course.
Juris has a lovely soft approach to some very advanced Post-Coltrane modalism for sure (a bit like the Liebman school of Saxophanists), but he's hardly what I'd call a commanding player. Now Malone on the other hand, doesn't really suffer from that problem
Eubanks I haven't heard in years though.
Please take this within the spirit with which it's intended: you are out of your mind!
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I have all of Whitfield's Warner and Verve CDs and really like his playing. I have the impressions that the attempt to do parallel work in a mainstream jazz style in the Marsalis wake and fusion didn't work particularly well in his case. There isn't so much room for so many jazz guitarists at the top, but Malone etc. made it.
I have a VHS video with that smooth jazz stuff - bland indeed!
Now what is Whitfield doing right now?
Whether Malone is "at the top" depends wholly on your definition of that phrase. There are several guitarists out there who are at the top of their games, for instance. I don't know.........someone named "Metheny" comes to mind! Guys like Eubanks and Juris smoke both of these guys IMHO of course.
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When will we see the next Convergence Quartet release? Really love the one that came out on Clean Feed.
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Speaking of Shipp. Here is his take on Braxton.
http://www.furious.com/perfect/matthewshipp2.html
Yeah, it's not like Mehldau is Matthew Shipp talking about Herbie Hancock
What a never less than interesting discussion going on in that interview.
I can't ******* believe it though! He's a Bowie fan
I was thinking I'm just about to chow down on 'Shipp on The Art Ensemble'
...and he's actually talking about DAVID Jones.
C'mon, we all know that the REAL David Jones was in the Monkees!
But they both shared an edgy flirtation with the Androgynous
And, they share irrelevancy as well.
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Speaking of Shipp. Here is his take on Braxton.
http://www.furious.com/perfect/matthewshipp2.html
Yeah, it's not like Mehldau is Matthew Shipp talking about Herbie Hancock
What a never less than interesting discussion going on in that interview.
I can't ******* believe it though! He's a Bowie fan
I was thinking I'm just about to chow down on 'Shipp on The Art Ensemble'
...and he's actually talking about DAVID Jones.
C'mon, we all know that the REAL David Jones was in the Monkees!
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In 1967 Sonny played a series of gigs at Club 43, in Manchester, England. He played with local musicians. I have a recording for one of these gigs, but the piano player is unknown. Anyone familiar with who was on the scene in mid 1960s that would have been playing at Club 43?
Sonny Rollins- tenor sax,
Alan Cooper- bass,
R. Cary- drums
Unknown- pianist.
Why don't you ask Sonny? I'm sure he'd be ultra-pleased to answer your question.
I will. I did ask on his website.
That's interesting! How would you have answered any questions about how you came across said recording?
Sonny knows there are private recordings of him out there. All I asked was, in 1967, what playing at Club 43 in Manchester, who was playing piano. Oddly, my post on his guestbook page never made it there.
I know he knows. He has also been known to stop their sale, as he did with the London gigs on Harkit.
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In 1967 Sonny played a series of gigs at Club 43, in Manchester, England. He played with local musicians. I have a recording for one of these gigs, but the piano player is unknown. Anyone familiar with who was on the scene in mid 1960s that would have been playing at Club 43?
Sonny Rollins- tenor sax,
Alan Cooper- bass,
R. Cary- drums
Unknown- pianist.
Why don't you ask Sonny? I'm sure he'd be ultra-pleased to answer your question.
I will. I did ask on his website.
That's interesting! How would you have answered any questions about how you came across said recording?
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I can't help thinking that Abercrombie isn't well served by the "ECM sound." His playing has a lot more bite and verve than how he's recorded by ECM. In listening to "Cat 'N Mouse," i really have to crank up the volume to get any sort of dynamics; otherwise, it just sounds like noodling. Or an album like "Tactics," which should be a great organ trio album. The sound is almost too polite.
The only Abercrombie album I have is Gateway's Homecoming (apart from Joe Lovano's Landmarks). How would you grade Abercrombie's sound on that (those)?
Sorry, I don't have the album to judge.
>
I can't help thinking that Abercrombie isn't well served by the "ECM sound." His playing has a lot more bite and verve than how he's recorded by ECM. In listening to "Cat 'N Mouse," i really have to crank up the volume to get any sort of dynamics; otherwise, it just sounds like noodling. Or an album like "Tactics," which should be a great organ trio album. The sound is almost too polite.
If this were the case, and you'd have to trust the artist's judgement on considerations such as this, why in the world would he still be recording for ECM some 40 years after he began? FWIW, he lives in my neighborhood and I run into him from time to time. Whenever I mention things that the ECM naysayers on this board and other boards say about ECM and its "sound", he just laughs, shakes his head and says something like "where would the world be if people didn't have SOMETHING to complain about?". You're just trying to stir the pot, and are full of scata. If you're the native NYer you claim to be, you'll know what I mean by that.
Wow, you're abrasive.
I've always liked his ECM album, Getting There. And Lovano's first Blue Note record w/ Abercrombie, Landmarks.
Also, the McCoy Tyner double album 4 x 4, where each side features a guest soloist including Abercrombie, Hutcherson, Hubbard, and Arthur Blythe.
A second
for the Tyner album. Abercrombie on electric mandolin burns! But the whole album is good: Freddie, Booby, Arthur Blythe.When people spout untruths and bs as if it's universally accepted common knowledge, I get abrasive. Besides, I told you I personally spoke to the artist about things included in your post, and HE'S basically saying you're full of it. So instead of addressing that, you call me 'abrasive'. Way to deflect!
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I can't help thinking that Abercrombie isn't well served by the "ECM sound." His playing has a lot more bite and verve than how he's recorded by ECM. In listening to "Cat 'N Mouse," i really have to crank up the volume to get any sort of dynamics; otherwise, it just sounds like noodling. Or an album like "Tactics," which should be a great organ trio album. The sound is almost too polite.
If this were the case, and you'd have to trust the artist's judgement on considerations such as this, why in the world would he still be recording for ECM some 40 years after he began? FWIW, he lives in my neighborhood and I run into him from time to time. Whenever I mention things that the ECM naysayers on this board and other boards say about ECM and its "sound", he just laughs, shakes his head and says something like "where would the world be if people didn't have SOMETHING to complain about?". You're just trying to stir the pot, and are full of scata. If you're the native NYer you claim to be, you'll know what I mean by that.
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In 1967 Sonny played a series of gigs at Club 43, in Manchester, England. He played with local musicians. I have a recording for one of these gigs, but the piano player is unknown. Anyone familiar with who was on the scene in mid 1960s that would have been playing at Club 43?
Sonny Rollins- tenor sax,
Alan Cooper- bass,
R. Cary- drums
Unknown- pianist.
Why don't you ask Sonny? I'm sure he'd be ultra-pleased to answer your question.
?
Just logging on Jetman
Yeah, and if you know me, I couldn't resist! I'm sure someone like Chuck would be equally pleased about this thread start-up, but for an entirely different set of reasons.
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In 1967 Sonny played a series of gigs at Club 43, in Manchester, England. He played with local musicians. I have a recording for one of these gigs, but the piano player is unknown. Anyone familiar with who was on the scene in mid 1960s that would have been playing at Club 43?
Sonny Rollins- tenor sax,
Alan Cooper- bass,
R. Cary- drums
Unknown- pianist.
Why don't you ask Sonny? I'm sure he'd be ultra-pleased to answer your question.
Bill Frisell
in Artists
Posted
I'll give ya one thing -- you're a man with a unique gift for hyperbolic action!