mjazzg

I'd happily take a studio album of the band I saw or even a live one, with judicious edits

I saw this band on Saturday in a concert hall, they played for 2.5 hours, no interval. Music surprised me in that it was pretty uncompromising and highly amplified, the loudest Jazz gig in a long time. The set featured tunes from across his career but focussed on Warners and after. An all electric band sounding at times like electric Miles, Blanchard was fierce and at other times a bit like Mwandishi or Headhunters. There was a fair bit of grandstanding and showing off of the considerable chops in the band. Hancock is a phenomenon, physically has so much energy for 85 and his playing throughout was outstanding with no apparent diminution of his powers. He played scintillating solos on both grand and synth. The band really locked in tight and although to my ears Petinaud erred on the rock side a little too often he was at others the star. A fabulous duet with HH during 'Actual Proof'. Herbie treated us to a rather bizarre vocoder speech/sermon about AI and robots which I initially thought was going to be an intro to 'Rockit', it wasn't it was just his thoughts, went on too long and burst the momentum a bit. I left feeling very pleased to have seen him again after at least 35 years but thinking the show could've easily been half an hour shorter and a lot more impactful if some of the solo features had been curtailed. It certainly had hints of what might be called Stadium Jazz. But Herbie is Herbie and he has absolutely earned the right to present his music in whichever way he chooses. The love for him in the auditorium was apparent from the off

Looks like the review didn't post. I will have to try and remember what I wrote now. I'll post again in the Severance thread

She who can do no wrong. Very excited to have booked to see her with Quercus in October, it seems she doesn't play live too often these days

Sorry @HutchFan missed this yesterday. I just posted my thoughts in the Herbie at Severance Hall thread here I'll avoid boring everyone with a double post...

@greggery peccary I agree, you seem to have replied in a way that has made it look like I said what another poster actually said and therefore misattributed @Stompin at the Savoy views to me. I see that they responded to your points anyway. I was professing support for Iommi's playing and skills.

Speak Like A Child, The Prisoner, Empyrean Isles Saw Herbie last night

Back in the mid to late 70s I thought Iommi was the guitarist for HM simply because he wasn't a shredder, he didn't relu on speed and endless arpeggios like some of the players who came in his wake. To me his playing is about presence, depth and heft but I'm no musician so can't give a technical analysis, just a listener and that does me just fine But repetition and simplicity aren't necessarily negative attributes. I suspect your conclusion is correct, this music is simply not to your taste, that's not a bad thing either. But as this is a thread celebrating one of the universally accepted progenitors of the genre it's really not surprising it features lots of folk who hear otherwise. Each to their own.

Thank you for posting this, I haven't heard it in 45 years and I can hear why my teenage self loved it so much. As to whether Iommi is a good guitarist, I think it's self-evident that he's a great heavy rock player, after all he's fundamental in creating the style, but if you don't like heavy rock guitar playing your never going to get it. The instrumental interlude makes a convincing argument that he could indeed play well outside the genre. That contrast from the interlude into the opening riff is pure musical theatre and genius.

Yes, my local shop also didn't have an original... Listening again now with the volume up another notch, sorry neighbours, and bass is definitely more present.

Yes, possibly, I did turn my copy of 'Trio' up a bit. I also found the bass(es) recessed but that could be the original recording. I've not listened to 'Pendulum' yet

I never heard what others do in that band. Lots of bluster to my ears (same with most of James Brandon Lewis) but it's good we all have different responses

She seemed ever present as a guest on the light entertainment TV shows of my childhood so she was probably my stealth introduction to Jazz. I think she defined Jazz for the non-Jazz audience for a few decades. I got to appreciate her a lot more in later years but was never a big fan, my loss not hers I'm sure.

Me too

Cecil Payne - Zodiac Suite

He was the soundtrack of my teenage years. Thanks Ozzy! Not many artists define a genre, Sabbath did.

I was really sorry not to make the Vortex, very good by all accounts. I have now just placed my order for the CD.

Seeing him in London on Saturday in one of our major concert halls, and very much looking forward to it as it will be the first time since a trio club date in late 80s. £100/ticket is definitely the very upper price range for the venue but I was gifted the ticket by my partner.

Yes definitely a disc at a time box set I agree. I hope I didn't shout out anything embarrassing 😀 I have never bought the CD to find out...

I hope you enjoy the box Pim, it's a lot of EP, a treasure trove. I was at that Vortex gig in '96

Let's hear it for the hokum...

Me too now, thanks for the prompt

Quite simply I think it's only the desire to have the LP/cover in as close a condition as when originally issued. The Obi is part of the original artifact so collectors like to have them. I see no difference between desiring that as to desiring original inner sleeves, inserts etc. And yes, this isn't about the music (cue that chorus) it's about the complete artifact in as close a condition as when originally issued as possible.

🤣

One thing about the series I didn't quite understand was how/why Luca and the others from the closed down restaurant suddenly decide to stage at The Bear