Soul Stream

I forget who said this. Some famous jazzman recently said something to the effect that..."The new style of jazz will be NO style." Meaning, that the next step forward is to combine all the sylistic elements that have come previously. I find that maybe the most facsinating and logical direction. All of that said, Evolution is a continuous process. We can't help but move forward. Maybe not in leaps and bounds like previous times, but always evolving. It's man's nature....

Personally, I'm with you Lon. I'm not a big fan of electronics in jazz (guitar and organ aside.) But from an objective point of view, I just see electronics as an aspect of jazz that's not tapped out stylistically. There's been an evolution of sound from Louis and Hawk forward. However, I think the strides have been so incemental since Trane and Miles as to me negligible.

Monk. How could I have forgotten his sound. Perhaps his is THE most recognizable voice in jazz. And that's not even on a wind instrumnet. He was a really amazing STYLIST.

Jackie McLean is a real distinctive voice. I ALWAYS know him, whereas I get lost on with some other famous altos. Also, I'm usually very good at identifying Philly Joe and Sonny Clark, as well as Paul Chambers. Richard Davis is another bassist who has a certain way of playing I identify. Stanley Turrentine is one of the most identifyable Tenor sounds ever. Max Roach too for drummers.

I think all the above are considered legends...those who define a tradition by their sound. For those who have an identifiable sound today, look for those who are creating new traditions. For me, Larry Goldings had defined a totally identifiable sound and style. And has spawned a whole generation of imitators at this point. I can also pick out Bill Frissell pretty easily and think he has his own style that can and is copied. So, my point is that they are out there. Maybe not so much on Saxes or trumpets, maybe moreso on other instruments. Bela Fleck perhaps is another good example. Honestly, after Coltrane, Bird, Dizzy, Miles, Ornette, Ayler, ect....what's left to blow on a sax or trumpet that hasn't been done or at least touched upon already by one of the greats 30 years ago. If so, I haven't really heard anything drastically different in approach. I think electronic instruments have the most opportunity to have a pioneering personality now or in the new future. Say what you will, but not much has changed since Trane or Miles on the sax and trumpt.

I vote Joe Henderson. That's the predominate influence in today's players' playing.

Funny, I was watching Ravi on BET Jazz today. My thought was...he sounds just like Wayne Shorter.

I think that mostly my point. To me, older Peter Bernstein stuff that I haven't heard before can fool me for a few bars into thinking it's later Burrell unknown to me. Many of people's imitators can fool you for at least a note. But, I've never been fooled by someone doing the "Grant Green." His touch and "singing" sound is just something imitators can't do.

I was at my gig last night. The club has satellite jazz radio (it's really good!). Anyway, I've noticed as soon as Grant plays a note, I know who it is. One note (I know this is a cliche'). This seems almost impossible on an electric instrument. As personal as many others' players style are, with imitators, ect....sometimes it might take a few notes to tell. Not with Grant. Nobody can really imitate that singing guitar sound, so as soon as you hear it, you know it's Grant. (O.K...detractors may say it's the repeated licks that give him away ) By the way, the cut was from The Latin Bit on the satellite radio. MAN, it was killing. I've GOT to get that album. One of the few Grants I don't have. Although I know George Benson says it's his favorite.

Hey, why don't these guys stay open til Midnight on monday nights so we can buy these upon their release MINUTE!!!! I mean, they do it for Harry Potter and Emenem. Why not Grant Green!!!!!!

Too bad. But I know the feeling. Gigs almost always happen when guys like Sam Rivers are in town! Anyway, I'll try and keep an eye out for future happenings. Acually, I ought to just get on Gerry Gibbs e-mail list. He's the ONLY guy bringing guys like this to Austin. How, I'm not sure. But even the One World Theatre and Bates at UT rarely do better than this. Plus these gigs are totally under the radar screen. So, I'll definately keep you posted Jim!

For me, "Indestructible" is a major revealation. I REALLY love it. Curtis Fuller is a major contribution to the Morgan/Shorter front. His solos, often disparaged, really frame his bandmates perfectly. Curtis' writing is superb on here. GREAT RVG! ....by the way...how does "Our Man In Paris" sound. I have the old original Blue Note silver disc.

This might call for a Jsngry roadtrip. Jim, you might need to tell you wife and kids "Daddy needs to have som 'me' time this weekend in Austin."

Ahh yes. Glad to hear you've taken the "Moon Rappin'" plunge Jsngry....ENJOY....

I like the AMG site a lot. I use it quite a bit. But honestly, I NEVER take a reviewer's take on anything as a final judgement. Like Alexander said, it's ALL subjective. So, Scott Yanow doesn't dig Patton. Well, he probably just wrote up a rave review for some garage rock band who I think sucks. It's all relative.

Yes, I'm very interested in the sound quality to the silver as well....

Hey Lon, let me know if you might make it. I'd love to meet you. Provided I can make it too!

I picked up "Grantstand" and "Indestructible" this afternoon. Wanted to get the Horace and Gordon, but Tower had these all at $12.99!!!! Not the usual $9.99 or $8.99 they usually have these for on the day of release here locally. The main jazz guy said he couldn't price them that they this time. Anyway, that stunk. So I only got two. Guess I'll have to online the others for the cheap price. ....as for the question about the music on "Grantstand." It's simply some of the best organ quartet stuff ever done. IMHO, of course. But I'm a VERY biased person.

I have one of the volumes, and it's by far my favorite 3 Sounds album. That probably wouldn't be a 3 Sounds fan's concesus, someone who's really hardcore maybe. It kills "Live at the Lighthouse" imho. I real nice recording. Nice and funky, but totally acoustice.j Of course, I'm going from memory here. So I could be wrong.

Bertrand, Dewey played with the same pickup band as the rest. Gerry Gibbs (Terry Gibb's son) on drums with a local pianist and bassist. Dewey Redman was simply amazing. He came out and played 2nd Balcony Jump at a nice medium tempo and proceeded to groove from there. He was wonderful and a true master at reading an audience. He blew me away. His range of material was quite extraordinary. A true Texas Tenor. He played everything from the blues to the avant guarde, all with heart and expertise. That guy IS jazz! Can't believe he's not more well known or appreciated at this point in his life.

3 Stars or less for almost ALL of John Patton's releases. Jesus, 2 Stars for "Understanding???" Are they on crack. They've got some serious Big John issues over there. However, I'm sure the Patton Mosaic Select will get 5 stars as all Mosaics do over there.

With the Gerry Gibbs Trio at the Elephant Room. Once again, I don't know how this shit is happening, but if luck holds, I'll be seeing Sam Rivers for 6 bucks here in town. Amazing. I don't know how Gerry Gibbs pulls this stuff off. But I feel inclined to kiss his ass at this point. He's brought in Dewey Redman, Tom Harrell and now Sam Rivers and that's been in the last 3 months! Hey, at this rate, I won't need to go to NYC anymore to catch some of the jazz world's finest.

Chris Albertson and Wynton Marsalis born on the same day.... Wow.

Yeah, BET jazz pretty lame overall. However, it DOES have some GREAT stuff on occassion. You just have to keep surfing it. But, like you said, most of the time it's smooth jazz on a beach in the bahamas. Which brings up the question, can smooth jazz be played somewhere besides an outdoor festival or a beach?

Those were some nice liner notes by Zorn. Just another reason to love "Boogaloo."