Soul Stream

Yes, Martino does kick Albert King's ass.....that is.... until Albert bends a note....

I haven't seen that book or heard his comment. I'd be interested in it if you have the quote. I'm sure there are many musicians who don't think much of Grant, or for that matter, someone like George Benson either. I wouldn't be surprised if Wayne was one of them. Takes all kinds, doesn't make me enjoy Wayne any less, OR Grant. I also remember Wayne saying something in his book to the effect that some jazz patrons just wanted to you play earthy-type stuff "Yeah, I got to have me some blues, man" was his comment....I think Wayne doesn't really dig a lot of what he was forced to play in bars on the way up perhaps and sees Grant as maybe a product of that. Patton even said that when he and Grant split, part of the reason was that John wanted to go off into more of a Trane-type playing on the bandstand and Grant said that they had to stick to the blues, ect. so the bar owners would have them back.

Hey Bertrand, it's the same song as "The Thang" on Lou's "Fried Buzzard".

Yeah, "Grant's First Stand" from the "First Session" CD is a singular composition. Just a throwaway head played on that day it sounds like to my ears, never to be played again. Grant probably forgot it by the time they left the studio that day. Actually, the song it reminds me of the most is Jimmy Smiths "The Boss" which was done 10 years later.

My problem is...isn't NPR freakin' suppose to be for the goddamn people!!!! The airwaves are the exclusive property of the American people. However, we've given all of it away to corporate america to make money off of. What's left for us? Aren't we, no matter how small an audience, entitled to some Jazz? It's only America's music~!!!! Demographics, dayparts, listenership (ie., who's gonna pony up the biggest bucks to hear our shit. Since that's the case we get more news and business reports cause guess who pays for that.).... Anyway...fucked again.

I would call it ABA with a 2 bar turnaround at the end. The A sections are 6 bars and the B section is 4 bars. The song is 18 bar form. The bass turnaround he does is a standard bass pattern to get back to the tonic ©...but what makes it sound nice is that the song starts on the IV, so that bass walkup to F makes it sound a little unusual when you put it all together. *The bassline I really like is the one that starts the song! I played that bass intro when I first went to John's house and he dug it. Also, check out One To Twelve off of Oh Baby! for a typical/not-typical type head Patton liked to come up with.

I also heard Joe Dukes was a big fan of that song as well. Mike LeDonne told me they played it together quite a bit way back when.

My two that listen to quite a bit for no real known reasons are Giant Steps and Coltrane's Sound (Soultrane too). Other than that I listen to his stuff with Miles the most. But honestly, all early to mid period Coltrane is always nice for me.

Have a great birthday Joe.

I bought an old 80's Marantz EQ off ebay....'course now it's broke!!!! Think it's worth gettin' fixed though.

Yes....this "Oh Baby" is a Soul Stream Presents production. I actually bought an EQ this last week for my home stereo system, cause I got tired of not enough organ bass on these damn reissues!!!!

Thanks. I look forward to your long a fruitful relationship with this board.

Of course, my answer is yes! This was actually John Patton's personal favorite album along with his first one. It stand alone as one of the great organ dates with horns. I'd definately love to hear this RVG'd. To be honest, all of Patton's CD reissues have been robbed of bass. You can't hear his great basslines which is a shame since he was one of the best bassists who played organ! Oh Baby and "That Certain Feeling" should be RVG'd for sure imho.

Jim has more hope than I. I'm not a big fan of the mind drama, a little goes a long way. It's a modern day mob story, whacking Chris' girlfriend is more exciting to me than the restaurant owner going under. For a show that's notorious for not delivering very many episodes, seems to me each episode should deliver on it's own...not just set us up for something in the future. I see a lot of set up, and knowing The Sopranos doesn't always finish up a storyline (hey, never anymore). I still like the show, but it feels like the last season of Moonlighting right now.

Herbie, Chick, McCoy -- What do these three guys have in common?? They all spent some significant time in band for horn players who were REALLY big. So, then, is that an almost necessary requirement for becoming "big" enough to play your own solo and trio gigs, withOUT any horns?? - and drive some real volunte of people into your shows, despite the absence of horns??? I know, I've only cited three examples - probably not enough to make such a sweeping generalization. Still, it did work for them - so I think there's probably something to it. (Sure, it didn't hurt that Herbie and McCoy, and to a lesser extent, Chick -- were all sidemen on TONS of dates, for LOTS of people all through the 60's. But I'd still maintain that it was their affilliation with Miles and Trane that ultimately makes the difference today, and has done so for the last 20 or 30 years.) Yeah, I guess playing with Coltrane and Miles at the top of their eras wouldn't hurt. That said, what horn player would have been big enough to sustain sideman careers after them? I don't know who Mulgrew could/would/did play with that would have helped all that much in the 80's, 90's, 00's. I don't think the public at large could even recognize a Wynton Marsalis sideman.

Yeah, this was another stupid plot development. Wouldn't it have been more effective if Tony had slapped around one of his regular guys to show his Alpha Male status? Why bring in another superfluous character that means nothing to the audience? Nothing is happening with the main characters anymore....

Mulgrew Miller....man, I love what he says in that article. Swinging music and musicians who play it being regarded as passe by most up and coming jazz musicians and the jazz media in general (O.K Wynton excluded). Anyway, it's a shame someone as talented as he is not being embraced more. However, I predict he'll have more than enough work when the greatest generation of jazz has passed. When you can't go see McCoy or Harold Maebern or Barry Harris anymore....Mulgrew will be someone who will be carrying on the great tradition.

As much as I love Sopranos, it's starting to remind me of Twin Peaks or something. I mean, there's so many sub-plots that you think are leading to something only to find out...nothing. Like, what about the rapper who wanted to get shot and Tony's dude shoots him in the ass? Also, Tony hangs with the rapper in the hospital, ect. That was it? It just didn't take us anywhere. I thought it was going to lead to some sub-plot about organized crime and modern day thug life. Is this weeks episode which revolves around the restaurant owner going to be another, "what the f was that all about" in a month or so? Where does it take us? What's the point? Charactor development? I'm beginning to get that feeling you have right before a series sputters and dies.

Free For All...and not the Blakey tune.

Like Monk says to Teo Macero in "Straight No Chaser" after he finds out they weren't taping while they were playing down a tune in the studio....something to the effect of.... Monk "Let's hear that back" Teo "We weren't taping. I thought you were practicing." Monk (pissed) "You practice everytime you touch your instrument."

My daughter got bit by a Brown Recluse spider when she was four. It started out as a black dot that I thought might have been pencil led. Then it got a little funky and I took her in. Thank goodness I did. It could have been a real problem. So my advice is see a doctor asap. That sounds like it could be a spider bite.

Great review, pretty much echoing what has been said here in Downbeat this month....here's the last line...."DeFrancesco, now cooking with a more focused and multifacted flame, has elevated his art without descarding his signature style."

Hey GA, I'm with you on this. I've had this in my car all week and love it more and more. Usually after a few days, a new release inevitiabley yields to an old favorite in the CD Player. Not this one. Hands down the most musical and enjoyable listening experience I've had with a Joey D. release ever. Even though I consider him a master of the highest order, I think this is his first record that pulls it all together. And Bobby Hutcherson really, really, really hits a homerun. Him and Joey compliment each other so well. Byron Landham and Blake are killing as well. And George Coleman's just the icing on the cake. Can't say enough good stuff about this CD.

Congrats on a finished project!

Great to hear this news. You know, I drive by a new huge mega-church being built every few months. Thousands of people robotically listening to "christian" rock and loving it. If only people could get past the superficiality and get "into it"...maybe we'd have a whole string of Coltrane churches. This world needs more than just one.