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CJ Shearn

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Everything posted by CJ Shearn

  1. alright, I got the album and listened to it. It's not that bad; something that would make a nice occasional listen (as I like to listen to different versions of tunres and compare/contrast) and also something to throw on unsuspecting listeners (such as my suitemate at school who isn't a jazz fan per se but tolerate) to see if they recognize the difference betweren these renditions and the originals. I'm glad to have the original recordings because had I grabbed it when it came out (I wasn't as critical them as now) I woulda thought it was excellent and not take into account these guys were kind of in a safety zone with the material here. That said, I do enjoy that tune "Elegy", quite a bit of Shorter's playing, and Herbie's "All Blues" solo cracks me up cuz you always when that trill is coming in a climax of a solo But, I pretty much agree now with everything said here.
  2. So, "Trane's Blues" or "Vierd Blues" whatever one wishes to title it could have been a stock riff like "Royal Roost/Tenor Madness/Sportin'Crowd" that either Miles or Trane could have come up with on the spot and therefore the tune gets credited to them? What about in the case of "Solar" which we now know is written by Chuck Wayne, I have never seen it credited as such. Is that the case maybe b/c Miles was more of a "name" of the two and therefore got the credit?
  3. Don't know what Wallace is up to now Mike. Was that encore "Chameleon"? that's what it is on the DVD, Darrell Diaz solos on what was Herbie's Arp Soloist spot on the original, and then of course IMO, (haven't heard too many versions of "Chameleon" by Herbie) he nails a solo on acoustic that *nearly* comes close to the original in the heat factor, and that is very hard to do. When I was listening to disc 1 of Tokyo Live the other night, I was thinking the JM parallel too, although the music was pretty advanced compared to that Blakey groove. Didn't Tony actually release a rock album in the 90's called "The Mask"? Before he died he was discussing starting a rock band.
  4. I agree with you about Freddie, Jim. To all that VSOP music Freddie really brought a quality that is really very distinctive, whereas it's very easy for someone to kind of tip a cap to Miles via the use of the harmon, minimalism in phrasing, etc, whereas someone in the general public could say "sounds like Miles!" whereas it is much more difficult for a non jazz fan to say "oh yeah, Freddie Hubbard". I'd agree. I've been thinking about Roney lately, b/c I have a friend who got the "Miles and Quincy: Live at Montreux" CD for x-mas and thought it was one of the most amazing things he's ever heard. I've heard some soundclips of it and find it to be quite sad b/c Miles really was at the end at that point, and my friend felt Miles was really "on" where more than likely he was hearing Wallace, and I think in that instance he definitely was a huge role-player. He had said he was unable to tell who's who, which I could understand, since many people do not critically listen and analyze the goings on at the same time. I explained to him that the stronger playing was more than likely Wallace because, at that point Miles had gone back to sticking with the middle registers of the horn after that incredibly stratospheric playing of the 60's-early 70's, and that Miles had said the material was just to hard. I also explained that Wallace's phrasing points more to mid 60's Miles and that he does have his own way of expressing ideas. Here I definitely realize how some consider Wallace to be a "clone" (not what I believe personally), but I've noticed recently (like on the Herbie Future2Future DVD) he has more of his own thing going on. In the Jazz in American Music class I TA'ed last semester, we used Wallace as an example of someone who was playing hard bop/post bop oriented jazz and carrying the flame of men like Davis, b/c it was important to explain that these styles are still being played today, especially since before the start of the semester many of these students had no idea of what jazz really was. Anyway, to get back to the original point, I understand how role playing can be dissapointing, especially when giants are capable of so much more. I think, based on what I've heard from Wallace lately (mainly the aforementioned Herbie DVD) his playing has definitely evolved into something able to step out of the shadows, maybe not entirely, but certainly enough to avoid cries of "hack". Another player who I feel has done this recently is Joey DeFrancesco.
  5. Jim, interesting point you make about by the time "Tribute" was released, all the questions that existed about where or not those guys could return to straight ahead, how would Freddie work etc....... were answered and the buzz about those cats playing that style again greatly hushed, for what reasons say, were Tony Williams' quintet not criticized? that quintet was in the style of Miles' mid 60's straight ahead, he had Wallace on trumpet filling a Miles-esque role, a very individual voice in Bill Pierce, an excellent player in Mulgrew Miller, who's is a big part of "Tokyo Live" (a great album) his playing is in the mode of Herbie and also McCoy on this disc but still hip. To my knowledge no one had complained it was a retread like how critics complained about Wynton's early playing for example. Tony was a hell of a writer as the record shows, too. Was part of the appeal of Williams' playing in this style during the period of the mid 80's-early 90's, regarded as somewhat more "genuine" because he was a founder rather than a follower, or because he was generally finding interesting things to say compositionally rather than derivative? (e.g. Wynton's "Waterfalls" off Bu's Keystone 3)
  6. very nice interview, will have to check the recording out sometime--not all that keen on lots of vocals tho. Will have to get some of the essentials (need Song for my Father RVG, buy Finger Poppin again, Blowin the Blues Away, etc) first. Nice to know Horace has a lot of music in reserve. Let's hope he gets to record it.
  7. Anyone want to shoot off an email to MC to obtain track info for the CD? When I called Mosaic this morning I called off my cel which is prepaid, so in the interest watching my minutes I didn't ask what everything wanted...... based on tracks that did NOT make the cut, I wonder if any or all will be included: "Broadside" "Passion Dance" "Blues on the Corner" "I'm Getting Sentimental Over You" "El Encanto" "The Blessing" "Lady Day"( I think that was the title) "When You Wish Upon a Star" "I'm Glad There is You" "Hat and Beard" I would buy the re release if the CD contained these tracks, if it was merely a CD of the tracks on the DVD or most of them, it's an idiotic package.
  8. I wasn't aware that Draper put together the band on that record, so that's nice to know, though for me from what I remember of that record in the Prestige box (which I unfortunately had to sell when tight on money) is that it wasn't that interesting compared to some of the other music on the set. The tenor/tuba did create a nice dark tone color for the frontline though. Chris, do you remember what Verve session Edwards produced for Jimmy? I believe he also was involved with "Off the Top" in 1982 as well.
  9. Thanks for the link Aggie, will check it out in a bit. Wow, there seems to be a unanimous decision that the "A Tribute to Miles" is really bad.............. I should have made this thread before I ordered (it'll be here tommorrow) I did d/l All Blues from it a long time ago and liked it, so that sort of led me on to the disc, in addition to my want to complete a VSOP collection. I'll make a better judgement after hearing the whole thing when it arrives, but as their are many educated well thought out opinions here that very often resonate with my own regarding albums, the record could very well sound flat to me too. This thread seems to be an interesting window into why many tributes don't come off (that Endless Miles thing was a nice webcast but probably didn't come off as a CD, dunno, never bought it) maybe because we as fans of particular artists, have such a reverence for their original versions of tunes, and the magic possesed within that those same artists, or other artists covering the same tunes years later doesn't work. With all that said, the live DVD of Chick Corea's "Remembering Bud Powell" was a pretty nice tribute that came off well.
  10. True, Dan, and it makes you wonder what if Weinstock had signed Smith. If Smith had been a Prestige artist instead of Blue Note, would the quality of his sessions be consistently as high as they were for Blue Note? and what players might have been on those sessions? (this would be an interesting exercise for us to think up names and such) judging from someone like Trane's Prestige sessions, much of the output is great, yet there were a few misses along the way-- the Ray Draper session, for example. Also, if Smith were on Prestige, most of his sessions would probably be available on OJC, whereas now we tend to clamor for some select BN sessions not currently available. Besides, weren't most of Prestige's organ sessions cut with other producers such as Ozzie Cadena, Esmond Edwards and Bob Porter (who as I understand was a champion of jazz organ)?
  11. I gathered that there were 10 performances that have yet to make the cut, but still 2 or 3 left over..... I'm hoping that the CD isn't like 7 tracks off the DVD and 3 of the leftovers, or 6 from the DVD and 4 new, etc.... cuz it wouldn't make too much sense, and yes I was wondering why didn't they do it like that the first time myself, releasing it all in one package.
  12. Dan, hope you can accept another question before the interview: Ira Gitler mentioned in "Blue Note A Story of Modern Jazz" that he had tried to convince Bob to sign Jimmy Smith. Weinstock apparently wasn't interested. Was this the case b/c Bob was not hit by that new sound, or because he was looking at general trends in jazz through that time in terms of what would sell?
  13. I called Mosaic about 20 minutes ago to find out what this "One Night With Blue Note" 2 pack re-release is...... According to the fine gentleman I spoke with (did not get his name unfortunately) it is going to be the DVD, packaged with a CD of 10 tracks from the concert, and be out on January 30th. Whether or not it's a CD that merely duplicates the DVD, or includes the tracks missing from the DVD, I was not able to gleam. If the CD contains the remaining percormances it might be worth repurchasing.
  14. thanks Aggie87 Anyone know how to navigate that site if you don't speak German? I managed to see the listing but couldn't understand what it said.
  15. thanks PhillyQ. I might have to set up a new ebay account, hasn't been active for a long time--rarely used and they request a paying a charge to reactivate. I also don't have the $$ to burn on something like that right now. gemm.com doesn't seem to have any in stock. I might have to try cdjapan.co.jp to see if it's around there but I don't believe so last I saw. as far as VSOP goes I have: The Quintet (shitty sounding domestic) Tempest in the Colosseum (French import) Live Under the Sky (French import) and on it's way, the much maligned (from opinions here) "Tribute to Miles".
  16. ok, I just looked up this $29.95 version in question at dvduniverse.com. It says "One Night With Blue Note/Jewl" which to me indicates it might be a version housed in a jewelcase. Furthermore, it states that it is a 2 disc set. Who would I email to get info, True Blue/Mosaic?
  17. what's with the listing for a different version of the disc? I haven't checked the link, but that's weird they'd offer another version for $30, especially if there aren't additional extras.
  18. ooh, I feel sorry I ordered it....... but since I'm sort of a completist with the VSOP thing I guess that's alright. The opinions contrast to some old rec.music.bluenote posts I read where some folks enjoyed it. Still will be curious to hear it tho. I'm not expecting the album to better anything done with Miles or anything totally new about it. I will say that the Directions in Music disc that came out about a year and a half or so ago, now that was bad. The performances were pretty dull, except for that mind bending Brecker "Naima" solo, I have a boot of a performance from 9/20/01 that just smokes the official release, there is incredible tension in the music, especially Herbie's solos, maybe the intensity was partly due to the fact it happened a week after 9/11, but nonetheless it's burning shit.
  19. thanks for the opinion Lon. I guess I'll be able to better form an opinion when I receive it, but really the only VSOP disc that never really struck me is "Live Under the Sky", but even from another listen a few weeks ago, it is pretty good despite the instrument problems. Didn't you attend a VSOP gig in Phoenix where Freddie Hubbard showed up under the influence of something and they barely finished one tune?
  20. This just shipped out to me today from CDuniverse. Been one that was on my list for a while, and technically although it doesn't use the name it is a VSOP Quintet (with Wallace in place of Freddie) disc. Also have been trying to complete my collection of VSOP related discs (tho the very first still eludes me), not to mention load up on more Hancock/Carter/Williams what are some opinions of the "Tribute to Miles" disc vs. the other VSOP Quintet records?
  21. thanks Chuck, much appreciated.
  22. thanks for the info Claude. Anyone know if Sony has any live material from the VSOP II tour in the can?
  23. Happy new year everybody. My first post in a while, haven't been posting much while I'm here at home during the winter break. Was "Herbie Hancock Quartet" recorded during the same July, 1981 period as "Herbie Hancock Trio '81"? (July 27, 1981) the U.S. disc doesn't give a recording date for "Quartet". Also, as Hancock had a track record of most straight ahead releases from the late 70's on being recorded and released in Japan only, was "Quartet" originally planned for a Japanese only release? I'd imagine since Winnie was getting a bit push then, that was a reason why the record was released here, good record tho, although I think "Trio '81" gets the edge with the strong takes on "Stablemates" and "Dolphin Dance".
  24. Ground loop is the 60 cycle frequency hum right?
  25. thanks Rockfeller, I have read that info before. I just think with "8:30", it doesn't have an edge, even though the live stuff is great it doesn't have many risks as say "Live in Tokyo" or even tracks off "Live and Unreleased" from around the same time. I love the edition with Jaco, but I think the lack of percussion took out a pleasing textural element that was there before, and I think the groove thing they went it too maybe restricted things a tiny bit. Although I still think "Heavy Weather" and "Black Market" are great albums. Compositionally, HW is great.
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