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CJ Shearn

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Posts posted by CJ Shearn

  1. 10 hours ago, Guy Berger said:

    The OP is not a fan of ideas introduced into straightahead jazz after 1960

    Taste is taste but it's a shame because there's so much great music after 1960 in jazz/BAM. As much as I love hard bop these days, the more electronics integrated in stuff is what I gravitate towards now especially as I started to get into MIDI study theory and start creating music 

  2. 8 hours ago, JSngry said:

    Really, I don't know that it's really new technology at all...didn't Zawinul have Wayne sampled into his rig post-Weather Report? That's really all this sounds like, a more evolved sampling, with a more refined set of parameters to play with.

    Right. Pat Metheny sampled Pedro Aznar's panflute with the Synclavier and used that long after Aznar left the band.  On the Secret Story tour Lyle Mays' infamous "Prophet" sound was sampled into Jim Beard's Kurzweil K2000 to play on "Are You Going With Me?" (Kinda weird honestly) and Chick Corea sampled his old synths on the RTF Returns tour in '08 but that's more of what you were implying with Joe Z.  What Kenny's doing to recreate Stan, who the hell cares unless it interferes with say if this gets a new Getz fan and they can't enjoy the man himself. Move on to the next thing 

  3. 54 minutes ago, Lyin' Wolf said:

    Enjoyed the article.  Thanks for posting it.

    Confession time - I have both of the Blue Note Live at the Roxy CDs as well as the Blue Note meets the LA Philharmonic CD.  I also have Mind Transplant, Natural Illusions, In A Special Way, and Tone Tantrum, The Man Incognito, Pressure Sensitive, and Fever - which were mentioned in the article and all on CD.

    Is that too much information?   :huh:

    Not really.  It's just important we acknowledge the era.  In A Special Way I've streamed several times and don't connect with.  Ditto The Man Incognito.  I've tried to listen to all the records I mentioned there as honestly as possible, and welp, just didn't connect.  In terms of my collection rebuild, I got a bevy of discs from a professor, Dr. Bill Banfield, which included titles from across the spectrum, as far as "smooth jazz", I love Stanley Clarke's East River Drive, the title track just creates this great vibe.

  4. 56 minutes ago, Rabshakeh said:

    Any change you could copy and paste this? I’m struggling to access it for some reason, not being on tumblr.

     

    55 minutes ago, Rabshakeh said:

    Any change you could copy and paste this? I’m struggling to access it for some reason, not being on tumblr.

    The link? Sure! https://jazzviewswithcj.tumblr.com/post/667451197950722049/shizukas-vault-a-funny-little-time-capsule-of-an

    1 hour ago, JSngry said:

    Oh, I think most people who pay attention do that. "jazz historian", that's like, a vocation or some shit.

    Dan Morgenstern is a Jazz Historian. Me, I'm just a guy with records and opinions. :)

    I do thank you for valuing my comments, though. Don't mean to give the impression that I don't.

    And that is the old guard dying out, Morganstern et al. Incredible information but then how do you modernize that, with a no pun intended new perspective and  make it palatable to new generations? I write about things interesting to me--  it just so happens maybe a few (or maybe not) dig it along the way  For me what you said about Butler circa 2008 encapsulated what that thing was with Blue Note in the 70's in such a real way it was dead on. Having been born in '81 and growing up on a lot of the previous decades music hearing it in my childhood-- that stuff was still kind of fresh and I have friends who love Blue Note albums from this era, and music from the era that some of us here just may find men, but it does kind of reach new generations. That is my goal with some of my writing-- to reach new fans, generations but in a way they won't get from a mainstream publication

    1 hour ago, JSngry said:

    Happy you find it of use then, thanks!

    If I have a bit of difference from the "critical orthodoxy", it might be that I do not re oil in horror from "commercial" efforts, I just recognize them for what they are, right? But hell, a good time can be had by all, even if what TYPE of "good time" is being had will not - and need not - be the same for everybody. Democracy vs fascism,. But I don't know how radically "unique" that perspective is...maybe it's just that it's here on a public form that makes it seem that way.

    Anyway, again, thanks for your kind words, and maybe go back and check out that LA Phil record again...IIRC, the Hutch material is actually pretty strong, and Carmen McRae...is Carmen McRae, she gonna do what she do, period. For the Hutch material alone, "Hello To The Wind"!

    https://www.jazzdisco.org/blue-note-meets-the-l-a-philharmonic/discography/

    Bobby Hutcherson Sextet Meets The L.A. Philharmonic

    Emanuel Boyd, tenor, soprano sax; Bobby Hutcherson, vibes; George Cables, piano; James Leary, bass; Eddie Marshall, drums; Bobbye Porter, percussion; The Los Angeles Philharmonic Orchestra, Calvin Simmons, conductor; Dale Oehler, arranger.

    "Hollywood Bowl", Los Angeles, CA, August 13, 1977

    19720 Slow Change Blue Note BN-LA870-H
    19721 Now -
    19722 Hello To The Wind -
    19723 Now (reprise) -

    Carmen McRae Meets The L.A. Philharmonic

    Marshall Otwell, piano; Andy Simpkins, bass; Joey Baron, drums; Carmen McRae, vocals; The Los Angeles Philharmonic Orchestra, Calvin Simmons, conductor; Bill Holman, arranger.

    "Hollywood Bowl", Los Angeles, CA, August 13, 1977

    19724 Star Eyes Blue Note BN-LA870-H
    19725 The Man I Love -
    19726 Sunday -

    And those parts of the album I really liked. When the reissue of that album came out I bought it because my mom remembered "With One More Look At You" from that album was played on the radio when I was a baby. She always loved that version.  She was still living when I got the CD and confirmed that was indeed the version. As I've gotten older I've learned to not just slag "commercial efforts" because sometimes they are indeed fun

  5. 10 minutes ago, JSngry said:

    Oh, I think most people who pay attention do that. "jazz historian", that's like, a vocation or some shit.

    Dan Morgenstern is a Jazz Historian. Me, I'm just a guy with records and opinions. :)

    I do thank you for valuing my comments, though. Don't mean to give the impression that I don't.

    And that is the old guard dying out, Morganstern et al. Incredible information but then how do you modernize that, with a no pun intended new perspective and  make it palatable to new generations? I write about things interesting to me--  it just so happens maybe a few (or maybe not) dig it along the way  For me what you said about Butler circa 2008 encapsulated what that thing was with Blue Note in the 70's in such a real way it was dead on. Having been born in '81 and growing up on a lot of the previous decades music hearing it in my childhood-- that stuff was still kind of fresh and I have friends who love Blue Note albums from this era, and music from the era that some of us here just may find men, but it does kind of reach new generations. That is my goal with some of my writing-- to reach new fans, generations but in a way they won't get from a mainstream publication

  6. On 10/8/2021 at 8:27 PM, Rooster_Ties said:

    Just listened to / listening to again -- the entirety of disc one of the Complete "Is" -- and Maupin is way more in Wayne's territory (imho), than I think I've ever heard him before, or since.  Hard to say if I'd actually mistake Maupin for Wayne if I was hearing this material for the very first time -- but I think(?) this is about as close as ANYONE in this timeframe ever got to Wayne's sort of approach.

    And now that I'm listening more closely the second time thru, I am definitely hearing a lot of moments that really sound like Wayne -- maybe even a LOT like Wayne in spots.

    Do you feel these distinctions can be heard on just the IS album itself? I used to have the Complete IS Sessions but recently bought the Japanese issue of IS

  7. 3 hours ago, Ed Swinnich said:

    CJ  - I could not access the review by clicking on the link.  It worked when I copied and pasted it.

    Nice review, btw.  I like how you tie in the development of the organ trio and discuss Francies' bass line work.  I'm really excited to get the CD.  I saw Metheny's Side Eye group in March of 2019 in Buffalo with Nate Smith on drums.  Looking forward to hear Gilmore on this one.

    I've got the US version on pre-order. I did check out a Japanese version, but it would run $36 including shipping.  Perhaps "The Bat" will show up somewhere in the US eventually. I'm confused as to why they did not include it on the US version, but 0 whatever, I guess.

     

    Thanks Ed.  I think Pat's well of knowledge as a player and connection to the tradition is deeper at this phase in his career.  Albums like this could be the Metheny that the next generations remember the same way we remember Bright Size Life and Offramp now. Sure there is the Orchestrion and guitar synth on the album but as unconventional as it is, it is very much an organ trio album for me.  Given my love of organ groups I think the brief history was important because I'm not sure how many of people of my generation know about that who either play jazz or are listeners, and also no review I've seen discusses the organ trio aspect. Honestly, the research isn't that hard to do.

     

    A recent interview with Pat in this media blitz stated Francies' basslines remind him of Jack McDuff who is his favorite organ "bassist".  Pat's history and interest organ groups go deeper than I realize. 

  8. On 9/2/2021 at 8:02 PM, sgcim said:

    If you think Pat Metheny is a nice guy, you should read Gary Burton's autobiography "Learning To Listen". He devotes a page to why he fired PM from his band.

    Tal came down to hear me at a club I was playing at in NY. We went out for breakfast afterwards, and he was the most easy-going, mellow guy you'd ever meet. Not even a hint of egotistic manner about him. Considering he was, at one time, IMHO, the greatest mainstream jazz guitarist living, I could only think that he practiced Zen Buddhism.

    Tough job assignments.

    I can imagine!

    Yes Pat is VERY specific... and I know a few stories about a few things re: what he expects. HOWEVER... two things: He's never been anything but fantastic to me, he actually donated towards my new apartment after the fire, and he and his team sent me a care package of damn near his entire catalog.  As for douche guitar players, Joel Fass years ago was not a very nice guy when I dealt with him as you know.

  9. 3 hours ago, jazzbo said:

    On my system the sound is more forward and dynamic by a noticable margin. A more modern reissue sound than the '96 sound. Reading a few forums it seems some think it doesn't sound as great, prefering a slightly more warm sound, but more some to believe it's a decided improvment. I'm in the latter camp.

    On my system the sound is the same.  Morgan and Maupin are much more "live" and the drums and bass have a lot of pop.  This is a great set and glad I have it.  5 discs in.

  10. Got this for my birthday. Loving it, especially the Rahsaan part... I like Jon Faddis but don't think he contributes anything substantial beyond Dizzy tropes here, it's fun, but compared to everyone else, the weakest soloist. My original pre fire collection was Mingus deficient so I'm getting myself up to speed.  BTW I want to thank everyone here who donated to that GFM that got me my new place after the fire... I just closed the GFM a few days back with Thana Alexa who organized it.  

  11. 2 hours ago, bresna said:

    Edit to say: I called Mosaic back to find out if they lost my order and found out that anyone that gets a shipping notice now is simply getting an automated E-mail and that your box has not really shipped. They have hundreds of backorders due to this SNAFU with the company supplying the outer boxes.

    Interesting.  Thanks Kevin!

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