CJ Shearn

Mark me down for the Monk/Trane

Joe Henderson played flute on "Delphia" on Freddie Hubbard's "Red Clay". Herbie also plays B-3 on that tune.

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thanks, hey Joe G. I'm going to remaster One Quiet Night today adding distortion abnd a sax sample to Pat's sound today ;-)

I turn 22 today woohoo, got work off and will pick up my paycheck later.

got mine yesterday a friend got the box for me as a b-day present, came a few days early...... Mobley burns so hard on that version of "Walkin", made me laugh out loud. "No Blues" is great too, will listen to disc 2 of Saturday Night when I get home from work tonight.

I got it a few weeks ago, it's a nice album although the record with Anna Maria Jopek gets more play.... However I find the harmonic variations on this disc to be intriguing..... just when you think Pat is going to run thru a fav. chord sequence, he goes in and plays something very interesting. He also doesn't reference other songs much....... anybody catch the "This is Not America" bit in "Peace Memory"? "Over on 4th St" is a nice tune, I can hear the Group behind it already.

Kenny Dorham Round Midnight at the Cafe Bohemia: disc 2 John Coltrane: A Love Supreme Deluxe Edition; disc 2 (live version) Art Blakey: At the Cafe Bohemia Vols 1&2 Pat Metheny Group: White Album (their first) Jaco Pastorius: Jaco Pastorius Anna Maria Jopek with Pat Metheny and Friends: Upojenie Lee Morgan Live @ The Lighthouse: disc 1 CTI All Stars: CTI Summer Jazz At the Hollywood Bowl Hank Mobley: Hank Mobley and His All Stars (disc 2 of the Mosaic) Johnny Griffin: A Blowin Session Miles Davis: Jazz At the Plaza Miles Davis: Cookin' Jimmy Smith: Back At the Chicken Shack Art Blakey: A Night At Birdland, Vol. 2 Monk: Genius of Modern Music, Vol. 2 Lyle Mays: Lyle Mays Pat Metheny Group: Imaginary Day Pat Metheny Group: Speaking of Now Pat Metheny Trio: Trio Live

I bought this Saturday. I think it's an excellent album so far. The duet with Burton, the Akoustic Band and New Trio cuts are particularly impressive. I think the Akoustic Band cuts show that Dave Weckl has some feeling now, not the supposed all "chops" I've heard about. The regular CD mix sounds good too. Can't hear the SACD layer unfortunately.

what are your picks for sessions that looked great on paper but kind of fell flat on record? Here are some of mine: The Nearness of You-Michael Brecker: This session had some great possibilities with Herbie, Pat Metheny, Jack DeJohnette, and James Taylor as guest (who did a credible job) but the slow tempos really got things to be kind of stale fast. Directions in Music: Live at Massey Hall: again, great lineup but the energy level is kind of low at points even though it is a good album. A bootleg I have from a few months prior smokes the released show. Off the Top- Jimmy Smith. What could have been a old fashioned BN blowing date is kind of slowed by material as "Endless Love" which comes off as kinda cheesy.

Back during the days of the original PSX there was a great and bizarre tank game "Assault Rigs" which featured a sample of the guitar riff in "Hang up Your Hang Ups". Then for a Street Fighter 2 soundtrack, there was a blatantly PMG-ish arrangement of her theme. if anybody wants that, email me.

JoeG, wouldn't it be cool, if Pat Metheny scored an RPG? some of his stuff like "Cathedral in a Suitcase" definitely can pass for such.

B3er, what do you think about the bad organ sounds used in some games?

Jack sat in on other versions of "Absolutions" and "Something Like This" from other sets from the three evenings which weren't released.

true, DC was the number 1 2D system when it was around, outside of Capcom fighters it never had games I wanted to play like Knockout Kings so I didn't get it.... but they did have the UFC game, of which it's developer Anchor improved the formula with Pride FC, great game which got me to explore the real Pride organization.

the VRAM argument was used by Dreamcast fanboys/girls when the PS 2 was released that it would not be able to handle 2D games b/c the original PSX only had 2 MB's of VRAM so it produced horrible ports of Capcom fighters like X-men vs. Street Fighter (the tag team feature was nonexistent) The PS 2 has shown itself to handle 2D well as it produced arcade perfect ports of Capcom vs. SNK 2, Marvel vs. Capcom 2 and the stunning graphics of Guilty Gear X. The Xbox seems to me a technical showcase but then again nothing like first person shooters appeals to me really. The Xbox does have the Dead or Alive series though which is pretty cool.

yes, PS 2 has the best bang for the buck gamewise. Xbox seems to be content with license stealing and comp games on a console... Gamecube, well they did a huge thing wrong by not including a DVD player which was originally in the cards. Online gaming is a cool idea which is what Xbox has... but I see some issues: connection speeds and skill level of players. Since I play fighting games, tho never at arcades and mostly at school against friends or home by myself, let me address this point. Hardcore Street Fighter (I'm of the SF generation even tho I play for fun) and Tekken players are elated of challenging the best via o/l play, but they are really a small minority, compared to the masseswho don't "learn" the mechanics as tightly as they do and they'll end up with the same situations as in arcades, domination of less skilled players. The best should play the best, and the "scrub" players shouldplay other scrubs so that the skill level stays even. Nice to know there are mature gamers+jazz lovers also here let the game discussion continue.. what are current games your playing? mine are Pride FC and Marvel vs. Capcom 2

it depends on what kind of games your cousin likes really. You have three choices: PS 2, X box and Gamecube. I have a PS 2 which I bought for the DVD player to start my anime DVD collection but since I have a real DVD player now, I use it as a game system. A game I've been playing recently is the Pride Fighting Championships, it's based on a mixed martial arts event in Japan (superior to UFC.... they have every Pride on DVD up to 18, check out 10, 13, and 17) and it's a great game.... every fighter, including the legendary Royce Gracie has a different style and you really have to play with strategy as the game can go from stand up, to ground to submission really quick if you aren't careful, excellent game. PS 2 also has the benefit of top Square RPG's like Final Fantasy X, the Tekken series, GTA, WWE games...... and note... if any of you wonder what happened to Sega, they now develop games for all the platforms. Also do thorough research on games before you buy.... some of the best places for opinions include http://ps2.ign.com, www.gamerankings.com and www.gamefaqs.com There is always www.videogames.com but if you want expansive content they've turned into a pay site.

I never enjoyed the Mizell Bros. production style, the vocals are just too cheeesy, I wonder what became of them? I think they used to work with the Jackson Five and other Motown artists before the massive quantities of Byrd shit

I agree about Maupin as the most impressive soloist. Mabern I think is solid but not spectacular. His best solos for me come on "Peyote", "416 East 10th Street" and "The Sidewinder", on disc 3 for this rendition everyone is inspired. Maupin gets the crowd going with a long segment of trilling, and Morgan gets loose. Any more thoughts before this expires as AotW?. I haven't been keeping up on the future recommendations thread, but I nominate Joe G. for Pat Metheny's "Speaking of Now" since it was a subject on a thread about his upcoming disc. Overall Live At the Lighthouse is a satisfying listen and a chance to hear Lee Morgan stretching himself, wondering "what if?" had he lived.

thanks Cali, that's right. Merritt did write "Nommo". Anyway, after finishing disc 2 tonight (will hit disc 3, the final disc tomm) It seems to me that rather than Morgan being completely off and uncomfortable on this material, he takes a different approach on "Nommo" as does Mabern. Whereas Bennie's solo takes the tune into another place, I see Lee and Harold reconnecting it with it's bluesy roots. Although as I said in another post, Lee's cadenza portion seems a bit odd. "Neophilia" is a great tune, Maupin's bass clarinet work is astounding, bursting with feeling and rocketing into higher registers in later choruses, the darkness of the reed instrument reminds me of the tones he'd get on "Vein Melter" with Herbie. Lee sounds comfortable on this tune, the rhythm section, particular Roker add some tasty commentary. Freddie Hubbard's influence shows up here in Lee, especially with his rapid trilling, so there was definitely development since the late 50's, early 60's. "Something Like This" is a cool little latin tune, does anyone know the form? I was thinking it was ABC or AB something the theme is unsually long. And the "Frere Jacque" to open "I Remember Britt" is pretty funny. Lee sounds very regal in the intro. Overall from thre first 2 discs thus far, I think disc 1 gets the edge chops wise for Lee being able to execute ideas in a cleaner fashion but like one poster said earlier his playing is less lick oriented and you can hear him searching and stretching himself even if the ideas don't always come out in the best way. There have been some comparisons here between this and Miles' Plugged Nickel (which I haven't heard but plan to get sometime soon) and while this set doesn't have the players or the innovations that positioned it in jazz history I think it shows two quintets, both trumpet led, with fine players developing and exploring material on the spot with exciting results. Both feature trumpeters in recovery from chops problems and tenor sax players who are eager at every opportunity to rip up whatever is put in their way. This is in some ways Lee Morgan's Plugged Nickel.

MoTW is a good soundtrack. There are some excellent themes, the title track is gorgeous too. However I don't pop it in all that much..... I'm at home right now and I left it at my dorm... As far as soundtracks, I had ordered the Falcon and The Snowman soundtrack but decided I wasn't in the mood to hear it right now and I cancelled it in favor of Keith Jarrett's Tokyo '96..... but..... Secret Story is IMO the top example of a wide ranging soundtrack ish Metheny score. Great writing for strings, great Synclavier use, perfectly organic sounds. I dig those blowing changes at the end of "Finding and Believing". Hey, how is the sonic quality of the Still Life vinyl compared to the CD? Pat got the rights back for the Geffen stuff or he will soon, and this may be one of the titles that would benefit from a sonic upgrade. The recording is excellent but the CD mastering shows it's age, ditto Letter From Home. Hopefully a remaster of LFH would correct the jarring levels of "Beat 70" and "Slip Away" as compared to the other tracks.

thanks Parkertown. I'm glad my very basic explanation was helpful.

interesting thought that Morgan seems lost on "Nommo". When he has that cadenza towards the end his solo, whereas Maupin took it out, Lee's bluesy ideas a la the classic "Tunisia" turn don't really fit. Anyone else thinthat if Jack DeJohnette sat in on more tracks the music probably would get considerably more out? cuz I mean that "Speedball" take goes into to me, unusual territory for Lee.

well, Parkertown, how to hear rhythm changes? heres the best way a non muso but critical listener like me can explain: first, count the number of bars in the tune. each head or "A" section of a rhythm changes tune has 8 bars. The "B" section or bridge is another 8 bars, and there is commonly no written melodyt, mainly an improv. then you head back to the "A". On "Phinupi" you'll notice Duke Jordan improvises on the "B" section, so it is what's an AABA 32 bar tune. Another example is "Oleo". Also, keep the melody "I Got Rhythm" in mind, it can help you hear the form of the tune. Also learned a simpler way of hearing blues changes.. the standard blues progression is I-IV-I-V-I. what that means is the root of the chord is "I" which lasts for four beats, then the chord shifts to the "IV" position, four steps away from the "I". the "IV" chord moves back to the "I" chord, the "I" to the "V", then back to the "I". Newk's "Blue Seven" is an example of a blues progression which is ambiguous b/c it isn't clear where the bass line that opens it up is moving sometimes and also the bizarre Monkish theme which propels it, picking notes that seem quite unrelated and making a very logical thematic statement...... well, that's how my professor analyzes it anyway. Some of the theory stuff to me is like "huh" but once I heard examples these things suddenly made sense.