CJ Shearn

I bought the Shorter to inexpensively fill some holes, to get the rest of the BN's. I just ordered it. I'm not too worried about the mastering, I have the SHM of "Speak No Evil", which is incredible of course.

Fantastic album, really beautiful stuff. http://bit.ly/1YnKB9e

Thanks! I really think of these interviews as just conversations between a knowlegeable fan and the musicians. Later this month I have interviews with David Krakauer, Brent Wallarab and Dave Liebman ahead of his workshop at New York Jazz Workshop. What surprised me was Zev was totally geeking out talking to someone as passionate as he, usually I'm so passionate that it surprises the musicians (in a good way of course). When he asked me questions, I was taken aback. I used "unbelievable" one too many times, I'm still growing in my interview style.

http://bit.ly/23F6mTr Still working on learning to match levels in Audacity folks, the intro/outro is a bit lower than the phone interview portion.

He just appeared on acoustic with George Coleman on his new one, would like to check it out. And that has me excited, Jim!

Great! I will also be interviewing him in May for New York Jazz Workshop's Podcast as he is doing a workshop there this summer. The "Expansions" album, I have it and have only been able to play some of it so far but it is terrific.

Wish I could help, sorry I do not have that set. Been looking for "Pendulum" myself.

Enjoy!!! My review of Larry Young's seminal "In Paris: The ORTF Recordings" an indispensable addition to Larry Young's legacy. http://bit.ly/1roqNbl

It's stunning, heard that a few days back. I'm getting more into pre bop anyway but that recording really just highlights how fresh those ideas are in the Hot Fives and Sevens.

Very cool!

Really? I thought that was one of the most interesting aspects. Since at least "Tap", Pat's been exploring new colors and textures in his sonic toolkit. He's using his classic Roland GR300 guitar synth on most of the album, but he has the regular guitar sound blended with the synth and distortion at the same time which is new for him. Nasheet Waits and Jason Moran play fantastic as well. It really sounds like a band that's been together for a while (though they weren't at all which is what Logan told me in my interview with him) instead of just a collection of all stars.

Wow, great stuff! Not just wonderful sound but great music.

My conversation with Fuze, we talked about his excellent new album, "Flam! Blam! Pan-Asian Microjam", microtonality, music ed and future projects, a really fun and fascinating chat we had. http://bit.ly/1MB5nkO

Interesting thoughts. I enjoyed the Kuroda and Moran when I first heard them and I think the new Lonnie Smith is nice, I don't like it as much as "In The Beginning", but I think it's quite good. I've wanted to hear the new Charles Lloyd, I really liked "Wild Man Dance". Personally I think Blue Note'sy had as strong a recent renaissance as ever, Logan Richardson's "Shift" is one of my favorites this year The label direction under Don Was reminds me a lot of the pretty awful "Blue Note Hits A New Note" UA era as far as trying to do something different with the music, except the music is a lot better, and a lot more honest. For those with an open mind, Blue Note now is quite nice, for those that wanna stay in the classic '54-70 era, well........... YMMV, but as a fan of Blue Note and known where the label's been I think things are pretty healthy now.

I will get one soon myself, I enjoyed the stuff I heard in the EPK. George still sounds quite nice.

I will be reviewing this and received my copy a few weeks back, really wonderful music. Jack's brushwork is superb in many places, just check out "You Go To My Head", totally blows the assertion that some people I know have had that DeJohnette overplays, there's a difference between busyness and over playing and there is none of that here, just beautiful sensitivity.

Don't bother. This recording is not legit, I have a copy of this from Dime, and it is a radio recording

Got a copy today after ordering one on eBay, and on a first listen I really enjoy the recording a lot. It's sort of everything that makes Dr. Lonnie so fun to listen to. "African Suite" is a bit strange with it's use of synth samples but very effective and shows he still is exploring as a musician. "In the Beginning" the previous recording, is almost up there for me with "Live at Club Mozambique", now Blue Note should sign Lou Donaldson and give him an album, yes we've heard his favorite sets to death live, but it'd be a nice gesture.

This one is tough and unexpected to me because one of my very best friends just played with him on an album recently with Mercedes Figueras. My friend has been close with Gato's wife Laura as she goes to our church. So I never met them personally, but it feels kind of close.

Yeah, I enjoy the DVD very much. May get the "Unity Sessions" blu at some point but am definitely getting the 2 CD release of all the music from the film. I will play the album probably far more than "Unity Band" and the "Kin" studio albums as great as they are. The music on the "Unity Sessions" took all that music from the 2 albums into another place, and that version of "(Go) Get It" is the best version Pat's released. The 12 string fretless with the grungy tone makes a huge different and he takes it out far more than he did on the "Trio 99-00" record or when he played it with Sanchez as a duet on the "Speaking of Now" tour which I saw in 2002.

No problem.

http://bit.ly/1Sye9iH We spoke about his new album with Cuong Vu's trio on May 6th, and his new quartet featuring Gwilym Simcock, Linda Oh and Antonio Sanchez

I became interested in this after hearing Vijay Iyer talk about it. Great stuff! I sent my friend the YT link to "Third St.Stomp" and he hated it. It began a long discussion on my about why free jazz is not just random notes, because to him it's random. But he does like some other more melodic free stuff. Wish I still had Chick Corea's "Complete IS sessions" which I dug, and Anat Fort's "A Long Story" which I gave to my best friend b/c she loves piano like that.

I had the Solal on LP as a child, I didn't realize it was a fake live date then.

Cool, hope you enjoy it. I realize it may not be to everyone's taste, but I dig it quite a bit.