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CJ Shearn
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Posts posted by CJ Shearn
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12 hours ago, Guy Berger said:
I like the 3CD set (especially for Bennie Maupin) but this band wasn't anywhere near as good as the other two you mention.
That is true... maybe we do have the best of what's releasable already... When Resonance realeased Funk In France was when I started questioning the quality of what they release, Grant's playing is great but the clunkiness of Don Lamond and Billy Wilson doesn't sound prepared are facets. I think a huge difference between Blue Note especially then when Michael Cuscuna headed the reissue program and what's going on now, I believe Michael has some sort of musical background and could vouch for the validity of why certain stuff couldn't be released. The fact both the Monk and Rollins releases are at the wrong pitch is troubling... I'm studying music theory now and I'm sure the more I learn these kind of things will be glaring in time. Just because something bears the name of a legend and will sell does it really need to be put out? Maybe a complete Lighthouse thing will be revelatory in some ways but I'm not sure. Aside from Just Coolin and the Mobley 63-70 Mosaic this year, and a few Don Patterson albums I haven't bought any hard bop, whether classic stuff or people playing in that style now doing new stuff, I have so much of that already. I'm more reinvestigating my classical roots from when I was a kid or looking for prog rock or electronic music these days.
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I think there is quite a bit of irony here that some people won't be buying this set because if we look at say Trane's Village Vanguard or Miles' Plugged Nickel a lot of the same music is repeated from set to set yet the music is vastly different. If there is too much redundancy in the Lighthouse material, I will hold onto the 3 disc set as a sort of best of distillation
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2 minutes ago, david weiss said:
8 CD box set I believe....
Mosaic or some super limited Blue Note box? I would say Mosaic is pretty limited considering I barely got the second Mobley box.
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11 minutes ago, david weiss said:
You know, honestly I'm a vinyl guy but I have little interest in getting these titles on vinyl myself.
The sources are usually digital at this point anyways.
I will say there is one ridiculous vinyl box set on the horizon that I think will be worth it on LP.
There is going to be a 12 LP box set The Complete Lee Morgan Live at the Lighthouse coming out next year.
These were mixed from the original 4 track tapes and the whole process was analogue and I think they sound great.
There are no edits by the way....
Will this see a digital release??
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I loved the club. It was my favorite.
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23 hours ago, Rooster_Ties said:
GARY THOMAS
Not everything, but the better/best half of his output is just divine (which includes a bit from the late 80’s).
Til We Have Faces is incredible, some of the most incredible Pat Metheny on record. Thomas is also quite good on Jack DeJohnette's Blue Notes of the period.
Other great 90's records
Kenny Garrett Songbook
Branford Marsalis Trio Bloomington
Nils Petter Molvaer Khmer
Michael Brecker: Tales From The Hudson, Two Blocks From The Edge, Time Is Of The Essence
Yellowjackets: Greenhouse, Run Fer Yer Life (if you only like/want hard bop, these may not be for you, ditto the Molvaer)
John Scofield: Time On My Hands, Grace Under Pressure, I Can See Your House From Here, Hand Jive
Keith Jarrett at The Blue Note The Complete Recordings
Herbie Hancock: The New Standard
Joey DeFrancesco: Live At The Five Spot
John McLaughlin: After The Rain, Tokyo Live
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I love this album. Even better is a bootleg of this very quartet with Nat Reeves in place of Rodney Whitaker at the Knitting Factory NYC in June of 1996. I downloaded this from dimeadozen years ago, when I grabbed a load of Pat Metheny related shows which I since thinned out to a handful of the best shows. I kind of realized how ridiculous it was to have a bunch of PMG shows from 1 tour when the set list never varied much because of the reliance on sequencers.
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Happy birthday!
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Jarrett's solo and trio work has brought me much pleasure over the years, and I'm grateful for the musical legacy he has left us. I will be reviewing Budapest Concert in the next week. Will anyone who is a KJ fan be surprised necessarily? Not really... it's just a continuation of the thing he did really well, and that's all that matters.
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8 hours ago, mikeweil said:
Sounds nice - I will get me a copy. They swing hard, and I really like McBride.
To my taste, Jimmy Smith was dominating a bit too much on the Jimmy & Wes sessions.
And that very thing, is what made those albums. He had such a powerful presence, and personally, I love that-- that larger than life personality. Like Kenny Burrell, or George Benson, Wes was an equal partner. If you look at Jimmy's regular guitarists roughly around that period, like Quentin Warren; Warren served a function... he wasn't an equal partner, and when Jimmy had a compatriot on his level, he elevated--- check his comping for example. And this new album is very nice
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Wow! A shocker! RIP
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16 hours ago, mjzee said:
I just compared the box version to the original CD of Dippin'. On the original, it sounds like there's one bass note before the piano; on the box, it sounds like two of the same bass note before the piano, but it doesn't sound unnatural - it sounds like the bassist played two notes (as if the original cut off the first one). Will be curious to hear what others think.
Scott replied to my query regarding this... it is a known issue
He said :
You’re only the second person whose brought this up to us. We did notice that if you start right on the track it doesn’t have that “blip” but when you let it continuously go from track 1 to track 2, you hear that “blip”.
So I asked if there will be any plans to repress based on that error, but if not, such is life.
Edit: He said there are no plans to repress and this little error affects all 2,500 sets. However that's a small price to pay I think for having this music in the best possible sound.
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10 hours ago, mjzee said:
I just compared the box version to the original CD of Dippin'. On the original, it sounds like there's one bass note before the piano; on the box, it sounds like two of the same bass note before the piano, but it doesn't sound unnatural - it sounds like the bassist played two notes (as if the original cut off the first one). Will be curious to hear what others think.
Interesting, so you are hearing the same thing. I quick went and streamed the RVG of Dippin' and as you said it started with one note rather than two, but throughout the tune Ridley seems to be doing these two bass notes through the piece. No it doesn't sound unnatural, but it sounds like there is a digital click at the start, which could be a mastering or duplication error, who knows. I gave Scott a heads up but if this is what you hear too, maybe it's not just isolated to my copy. The only other CD I had heard this on was the original CBS Associated CD of the CTI All Stars California Concert which had an actual skip leading into "Blues West" but that was probably more the poor remix job. Sounded just like the LP on the expanded definitive 2010 issue.
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38 minutes ago, mjzee said:
I just checked and didn't hear anything. At what point in the track (minute/second #) do you hear it?
At the very beginning 0:00 Not a deal breaker since there are probably no replacements but it's odd
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Does anyone's copy have a slight skip at the start of "Recado Bossa Nova" on disc 3? The disc is clean but this sounds like a little duplication hiccup
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1 hour ago, Dan Gould said:
The fact of what was happening in the prior few months, as well as at the moment in Palo Alto/East Palo Alto is in the liners. I don't think that there's anything there about the band knowing about it or reacting to it.
For that matter, I always thought people onstage with spotlights on them can't really see the audience, so knowledge of how mixed the crowd was would be limited to the first row or two?
And one other thought is, what was Monk's audience at regular club gigs? Wasn't it mixed already? If it was, then seeing a mixed audience (if they could) from the stage wouldn't necessarily mean anything.
That's an aspect you don't read that much about ... It is noticed now that white fans (especially outside of major cities) are the ones supporting the music. When did that really start? Obviously Monk was "old hat" at that point ... and rock/soul/whatever Miles was doing was what was popular among young people (minorities?). Going off on a tangent here ...
CJ: Please write what you feel. I'm just giving you my reaction ...
I have no idea whether or not Monk's audience was mixed race at the time but wouldn't the Time magazine article have contributed to expanding his audience?
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4 hours ago, Dan Gould said:
Thanks for sharing.
I think you should reconsider your racial commentary, particularly the final sentence:
"The fact the group was able to promote racial harmony in a community and country in turmoil was clearly inspiring to them as they gave the audience at Palo Alto High School a sparkling show."
I don't think there's any basis for this - that they were promoting any racial harmony, nor that it was the source of the good feelings in the music. Is anyone from the band quoted (I cop to not reading the liners yet, only all the reporting before the CD was issued)? Did they know about East Palo Alto and the issues there?
Personally my thought was, how often did they have a gig at a high school? Maybe they were inspired because they weren't in a formal concert hall or in a noisy bar, but in a school auditorium. Maybe that inspired them?
I personally perceive it to be two separate stories - a young high school kid pulling off the unexpected, and by promoting in both cities, getting a crowd curious enough to turn out and wait to see if Monk would show - and Monk's group putting on a fine concert. That's the cherry on top of this musical sundae.
It's all in the liners as Rooster said... I'll consider figuring out how to rework that, needless to say it was an inspired performance.
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7 hours ago, bluesForBartok said:
Fantastic record. Caught him playing in Central Park yesterday with bass/drums. Very impressive performance.
Planning on reviewing soon, it's on my review list after Monk and Terje Rypdal.
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Very interested
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RIP. I had communicated with him a few times wondering if he might have been a distant family relative, my father's mother's last name was Sisco. Didn't turn out to be the case, but he seemed very nice.
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I'm gonna limit this to albums this year
Conspiracy Terje Rypdal
Art Of The Quartet Benjamin Koppel
Swallow Tales Sco
Big Vicious
Arctic Riff Marcin Wasilewski Trio feat Joe Lovano
From This Place Pat Metheny
Angular Blues Wolfgang Muthspiel
Happening: Live At The Village Vanguard Gerald Clayton
ONA Thana Alexa
Lagos Pepper Soup Michael Olatuja
Blue Soul Dave Stryker
Iron Starlet Connie Han
Live and Unreleased Brecker Brothers
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3 hours ago, Justin V said:
I am intrigued. It is probably my tiny phone playing tricks on me rather than an actual resemblance, but the cover looks like someone inserted Count Basie behind the drums
Yeah, that's funny! Anyway Art Of the Quartet is easily one of my favorite albums of the year
Lee Morgan - Complete Live at the Lighthouse
in Mosaic and other box sets...
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Me too. I knew going in that Monk album while excellent was not going to change my life, because a) like everyone here I have so much Monk already and b) they do so much of what they do well on Palo Alto on other releases. If I want that thing, I am going to put on The Complete Live At the It Club or Monk In Tokyo, just my preference. Yet say something like Dexter Gordon's Complete Prestige Recordings the other hard bop thing I got this year for an incredible price was a completely satisfying experience despite the redundancy of the alternates.