Milestones

Miles is the main, the greatest figure in jazz. If you're not into Miles and Duke and Monk and Mingus, then your jazz card must be revoked!

So it's in politics. Let it stay there then. I'm not reading any more posts.

It was a pretty ridiculous thread. It's beyond me why the mere mention of Marsalis (and now Clapton, plus the stuff on jazz roots, or whatever you want to call it) can produce such unhinged ire. Still, the thread (in edited form) should have remained.

I don't find that weird at all. In fact, I'd probably add Herbie Hancock to the list.

If we go with quintessential BN "figure," for a quite a while I said Blakey; but I have long since switched to Silver. This is due in part to Silver's unbelievably long tenure with the label, but even more to his composing. As leader, composer, player...he is a genuine triple threat; and so many followed what he created.

Couldn't you call songs like "Driftin" and "Watermelon Man" (Hubbard pretty prominent) soul-jazz? To be sure, I don't know the precise definition of soul- jazz, if there is one.

To come back to the original notion, I still see Lee and Freddie as the main figures of the 1960s. KD was done halfway through the decade, Byrd's chops slipped (plus I'm still behind on hearing his work), and Mitchell seems most renowned for his work with Silver. Other trumpeters have to be behind for being less-recorded (especially on prominent records) and offering less scope than Lee and Freddie. And certainly these two men, especially Lee, cover the entire decade. But it's been a great discussion; a lot of interesting stuff. Now trying to determine the 3-5 most representative saxophonists on BN in the same decade would be a real challenge (not even going to go there).

Not to be unkind, but if we consider the output of Lee Morgan as metaphorically a whole human body, then Alan Shorter would be a hand (maybe a pinky). I'm not trying to obtain a list of every trumpeter who blew a few notes in the decade, but rather to see how people rate the main trumpet figures on the label in those days. It's all rather subjective, but then what isn't?

Speaking of Miles and Byrd similarities...I have only heard snippets of "Electric Byrd," but these tunes are eerie in their similarity to the tracks on "Bitches Brew."

So Byrd's chops declined that early in his career? I know that "A New Perspective" comes after his presumed peak, but I have to say that his solo on "Cristo Redentor" is as memorable and moving a trumpet solo as I have ever heard.

And what is "afaic"?

I suppose we should add Kenny Dorham--some dates as leader, plus appearances with Joe Henderson and Andrew Hill.

Fair enough, but I did say the 1960s.

This thread will focus on several artists. Trumpeters always seemed under-represented on Blue Note it its glory years--and I'm thinking particularly of the 1960s. There are some great ones. Certainly Lee Morgan's discography is huge, and I'd currently place him first; but I've been exploring his stuff in some depth over the last couple of years. Freddie Hubbard was clearly a star, though his most enduring contributions seemed to come as a sideman. There are exceptions, of course, such as "Breaking Point"--one of the great albums of the decade (IMO). The late Donald Byrd is woefully under-represented in my collection, but I will be changing that. His discography is also huge, and I'm sure there are some real classics. One could make a case for Blue Mitchell also--several records as leader, plus more as part of Horace Silver's quintet. Offhand, I can't think of a fifth trumpeter who recorded frequently for BN during this period. How would you rate the trumpeters? What are favorite records and pieces?

I find that I like the trio of Motain-Lovano-Frisell (usually with a bassist added) doing standards, such as the Broadway series. The tribute to Bill Evans is also good, and so is "Monk in Motian."

I find that the second album by Baron-Frisell-Blythe-Carter is much better than the first one.

Just wanted to add that Frisell would get testimony from Lovano, Paul Motian, Zorn, Charlie Haden, Dave Douglas, Elvin, Arthur Blythe, Ron Carter, Joey Baron, Don Bryon, Ron Miles, Jim Hall, Lee Konitz, and god knows how many more. But I understand that some musicians need adjusting to, and/or you never do get into them.

Reynolds terse and direct! Anyway, to each his own.

I can't say there are many guitarists who can drive me to the verge of tears, but Frisell certainly does that on "Shenandoah." As for acoustic, take a listen to "My Thief." Mr. Reynolds, have you not listened to "News for Lulu"? How about "Ramblin" from one of the Ginger Baker-Bill Frisell-Charlie Haden records?

Colinmce, you certainly brought out my implicit points! Jim R, I should have remembered Lee Morgan's "Search for the New Land." Admittedly, there is a huge number of records in Green's discography I have not heard; nonetheless, he didn't seem to exactly favor trumpet. And that seems true in general--most guitarists like to blend with saxophone.

It's kind of interesting to see who was showing up on Grant Green's records. Besides Sonny Clark, you've got Elvin Jones (about 5 records) McCoy Tyner (twice), Joe Henderson (at least twice), Herbie Hancock, Larry Young, Bobby Hutcherson, and I could go on. Oddly, he didn't appear to record with trumpeters.

I'd like to get "News for Lulu" for a price of under $30.

There is that thing where he does a little riff (if that's the right word) and repeats it literally 15-20 times. I think some listeners like this, and others find it annoying. At first I thought the record was stuck in a groove! But if you've heard even a little Grant Green, you know he does this a lot.

Hmmm...well I searched for a Grant Green thread and didn't find one, at least under Artists--thus I started this one.

Wanted to have some comments on Grant Green. He's been called everything from underrated to the definitive Blue Note guitarist. Some question his chops; others find him distinctive and rewarding. If we look at his Blue Note period alone (especially the first phase), we certainly have to say he recorded like mad--I think he had produced over 20 records in a 5-year period, plus some notable sideman appearances. In fact, I'm curious as to which records actually came out near the time of recording, as opposed to the many that came out 15-25 years later. I'll only say for now that at times I find his work quite engaging.