Milestones

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.

That is a beautiful touch.

I guess some of his stuff could be considered ambient. I'm not that big a fan of the soundtracks...or, more accurately, a little goes a long way. I was not too big on "Nashville," "Sign of Life," and "Unspeakable" (I think that's the name). He is such a diverse musician, hardly anyone is going to like everything he does; I do, however, repsect everything he does.

I want to mention "The Sweetest Punch," his take on music by Elvis Costello/Burt Bacharach. Not entirely successful, but I have to say that "My Thief" and "The Long Division" are two of the most beautiful pieces I have heard...by anyone.

Sorry, I was meaning to look for a previous thread, but forgot. Still, sometimes it's good to start anew, especially if the old thread has been long dormant. Plus I'm a relative newcommer here. That Hunter S. Thompson thing sounds a bit weird even for Bill.

My favorites (as leader) are these: Gone, Just Like a Train Have a Little Faith Frisell-Carter-Motian Beautiful Dreamers The trio with Haden and Ginger Baker is very good, with two releases ("Falling off the Roof" is the other)--and here actually Bill pretty much is the center of attention. Another good one is "Grace Under Pressure," which is a Scofield record, but Frisell has an almost equal role on it.

It's interesting to note that Frisell rarely works with piano/keyboard players, though there is a duo CD with (I think) Fred Hersch where they play standards. You have heard the Marc Johnson album where both Frisell and Metheny are prominently featured?

Frisell's music "is wide-open, and it incorporates everything in a single gesture, from the sweetest nostalgia to the harshest dissonance, from desert twang to urban squawk, from fairground Americana to speed-metal, from the Beach Boys to Burt Bacharach to Neil Young to Sonny Rollins to Charles Ives to Henry Mancini to Aretha Franklin to Skeeter Davis to...well, like I said, everything and everybody. His music, at its best, is not about Bill Frisell taking guitar solos. He's not a wanker, and he doesn't have the usual axman's ego. Hell, it's hardly even guitar music at all, except insofar as Bill Frisell is inventing a new use for the guitar, not as a rhythm instrument or as a solo instrument but as the universal solvent of all American music - as a home for every sound he's ever heard." I am going to see Frisell in concert next week--very much looking forward to it. For me, he is near the top of musicians over the past 20 years.

Frisell's music "is wide-open, and it incorporates everything in a single gesture, from the sweetest nostalgia to the harshest dissonance, from desert twang to urban squawk, from fairground Americana to speed-metal, from the Beach Boys to Burt Bacharach to Neil Young to Sonny Rollins to Charles Ives to Henry Mancini to Aretha Franklin to Skeeter Davis to...well, like I said, everything and everybody. His music, at its best, is not about Bill Frisell taking guitar solos. He's not a wanker, and he doesn't have the usual axman's ego. Hell, it's hardly even guitar music at all, except insofar as Bill Frisell is inventing a new use for the guitar, not as a rhythm instrument or as a solo instrument but as the universal solvent of all American music - as a home for every sound he's ever heard." I don't know where I pulled the quotation (it is a professional), but it describes his work better than I ever could, and it indicates why I find him creative and even innovative.