Milestones

I guess some people can't accept that an artist can produce a good deal of quality work (or even any quality work) at a somewhat advanced age. That's a very odd notion to me, especially when it comes to jazz music.

I want to pose the question of whether Chick is at a peak, or whether he is over-exposed. It it is tough to keep up. The 2-disc "Forever." The 2-disc trio with Eddie Gomez and Paul Motian. "Hot House" with Burton. "The Continents"(I think 2 discs; I have not heard it). A couple of sets featuring RTF. And he has not yet documented a trio with Christian McBride and Brian Blade, which I saw a couple of years ago in Oberlin, Ohio. Anyway, I know there is more...maybe a couple of sets of piano duets, and going back (but not much) the Five Peace Band. There seems no stopping him. I've enjoyed his music for a long time, but it's not possible to keep up on the listening.

Maybe we can turn this in another direction? What guitarists show Burrell's influence? Which contain elements of his style and approach? I followed Mark Whitfield in his Verve heyday. I see some similarities. Of course, many regarded him as too conservative and retro. Let me be clear (for what it's worth) that I'm also a big fan of more modern guitar like Frisell, Metheny, and Scofield. Bear in mind, they are no longer young musicians--haven't been for quite awhile.

I don't see much fighting here at Organissimo, unlike other Forums I have used. It's odd to think there would be a fight over Burrell. He might not be everyone's cup of tea, but he is not the kind of musician who would spark controversy.

I mentioned Ellington is Forever right off the bat. Kenny's love of Ellington's music is legendary, and I'm sure many of you know that he has taught college courses on Duke. I don't know if the two CDs correspond perfectly to the original LPs, but they are very lengthy and it's quite a cast of players, with all those mentioned by Fasstrack and more (also Nat Adderley, Gary Bartz, Jimmy Smith, and Quentin Jackson).

The early Blue Note sessions contain some great stuff, such as a solo "But Not for Me" and a superb version of "Nica's Dream."

Based on online samples, I have to say Out of the Storm (Thigpen) sounds wonderful...something to acquire.

King Ubu, it sounds like you have more Kenny as a sideman than I do. He is naturally a contributor to any setting or situation. Another good one is Portraits in Jazz and Clave by Ray Barretto.

I regard Generation as a true classic. The follow-up album, Pieces of Blue and the Blues, is also very good--especially the opener, "Confessin' the Blues" (Kenny opens on acoustic and ends on electric). Jazz/blues doesn't get any better.

I'm not being allowed access either.

I started up the George Benson discussion, and I've been following some other guitar threads. I'm a big fan of Kenny Burrell. While not one of my earliest jazz discoveries, he became a big favorite; and of all mainstream jazz guitarists, I listen to him the most. He is such a tasteful player and a true master of bop, blues, and ballads. I thought Be Yourself (a live date ) was quite good. I have not heard his recent solo album. There are many outstanding records over a very long career, and certainly it's useful to follow his work as a sideman. As leader: Midnight Blue (one of the great blues records) Ellington is Forever (I favor Vol. 2) Generation (the 3-guitar band with Rodney Jones and Bobby Broom) Guiding Spirit (with Jay Hoggard)

For what it's worth, I've heard John McLaughlin calling Farlow a major influence.

"Cameroon" by Mike Stern, featuring Richard Bona.

I downloaded some stuff by Herb Ellis--something like 5 original albums from the 50s, with the order rather skewed. It was less than 5 bucks as a I recall. There are similar sets from Grant Green and many others. Is that the kind of stuff you mean? Maybe I haven't listened closely enough, but I'm not having an issue with sound quality.

I thought there might already be a thread on this, but if so I have not found it. My main source of downloads for several years now has been e-music. I've gotten some greats deals, such as five records by the Great Jazz Trio and some of the music by Clark Terry/Bob Brookmeyer. And a a lot more, often at prices that could be considered real steals. It's been cool to see them add many more choices, such as Blue Note albums--even current releases. But their pricing sure bumped up just recently. They no longer serve as first choice in terms of cost. Any thoughts?

Getting into Ornette's music was pretty effortless for me. So what does the box version of On the Corner add?

I found #2 and #3 to be excellent.

I'm still not sold on On the Corner, and I'm a huge Miles Davis fan. But I have not heard it in ages, and for me it never made it to CD or digital files. Eric Dolphy is an interesting case in point, and I'm especially with those who had trouble with Out to Lunch. I always loved his flute work (unparalleled), but otherwise he was tough to get into--though I had my share of hearing him with Mingus, Trane, Oliver Nelson, etc. I've since become a true fan of Dophy in general--and Out to Lunch must be considered a classic (aided by the phenomenal young talent on it). Where would Dolphy have gone in his playing/composing? Consider that he had a peak period that lasted only about four years.

Is it true that Ferrante has never released a solo record? What's up with that? This man should be releasing his own solo projects.

I have to agree I have been missing out by paying almost no attention to The Yellowjackets.

Let me add that I also like Stern's contribution to the album Life Cycle by The Yellowjackets. I haven't heard much by the group, but this must be one of their best records--largely because of Stern.

I'm finding myself with quite an interest in Mike Stern. I did once seem him live in person when he was playing with Miles--yes, many years ago. He was good, but I would not have guessed he would go on to become a major talent, which I now believe is the case. I had heard the standards records and one called Play (which featured some guesting by Frisell and Scofield). Again, good records, but was Stern really in the same category as Frisell, Scofield, and Metheny? I know he's been putting out some eclectic records and surrounding himself with tons of great players. I have been listening to the well-named All Over the Place, and I find that it's just great. You better do some things really well if you're hiring Garret, Holland, Foster, Potter, Wooten, Richard Bona, etc. I can't even begin to talk about how wonderful this record is. The 2nd track is "Cameroon," and it's dominated Bona; and this is the catchiest and most exuberant track I've heard in age. Maybe Bona steals the track, but you're deaf it you don't groove to Stern's guitar work on the track. Throughout the CD (which is very lengthy) Stern expertly changes mood, tempos, and settings. Like another highly electric guitarist John McLaughlin, he has no trouble shifting from rock oriented fusion guitar to the gentlest stuff imaginable on acoustic. Mike Stern seems to be in the midst of something like a 10-year golden run. I notice his records run long (but not over-long), that he writes almost everything on them, and that he hires the best in the business. His music is perhaps best called fusion, but in the very best sense of the word. I began to get into jazz through fusion, and Stern's work--along with McLaughlin's last few records (reminiscent in many way of Mahavisnu)--show that's it's in good hands these days.

I'm also one who is not much into the whole technical end of things, although you would have to be deaf if you couldn't hear that Benson has chops galore. But the big things are distinctive voice and distinctive feeling. So you get that with both George Benson and with Grant Green, who is arguably a less gifted player (technically). I'm not a musician, so that explains why I'm not about to wax on about technique. Now, if you want "voice" on a Forum, go with Steve Reynolds. I'd recognize him in the first sentence even if the name were removed.

Where exactly is this "Mood Indigo" found? I've never heard (nor been aware of) such a lengthy and unusual version of this great tune. Is this Ellington himself, or someone else performing it?

I think the key is to have a balance. God knows w'eve seen plenty of work by artists like Michael Brecker and Herbie Hancock in pop and rock veins, sometimes in fairly anonymous session roles. But they have devoted more than enough time and energy on real jazz. Benson can do whatever he likes; he is certainly entitled to it. But I have to go by my own taste, and I just haven't found much of his stuff that truly appeals to me.