Sundog

I don't think these are what the original poster is looking for... Guy Not exactly, but I do really like Herbie Mann- Live At The Village Gate and I've been meaning to pick up some Marion Brown for awhile, so this sounds intriguing as well.

This helps! They all sound very interesting and I'll be tracking these down in short order. Thanks very much Mike.

The topic title may be a little misleading; I'm really not sure if such a thing exisits, but what I'm looking for is music that employs a traditional latin rhythm section (in all it's forms) and various other soloists that play in a more outside if not downright free manner. Any help tracking down these types of recordings would be greatly appreciated. P.S. Listening to Ray Barretto's "Espiritu Libre" from his album Acid got me thinking about this topic and serves as my original point of reference.

Since you seem to be quite adventurous and not constrained buy tradition of any sort, why not try something that's unexpected. For instance, totally rearrange a Steely Dan tune for your instrumentation. "Aja" would be very cool. Or boil down something like "Chameleon" to it's lowest common denominator? I know these suggestions probably seem a bit whacked, but what the hell. Personally, I always enjoy seeing a small group of musicians make a big sound if you know what I mean?

Not bad for a guy raised by chickens!

First of all, I like funk music, and yes, "all Grant is good" maybe not great, but certainly good. As you rightly point out, Grant really got his feet wet playing R&B, and had a real affinity for R&B music that always came out in his playing one way or another no matter what the musical context. Secondly, what Grant was doing on those classic bebop cuts isn't all that complex. It's standard bebop fare done with a lot of personal creativity. Don't get me wrong, it's great, but it's not complex or even remotely difficult to understand. Thirdly, and let me say this as clearly as possible, your posts consistently reveal you as one of the biggest jazz snobs I've ever run across. You need to learn how to value and respect other peoples opinions (and not just the ones you happen to agree with) OR just shut the fuck up. The "aw sucks.....chewy bean checking in to impart some jazz wisdom on you ignorant fucks routine....." is wearing extremely thin. Grow up and tell me something good!

With all due respect, I don't think anyone is missing the point. I just think there are differing opinions on the relative merits of Grant's later work. So be it. What does it really matter anyway? Those who dig it great. Those you don't fine. Buy the album and find out for yourself.

I been reading about this cat for quite some time, however I've never heard him until now. Thanks for posting. Really nice.

Well, no more Wayne. That's cruel.

Wayne's solo from Night Dreamer has been stuck in my head for the last 24 hours or so. He had me after the first 2 notes!

Go figure?

I think I'm going to buy Perischetti's book and the Goodrick. Seems to be a perfect combination of theory and practical application for the guitar. fasstrack said... "I also would recommend getting perspective from direct usage of such harmony from scores by 20th Century composers, especially Bartok and Berg. Certainly there are others." I believe Persichetti's book is "peppered" with many such references which I can study over time. Seems perfect. Thanks guys. P.S. How the heck do you include multiple quotes in a single reply?

I'm looking for a book on quartal harmony. This one seems to get universally good reviews. Interested in any feedback about this book or other textbooks that discuss quartal harmony. TIA

This is the exception that proves the rule not to put fruit in beer!

I've spun this one three times now and I have to say I'm a bit underwhelmed. Nice arrangements of old material for the most part and some interesting new songs with nice textures; but if your looking for another "Too Damn Hot" (which I wasn't BTW) this isn't it. Peter Bernstein, who I like very much, really doesn't add all that much to this release. The most interesting guitarist on the album is the producer Matt Balitsaris who adds some nice textures to the "jungle" music. All that said, I think the new material has some interesting possibilities and I wouldn't be at all surprised if it really "smokes" in a live setting.

Inherited a lot of great stuff from my Dad. Among the many include numerous albums by: Basie, Ellington, Miles, Ahmad Jamal, MJQ, Zoot Sims, Art Pepper, Shelly Manne, Jimmy Giuffre, Stan Getz, Cal Tjader, Diz & Bird, Bud Powell, Dave McKenna, J.J. Johnson, Charlie Ventura, Dinah Washington, Billie Holiday, and Carmen McRae.

Yeah, but can he do pink paisley? P.S. Nice version of How Insensitive.

I like fruit in my beer (actually wort) during the fermentation phase; adds sugar which converts to alcohol. Above and beyond adding sugar content, certain fruits tend to impart some nice flavors to the finished beer. Bell's Cherry Stout for example. I've also had some real nice beers made with apricot and rasberry. Otherwise no thank you, serve mine without.

Mine is OK. The number on spine is "7243 5 24586 2 2". Not sure if this is a unique identifier which might help indicate which sets have problems? Actually, does anyone know what these numbers represent? Is there a standardized format that all labels utilize? The "24585" portion appears to be the Blue Note catalog number. I assume the "2" at the end indicates that this is a two disc set.

FYI- Good interview with Dweezil in the August "Guitar Player" now on newstands. Also, a nice spread on some of Frank's guitars.

I seem to remember hearing that Horace Silver wrote "Nica's Dream" with this event in mind. True???

Some nice Julius Watkins on this one.

There's a really fine extended version of "Once I Loved" on Deep Blue Organ Trio's latest album.

Nice site. I found this little tidbit immediately interesting.... Here is a very cool eight note synthetic scale from Slonimsky's book. It is the first four notes of a Major scale and then the first four notes of a Major scale a tritone away. It looks like this in the key of C: C-D-E-F-F#-G#-Bb-B-C You could play it over a Cmaj7 (#5) or a C7 (b13). It has a lot of forward motion when played in it's ascending form, so it would work over a straight Cmaj7.

ditto. Extra Cheap Manufacturing