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  1. Info on the Doodlin Lounge advises they have had to review the personal after the vinyl had been already pressed. Henry Johnson has confirmed it is not he playing on the recording. Whoever the guitarist is I will be interested to know. They have a great feel, lots of fine chromatic style runs a'la Benson and Martino, interspersed with some overt Blues phrasing and string bending. Indeed the guitarist does not sound like a young Henry Johnson. They almost have echoes of George Freeman at times, but it's definitely not Freeman to my ear. It is believed Garrick King is the drummer.
  2. https://soulbankmusic.bandcamp.com/album/live-at-parnells Great to hear about this via a recently uploaded Doodlin Lounge podcast. Sounds like a labour of love to get this to release stage. Wonderful news.
  3. Nudge nudge, wink wink, say no more. I think 'people' have come to terms with On The Corner a long time ago. "Many outside the jazz community later called it an innovative musical statement and forerunner to subsequent funk, jazz, post-punk, electronica and hip hop". "Despite remaining outside the purview of the mainstream jazz community, On the Corner underwent a positive critical reassessment in subsequent decades; according to Tingen, many critics outside jazz have characterized it as "a visionary musical statement that was way ahead of its time".[14] In 2014, Stereogum hailed it as "one of the greatest records of the 20th Century, and easily one of Miles Davis' most astonishing achievements," noting the album's mix of "funk guitars, Indian percussion, dub production techniques, loops that predict hip hop."[17] According to Alternative Press, the "essential masterpiece" envisioned much of modern popular music, "representing the high water mark of [Davis'] experiments in the fusion of rock, funk, electronica and jazz".[21] Fact characterized the album as "a frenetic and punky record, radical in its use of studio technology," adding that "the debt that the modern dance floor owes the pounding abstractions of On the Corner has yet to be fully understood." [29] Writing for The Vinyl Factory, Anton Spice described it as "the great great grandfather of hip-hop, IDM, jungle, post-rock and other styles drawing meaning from repetition".
  4. These Columbia albums were the direct result of John Hammonds intervention. The power of Ronnie Cuber's baritone is always felt on the heads though. The whole mood is set from the Baritone/Guitar unison. But mostly it's the George show. No 12 minute Blue Note or Prestige workouts. Lonnie Smith was given his own leader date at the time. Otherwise it's not until the later Verve sessions with Hancock and Billy Cobham do you get much sense of dialogue occurring on a Benson lead session imo.
  5. People still trying to come to terms with Electric Miles lol.
  6. This more recent one is something to enjoy. It captures the brilliant trio he had together for some time with Dan Wilson and Jason Brown. So glad I got to experience this trio live. Sadly to be no more.
  7. The Mosaic select goes deeper than that doesn't it? I seem to remember that's where I first heard the tracks from the exceptional That Certain Feeling session.
  8. If it's vinyl, have you got the one with the reflective cover? Very rare if so. FYI, there are two on Discogs, both going for $1200 plus.
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