robertoart

Ed Cherry is on both DIW releases and plays superbly. Gee those two DIW Patton's are brilliant. Such a great feeling on those. Could the third one be the Blue Planet session perhaps, which wasn't released on DIW?

Is that a younger Allen Lowe with Macca?

I've heard of a mute. But this is ridiculous.

Kat Onoma The Omaha Kid Wyoming Bill Kelso

Renegades from the Salvation Army.

Alex is a pencil neck geek. I can't get past 21.20minutes. He's starting to freak me out. He seems scared and weird. Like a zombie Woody Allen. Doesn't this guy understand the music is more than 'maths'. Has Barry Harris never gotten over the inside/outside dichotomy? And this guy is taking his disgruntlement as gospel?

Led Zeppelin Zeppo Marx Leppo from The Rutles

Is that root beer?

The original post by Soulstation is almost 5 years old, and I don't know that he's going to post on the board any more. If it's forthcoming, it's had a long gestation! Or is the session "This One's For J.A."? There have also been references to a third unreleased DIW session on this board somewhere. Was there a third DIW session that remained unreleased? Or was this the 'One For JA' session?

Happy Birthday! This will help keep you young http://www.youtube.com/watch?v=bVDfmn_TMkI

I think 'the seven string guitar/hammond one man band sound' works against him in some ways. If you take out the quirkiness of all that, you're left with a fairly generic - but well schooled - mainstream jazzer. Not that there's anything wrong with that. He first came to notice over here for his work with Michael Franti...who I think only White people in Australia listen to anymore

So all hoping that everything health wise will be fine..... but in Australia, the 'Soul Music gatekeepers' are a bit sniffy about Sharon Jones musically. We often get a lot of classic era performers out here like Bettye Lavette. One of our Soul dj's said Bettye Lavette was the artist Sharon Jones 'wished' she was?

Tina Brookes is a good example for authenticity in his own time and place. So not a bad example at all. Criticising past jazz masters (even if they are still alive and playing), for technical shortcomings - or different areas of focus - seems a bit silly from this vantage in time. l mean where does it end.... Pharoah Sanders can't arpeggio run Giant Steps.....Archie Shepp can't play as well as Michael Brecker....James Blood Ulmer can't really play changes....Does anyone really agree with Mingus about Ornette anymore?

He seems to post directly in the comments section of his performances on youtube a lot.

He is the king of sealed pressings from the sixties.

Does Wayne Shorter really have a lack of 'triadic mastery'? Didn't he make up for it in other 'more relevant for the times' ways back then? These guys and gals (it's probably mostly guys with this kind of consciousness), that have the benefit of a 'very' late twentieth century 'wholistic Jazz Education' are such a bunch of wankers.

Mr PC is good, and Scofield plays some nice lines. But I wouldn't think it's anything beyond 'latter day excellent'.

That bass note at 3:07...seriously? Oh dear http://en.wikipedia.org/wiki/Richard_Finch_(musician)

Very glad to see 'The Project' is ready to go. BTW, I did work out the seven chord rundown in this tune. Just had to take a closer listen after all this time. Dflat7#9 - F7#9 - B7#9 - Eflat7#9 - A7#9 - Dflat7#9 - D7#9 Grant's chords alternate between the 'Chitlin Con Carne' #9 shape, and the 'Hendrix E' #9 shape. That 'Chitlin Con Carne' #9 chord is a nasty sounding chord alright Grant and Kenny and Pat Martino loved using this shape. Lots of grunt! You gentleman better be 'cookin' when you cut this track

I just say (if anybodies listening), 'contemporary'. As in 'contemporary Jazz' or 'contemporary Art'. I got no kick against 'modern Jazz', though

I think this is solarisation, not colour, telling the story on those one above.

Not one of their best.