robertoart

I've always gained comfort knowing these guys were contained in one small recording.

This is weird CJ. This tune sounds AMAZINGLY like Vernon Reid era Decoding Society. Check it out Decoding Society fans and tell me I am wrong? There's a bit of a spacey interlude that is definitely NOT Decoding Society-ish, and the lazar beam bit at the end...but this is...otherwise....Barbecue Dog era Metheny's probably never even heard the Decoding Society.

Would either one of you Patton -O - Philes care to post the changes to the chord cycle on Soul Woman. I remember you - Jim Alfredson - saying on this board many years ago, someone taught this tune to The Organissimo band when you were just starting out. Do you and Souls Stream both agree on the changes perhaps?

Did he have more chances to record over the years as a sideman?

Coltrane is just 'pensive' on that cover. Ellington has a beautiful warm smile on his cover. Jimmy Smith is always smug personified. But really a badass, so maybe he is entitled Basie looks like he wants to sit down and have a frank discussion with you, and tell you something you don't want to hear

Talent Deserving Of Wider Recognition.

....he looks like a nice young man.

Indeed. That's not very Julie Andrews like Unless of course, it's the 'Julie Andrews' that was trying to 'change her image' in the late 70's/80s Oooh... she's a bit Helen Mirren like in that photo. Ready to seduce those young students with an 'I could teach you a thing or two' assurance.

So, yeah, Don Byron, keep on keepin' on. I probably won't be paying that much attention, but others will, and hopefully to this part of it as well. Kismet

"What year is this"?

Aussie Joe Bugner Muhammad Ali Inshan Ali (West Indian spin bowler)

I think I've just got to ask, does it matter where jazz musicians live? Does it matter where folk singers live? Or first trombonists in symphony orchestras? Or rock guitarists? Or systems analysts? Or bus drivers? MG i think it is important that bus drivers live close to their depot. I don't want my bus to be late.

Actually, Maggies just left town.

Wrong forum?

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope. i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it? Read my previous post. It will NEVER happen. Time to stop being a "fanboy" and start being realistic. Do you really think a label of origin would allow a licensing label to steal its thunder??????????? Actually. if they think there is more money to be made by franchising the catalogue out, including anything unreleased they probably would, in this day and age. I mean, so much of the Mosaic sets were out a good few years before the previous/latest incarnation of Blue Note prepared their own more user friendly versions. I guess the big point at this stage of the history, is really about whether any more so called 'rejected' sessions or tracks will see the light of day, as the changing of the 'gatekeeper' guard takes place in the future. Will they be made available to 'interested parties' to hear via electronic media, as has been suggested on this board in the past? Probably not.

You will never see unreleased stuff released by a boutique label before you would see it on Blue Note itself. Given that Blue Note is out of the reissue business, it's time to officially give up hope. i was wondering though, how far this label (Music Matters) are prepared to go re- unreleased stuff. Seen as they are prepared to make their own albums now. Perhaps if the numbers add up and they see a potential release, they might lobby for it?

So was it a random thing that some masters were kept and not others. And how come we seem to have fairly comprehensive session information for a live date like Mintons. Was this info recorded at the time of the gig, and then the album(s) compiled for release and the session tapes discarded? On the other hand, when Blue Note released Grant Green's Alive session, the unissued tracks were available, so I guess what's there is on a case by case basis.

Re-the nuisance that was transcribing or playing along with KOB at up a half step... Couldn't all you Saxophone players just wiggle your mouthpieces a bit and be in Aflat

Shuggie was in Australia last week for our biggest Blues Festival. He played locally at a 'concert hall' event with Taj Mahal and Robert Cray. Unfortunately I missed the show. Too expensive when I really only would have wanted to see Shuggie. If he played a pub venue I would have made it. Here is a short precis of one performance, taken from here https://rhythms.com.au/news/byron-bluesfest-opens-with-a-blast/ At 5.30pm came the first of many difficult choices; Trombone Shorty & New Orleans, Shuggie Otis, Wanda Jackson and Go Jane Go (the new outfit for Kieran Kane, David Francey & Lucas Kane) all kicked off sets at the same time (along with local favourites The Beards who drew a strong crowd to the Cavanbah). Bluesfest 2013 Thursday – Trombone Short I went for Shuggie and stuck it out through the slow start. Otis and his band were not what you would call slick and took a while to get cooking, but when they did, they hit some amazing highs. As they built in confidence, Shuggie really began to shine, playing some inspired blues solos that were somewhere between Clapton and Hendrix. The band tried out a new song, ‘Wings Of Love’, the title track to their new album, and it was a powerful, glistening piece of smooth psyche-soul. Robert Cray demonstrated his distinctive touch on the guitar and Jake Shimabukuro did things seemingly impossible to the ukulele as the Easter moon rose full and white over the teeming festival site. Also an interview from Shuggie promoting his tour and talking about some his history http://thedwarf.com.au/interview/13908/introducing-shuggie-otisagain

I didn't the gist of your post jsngry when I first read it... 'the drama of what the music is 'representing' as opposed to 'the maths of the changes'? Yes? ...well there is a kind of a 'Humanities-Maths' of 'the sound/expressive possibilities inherent in the horn that can 'represent' like no other. To me anyway. The best Shepp is gutwrenching and 'beautiful' like that.

It mostly always comes through to me as raw beauty, especially the so called 'later' stuff people seem to have reservations about. Then again, I don't listen to it backed up 'on mass' so to speak, so maybe served up all at once might make people dismiss it as 'melodramatic'. But it always sounds beautifully sincere to me. A smile and a tear in every phrase.

I remember playing Round Midnight off The Down Home New York album to a Blues loving alto player many years ago. He was taken aback and turned to me and said 'wow......he plays a natural note......just for effect' The great Archie Shepp! Sheep Sheap Sheet Schep Shep

It'll be Ashes time again in England soon Gentleman. And then on for the second part of the double to Australia under the hot bright sun. Goodie Goodie Yum Yum! Just like cricket in the old days before England started 'winning' again.

Kind Of Blue (only the stereo I think)? was infamous for being a half step sped up for years until someone in the cd era decided it should be converted to concert pitch.