robertoart

Lonely Woman, Horace Silver. it is quite beautiful. Guitar tuned down I think.

Well originally it was Gawd, I wish I had all of it on vinyl.

Actually I never listen to that synth track. It's special to me because I got it at around the time of its release. i was young, so it became a kind of formative LP for me. And I was obsessed with looking for guitarists who were connected to Ornette in some way. Either directly or playing his songs. I think the band had some issues with Manfred Eicher and Metheny bore some resentment for the way the album came out. But yeah critically speaking you are right I would agree.

Holy crap, I've got some cd's that might be collectible then And now that I'm becoming a vinyl snob... Don't tell me all the corners I cut financially to get those DIW's back in the day might be unbeknowst some kind of retirement plan Just try prying Recording NYC. 1986, from my cold dead hands.

Without even hearing it, I think fans of his more accessible PMG material will love it. This one isn't gonna sound like Painkiller. I was just talking to *my* friend with a Tzadik connection and he says he first heard about this three years ago, so it's been in the works for a while. I'm a bit out of touch with what's going on sound wise lately with either of these guys actually. But I have to say, CJ's infectious enthusiasm for all things Metheny has me contemplating one of my ten yearly re-investigations of the PMG material But I'll probably just return to the arms of my beloved copy of Rejoicing. That's the one Metheny himself doesn't even like

mmmm, got out of South Africa early. Every time I used to hear this guys name years ago I thought he must have been one of The Ramones.

Here is some comment on Grant Green. "Grant Green played some of the most beautiful and moving guitar music ever committed to vinyl". Me.

I thought immediately of Benson after reading CJ's post as well. But I also don't think Metheny has the same kind of dilemma as Benson. At least not in the way Benson did in the 70's 80's. The difference between a smash hit Pop Chart No 1 and a Quartet blowing session being a fairly significant dichotomy. Benson got around this by regular guest spots on pure Jazz albums ie., Freddie Hubbard, Dexter Gordon, Jimmy Smith and numerous others. What is interesting with regard to this kind of question re-Metheny is... basically Metheny has three modes of playing or dialect as CJ put it earlier, The Latin Smooth Jazz type PMG band stuff, his 'blowing dates' on his own compositions or those from the Jazz repertoire, or his 'noise-sonic' improvs. I doubt Metheny really suffers too much 'fan' disillusionment' as by now, word of mouth - and/or auditioning - will alert the fan base to what he's up to on a specific project, ie., 'oh...it's one of 'these' type of records...or...'oh he's doing one of these ones again'. In fact, compared to the very soft and smooth sound of the PMG group type stuff, wouldn't the intense 'blowing' albums be just as problematic and of disinterest to his 'mainstream' audience as a Zorn inspired project such as this one? And was there ever a time he was really able to integrate all three of his approaches into a unified artistic vision or album. That's something that tends to be a question mark over these eclectic guys like Metheny, Corea etc? 80-81 maybe?

Horace Parlan - Up And Down has the world record for that.

Original vinyl pressings of BN Baby Face Willette. Grants First Stand Here Tis Face To Face and Stop And Listen will all cost a 'lot' of money. Especially if you get into a bidding war with a collector with 'deep pockets'

Yeah I was disappointed when I first saw it, but watched a repeat a few years later when I was a bit older, and found lots of hilarious stuff. I just love the chemistry between Richard Pryor and Gene Wilder.

Yes and no. Not sell more records. But any crossover of audiences will benefit the interests of both parties. Each of which has shown extremely shrewd career and 'creative' choices since their respective 'get go's'. Cynical perhaps about the spin telling us just what an 'organic' process this project has been. Same way I remain a bit cynical about how after years of lobbying from the Ornette sidemen Metheny worked with, Ornette 'just' decided to go into the studio with Pat. And then read later Metheny 'sing the praises' of Denardo's drumming'.

These were my first thoughts. The 'quotes' seem like a parody of effusiveness. Kinda takes me back to this With 30 years of excess cynicism. I think 'the concept' has primacy here

Well who woulda thought it. Truth is stranger than fiction. I wonder how they got around Zorn's bagging of some of Metheny's Free Sonic stuff I wonder also, if Metheny will invite Zorn to guest on the next Metheny/Mays collaboration

Wow. This is like reading a boxing report. RRK took him in the fourth, RRK KO'D him in the seventh, RRK won by technical knockout in the tenth, RRK's 'opponent(s) threw in the towel in the twelfth, RRK in a special promotional match with a woman, ripped her bleedin head off... what a load of shit.

Actually the Prestige session tapes that don't include Miles, Monk or Coltrane are stuffed into the back of a storage cupboard under a pile of rags and other cleaning paraphernalia the Janitors don't use anymore, but nobodies bothered to throw out. A Japanese jazz executive stumbled over them serendipitously a few years ago while he was fumbling around in the closet (don't ask), and made some tape copies.

Mrs Slocombe Mrs Miniver The Phantom

Do you ever think you'll move to Florida Jetman, Sheesh....I'd hate to play a round of golf with you and Lou Donaldson.

Yeah. The oldies are always the goodies. Like Jim Hall.

Steptoe And Son Bram Stoker Stokely Carmichael

AREN'T WE AFTER MORE CREATIVE AND LESS RETRO DIRECTIONS? Try guys like Samo Salamon, Julian Lage, etc. All I have to say is OY. FWIW, Eubanks' latest is excellent, and if you want to hear some creative guitar playing from years past from him, just pick up any of the ones where he appears with Dave Holland. "Extensions" comes immediately to mind. Whether Malone is "at the top" depends wholly on your definition of that phrase. There are several guitarists out there who are at the top of their games, for instance. I don't know.........someone named "Metheny" comes to mind! Guys like Eubanks and Juris smoke both of these guys IMHO of course. Juris has a lovely soft approach to some very advanced Post-Coltrane modalism for sure (a bit like the Liebman school of Saxophanists), but he's hardly what I'd call a commanding player. Now Malone on the other hand, doesn't really suffer from that problem Eubanks I haven't heard in years though. Please take this within the spirit with which it's intended: you are out of your mind! Maybe, but I'm right. Juris is a Teddy Bear (in a good way) i also think the idea that some players move in more creative directions - especially those employing processed sound or updating Fusion - to be a bit like smoke and mirrors - and ultimately still just a matter of personal taste rather than 'creative breakthroughs'. The guitar is a bastard of an instrument like that. You're obviously a legend in your own mind! Truth be told, if anybody here wants to hear any of the very best jazz guitar ever recorded, I would highly recommend the Jim Hall 3 cd addendum to the "Live" album from 1975 (released by Artist Share late last year). You read that right --- yes, Jim Hall, and from 1975 no less. Yes everybody knows Jim Hall and yatayatayata......I'm sure a 'true New Yorker' must know what that means You're still shirking my point. None of the guitar players you (or Milestones) mention, are really presenting anything really new with the emperors clothes they wrap themselves in. Accept for Metheny's 'emergence' in 1700 or however long ago it was now. To think Stern playing bebop lines through a pedalboard is 'more creative' than a Malone who essentially plays the same vocabulary in a Piano Jazz based context is not very insightful. Frisell is not one of my favourites personally, his clawhammer hillbilly chord melody approach is very creative I suppose, but not my cup of tea culturally. The interesting or truly creative players will probably emerge from the Jazz/Hip Hop movement (or wherever it evolves too) or as always from the Free Jazz Chamber side of things.