robertoart

Trying to get a bit of the 'back to the tradition' action was he? All this a year after 'the guitar synth'

They both have the virtue of spontaneity. The guitar tones are primo.

The snap and crackle of my old Devotion vinyl has reduced the sound to pretty rough and ready for me on that one as well.

Try this. Thanks. That's very compact and user friendly.

Do you have a preference for Devotion over LDS, they're to sides of the same coin I suppose. Just hardcore blowing sessions. The spectre of Hendrix is there for me more on Devotion, but I haven't listened to either in a while.

it's much more fun and insightful to read Nicholas Payton etc. al deal with this. Why doesn't the WSJ let him write about it ....'Who first used the Dominant as a tonic Bitches. Stop chillun on my nutz'

Ah, should have thought of that ... Thanx! I'm surprised we can still do it. It probably won't be long before the 'paywalls' have a some kind of block that directs you back to their interface.

I knew I was gonna be somebodies Straight Man.

Ah...the old type the Article headline into the search engine trick.

Insightful as always Yeah...I like to dig in and get to, like the essence....man. Essentialism always turns me on.

Never knew that about Windy. Doesn't The Lion Sleeps Tonight have a similar backstory.

And you try to tell that to the kids today - and they just don't believe you

Thanks. I'll do some listening. The Thing have been around for a long time if I remember. It was hard to find some of those earlier projects over here in the days before the net connected people up. I used to get copies of Wire magazine and literally make International phone calls to 'record shops' or distributers in those days, hoping I could track down some of the recordings of the Artists I liked or read about. I rang Moers once and got an answering machine in German, left a message, but they didn't get back to me

Kenny speaks! http://www.youtube.com/watch?v=WT95IxecQY4

He obviously felt the need to emphasize his points I thought these things were meant to be smart phones

Insightful as always

It's double posted again fasstrack

What about his violin?

Got some Craig Taborn with James Carter, which I don't get into much actually. Got some sessions with Ed Schuller. It's always possible to check out the musicians you so breathlessly enthuse for though. Did you run home from the gig to post this ? And what do you mean by 'is made purely for the music's sake'? What other sakes are in play when this is not the case? And of course the experience of the music occurs when there is anyone there or not. I'm sure most musicians would attest to some of the most rewarding experiences as being in the communion of other players in private settings...so sure if Anthony Braxton is in the forest, it's still music. We can even listen to his solo saxophone recordings and add some wolf calls (or in my case Dingo barks) to create a kind of mis en scene. But yeah, I would be dishonest if I didn't say I was a teency bit jealous of you being there in the Big Apple and having all this history being made right in front of you. Give us all some Youtube links maybe, if that doesn't corrupt the integrity of your 'live' communion

The first McLaughlin I had (apart from the funny one with 'Devadip"), was My Goals Beyond and Extrapolation, a pretty great place to start. The first release I was able to catch up to 'in real time' was Mahavishnu in 1984. I was so pissed off with that album, I think I have resented him ever since Still have no idea about the answer to the question though.

Woof.

Not Fusion? Can't they stamp that out before it grows?

Yeah, different world today. Hopefully no more assholes will try rewriting the old one in their own image. Anyway what's wrong with Kenny Burrell? Surely these emerging giants you push must have some Kenny in their collections somewhere? Maybe he even taught some of them.

Good stuff.

Wouldn't bebop be an obvious exception to this rule? It came from back musicians, but not really from the ghetto, and never had too much popularity there. I don't think that's true. If you look at the material played by soul jazz musicians in the sixties and early seventies - whose work was primarily aimed at the ghetto - you find a load of bebop tunes being played as part of a general 'menu' of entertainment alongside soul songs, blues, swing numbers and general pop songs. And don't forget that Diz and Bird and other beboppers got singles onto the R&B charts in the forties. MG Sure, a lot of musicians who played soul jazz in the sixties and early seventies were fluent in bop, and brought those sensibilites to the music. But if you look at bebop in the 40s and 50s, the audience and fans were predominantly middle class and above. The sound of the ghetto was R&B / blues. Of course, the Central Avenue scene in L.A, where bop and R&B were almost bedfellows, may have been somewhat of an exception. . On the other hand, I know what you are saying, and actually agree with it to a large degree. Even if bebop was "high brow," it still embodied the sound of the street and got a lot of its power from that source. The audiences may have been considerably middle class and White and above, but the musicians that made it weren't. They were the intellectual extension of Black community music. And by the way MG, Hip Hop and Rap culture was well entrenched as the creative voice of the Black Community music a decade or more before 1994. But had gained traction as a White mainstream entertainment by then. Jamaaladeen Tacuma was incorporating it into Harmolodics by 1984. Warhol and Basquiat were a tag team by then as well. And don't anyone counteract with that pathetic (Basquiat was a middle class son from a rich neighbourhood shit). a la Max Roach, Miles Davis etc. al.