robertoart

Truth is stranger than fiction. Next up - Donovan - Live At The Lighthouse

So MG, I have always wondered about the band because of the Grant Green connection too. Is it true many of the musicians Grant used on his second Blue Note run were Pucho alumni. I guess the connection makes sense in light of what you write above, re- where the band drew it's audience from.

That's one of the most out there connections I've heard. But why wouldn't Gould like Bacharach inspired 60's pop? Everyone else does. Except maybe Chuck Nessa.

Wouldn't that kind of injury feel different - worse - than the original one? I'd think I would know if the muscle is torn off the bone vs a micro-tear as in a 'pull". Yes, you're probably right. Aussie rules footballers here usually miss about 3-4 weeks with Hamstring injuries, so if you rest it for that long and it doesn't feel normal again you should get it checked. Although as we get older the healing process seems to take forever

You should get it seen to. It might be tore off the bone after re-injuring it. You might need an MRI scan.

Haven't heard it. Kenny was big in the ghetto, in those days. And the Christmas album may have given it a bit of a push. A few years ago, Jim got me a CD of a radio programme by Sonny Hopson - The Mighty Burner - a DJ at WHAT Philly = a mainly R&B/Soul programme from '67 or '68 and there's Kenny doing a beer commercial in the middle. THAT is street credibility. I bet he didn't mention that in his Guitar Player Magazine cover story.

For the Brits. From Us (Aussies) To You

I haven't heard the recent ones. I would like to hear them even for the fact to hear one of the last of the greats play at such an advanced age. A couple of years ago there was a streaming audio of a Birthday celebration for KB, it seemed like it was in a small club or even a house. I paid the small amount of money to have access to the concert, but the video stream was too strong for the broadband link here, and I missed out on seeing it. Apart from the chance to see such a special event, I was very interested in seeing KB approach his instrument in his 'twilight,' so to speak.

That's why I see copies of Tender Gender on ebay all the time and very cheap. Any idea why was that one, above all the others was such a big seller MG?

This is great stuff. RIP. I went to a local 'Bluesfest' a few weeks ago, enjoyable though it was, it could never compare to this. The organisers are hoping to bring out some 'International' acts next year. And yep....who would be on the top of their list for a 'Blues Festival' - apart from Bob Dylan Yep...Bloody Robben Ford - with his wispy washed out/thin vocals and Fusion scales. Give the people what they want. Not that there's anything wrong with that...but still...

No it wasn't a fight, it was just two different opinions, they were interesting opinions too, that's why I remember it. If it isn't linked..... it was basically "Clem" playing the 'devils advocate' and saying Kenny Burrell's Lps were basically 'professionally played and too tasteful for their own good, not dynamic or vital enough - that kind of argument if I remember correctly. jsngry (who appears to have a 'very informed' knowledge of Burrell's discography , responded that Burrell was the kind of player that represented everything Grant Green was hyped up to be - but wasn't. And that if (like Burrell), you weren't 'a drug user' in those days, then you had to have something special to 'be part of the musical landscape of the time'. Of course the arguments were more 'nuanced' and the poetics more 'developed'' than that, but that was the gist of it. I can see merit in both opinions, and have thought them myself over the years, but personally I can't live without Kenny Burrell's music for too long.

I think it would have been a miracle for Burrell to have emerged at that time with that tone (and lines), and not been from a Black music community. Does the choice of guitar/amp change a great player like Burrell's sound that much, or was it rather a change in 'conception or approach instead, kinda like what jsngry was saying earlier in the thread? Even the difference in 'era's' for instance, as Mark Stryker refers to, might have an effect on the way we perceive tone and performance? Kenny definitely changed from a more generic bop approach in his early LPs, to his own style by the time he led dates on Verve. The same way Phil Woods went from a Bird imitator to his own man on that Herbie Mann date in 1957. In fact you can hear both of them on KB's LP "A Generation Ago Today". Phil sounds like he's making fun of Kenny when they trade fours on "Stompin' At the Savoy". It could have been the superior recording facilities at Verve compared to the funkier sound of his Blue Note LPs, but his sound on that Night Song LP is clearer, rounder, fuller and warmer than any guitarist I've ever heard. We can probably thank Kenny (and Johnny Smith) for making the D'Angelico New Yorker sell for $40,000, and the pickup he used, the DeArmond 1100 Super Chief, $1,000. Glad to hear another Night Song fan. I have the original Verve White label pressing of this. It sounds even better on vinyl. In fact did this session ever get a CD release? I originally had it on a cheap 'Record Club' type record that I had for years. When I returned to buying vinyl in the 'ebay' age, I had to research the original sessions on the web to find out how and where the tracks first appeared. As soon as I got the discographical info that it was originally released as 'Night Song', I tracked down the Verve vinyl. You can do that with the great 1960's Verve albums because Collectors haven't bumped the prices up, and you can often find mint sounding records as well. Here's one (among many) that's older, but actually got off the ground a bit more: Can we still get to the one where Moms hates on Kenny, or has that been disappeared like a south american dissadent? It's here. He/She ;) "lives on", but only because people quoted him/her. ;) I remember that thread very clearly Moms/Clem comes out fighting, jsngrey then presents the case for the defence. Can we have a rematch? sngrey v mom in a battle for Kenny's reputation

How did he hold her against her will? Lock her in his dressing room? Tie her up? Was Miles a stalker as well as a hitter? this woman was a friend of his for many years. this happened in his apartment after she received an emergency call from him. i don't remember what the "emergency" was except that he was asking for her help. of course, as it turned out he was fueled with cocaine. Oh dear.

I just want my copy of Low Life back. Bought at time of release and lent to a grubby Baritone player the next week, who proceeded to decamp to Amsterdam. Never got to hear the Lp. Was that a good record

wasn't it just that hair preferred to stay under the skin to hear less of their weird music?

Fusion musicians never wore facial hair. They were very disciplined.

The Metheny track is brilliant. Very much his own man. Maybe Jim Hall on steroids. Must get that Cd. Early Burrell I forget to listen to enough, although the live Dorham is a favourite. The vangelder original vinyl must be worth a fortune nowadays. And Farlow 'must' have been the big influence on McLaughlin.

I guess it depends how you count generations, Sam Lay and Jerome Arnold were, I believe, just 7 & 6 years older than Butterfield... Well, it's good to be proved wrong! Here's an excellent interview with Sam Lay http://www.drummagazine.com/features/post/sam-lay-profile-of-a-blues-drumming-legend/P2/

I like this quote better... "- much more melodic than I remembered".

Great pick. I forget how long it is, but he really makes a beautiful transition from inside to outside playing on that. I remember playing that track for a few people at random back in the day, just somebody would be hanging out, not "jazz people" or anything, just folks, and not everybody would dig it. But some of the ones that did would get up and start hollering and screaming the deeper into it that Trane & Elvin got, I mean, involuntary reactions and shit, like in church or something. My first reaction was not quite so outwardly demonstrative, but yeah, I was gripped, to put it mildly. Still am. Ultimately, that's the kind of music I like best, the kind where "liking" it or not is not an option you have. It just takes you over. BAM. Figure it out later, if ever. Hell yeah. When I read your post I was reminded of catching Coltrane's quartet at Shelly's Manne-Hole in L.A. around 1965. People got so lost in the music that they were emitting primal screams and shouts. Those small cocktail tables were being knocked over, glasses were breaking, it was pandemonium. It was like a vortex in the room. I have never experienced anything like that, before or since. When I walked out after the set, a buddy of mine was waiting in line to go in for the next set. He asked me, "what the hell was going on in there?" I could only say, "you'll find out". Amazing. And from a 'West Coast' crowd too I don't think we'll see music of the mind and the heart like that anymore. What an experience to have heard that music in it's own time, unfolding before you!

Why? Finish the story, Chuck... Yes please extend yourself And maybe even tell us about the 'second' or 'third' time you met Miles Davis. I thought if Miles offered to break your arm it meant he kinda liked you. Did he get any friendlier? How did he hold her against her will? Lock her in his dressing room? Tie her up? Was Miles a stalker as well as a hitter? Was Miles always cool in Europe? Or was it just in the States he was a bit of a bastard? I agree. But you've gotta watch out for those Woman who beat men as well Anyway, here is Juliette Greco 'celebrating' their love http://www.guardian....006/may/25/jazz

I had a barber shop shave a few years ago, after a weekend newspaper article on 'the dying art of the men's barber shop shave' put it into my mind. I think barbers are reluctant to offer it now. It's very much a boutique service over here. I should find a barber in the city and do it more often, as it felt good I hate shaving but prefer not to have a beard. And am too old to go with the old fashioned whiskers look that the 'hip' generation are currently brandishing. Blame this bloke.

I think it would have been a miracle for Burrell to have emerged at that time with that tone (and lines), and not been from a Black music community. Does the choice of guitar/amp change a great player like Burrell's sound that much, or was it rather a change in 'conception or approach instead, kinda like what jsngry was saying earlier in the thread? Even the difference in 'era's' for instance, as Mark Stryker refers to, might have an effect on the way we perceive tone and performance?