robertoart

Richard Wyands and Kenny Burrell just epitomise 'Lounge' in a great way. That was a super complementary team.

It's a crying shame we don't have any early film of Kenny (and Grant or even Benson) from the Sixties, like we do of Wes.

The older Kenny Burrell thread (from 2012) seems to have been deleted. I have no idea why. See. This is what I'm sayin. No love for Kenny

So..... i really like the early 70's electric piano vibe of the Round Midnight album. Also the Verve Night Song album. This is of course in addition to the more well known albums. I remember buying the Generations album when it first came out, but couldn't get with the three guitar format, even though I get into Bobby Broom and Rodney Jones. i'd like to hear that one again, all these years later.

I can't get to the link?

Link a Kenny Burrell tune or two if you feel like it. It would be good to listen to and compare. I was just listening to Mule a few minutes ago, but that one is a slow burner. Kenny Burrell doesn't seem to get enough love as he should. I wonder if Tal Farlow and Kenny Burrell knew each other in those early days. The Red Norvo recordings are from 1949 and Kenny Burrell started recording with Dizzy Gillespie in !951.

I always thought this one was Tal like. Maybe it's just the tempo. BTW this is a live version of Jimmy Smith's Ready n Able, Benson originally did on Cookbook. Not Godchild as the uploader says. http://www.youtube.com/watch?v=tWoQb7YYLns

And also, in all these various White American Blues bands or conglomerations/projects, I can't think of any Black American players that were from the same younger generation (on record at least) that seemed to be there side by side during that era. I'm aware of Phillip Wilson, but it seems very different to the cross-cultural bands and affiliations that occurred on the Jazz side of the street.

I knew all this guitar talk would bring you back out of the woodwork. Do you think Benson's lines owe something considerable to Farlow?

Actually I do adore the playing of Tal Farlow. Though there is a bit of a maverick approach to 'some' of his concept, that can seem very dazzling or musically verbose rather than subtle - something Vernon Reid refers to in a contemporary idiom as, 'because we can' music. However, the dominant influence of the virtuosic Piano players of Bop, gives this a more grounded context perhaps. One thing I am reminded of when I listen to Farlow, is how the Jazz repertoire was so very much the Pop music of its - and Farlow's generation's - day. I think you can actually hear that they 'knew' these songs and melodies before they learned to play them. So different to approaching them from todays perspective, where we learn them as a form of orthodoxy and 'learning'. They still become second nature to us, but hearing Farlow play them is to hear them played as 'first nature'. The tunes just seem to flow out of his big hands like mother's milk. I also hear a 'lot' of Farlow in Benson's lines, especially on Rhythm Changes burners and Standards. More so than Joe Pass, who could display a similar fluidity. Yes Benson is 'Pentatonic (major)' but they merge in Mixolydian heaven. Also I think Benson plays out of chord shapes a lot more than is generally perceived, and this brings his lines even closer to Farlow. I had heard people talk of the 'timing' issues. Emily Remler (I think), used to talk about this. But I did not know where they were originating their criticisms from. Also when you mention Farlow 'transferring' Bud Powell to guitar, do we know if Farlow ever spoke directly about this. Was it an actual 'purposeful' thing for Farlow, or rather a parallel or 'zeitgeist' kind of thing. I know I have heard him talk of Charlie Christian being his primary inspiration (as Jim Hall and to a lesser degree Kessel and Herb Ellis also say), but can't remember him speaking directly of Powell or even Tatum, though he probably did in some context.

there's no shame in saluting late 60's early 70's Johnny Winter It was the way you saluted him (for me, at least). I'll just leave it at that, as I think it's time for this discussion to go away. Well let me unpack my post... Johnny Winter. White Bluesman. The young Johnny Winter is chaperoned into a Black club (total African American social situation) to see and meet BB King. BB King graciously greets the young Johnny Winter and lets him sit in and play the Blues (total African American musical situation). Not dissimilar to the experiences of the slightly older Bloomfield, Mandel etc al. going into Black clubs ( more total African American social and music situations), to see and meet Muddy Waters etc. al., ......so the emergence of a nascent White American response to Black American Electric Blues. Johnny Winter plays it loud and mean. Johnny Winter learns the Blues language, and then plays it with a psychedelic/hard rock sound combined with a performative sense of danger and intensity that gets across to a White audience beginning to favour long improvised Blues Rock improvisation. Faster. Johnny Winter had incredible technical facility early on. He played fast and clean lines. Tougher. There was a genuine sense of hard edge or threat to Winter's music that seemed real enough. Perhaps a Texan thing. Canned Heat (with Al Wilson and Bob Hite) had a gentler Country Blues vibe. More authentic, and 'Heavy", than any Englishmen. Perhaps, because the English Blues players learnt the music from records, and didn't experience the corporeality of the music, or share in the wider American cultural dispersion, I've become less taken by British Blues-Rock, than by late 60's 70's American Blues-Rock. Maybe this is why I always preferred Coryell's musical legacy to McLaughlin. Coryell always seemed to have an American (and Black American) sound in his hands, brilliant and sometimes shambolic (and still brilliant), whereas McLaughlin seemed to always have (or be trying to convey) a sense of Platonic purity in his work, that seemed incredibly British/European. And insufferably pretentious at the same time. it even carried over into those awful synth guitar albums he made. Although in balance , I have seen his This Is How I Do It dvd, and he does seem to have a cheeky twinkle in his eye, and the way he tells the story of going to see the 'Hendrix at Monterey' movie with Miles is hilarious. The real man's Stevie Ray Vaughan.

Someone I've heard about for years, but never listened too until the last few years. Look forward to hearing this. http://consequenceofsound.net/2013/01/shuggie-otis-details-inspiration-informationwings-of-love-double-album-announces-tour/

This is how I feel about Larry Carlton Lucky High School you must have gone too The Latin motto of my old High School - translated roughly as - 'find out for yourself'

Fantastic.

Exactly. And the Zorn crew also exemplified this (although in a more 'hands on' analog way). It is Post Modernism par excellence. And rather old fashioned now, when compared to the trajectories of other Arts disciplines who seem to have left behind the egalitarian juxtaposition of genre. That is, by not 'serialising', side by side, different genres, or 'collaging', as you say, in a 'cut and paste' process. The things I like about Glasper, and the movement he represents, is the way the stylistic influences are attempted to be 'contingent' within the overall form or integrity of the vision. I get the same feeling from people like David S Ware and Matthew Shipp in the Free Jazz continuum. Of course, this is the same thing Miles was doing with Bitches Brew and On The Corner, or Archie Shepp was doing with Attica Blues, or Blood Ulmer was doing with Are You Glad To Be In America. It's kind of a throwback to a Modernist 'cannabalisation' of influences. But it's not, because we now live in a post digital world.

How many musicians do you know that use a fashion coordinator? Unfortunately, he's not the only one that can't see past bad processed tone.

lon - pardon my ignorance - which album is this? It's the second album by the band "Free". . .selftitled (but not on the front). I have a pet name for this record, but I'll not post it. Rosebud?

That's great!! Yep. Enjoyed reading that. Jose toured Australia very often in the 70's and 80's. A big part of our musical landscape. He was almost as famous here as Rodriquez In fact Jose, Sammy Davis Jr. and various incarnations of Canned Heat and Steppenwolf seemed to be out here every second week

David's Tune and All The Things You Are from David Murray's album Children. A great rhythm section for Blood Ulmer and Don Pullen to guest with. Back in the day, the only way I got to hear the Ulmer track, was by subscribing to my local Public Radio Broadcaster. When I accosted the guy who used to import Black Saint into Australia, and asked him why I couldn't find any copies of this LP, he said he didn't really like David Murray, so didn't bother bringing any copies of this album into the country, accept the 1 copy he had himself He then said he would play it on the radio for me if I subscribed (which I did). When he back announced the track, I think he was a bit embarrassed about playing it, and said to the audience he thought the track 'went on a bit too long' , and that it was a request from, 'a new subscriber' . I also received a free Boots Mussulli album for subscribing , and he made a cassette copy of the entire Children album for me. Nice man he was.

Can you identify the naked females? I don't think this celebration of Jazz in an earthly paradise, is quite what Gauguin had in mind with his pervy paintings of pubescent Tahitian girls. But I like this one better. A good blending of Formalism and Content.

The nerd/geek turn in Popular Culture seems funny to an old fart like me. 'Pop Culture' - where were you when I needed you?

http://www.youtube.com/watch?v=7SHi8zgiPks

Yep. And Affirmation by Jose Feliciano.