robertoart

They've been levelled at the second for a long time now. i don't think that music is going to be re-appraised in the same way that the reputations of the post Bitches Brew albums have been rehabilitated. Unless the Robert Glasper/Bad Plus/ generation are claiming them as antecedents (maybe they are?). I heard Liebman with McCoy Tyner fairly recently in a...um....err....recital/concert hall setting. When he played Blues On The Corner - he lifted it to another level. I definitely felt what I was hearing from his horn was great. Really great.

This appeared on Liebman's facebook page last year. I think there is a thread on the board somewhere. Interesting reading that's for sure. Funny that Liebman felt all at sea in those bands, and tends to play that up in these reminiscences. He was there towards the end of the first Electric period. The music was/had reached its crescendo in terms of where it had evolved from In A Silent Way. I remember reading Miles say that he stopped playing at the end of this era because - 'he was so bored'. Perhaps he was bored because he had realised or found the natural conclusion to his exploration of Black rhythm modalities. Perhaps he'd achieved his aims and had nothing to strive for anymore. In the other archive interview from the The Guardian, from the the time of the Under Arrest album, he seems to be pushing the idea that the second Electric Period had another kind of project in mind - with regard to the elevation of Pop melodies - into an extended improv setting that was still 'creative' and relevant to a contemporary experience. Perhaps it failed (surely it did), because Miles wasn't able to surround himself with the sideman to realise this vision - the way he did all along the way during the first Electric period. "Cedric Lawson on electric organ, Khalil Balakrishna on electric sitar, Al and Badal as I mentioned, Mtume on congas, Reggie Lucas on guitar, with Michael Henderson on bass"... plus Bartz, Cosey et al. these were the kinds of players that realised Miles vision in the end. By the time of the second period, maybe he was too out of touch to find the right kinds of players organically, by being connected to a vibrant 'scene'. When he started the second period he surrounded himself with Music college graduates who had spent their lives trying to unravel Coltrane, (Scofield,Stern,Evans,Miller,Berg etc.) - hardly the kinds of minds and social history that was going to realise a great Black Music Pop Improv project. Scofield, often, (petulantly?), disses Miles as being obsessed with getting a 'hit' record. Maybe he started to find those sideman later on, but possibly the rot had set in by the choices he made early on in the comeback period.

America is a concept, by which we measure our pain.

What they don't know won't hurt them

Yeah, very interesting. How many Indie Rock fans who could afford/have the social opportunities to send a kid to Harvard, were having kids this young - so as to make this all 'believable'. Maybe wait another 10 years and it might all 'fit'.

My link Just thought I'd repost billf's link to the archival Miles Davis interview from The Guardian, that got lost in the board malfunctions. Miles and Richard Cook do their collective best to advocate for Electric Miles Pt.2 I doth think they protest too much.

The vaults must be dried up.

And I'd very publicly like to thank..............

The Larry Coryell records on Vanguard are great. Some classic playing and some other kinda funny 'timepieces'. Roland Prince is a very interesting and highly skillful guitarist with Calypso influences. I have/had his Vanguard Lp's and his sessions with Elvin Jones. I believe he relocated back to the Caribbean. This is one of my favourite guitar recordings ever -

So this is possibly the last time Wes was captured in performance. Fairly significant recording I would think.

It's really fantastic. You have Linda Sharrock's vocals to contend with though. Which you will probably appreciate, especially in regard to your church sermon interests. You can audition a couple of tracks here My link Blind Willie is on this album. One of the most essential guitar recordings in Jazz history. And also Ask The Ages is a masterpiece bookend to Black Woman as well. I need to get a copy of BW again myself. I had this on vinyl for awhile in 1987. It was probably an original, or maybe an Affinity? re-issue.

What does this mean? 'Wally' Traugott - who mastered the Blue Note vinyl in the 90's (from the digital files acccording to info at the Hoffman forums). Stop And Listen - 'Wally', $25 near mint Stop And Listen - ' RVG', $500 near mint it's the monetisation of vinyl

Fantastic. Has this been circulated before? Was anyone expecting to hear this? Listening to Naptown Blues now. Here's Wes from the actual performance.

No. It's well and truly an Australian thing as well. Plenty of dice on rear view mirrors (still). Although it was more related to the Australian 'shaggan wagon'. A hotted up panel van beloved of surfies and other freewheelin bottle blonde Aussie men. My link Actually, the stoic Kombi van is still seen on the highways and byways of OZ too. Hippie woman often have crystals and other New Age paraphernalia dangling from the mirror. Actually I seen one recently. On the back of the van was also graffitied 'I love Cognac'. Possibly a New Age Jimmy Smith fan?

17 days to go! I hope they haven't gone out of business before they release the Holy Barbarian

Sharrock said whenever he took a solo in that band, it would ruin the mood Well, I haven't got those. (Sung to the tune of 'One meat ball') You get no sleevenotes with one download. Can you scan them, Jim? MG I'll try to get to them this weekend, Will email them when done. Is that REALLY a Ray Ellington album? MG Uhhhhhh.... In addition to being a good drummer and a charming singer, Ray was the voice of Major Bloodnok in the Goon Show, and sang a song during each show (I see that Ray Nance guested with him on this once). Actually, I rather think that Ray was my real introduction to jazz, in terms of something that I heard regularly while I was a kid. MG If you put an afro on this guy he'd be a dead spit for Phil Lynott from Thin Lizzy

Yep. Excellent concise piece of writing. The avant-gutbucket description is a bit hackneyed but otherwise a great read. Maybe there's going to be an Electric- Harmolodic revival. I better go and tune up the axe

Does anyone know the history of the Mintons/Monroe source. Does the original source still exist? Who has it? Are the re-issues from copies etc? It was interesting to read of a speed corrected Swing To Bop (Topsy). But fake applause? I have never felt the sound quality to be a barrier in this priceless recording. Almost the opposite in fact. CC's guitar sound is all Blues and balls.

And far too young for you. Dirty old man

Crap singer, crap comedian. http://en.wikipedia.org/wiki/Freddie_Starr MG And an even worse leg spin bowler.

Crap singer, crap comedian. http://en.wikipedia.org/wiki/Freddie_Starr MG I prefer to remember him as the singer of Merseybeat group Freddie Starr & The Midnighters. Nice for what that group was as part of that particular music scene (most everything that runs under "Merseybeat" has cult status among diehard collectors), nice for fans of the music but irrelevant to others who are musically and/or geographically unconcerned (a bit like mid-60s US Garage Punk or early 60s French "ye-ye" was/is irrelevant to those who are NOT fans/collectors of that particular genre). As for his later doings ... phew ... I see. The Merseyside/Liverpool scene. These are the fans/collectors who argue if Pete Best was a better drummer than Ringo. On the Hoffman forums there was a guy doing a Masters course on the Merseyside history. He was claiming it was common knowledge that Pete Best was the best drummer in Liverpool. I think it was the old guys of Freddie Starr's generation who were the experts/guest lecturers for these courses. I've read some interviews with King Size Taylor who also claims to be the expert in these matters. There was a recent book exploring the influence of the Calypso community on the young Beatles, but nobody seemed to be interested in that. I s'pose it doesn't make money for the old geezers club.

Earlier thread that answered some of the Caravan Of Dreams questions. my link

Great! Maybe it will get an encore run over here. 25 years after its illustrious one shot screening. I was there. It screened as part of a Jazz double bill with a Sonny Rollins concert doco. All the way back in 1987? I remember Ornette rambling about the difference between Male and Female and Men and Women???? Or something like that. Keep an ear out for it

After Gary Glitter last week, Freddie Starr has been taken in for questioning in the Savillle and others investigation. Bad stuff. What is Freddie Starr famous for? Is he a comedian?