robertoart

The singer is from my town. I saw her playing in a club years ago. I hear her a lot on Public radio. Kinda the queen of the local Soul scene I gather. Great big diva like voice, but more of an old school vibe than the younger singers who have probably grown up in the digital age - if memory serves.

That doesn't remind me of Prestige much. What's the music like?

I can't be sure, but I think I heard that Gregory Green, Grant's oldest son, who works as Grant Green Jr, got that guitar in the end. MG I hope so.

I believe you. I have been immersing myself in Syreeta for the last couple of days. Made myself a Spotify playlist. Don't know if One To One is on there yet.

Is this the one with the remake of Born Again? And I see it's not. It's this one...

"Considering the times being what they were, we did very well and got a lot of money". Does George Benson really need the money? I was wondering that myself. It seemed like a bit of a crap thing to say really. Kinda cheapens the legacy of the instruments. Especially considering how much he goes out of his way to honour the mentorship these guitarists gave him.

Yeah Zappa could count real well, but for someone with such a dirty guitar sound he sure spawned a lot of antiseptic Fusion. And the awful Steve Vai Hair Metal -in complex time signatures genre.

That's a most unusual story that a cowboy would show an emerging Jazz master his first steps towards playing Rhythm Changes. Here's a more usual story regarding Wynton Kelly sharing a jazz language system with an army buddy, Willie Thomas. Here's the quote...from from here My link "I'll start with a little history about my discovery. It started in 1953 when I was in an army band with Wynton Kelly, the piano player with Miles Davis in the 50's. After our daily jam sessions in the barracks, I would always corner Wynton in a practice room and start the "hey, what scale was that and what chords are you thinking about when you played that." With his gentle demeanor, he would always respond, it's not what you name them it's the way you organize and play them. Then one day, he sat down and showed me these simple melody chains that he used to connect his lines through the changes when he was developing a new tune. Once he found these little melody patterns, embellished them and connected them with chromatics he was off and running. These little melodies, I later discovered were a part of the Pentatonic system and the DNA of the jazz language, a la bebop! Here's the basic system. These two little notes I call Pentatonic Pairs, form melody chains that are easy to hear and play through the changes. There are 5 of these Pentatonic Pairs in every major scale. For my purposes, the Pentatonic Pairs on the II-V-I are the most important. If you continue to connect these Pentatonic Pairs, they form a melody chain through the entire Dominant cycle. The best way to understand is for you to experience them youself" And here is Willie Thomas demonstrating the 'knowledge'.

Did the barn get blown down MM?

Here's a picture of Wes's guitar before and after post-fire restoration.My link there is a more comprehensive article in August 98 Guitar Player magazine. George Benson had Grant Green's D'Aquisto at one point but has since on sold it I believe. My link Actually it seems like Benson had the Montgomery and Green guitars at one point. The interview below suggests Pat Metheny owns the restored L-5 while the Green D'Aquisto has also been on sold... "You recently auctioned off some instruments you owned that originally belonged to some pretty famous people. GB. Yes. Pat Metheny bought Wes Montgomery’s L5 at auction. I didn’t know it until I ran into him in Europe and he said, “George, I got the Wes guitar.” And I’m happy, because now I know it’s in good hands. I worried about it when I auctioned it off. Also, Grant Green’s guitar. That’s one of the best-sounding instruments I’ve ever heard, but it was in my closet and I was afraid the termites were going to eat it up. Considering the times being what they were, we did very well and got a lot of money". My link

"RC: You know, I just listened to The Real McCoy, maybe for the first time since I made it. I had the original album still wrapped in cellophane. (I probably should have not taken the cellophane off: I could have gotten a fortune for it on eBay.) But someone was telling me that it was one of the great records, so I took off the cellophane and listened to it. I was taken aback. Wow! We really got to it there. I was like: let's try to get there again!"

My ashes after I have been cremated. Or some good fertiliser, if I prove not to be so.

There's one take where the overhead microphone wasn't working for the first 1.32.

That's got something to do with a thread here a few years ago about how some (most?) people can't recognise a well known song if it has different words; they don't pick up on the tune itself, even though they know it, or the instrumental intro, so when they do get to a point where it's recognisable, they applaud. I always thought this was peculiar, until I read that thread. MG

Unfortunately no. Only on it's original vinyl. I put up a youtube audio of the whole LP Talk about greazy. That album is grease personified. If you haven't heard it, here it is. If anyone can help with identifying the drummer I would be most obliged. (and so would the drummer probably My link

Yep. After about six years prior of -getting selected LP re-issues from BN and Pathe Marconi etc., and whatever rare original pressing lucky finds I came across in the used bins, and contemporary releases on Black Saint etc., it pretty much started for me around the time of the Mosaic Grant Green and Larry Young box sets. Then came (almost simultaneously the Japanese cd re-issues, and then a steady stream of almost everything I had ever hoped to hear. A glorious time of discovery for those of us who weren't there the first time around.

Goodness! Do you have all the records he made with Lloyd Price for ABC? Johnny Griffin/MatthewGee 'Soul groove'? Johnny Lytle's 'Everything must change'? The two Jimmy Ponders - 'Mean streets, no bridges' & 'Jump'? Art Blakey's 'Hold on, I'm coming' (under the name of Malcolm Bass)? A lot of these aren't obvious targets for a Patton collector. MG Actually MG you've made me realise I have a couple of holes in the collection. I haven't got any of the Lioyd Price, not that I wouldn't enjoy it, but I guess I see the discography starting with Along Came John. I know that's wrong, but still... I haven't got/heard of the Griffin...I would love to have/hear that. The Ponders I have on 32Jazz re-issue, but in all honesty I think I sold it off and made a digital copy. Now the Blakey I ordered from Japan on cd years ago, before the internet, but it never came through, so I settled on a jazzblog download. I genuinely forgot I didn't have a hard copy of that. Not one I return to for listening much actually. Possibly why I never bothered to track down the expensive Japanese cd after the internet made it much easier. (Is it true it was recorded on the same day as The Grass Is Greener? or was that Laughing Soul?). I also haven't got the Jimmy Smith with Patton playing tambourine either So you have exposed my incomplete completism However you won't be able to find any holes in my GG or JBU btw, do the Lloyd Price band sessions identify the players. So many great players passed through that band, I would love to hear Pat Martino playing for instance. But I have never begun to do any google research into it.

Ever seen Test Cricket. Only game they play for five days, and still don't get a result.

I have everything in hard copy (lp and/or cd) of James Blood Ulmer -leader and sideman -except some 8bar solo with a heavy metal band??? and Roots -Phrenology I have everything in hard copy (lp and/or cd) of Grant Green -leader and sideman -except the Dodo Greene, Harold Vicks Steppin Out and the Joe Carroll. I have everything in hard copy (lp and/or cd) of John Patton -leader and sideman -except the Red Hollaway, and the one on Alvin Queen's label with Melvin Sparks. I also have a complete Ringo Starr solo discography up to 1979 - accept for Beaucoups Of Blues - which I will get when I see an affordable near mint UK vinyl available. Oh I haven't got the recentish Blood Ulmer on the 'In And Out' label, but I recently heard it on Spotify It's a great listen.

Yeah. We know potboilers when we hear them, And see them too Although I must admit, I've still gotten a lot of pleasure out of potboilers (both audio and visual) over the years.

Kenny Burrell. I know he recorded the Generations album on the early 80's revived BN. So that's been a while now.

Is this the sort of thing that is disturbing you? That's a bloody awful Monet I gotta say. Just goes to show even the Masters had an uneven output. ps. the colours might redeem it a bit in the flesh.

Bingo! Virtue, true virtue, is inconvenient. But it does exist, and all the rationalizing and qualifying that can be mustered only obscures that fact. It doesn't alter it. I mean, we're all whores in some form or fashion, pretty much all of us. If you do something you really don't believe in for a paycheck, you're a whore, simple as that. C'est la vie But I don't think that any of us would glamorize our whoredom, especially to the point of recruiting others into it. But there are those who do (and they're everydamnwhere), and the more "attractive" they're positioned, the greater the allure of doing any damn thing for money and fame gets, and sooner or later the notion of "virtue" ends up getting mocked, discarded altogether, or even worst, redefined in such a way as to serve the procurers. This isn't about sex, not really, it's about what of yourself you insist on keeping, what part you share, what part you let go, and the terms and conditions of how it all works. It applies to the physical and the mental and the spiritual (however you define that). And the more you can convince people that what is intrinsically theirs is really "no big deal", just a tool, a means to a bigger end, the easier it can be taken from them and put to whatever use the taker has in mind (which usually involves some form of exploitation, guaranteed). We do not live in an age where building people up & encouraging them to stay strong and rise above is a particularly desired outcome. It's a COME ON DOWN!!!! world today, and the further down you come, the happier everybody is. World gone wrong. i worked for years in the employ of the Salvation Army (although mostly my paychecks were actually from the Government or community sector funding). When I first started working for them, I knew nothing of their theology. I just thought they were those good natured humanitarians who helped those in need - and felt they had to wear a uniform to do so Admittedly I didn't have too much to do with the Salvo's themselves in my day-to-day roles. Later, as I began piecing together their Religious beliefs, and realising they were stock standard - garden variety - Bible-belt fundamentalists (with the usual rabid anti-Gay and Lesbian diatribes that go along with it), I still kept taking the paycheck. And I had plenty of colleagues who felt the same way, who also kept turning up for work everyday. Plenty of them.

You mean 'is it M- or VG+++?' As she's a virgin, impossible to know: the package hasn't been opened Still sealed? Ahhh, it's probably warped.

Sure it can, and still does. Why does Jazz have to be linked so comprehensively to the 'American Songbook'. Especially when the Jazz masters provided an equally valid compositional legacy of their own. It tends to imply that without 'the songbook' African American music wouldn't exist. And downplays the genius of the players who responded to the pop culture of their day. Contemporary players will/are developing their own relationships to the moments 'popular song'. Same as always. Why does the 'songbook' have to be seen as Jazz's 'progenitor'. This is not necessarily what John Lewis is saying either. Here is another quote along these lines, related to Gerber's Jazz Jews book.... "of this symbiotic relationship between the songs of Jewish-American popular composers and jazz. The show will feature the songs - jazzed up - of such Jewish-American greats as George Gershwin, Harold Arlen, Richard Rodgers, Jerome Kern, Irving Berlin and some lesser known composers. Songs that although not written for jazz, have contributed so much to it." The Saxophone wasn't made for Jazz either, but has contributed so much to it.