robertoart

I wonder whether the winning bidder will file an 'item not as described' complaint to ebay?

Actually it's all in the name of sociology My link "People always ask how are people going to change after having sex," he told AAP. err...preferably in the bathroom after a shower....if I feel particularly dirty.

I'll start a collection. Oh I see the bidding is over. Australian 'documentary filmaker'. Riveting.

Yep. How marginalised has instrumental music become in favour of warblers from the commercial side of things. Lest we expect an audience to want to actually be active listeners. How does someone with Bob Dylan's etc.al. legacy, fit into a Jazz or Blues context. If memory serves he was/is a multi-million selling Rock musician.

I haven't read the liner notes yet, but remember seeing a quote related to this release where Buddy or Monk revealed Wes was learning guitar from a young age on a 4 string tenor guitar. This is counter to the 'orthodox' Wes histories, that say he started playing around 19y/o. The brothers also apparently say that Wes was the one out front in their musical education, rather than what I also believed, that Wes's brothers were the ones that nurtured his playing? So I thought a lot of potted Wes Montgomery histories might need re-writing.

Literally your probably right. But in reality Blue Note bears negligible relationship to the label Shorter originally recorded for. Maybe when they re-booted the label in the early eighties with the opening of the vaults -and got some of the old-guard back - it might have felt like a return of sorts. But not now. Imagine them recording Freddie Redd today. They'd probably have to do a google search to find out who he is.

Surely that's photoshopped. Otherwise that's the Andre The Giant of dogs. Can dogs have those kinds of diseases humans can get that make them keep growing?

I'm sure there is a tome or two in that lot. Although I must warn you about the Mainstream Mexicans Apparently they're all hats and no substance. Now the Dixieland Druids....they're deep.

Yeh, I don't think a radio show celebrating Jewish Jazz musicians is a necessarily fascist undertaking Unfortunately the insinuation is that it's connected to a wider cultural project that seems to be going beyond celebrating the Jewish participation in Jazz - re-post 28

“I was scared,” " Someone’s got to take this off my hands". For $40.000 on ebay. Yeah...Right.

So another question might be... Does the distinction remain as Jewish people who play Jazz or is the claim Jewish Jazz hmmmm.....thought so. Here's one Jewish person's perspective. You might find this interesting Fasstrack as it echoes a lot of things you say re-music breaking down barriers, My link

I'm sure your ears are fine. I was just pointing out that the formal similarities will exist across most ethnic/folk musics and the Blues. Probably lots of musicians and music scribes would be hoping in some way to reconcile their social history with their listening history. Does the author make any big claims beyond just exploring the social connections/oral history of Jewish/Jazz networks? Same for Zorn? How does he talk about the Blues and Jewish music - is it anything beyond just exploring musical homonym's - or does he think it's something more significant. His Post-Modernist free-play seems really old fashioned now.

Letterman! I guess if you've ever wondered what James Brown would sound like covering Exile On Main Street this would be it. Pretty good stuff. http://www.youtube.com/watch?v=RTT-pxOUF08

I don't think Klezmer music sounds like Blues at all. I think the formal elements you highlight as similar, are a part of nearly all (European and other) grass-roots folk musics. Not sure about the connections that Zorn makes either, are these to do with formal structures or word based story and narrative? To me the Blues is the Blues - and its essence is not paralleled in any other music (save for its original African musical-etymology). In fact the thing about the Contemporary zeitgeist with Klezmer/Cabaret and Gypsy type musics, possibly has something to do with their disconnection to the Blues and American music traditions. I suppose it's in a lot of peoples self interest to do so.

Arthur Prysock? Ray Charles/Betty Carter? MG MG, I think SS1 means what's marketed as 'smooth jazz' but is really instrumental R'n'B with all rough edges shaved away and almost no relationship to blues at all. Rippingtons and their ilk. Most soul jazz could be characterised as instrumental R&B. MG But it has plenty of "B". Indeed it does. Its development paralleled that of R&B (most of the people who developed R&B were jazz musicians) and, when R&B went smooth, so did Soul Jazz. (George Benson knows why) MG I don't think GB's really responsible for the Smooth Jazz genre. He had so much energy in his playing they couldn't stifle it. I think it's the Verve Wes Montgomery sessions, and then even more so - his last A&M ones. The A&M ones really smooth it over. Even Grant Green's Easy - is more lush than the Benson albums, before his (Benson's), total crossover to pop. There is a harder Jazz/Funk energy on some of those Benson albums, but I guess ultimately it is all semantics, in that the Benson Jazz-Funk (Body Talk, Blue Benson etc) is still pointing the way towards the 'generic' Smooth Jazz styles we know now. I've even got a Verve Wynton Kelly album that is all 'arrangements' and no playing. Yeah, I've got that Wynto LP, too Benson was, I agree, behind Wes on smoothing jazz out. But I was referring to his vocals. MG Oh yeah. I see. His vocals definitely are smoooootttthhhh though. A beautiful voice.

Not sure if anyone's linked to this yet, but here it is. http://dlf.tv/2011/david-s-ware/#

Try a sermon. Rev Jasper Williams' 'I fell in love with a prostitute' is very good, often very loud, and very long (56 mins). MG Oh dear. What's the story about MG? Old Testament prophet Hosea, told by his god to marry Gomer, a gentile prostitute, and what happened to them afterwards. A wonderful example of how to use entertainment to get the message over. MG Thanks MG and JSngry

A dashiki or two is usually a good sign for me. Just watching a David S Ware clip.

Arthur Prysock? Ray Charles/Betty Carter? MG MG, I think SS1 means what's marketed as 'smooth jazz' but is really instrumental R'n'B with all rough edges shaved away and almost no relationship to blues at all. Rippingtons and their ilk. Most soul jazz could be characterised as instrumental R&B. MG But it has plenty of "B". Indeed it does. Its development paralleled that of R&B (most of the people who developed R&B were jazz musicians) and, when R&B went smooth, so did Soul Jazz. (George Benson knows why) MG I don't think GB's really responsible for the Smooth Jazz genre. He had so much energy in his playing they couldn't stifle it. I think it's the Verve Wes Montgomery sessions, and then even more so - his last A&M ones. The A&M ones really smooth it over. Even Grant Green's Easy - is more lush than the Benson albums, before his (Benson's), total crossover to pop. There is a harder Jazz/Funk energy on some of those Benson albums, but I guess ultimately it is all semantics, in that the Benson Jazz-Funk (Body Talk, Blue Benson etc) is still pointing the way towards the 'generic' Smooth Jazz styles we know now. I've even got a Verve Wynton Kelly album that is all 'arrangements' and no playing.

I often think of Taylor and Green as two sides of the same coin, playing wise. Although as I think most would agree, there was something uncanny about Peter Green's playing. I saw him only about two years ago. Stood about ten feet from him in a crowded pub gig. He was doing his old FM and John Mayall repertoire. His band kind of carried him through, but he still had a tone and instinct that set him far apart from the average Blues-Rock noodler. He was just more subdued, and, I suppose, not very dynamic. You could kind of feel the vibe of his illness, and how it was creating a barrier between him and his music, and it was hard to tell what the experience of playing was like for Green himself. But I felt it was a rewarding experience to hear him play. I spoke to some older guitar buffs after the gig who were essentially making fun of him - and saying they saw him when he was playing slide and doing his Robert Johnson tribute - and they liked that better. They then told me they had seen Joe Bonamassa the night before -and how they thought that was the best thing since sliced bread - so I guess that belies where their musical consciousness was at.

This thread is re-traumatising me. Got a mono NY Let Em Roll (one of my all time faves) off ebay, fairly cheap. Expected the worst. Played great. Can't believe my luck. Get to Shadow Of Your Smile. By now settled into listening nirvana - waiting for the mellowist track on LP to start....whole song from start to finish is groove damaged (I guess). Oh well. I had great luck getting a NM stereo Got A Good Thing Goin

As far as I know, it's still the big mystery. And the European years are the ones everyone's pinning their hopes on.

"we can rebuild him"

Interesting - he also talks about being booted off a Duke Pearson BN date in favor of Kenny Burrell. Ike Quebec gave him $10 and said "go home kid". So the Hank date came along ten years later ... All this is discussed starting around the 20 minute mark of the video Was Kenny Burrell on a Duke Pearson session? I wondered the same thing. Did a little searching ... only thing I could find was A New Perspective which of course is a Donald Byrd record. Interesting - he says '63, but the video "corrects" it to 1959, around the time of the Duke Pearson trio albums (upon which it does not appear that KB appears). He also mentions Israel Crosby and Arthur Edgehill on the date. A little Googling reveals nothing about these guys on record together Makes me kind of curious ... He goes on to say that Lion and Wolff were brothers - he didn't know why they had two last names and that they were from South Africa ... Maybe it was a session Duke Pearson was arranging for BN? But that would have been post 63-64? Who knows? I got excited and thought I'd overlooked a small group session with Duke Pearson and Kenny Burrell

Interesting - he also talks about being booted off a Duke Pearson BN date in favor of Kenny Burrell. Ike Quebec gave him $10 and said "go home kid". So the Hank date came along ten years later ... All this is discussed starting around the 20 minute mark of the video Was Kenny Burrell on a Duke Pearson session?