robertoart

Oh I see. It's a yout(h). I'm also glad that Herman Munster wasn't a Klansman, but just played one in a telemovie.

In the spirit of the Led Zep thread, here's some sage soul searching from Keef!

Apparently, even 'Since I've Been Loving You' was a rip off of ZZ Tops 'Jesus Just Left Chicago' With Moby Grape factoring in there also... Oh dear! They were incorrigible.

Apparently, even 'Since I've Been Loving You' was a rip off of ZZ Tops 'Jesus Just Left Chicago'

What's a 'towhead' fasstrack?

My thoughts also, don't want to be in a movie theater with a bunch of people trying to recapture the supposed feel of a Zep concert -- been there, done that, back in the 70s. No way that feel will ever come back, it was almost an act of rebellion to attend one of their concerts back then (well, as teenagers, at least we thought it was). Will by the DVD though.... I literally don't have the time. Anyway, I saw the the original Song Remains the Same at the Zigfield Theatre in NYC when it came out. It was a party. Back in the days when seeing film of 'certain Rock Gods' was not an everyday thing I saw it first when I was Seventeen. A few years after the bands demise. Seeing Jimmy Page play the 'violin bow' seemed so 'deep' back then 'Since I've Been Loving You' is still one of my favourite blues/rock solo's though

Tyler is a Jagger wannabe --- big lips and all!!! Now there's another white guy singing the pseudo blues. I remember reading many years ago that Tyler was an early adopter of Lip plastic surgery, or something like that, to accentuate the Jagger look. That could just be a dirty lie though. I read it in Creem magazine.

Oh HELL yeah! Bloody fashionista's.

The ubiquitous Iron City session sure gets around I remember trying to sus out the five-four Iron City when I first heard about it getting a release on this label. Back in the days before I rediscovered the joys of vinyl. Picked up the original Cobblestone vinyl a few years ago and felt like I was sitting in the room with the band Back to your scheduled programming.

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I had a copy of this at one time. Unfortunately I can only locate the cover and can't find the dvd. I remember really enjoying some of the memories of those that knew Charlie Christian. I also remember reading some personal reminiscences by Barney Kessel that I enjoyed very much. Anyone else seen this DVD and have any opinions? My vinyl copy of the Minton's session's is this one. It's on a French label called Jazz Legacy. I always thought it had a big full sound, considering the source.

Are there not two George Benson's? One a reed player I believe. Jesse 'Ed' Davis was one of my very favourite guitarists.

George Freeman. Really? He always sounds hyperactive to me. Like he's swatting flies from the fingerboard. Love his playing though. Massively under-documented musician. On record and film. Oh yes. Try his intro to the blues track on the Jimmy McGriff/Lucky Thompson 'Friday the 13th' live album on Groove Merchant, or 'Introducing George Freeman with Charlie Earland sitting in' or practically any ballad. Bob Porter thought he did the best intros of anyone, but he took forever to get going If you look at it right (or one way, anyway), those 'swatting flies' bits ARE the spaces. MG I've got a mint copy of Birth Sign. I better give it another listen (it's still got an original Delmark George Freeman press release in it ). I've also got a badly storage warped Charlie Parker/George Freeman which I love his playing on. And also the Groove Merchant with the naughty picture But I remember Birth Sign as the quintessential one. Actually, I reckon the quintessential ones are 'Rebellion' on Southport, with Vonski on piano all the way through, and 'Frantic diagnosis' on Bamboo (never on CD but Da Barstids often have it on LP), also with Vonski, Charles Earland, Caesar Frazier and others I can't be asked to go upstairs and look up. I'd really like ot see the press notice; can you scan it and put it up? I wonder if there's a thread on George? MG Yeah, I'll scan it and post it. I'm just looking at it now. It's a typed out version of a Dan Morganstern Down Beat article from 6/10/71 (so it says at the bottom of page), but it would be nice to post, as it was presented with the record.

George Freeman. Really? He always sounds hyperactive to me. Like he's swatting flies from the fingerboard. Love his playing though. Massively under-documented musician. On record and film. Oh yes. Try his intro to the blues track on the Jimmy McGriff/Lucky Thompson 'Friday the 13th' live album on Groove Merchant, or 'Introducing George Freeman with Charlie Earland sitting in' or practically any ballad. Bob Porter thought he did the best intros of anyone, but he took forever to get going If you look at it right (or one way, anyway), those 'swatting flies' bits ARE the spaces. MG I've got a mint copy of Birth Sign. I better give it another listen (it's still got an original Delmark George Freeman press release in it ). I've also got a badly storage warped Charlie Parker/George Freeman which I love his playing on. And also the Groove Merchant with the naughty picture But I remember Birth Sign as the quintessential one. I've had Birth Sign since I was about Eighteen. I remember at the time I found this record, one of my 'private school educated Jazz guitar friends' crashing the night in my room. I was always 'over'-keen to play him my latest Jazz Guitar discoveries, so I put on Birth Sign as our record to go to sleep to. Towards the end of the first side he began vigorously complaining about GF's weedy guitar tone. I almost got up and threw him out onto the street for the night

In the British case in the time period you mention, not many. More the case now (but I suspect that's equally true in the USA). Again, and in the time period you mention, most. Lots came up through dance bands, amateur trad/skiffle bands; some played in radio orchestras. By the 60s/70s many were getting their grounding in blues bands (McLaughlin for example) and later still many started in rock. Today's younger performers are far more likely to come up via academic training though that is not always classical and I can't say the classical training is what I hear first and foremost in most players. It does sound different to American jazz, even contemporary American jazz, but that is more due to the different environment and a very conscious effort by many musicians since the 60s (not all) not to sound American. I'd imagine something similar is true of other non-US countries with a strong internal jazz tradition. Personally I'm with Gheorghe in terms of listening history and preferences. But certainly I see what you mean for British Jazz pedigree's. I know Derek Bailey always mentioned his beginnings in the dance bands of the era. So not classically trained, but still a long way formally from the American roots. The Trad thing is interesting, Britain and Australia both shared this movement. As I understand it, the Cavern was a Trad Jazz club originally. And then I believe, there was also the strong Calypso influence as well. The Trad thing though, was very tied to the Louis Armstrong (etc) records as the blueprint was it not? In Australia it was inexplicably linked to 'Modernism' throughout the 30s -50's, and in the 60's became almost a 'mainstream pop music' at certain points. However, I still hear the Ronnie Scott scene as connected to the 'classic Blue Note/50s-60s Jazz aesthetic. So perhaps those things mark British Jazz of the time as a working class music? Now for France, and especially the Eastern Block countries, and Scandanavia in the era before Jazz Studies Courses, I'd really only accept evidence based arguments that (as a rule) Classical music was not the 'Lingua Franca' jumping off point for Jazz. Here is an excerpt from an article on NHOP, He studied classical music as a foundation, but jazz was in the air, and all through the Pedersen house. “Since I’m the youngest, all I know of music goes back as far as I can remember. Since my older brothers played Duke Ellington, Louis Armstrong, Count Basie and God knows what, when they said, ‘Play the bass,’ I thought it was very interesting, intriguing. One of my so-called heroes was Walter Page. To me, that was one of the greatest rhythm sections ever.” My link And here is another excerpt from a Karl Berger interview, TP: How did vibraphone become your instrument of choice? KB: That’s also very accidental. I am a classical piano player, and as I was playing in a little club in Heidelberg called the Car-54, which was frequented by a lot of American players from the Air Force and Army bases around there… That’s where I met Carlos Ward, Cedar Walton, Lex Humphries, Don Ellis, and all these people. The piano was always in bad shape and out of tune, and there was a vibraphone player who came in sometimes, but then he left his instrument there. So I basically started playing it because the piano was so bad! The other reason was I could get up and move around. Because music makes me think of dancing always—and there I could do that, I could move around. But purposely, I never took a lesson on the vibraphone. So it’s my toy. Like, I played a vibraphone probably, because of that, like nobody else, just because I never learned how to play it classically. So piano is really the instrument I know everything about. Vibraphone I only use for my own compositional and improvisational purpose. My link Also with regard to the 'wide-world' of Jazz. Why do so many non-American Contemporary Jazz trained players decamp to New York for as long as they can sustain it?

George Freeman. Really? He always sounds hyperactive to me. Like he's swatting flies from the fingerboard. Love his playing though. Massively under-documented musician. On record and film.

I've found it very difficult to warm to Defrancesco, and I've tried. I have listened to him a lot, and he appears on what for me are seminal guitar/organ recordings, those being John McLaughlin's “After the Rain” and Pat Martino's Live at Yoshi's. There's just something to distancing about his playing. It's like it's all there - but there's nothing there. I feel the same way about Jimmy Smith most of the time too. It's hard to connect to the heart of what they play. I never feel this way about Young, Patterson, Patton, Kynard, Willette, McDuff or virtually any of the other greats.

Love the second photo. Kenny playing the very useful E#9 chord Great photo. Two survivors and two sides of the Blues. Wonder what they're about to play?

Norman Gunston Sally Struthers Scatman" Crothers

Yes for Herbie, on a personal level, the French Classical tradition was an influence, but overall, that influence is affecting his personal sensibility, and not a whole tradition he was otherwise a part of. I know at the time, many players who had formal lessons would have started with learning materials associated with Classical music, but how far can, and should, these arguments go. I mean was Bird's interest in Stravinsky of equal weight to the Blues. Was the Slominsky scale book a game changer for the music? Classical music is there tangentially in Jazz, but it would have been omnipresent in the lives of most of the European players. I think Jazz, for many of the European pioneers, would have been a rebellious choice of expression, and they would have approached their Jazz from a foundation in European Classical harmony, whereas for the overwhelming majority of Black Jazz musicians, no such choice would have existed, either culturally or socio-economically. Also, I wonder as well, how many White US jazz musicians were formatively versed in Classical harmony - before they began to learn the Jazz language.

Casanova Casagemas Cassandra

Was he on this one? And did we find out if he was a 'natural' redhead?

You guys should read the article before posting comments. Nobody "entrusted" or "paid" the woman, she did it on her own without permission and without other people's knowledge. Yeah, but if there was proper funding to look after the cultural heritage of the area, it would have been attended to professionally before she got a chance to show off her handiwork. To be fair though, there is such an embarrassment of riches in the sacred art department over that way, that people just take it for granted - unless it's work by one of the Masters. That's how come she got to do it all, because it wasn't deemed an important enough work for anyone to notice. Except for the 'world media' - who are always looking for some kind of innocuous distraction to get the WTTF factor happening. Wouldn't surprise me if the whole story was total BS anyway.

If you pay peanuts you get monkey's.

No, he's cleaned up.