robertoart

Oh sure this is true. Time will inevitably change the way future custodians of the cultural record will view things anyway. The jazz legacy is unfortunately at the mercy of corporations now, which is different to the way other cultural treasures like Visual Art are kept. Art for the most part is held within civic collections. And is actually accessible to anyone that is willing to take the necessary steps to gain access to it, even if the institution has it on public display or not. So I would suggest the cultural record in terms of Jazz heritage is far from being at a level of optimum preservation, despite the efforts of devotees to be essentially 'trojan horses' in a transparently mercantile industry.

I am finding the idea of a thimble collection strangely comforting. Where would one begin? It's real! Who would have known of such a thing! My link Back to your scheduled programming.

Are they still in business? I meant to get this one but somehow never did.

The big difference is not in being able to read standard notation as it is in being musically literate. With regard to Montgomery, I grew up reading his 'musical illiteracy' debated as if he was some kind of happy go lucky idiot savant - who just miraculously found his chord shapes and re-harmonised progressions to magically (and naturally)fall under his fingers. It seems to me that the knowledgeable players in jazz history learnt their approaches not so much through the ability to read music, but through oral communication and sharing of 'systems' between musicians. Which probably worked through opening up cognitive pathways in the mind as much as it did on learning them off the musical page.

From what I have heard, only Grant Green is truly "on" for these sessions. The rest of the band has some trouble. Good, but not great and I can see why Blue Note didn't issue it. So what status and purpose do these original tapes serve now if they will never see the light of day. If Lion and Quebec deemed them rejected at the time, why were the session tapes not destroyed instead of being archived for all these years? To give us something to complain about. Actually, I'd rather them be stored than destroyed like the tapes from Horace Silver's "Live At Pep's" recording session. Of course I'd rather them be stored as well. But to play the devils advocate - is it not equally disrespectful to the wishes of Lion/Quebec to have a rejected session 'circulating' among aficionados, as much as it is to have it out in the 'open' market. I suppose the counter argument is that 'aficionados' will be more knowledgeable about the context and merits of Quebec's artistry from an overall perspective. Whereas a 'novice' listener stumbling upon the recording might consider such a sub-par session as 'definitive' of Quebec's legacy. However, where does respecting the wishes of the artist and producer begin and end - with not having it officially released, or not having it heard at all.

From what I have heard, only Grant Green is truly "on" for these sessions. The rest of the band has some trouble. Good, but not great and I can see why Blue Note didn't issue it. So what status and purpose do these original tapes serve now if they will never see the light of day. If Lion and Quebec deemed them rejected at the time, why were the session tapes not destroyed instead of being archived for all these years?

Anyone know the story behind these two sessions remaining unreleased. Hard to imagine why they missed surfacing during 'the great vault emancipation' of the late 80's-90's. Could they possibly be that bad? I mean 2 attempts at the same session by these players. Seems strange. Ike Quebec Quintet Ike Quebec (ts) Freddie Roach (org) Grant Green (g) Butch Warren (b) Wilbert Hogan (d) Rudy Van Gelder Studio, Englewood Cliffs, NJ, May 25, 1962 Sonny Boy Blue Note rejected Take Your Shoes Off - Cop 'N Blo - Early Morning Shuffle - Travelin' - Born To Be Blue - Throwing A Brick - Ike Quebec Quintet same personnel Rudy Van Gelder Studio, Englewood Cliffs, NJ, June 1, 1962 tk.8 Take Your Shoes Off Blue Note rejected tk.13 Cop 'N Blo - tk.20 Sonny Boy - tk.32 Throwing A Brick - tk.40 Early Morning Shuffle - tk.44 Travelin' -

I can listen to her music with great fondness. Love the Donna Summer/Bee Gee's/Doobie Brothers top 40 era. Still personally can't think of her without recourse to the awful statement about aids. That was truly horrible. It appears she later claimed she did not say anything of the sort.

He played here in Australia a few months ago. I went. It was good. I saw him 20 years ago as well. I liked that better. Back then he played with an R&B band. The band backing him up recently had more of a rockabilly vibe. Can't believe he's still alive, let alone still honking. Bit like Lou Donaldson in that respect I suppose. http://www.youtube.com/watch?v=8AP6QMuvPOU

Point of clarification: The George Benson performing is not the famous guitarist but a veteran Detroit saxophonist (in his 80s, a bebopper, day gig career as a mailman but always an important local player). I'm on a zillion deadlines so can't pull up my own stories about this year's Detroit line up but if I get a chance later, I'll post them. Sounds like the perfect guy for George Benson the guitar player to sit in with Should have formed a quartet with Bill Evans and Bill Evans. A new double quartet concept.

They weren't very successful. The dogs kept losing concentration when the owners had to stop and change sides.

Sorry to leave the heavenly beauty of Chaka behind, but this is the most amazing footage of Chuck Berry from Paris '65. Chuck turns into T Bone Walker during the Wee Small Hours and then shows himself to be the precursor of Blood Ulmer and Sonny Sharrock simultaneously during his Let It Rock solo. Also an amazing piano player who is unknown to me. Bonsoir http://www.youtube.com/watch?v=G3p298wkxyM&feature=related

Surely not Chuck Norris Well, there is a Chuck I love almost as much as the guitar man.

Chuck the great. What a guitar player! What a sound! Gotta love Chuck Berry. Brings a bunch of scrawny hippies he's probably never spoken to before to back him on Soul Train. It doesn't matter. Chucks guitar is all you need! http://www.youtube.com/watch?v=Yy-4Aa10A3Q&feature=fvst

Well here's Chuck and son. Not quite a duo, but still.

That's a bit of a trip actually. I wasn't expecting that. I dig it! RIP Mr Dunn.

Point of clarification: The George Benson performing is not the famous guitarist but a veteran Detroit saxophonist (in his 80s, a bebopper, day gig career as a mailman but always an important local player). I'm on a zillion deadlines so can't pull up my own stories about this year's Detroit line up but if I get a chance later, I'll post them. Sounds like the perfect guy for George Benson the guitar player to sit in with

http://www.youtube.com/watch?v=0XiKK3qCgqI

It was a joy to see this for the first time. Garbo speaks! http://www.youtube.com/watch?v=GLPeyBtmQAM&feature=g-vrec

Piss poor and miserable. Actually that sounds like a good name for a trio.

Gotta be better for ya than soft drink. If you plan to drink that much water however, make sure your always near a toilet. Nice work if you can get it.

Oh. So it's NPR that is responsible for these guys! I will be extra cautious when I am searching archived Marion McPartland shows and old Lou Donaldson interviews I thought the blogsphere was running it's course. Perhaps it will be middle aged wits that keep it propped up as the younger communities move towards newer social-media. Here is another blogger - turned author, who was a hit on the academic-talk circuit here in Australia a few years ago. Blog was called 'stuff White people like'. The link below was about Black music. My link #116 Black Music that Black People Don’t Listen to Anymore November 18, 2008 by clander All music genres go through a very similar life cycle: birth, growth, mainstream acceptance, decline, and finally obscurity. With black music, however, the final stage is never reached because white people are work tirelessly to keep it alive. Apparently, once a music has lost its relevance with its intended audience, it becomes MORE relevant to white people. Historically speaking, the music that white people have kept on life support for the longest period of time is Jazz. Thanks largely to public radio, bookstores, and coffee shops, Jazz has carved out a niche in white culture that is not yet ready to be replaced by Indie Rock. But the biggest role that Jazz plays in white culture is in the white fantasy of leisure. All white people believe that they prefer listening to jazz over watching television. This is not true. Every few a months, a white person will put on some Jazz and pour themselves a glass of wine or scotch and tell themselves how nice it is. Then they will get bored and watch television or write emails to other white people about how nice it was to listen to Jazz at home. “Last night, I poured myself a glass of Shiraz and put Charlie Parker on the Bose. It was so relaxing, I wish I had a fireplace.” Listing this activity as one of your favorites is a sure fire way to make progress towards a romantic relationship with a white person. Along with Jazz, white people have also taken quite a shine to The Blues, an art form that captured the pain of the black experience in America. Then, in the 1960s, a bunch of British bands started to play their own version of the music and white people have been loving it ever since. It makes sense considering that the British were the ones who created The Blues in the 17th Century. Today, white people keep The Blues going strong by taking vacations to Memphis, forming awkward bands, making documentaries, and organizing folk festivals. Blue and Jazz music appeal mostly to older white people and select few young ones who probably wear fedoras. But that doesn’t mean that young white people aren’t working hard to preserve music that has lost relevance. No, there are literally thousands of white people who are giving their all to keep old school Hip Hop alive. Even as you read this, white people are telling other white people about the golden age of Hip Hop that they experienced in a suburban high school or through a viewing of The Wackness. If you are good at concealing laughter and contempt, you should ask a white person about “Real Hip Hop.” They will quickly tell you about how they don’t listen to “Commercial Hip Hop” (aka music that black people actually enjoy), and that they much prefer “Classic Hip Hop.” “I don’t listen to that commercial stuff. I’m more into the Real Hip Hop, you know? KRS One, Del Tha Funkee Homosapien, De La Soul, Wu Tang, you know, The Old School.” Calling this style of music ‘old school’ is considered an especially apt name since the majority of people who listen to it did so while attending old schools such as Dartmouth, Bard, and Williams College. What it all comes down to is that white people are convinced that if they were alive when this music was relevant that they would have been into it. They would have been Alan Lomax or Rick Rubin. Now the best they can hope for is to impress an older black person with their knowledge. Like 23 bloggers like this post.

I will only attend if there's music.

My copy of Grantstand has a stereo sticker. What's that? Late 61' early 62'?