robertoart

Really! Tell me about it. Tell me more about Gender Dysphoria? He probably stands in a bar in some German Beer Hall with a schooner of that Elephant beer saying..... "Preence, Preence,..... das ist gut. We jam in little bar in Munich das nicht. Preence is a motherfucker!!!"

The original version will do just fine and forever. Zorn's take is down town hipster proselytising. Colonising the not mine but look kids now it is.

The readers here know you're not out for a Funky Good Time. However lets all go outside of ourselves, and you did bring up (albeit with a dismissive tangentiality), the juxtaposition of two musico-cultural figures. Prince and Bowie. Interesting parallels. Both were driven (initially and at heart) by Top 40 success. Both presented themselves as transgender cross dressers (without any hint of Gender Dysphoria because it was purely a Public offering), Both never had hits in their Middle Age to compare to the earlier success, unlike Madonna who kept charting for a longer time. Both were considered at the classy end of that street. Yet both are being disected and championed 'by the thinking people', for their product that is surplus to that body of their work - or their work that 'betrayed' the hit song direction. The 'value added' aspect of their discographies. For Bowie, it was his precursor status or immersion in the 'alternative' scene of the Post-Punk Cold War European Aesthetic, and for Prince it seems to be the dark Catalogue spaces of his 'fuck you I can and will do anything I want because I can' Post-Hendrix Space Jams. But in the 'ticky tack, this is what its all about' world of 'the top 40 song' I still love Michael more. His Dance Hits just seemed to have 'more balls and muscularity' more pained yet joyful urgency, more Real Life emotional shit, than Prince's and Madonna's Dance Hits. Prince sounds very 'fluffy' to me. In words and sound. Prince just wanted to get your knickers off and play . But Michael sounded 'messed up' by all this relationship turmoil. And he could only emancipate himself by Dancing until he'd had enough. Maybe because Michael came up in a more meat and potatoes pre-Synth world. For people of my generation, who's youthful connection to Pop music hadn't entirely run it's course by the emergence of the synthesiser or processed sound in mainstream Pop, there is a big Divide, a BC/AD moment. Those Synth Pop natives like Prince and Madonna, just lose a certain amount of Testosterone in the nether regions of the life force.

This reminds me of a David Lee Roth quote where he says.......the reason music critics like Elvis Costello so much is because he looks like them. Clearly Prince knew he was talking to Rolling Stone because he had to remind them who George Clinton is.

Nobody wins in the game of addictions and substance abuse in this torrent of a World, trying to incubate and regulate oneself from the shit. But on a more heartwarming and life affirming trajectory, what beautiful and worthy conversations to be able to have with your daughter! https://www.youtube.com/watch?v=m5mXYQPBJ30

https://www.youtube.com/watch?v=yAJnpaFRrlw

Or maybe Hendrix, James Brown and to a certain extant Michael were the Cartographers and Prince was 'the legions'. Prince inherited fully formed and mapped out 'territories' from which to extrapolate from. Encyclopaedias don't create new knowledge they document and create narratives from that which has already been named. Michael Jackson's musical opus and journey peaked and created new territories with Off The Wall, Don't Stop, Beat It, Billie Jean Thriller etc. at a time when Prince was just emerging with his transexual basic Funk. That Prince came into his own and got 'deeper', at a time when Michael's music 'and 'life' began to cannibalise itself and lose its connection to an objective force of Black Popular Music - through a kind of tortuous insularity that ended up looking to the outside world as a megalomaniacal display of the spectacle of himself - was probably saved from Prince (to a certain extant), because of the things you correctly identify i.e.; his analytical attention to detail, nuance, the parts in the context of the whole and his gut level improvisatory skills. Prince's insularity was able to luxuriate in his own 'musical mathematics' ad infinitum fractal play. But he had a infinite universe to encyclopaedia-ate.. Michael was ****** up the rear...'there was nothing strange about Michael. It was strange what Michael had to deal with'...It fucked him eventually, it probably fucked Prince eventually too, but Prince could lose himself in the Funky maths his predecessors mapped out, both musically and culturally https://www.youtube.com/watch?v=_MAKLq865bk

Hey it's online. Does anyone think Lou would have changed his mind? https://larryappelbaum.wordpress.com/2011/05/23/before-after-lou-donaldson/

I know off your topic, but have you given any background to where or how this musician learned his skills? In the army? touring with big bands? How old is he meant to be? Disregard question if it is to diverting. I look forward to learning from the replies myself. And very good luck with your story! It just come to mind that in the Grant Green bio, Leo Goodens who was a club owner and local DJ if I remember correctly was looking after Grant's interests before he went to New York. So Grant Green's place in the music at this time would correspond to your timeline very closely, i.e.; late 50's (location St. Louis), relatively unknown accept by local music community, no level of fame yet, etc.

"Blues and Jazz never seem that far apart".

C'mon jsngry Tenorman. Surely you can wax more lyrical than this about one of the true warriors

Oh that one. Seen in the bins many times but never acquired. I better give it a listen! And Mr Mann's got his smart casual sweater on

Is that the Hold On Im Coming off Memphis Underground? That's got one of the greatest opening phrases of a solo I've ever heard, by Larry Coryell, and It's awesome that Sonny Shamrock is right behind him. And did Herbie Mann keep his shirt on when he played live? Love that phrase 'in the pocket"

I heard stories that he was living in Singapore or Thailand for a considerable amount of time and ran a club. I heard this from some Australian musicians that used to visit the country. But I believe I read online somewhere that he returned to the States and suffered a stroke a few years ago. He was a great guitarist who had no limitations. He reminded me of Melvin Sparkes. here is a quote I lifted from another site....this backs up what I was sayin, and is a hell of a nice and funny reminiscence too....I'm sure the original poster won't mind it being pasted here...rip... ]Geday, Hi, I drummed with O'Donel Levy for 5 years, John McLaughlin came to watch him!! Dennis Chambers sat in on MY DRUMS!! The whole Winton Marsalis Band sat there open jawed!! Also he --ODEE (Irish Jewish and Black was his own running joke) was also as funny as Richard Pryor AND HE OFTEN BOUGHT THE DINNERS AND A FEW ROUNDSOther jazz guitarists came from all over the world to watch him and wept into their beers. He also fixed up my drummin--no fills please!! No fills at all!! till i'm finished --some nights he took 47 choruses and was NEVER boringJah Bless you ODEE get well soon and sock it to em all over again!! ------signed---Australian Irish Drummer Des Mckenna, Hong Kong, Shianghai, Belgium, Ireland ex Rory Gallagher, Ex Chet Baker, ex Nat Adderley and I jammed with DIZ

Yes I know, but the initial flurry of sessions included Here Tis, Grants First Stand and the two Baby Face Willette's. I'm not sure if Grantstand came before or after the Last Willette leader date, but it must have been around the same time? He didn't do anymore Organ dates after that till he hooked up with Big John Patton in 62/63 I think.

Grandstand is the first one without Baby Face Willette. First Grant Green Blue Note organ session without him I mean.

Yes I was thinking of this too. After The Beatles he set up a studio somewhere in The West Indies I think. Jeff beck did Wired or Blow By Blow there. Maybe both I can't remember. So he had a hand in Fusion as well And of course he was responsible for The Beatles string arrangements like Yesterday and Eleonor Rigby. Apparently McCartney would hum him melodies or give him the bare bones and George Martin would take it from there. And I think he also played on some things, adding or doubling keyboard parts etc.

I was just punning on the way it read on the page. Sorry for the thread cap. Carry on, and good luck and good health.

I find it hard to believe you've never luxuriated in the Grandstand album before Chewy. But wasn't Grant in (or just out of the Mcduff band) around this time. They'd also just worked on some Prestige sessions together. The Yusef connection I have know idea about, but also interestingly, they use Al Harewood instead of Joe Dukes, which is another difference too.

aaww, cmon, there's plenty of guitarists out there with nice chops, articulation and feel.

Finding a copy of Visions with van gelder both sides would be like my Blue Note perfect storm. I've only bought about ten copies trying.

It's probably the bass players barbecue that he bought over with him from Tasmania. Or 'barby' as we say in Oz. Tasmania has become a haven for what I refer to as 'excess Academics'. They were probably having a barby in Tassie and jammin without a drum kit close to hand. I bet that's where they got the idea.

yeah I thought so. more power too him. Survivors always have something to say.

He still sounds great when I watch him on YouTube there are some crazy but fascinating documentaries on him that are accessible on the tube and Vimeo etc. One is an investigation of creative people who have suffered traumatic brain surgery.

The bass player lives in Tasmania and has his own Art slash Music festival. They are still just an old hipster backyard Pop band to me. They were precursors of a certain kind of rural downtown aesthetic I suppose. However the bass player is a very accomplished player of a Japanese instrument these days...maybe a Shakahatchi?? something like that anyway....