Stevie Mclean

It is.

Then how do you relieve yourself?? 😮 I personally use mine about once a day.

What's your opinion on the one-note solo?

Just my two pence... I could mistake the bass playing on those two cuts for about 60% of what Ware plays, but the other 40% (the more distinct portion) of Ware's playing is glaringly absent. None of his use of harmonics, repeated quarter and eighth notes, eighth note runs, sliding left hand, ascending/descending chromatic phrases and triplets can be found in the Five Spot recordings. Comparing the playing to Malik's has a much clearer match. As far as the drumming is concerned, I think the five spot recording is a slightly toned down version of Haynes. One can compare the versions of Nutty from both TM with JC and Mysterioso to the FS recording and notice the similarities. Haynes on Mysterioso has a very active left hand compared to SW which matches up better to the FS recording. Additionally, Nutty on Mysterioso and the FS tape is taken at a very similar tempo and has more of a similar feel than the Ware/Wilson version despite the differing frontman.

Donald Byrd, Ray Copeland, Bill Hardman, Idrees Sulieman, trumpet; Jimmy Cleveland, Melba Liston, Frank Rehak, trombone; Bill Graham, Sahib Shihab, alto sax; Al Cohn, John Coltrane, tenor sax; Bill Slapin, baritone sax; Walter Bishop Jr., piano; Wendell Marshall, bass; Art Blakey, drums. NYC, December, 1957

Been listening to a lot of Bill's music lately... been listening to mostly Bill's music lately... okay, been listening to Bill's music pretty much exclusively lately! This man can PLAY! Mind blowing stuff. I tried listening to some Larry Goldings, but what I heard was more of an olive oil type situation... not that NLGI grade 4 thick grease that Bill is slickin down. I suspect that bill is in a league of his own as far as modern interpretations of the masters. I'd be delighted to be proven wrong on that front. I think my favourite recording right now is Asian Persuasion with Peter Bernstein. Looking past the questionable title and less than appealing cover art, I think that Bill shines in the horn-less setting. Peter Bernstein has some great ideas and is quite a tasteful and enjoyable player, though even he can't keep up with Bill on Hustle Bustle (who can blame him though). Also... MINOR GLIDE!! Come on now!!!! What a tune, what a story! I'm along for the ride and loving every minute of it, and again, and again, and... Bill Heid man.

Interesting... I hadn't known that Alfred had a hand in the recording and engineering of the sessions. In that case I respect Rudy playing those cards close to his chest. I'm sure he was in no rush to fumble the BlueNote bread bag!

I have always wondered why albums recorded by the same engineer sound different from label to label. I understand that they can never perfectly replicate their recordings and there will always be better and worse recordings, but based on what you said, it seems like there is conscious effort involved in changing the results. Is George's comment implying that Rudy had some sort of deal with BlueNote where they got the "signiature sound" and any other labels didn't get the highest quality sound? If that's the case, I would be pretty upset if I were paying him to record and engineer my records and he was purposefully sandbagging them.

I know this is a shot in the dark but if anyone has saved any of the information from this MySpace page and is willing to share it here I would be eternally grateful.

Is it pronounced hide or heed? or something else entirely? Really enjoying dark secrets btw. I would love to hear some live organ jazz like Bill's. That may be asking too much considering my place in time and space...

I think Sunday Mornin' is a shining hour for Grant Green, and Goin' West, and The Latin Bit, and.... come to think of it, I think grant had more of a shining decade than a shining hour. I do agree that many other bridled artists do not become depressed drug addicts. However, I think that it is even more important to point out that a significant amount of free (by definition, not genre) artists (especially Grant's peers) were still depressed drug addicts, despite not having much apparent constraint put on their creative expression. The constraints imposed on other aspects of their lives are another conversation entirely. I posit that those other constraints would have had more of an effect on the mental state of those artists than any amount of concept albums ever could.

Hey, I do it when I feel like it.

The ultimate irony (tragedy?) of it all is that all those friends exclusively listened to rap music. Playing some grant green was my olive branch to help them find the source of all that's good about hip-hop. I would assume that a repeated phrase wouldn't phase them considering all the rap songs that sample a single phrase or bar from a jazz song and repeat it endlessly over the ENTIRE song.

Yes that's true, I'm sure that is the case for many songs. So I guess it's hard to estimate exactly how many takes we're done for each.

Mal must enjoy digging; he seems to always get himself stuck!

The one they attached themselves to is 5 and a half minutes into No. 1 Green Street. Listening back to the album now, there are probably 4 or 5 instances that could be considered "getting stuck" and repeating himself. I choose to believe that they are all intentional, to provide emphasis, but I won't claim that statement to move beyond the realm of belief.

While on a trip with some jazz-averse friends I made the mistake of putting that song on in our hotel room. They mocked me by crudely "singing" Grant's repeated phrase for the rest of the trip. I did catch one of them nodding and patting his foot. I guess it's hard to resist the Grant Green funk.

I am wondering if anyone can confirm my understanding of the way that JazzDisco lists the takes from a recording session. For example, for this John Patton session: John Patton Quartet Marvin Cabell, soprano, tenor sax; George Coleman, tenor sax; John Patton, organ; Leroy Williams, drums. Van Gelder Studio, Englewood Cliffs, NJ, June 9, 1969 tk.5 Buddy Boy Blue Note CDP 7243 8 53924 2 9 tk.16 2 J - tk.23 Man From Tanganyika Blue Note CDP 7243 8 35221 2 5 tk.25 Cissy Strut - tk.30 Dragon Slayer - tk.33 Sweet Pea Blue Note CDP 7243 8 53924 2 9 * Blue Note CDP 7243 8 53924 2 9 John Patton - Accent On The Blues 1997 * Blue Note CDP 7243 8 35221 2 5 John Patton - Memphis To New York Spirit 1996 I assume that the takes listed are total from the whole session and not for each song. So assuming that these songs listed are the only songs attempted at the session, then: Buddy Boy: 5th take 2 J: 11th take Man from Tanganyika: 7th take Cissy Strut: 2nd take Dragon Slayer: 5th take Sweet Pea: 3rd take

I have been a longtime listener of Emmet's Place on YouTube and have recently discover New Jazz Underground. I was Very excited to see this collaboration. I think it's definitely worth checking out.

That's a very interesting connection to make. I cannot say that I have felt the same, but I can see where you are coming from. To me Grant is all about flowing lines that fall like calm waves breaking and forming a nice beach. Mal sounds more like stormy waves hitting from all angles aggressively cutting away from the shoreline. Both are repetitive and come from the same source, however the way that they influence the environment is very different.

I've always loved how Ben accents with the bell of the ride cymbal. Especially like how he swings those off-beat quarter notes at the end of the head phrase on Whatever Lola Wants.

Thanks for the reminder, almost forgot to listen to this today...

Eddie Khan.

Tommy Williams!