CJ Shearn

I wonder if this set was pressed in lower numbers b/c Columbia/Legacy is shifting their focus? That's why I got mine at a B&N, a bit more expensive, but musically worth it IMO.

Damn. Thanks for the link, will take a look

Lenny was playing in Pete Levin's Mobius group. It won't be that revelatory to most here, it's more what the experience was for me as a still proving myself mid thirties writer. It's things he said about the development of jazz-rock when BB was being recorded, it wasn't just a thing that was about music being faster, louder, but it was jazz musicians trying to do their version of rock, it's nothing that he hasn't said in print-- but it blew me away hearing it so candidly. He loves to pass knowledge down to younger fans and musicians. He said "people don't think logically, they think historically". The reason why it was so insightful for me because when listening to jazz, I've struggled with trying to label it, and not even try. I've even not wanted to even use the word jazz honestly for several years. Having a heavy discussion with living history, someone I've admired and listened to for years was incredible, it wasn't so much about jazz, but society, wanting to pass on tidbits to a new generation. The fact he took serious interest and with me on a deep level for a half an hour was an honor beyond belief. He's a natural teacher, loves passing on knowledge, he's an incredibly thoughtful person. Just an evolved spirit really, same when I've talked with Metheny, Antonio Sanchez, Dave Liebman, when I met Jack DeJohnette 10 years ago, when you are in the presence of that, the feeling is indescribable. I think the reason why it impacted me so much is because living history, something I only experienced on records and reading became real, something tangible. I am going to hear all music differently I think just from talking with him, because no matter how much I think I know, discussing music with a giant on that level makes you think differently. A very humbling, beautiful experience. Possibly may do a podcast down the line, we'll see. Ira Coleman was a joy to talk to as well, I mentioned Tony Williams "Tokyo Live" is probably my favorite Williams album, and he told me what a blast that band was, how much of a joy it was to play with Tony. Though he feels the bass sound is on those albums a bit odd, he said that's how Tony heard it in the band, that kind of gut string 60's Ron Carter sound. He said that band was truly a team effort and Tony was so proud to have him as a bassist. I mentioned that there was more music recorded than released and he told me 4 nights of music were recorded, would love to see it released someday. I always thought the complete run of Tokyo sessions would make a great Mosaic.

Yes, the Koncerthuset. It IS overkill, but it's just one of those unexplainable musical things that makes me laugh out loud. Right now I'm just glowing over a long talk with Lenny White after meeting him last night after a Mobius gig. I'm over the moon right now, another one of my heroes. In relation to jazz styles, labels, etc he told me something that will stick with me the rest of my life, "people don't think logically, they think historically." And I said something about in jazz rock so many people just want louder, faster but he gave me a historical insight of that music from the inside that was so heavy, it's gonna stick with me forever. Great cat to talk with.

Just be sure to catch that Trane obsessive hammering of a blues cliche on "All Blues" for nearly two minutes on disc 4! Priceless.

He really had to work that idea out to it's logical "conclusion"? LOL. I don't know, I was just like "really?" I don't think I could sit through that part now ever without laughing like that.

"All Blues".

Trane's exploration, obsession, with a classic blues lick and multiphonic asides for over a minute on disc 4 had me howling with laughter. That was a bit over the top, but man it really is unlike any Trane I heard, essential music for that reason.

Exactly

Right, that's true. What was it like for those people at the concert? Certainly at the time what was on records of Trane was not that, and it must have been a seismic mega shock. I always try to imagine what did Bird or Diz sound like to those back then who only liked swing for example or trad jazz, and from the accounts of Louis Armstrong, we know. Or that quote from Roy Eldridge on Ornette. And it's funny the first time I heard Ornette's "Free Jazz", I hated it, I was a place in time in my life where it didn't make sense.Now it does, and the first time I heard extreme levels of out, like a "Machine Gun" I was like "what?" but because I know its in a different aesthetic, I can take it on those terms and not inject what I think it should be. Also just for clarification I meant that when the stream of multiphonics is tied in thematically, I'm hearing it tied into the "All of You" theme, not just the basic premise the music was filled with tension, sorry about being less clear there. Usually the music I've disliked the most I ended up coming around to later. I have to be in a definite mood for balls out free improv, like the album releases my friend Brian Kastan does, for example., but when I'm in the mood for something not melodic, or straightforward, it fits the bill.

Exhausting and exhilarating at the same time, and somehow its tied in with the theme.

Very interesting. I think for me what make it works as music is that tension and the pushing to break out of conventional forms. I am listening again now and Trane's solos are still revelatory, especially if like said above, you know his music. But hey, if it doesn't hit your soul, that's the most important thing, but it's still easy enough to recognize it's brilliance and merits even if you don't like it.

One of my best friends said to me a while back because we we talking about this same issue with Blue Note, that they are focusing on making pop records. I think he was talking about people like Benmont Tench (that was a decent album, didn't keep it though) and Aaron Neville on the label and such and maybe the whole Glasper thing. I like what Glasper is doing for a different generation of listeners, although I hear so much Herbie in it, I like Terence Blanchard and Ambrose Akinmusire's work on the label too. Maybe in the sense of "jazz" as we know it in the way we love Blue Note maybe it did die I'm not sure. I am sorry to say I feel a bit uncomfortable pronouncing it's "death" as I try to keep an open mind about new jazz out there, especially in what I review. I am definitely interested in the Nels Cline and Blanchard releases forthcoming. Do other labels like Rare Noise put out far more compelling music? Sure, especially when it relates to free improv like the release "Rosebud", but that isn't the main issue here. The issue at hand is Blue Note really committed to jazz as in decades past. The answer is probably not, but it does exist I think of it more as we are in the Blue Note hits a new note era again but the music is just a bit better than the UA era. I've disagreed with another friend of mine for 20 years almost over the Mizell stuff, but I acknowledge now it's not so bad but just not my taste. The whole "exclusivity" thing with these boutique sets is off putting to me and I didn't spring for it. What they are doing is gonna alienate people from the music if it's not available any other way. I enjoy the new Dr. Lonnie Smith album, but its way too short, feels too much like a producer controlled live album in spots and I have a feeling some extended cuts will only be made for the Blue Note Review sets. There is definitely something to the sense Mr. Was "gave up on jazz" but at the same time, things like Glasper and Derrick Hodge's IMO are just as valid that and other jazz releases they should be offered as much as these reissues. I am not sure this audience is the target for what they are doing with reissue after reissue of the same, but if it gets one new person interested, great. Yeah I remember the one from 1999, definitely

True, point taken on that for sure, because "Lady" was a glimpse. These tunes here were a backdrop for Trane's explorations. I think while the 1961 VV set remains my favorite Trane, this new box is great and I look forward to diving in more time and time again. Trane's development in the relatively few short years he was around is still staggering, awe inspiring, as was his wisdom as a person that came through the music, his entire recorded spectrum is so valuable. It's like when I hear Bird, Tony Williams, Elvin, Sonny, Jimmy Smith solos I'm still in wonderment of what that was and what they were doing for their instruments.

"While My Lady Sleeps" from "Coltrane" must have circulated in Europe since it came out three years earlier, but Atlantic stuff like "Harmonique", I'm not sure... on some level the audience must have known he was exploring these techniques. Live must have been a totally different animal entirely, because what Miles was playing was conventional music and Trane was adding these things, challenging the limits. The sense of revolution and social chhange in this music and the audibl tension like Miles is trying to reign him in (the fluttering guitar like figure he plays somewhere on disc 2 as Trane begins soloing and his asides in other places) makes this stuff thrilling.

I wonder if Tony Williams "Tokyo Live" will be a title. As I said years back I was able to obtain a copy, but I still feel the album is that band's best work and more people should hear it, especially for newer fans exploring his late period acoustic work. I don't do vinyl for the practicality, because when you only have one hand to use, handling vinyl correctly is very difficult.

Agreed. As much as I love BN, there are so many other just as valid, worthy releases from other labels. Unfortunately I don't know Bley's playing all that well, but I really like the final album ECM released, "Play Blue", a lot, because I love how he can go inside and out at will in such a logical way.

What is this going to be I wonder? More of the same reissues many of us have many tiimes over or much of the 80's and 90's catalog via digitally? Wasn't there a plan to reissue titles as CD's in those Grundman masters that had previously been RVG's, Conn's, McMasters?? I stopped with the BN upgrade game last reissue I replaced was "Point of Departure" to get rid of the awful RVG, but I wonder what they are gonna do.

Listening to the first two discs now, the Olympia show. It's hard to imagine how the audience must have felt hearing Trane solo, because that vocab is so common place. A real laugh out loud moment (in good way) are the multiphonics he plays on "All Of You" and the audience starts whistling, Trane's playing here is as indispensable I think as Wayne Shorter on the Plugged Nickel stuff. I guess these moments are akin to the famous "Rite of Spring" premiere, maybe not that intense as it incited a riot if I recall correctly, but this is great stuff thus far.

Going to a local Barnes and Noble to pick up a copy that I reserved in a bit. The last B&N I did that at was when Vol. 1 came out

Oh cool, that's definitely the way to go with that.

Yes, definitely,I see your point and that's true Santana has always talked about Trane. It's a good thing to get new listeners into the music, always a plus. I always wondered with an album like "Supernatural"(which I never really dug and that last track, with it's rubato kind of opening sort of reminiscent of Trane if some people who heard that became curious and they went back and checked him out.

Yes I remember that Capitol Vault Series series line. $89.99 for a download? Crazy. No thanks, give me the full package any day. Downloads, I have Blakey's "Mosaic", from HDTracks sounds great, but the $17.98 without a PDF of the liners or anything was a bit too much.

Ahh I see!!!! So that must have been done on Spotify as well.

Interesting... so did Spotify obtain the Bobby Hutcherson Select illegally? I regret selling that years ago b/c I never played it much. I always liked Spotify for streaming new music but never as a substitute for serious listening. I found many things, as are Amazon's AutoRip some things are badly encoded (Keith Jarrett "Testament" for example, the piano sounds wavy like a badly encoded 90's MP3)