CJ Shearn

I don't think so, freelancer, it is just math and systems to him. Another guy he dissed was of course, Pat Metheny (although not in this video) I would love to see Pat school him on harmony, and he'd give the guy a lesson on bebop, anybody would. I also read Hoffman assaulted a guy at a gig b/c he didn't like what the guy was playing. I think if I had a chance to see him at Smalls', I'd pass. He also places Bix above Louis, which is bizarre. When he plays bop/hard bop it's formulaic. When I hear Steve Davis, Jim Rotondi play that stuff, it feels real, they truly love that stuff. Steve Davis has a massive record collection and he loves that stuff. When Bird, Dizzy, Hank, Horace, and Tina and Sonny and everyone played that stuff, it was real, and that's why it touches me as a listener. Yes, that is Sacha Perry, Larry. Everyone in that vid just looks stiff, uncomfortable and they give off a forced "this is what we think cool is" vibe

Very cool, that he's back playing.

I guess so, that formulaic approach is very real to him. You're right, maybe Tina was a bad example, and that shows my own relative youthful inexperience. I guess for Hoffman and players with his ideals the formula of this chord must relate to this chord and this note must relate to this note, but as a listener and a fan, and a historian of this music it doesn't do anything for me, his mode of thought. That statement is a bit contradictory because there are pieces with technical concepts as the main goal that I dig, such as some of Lyle Mays' pieces for example.

Yeah, that's incredibly funny to say Coleman doesn't know Bird, or it's like saying Cecil Taylor doesn't know Earl Hines, Powell or Monk. Those guys know the tradition they choose not to play that way. Then theres the other guys who know the tradition like Kirk Whalum and Rick Braun, they just choose not to play straight ahead, opting for the $$ playing smooth jazz. Thank you for that explanation though

You are right, it is fine in that retro hard bop "stay inside" way, there are records like that I enjoy quite a bit. Like that Eric Alexander "Alexander the Great" (the only EA I feel I need to own) or that "Warner Jams vol. 1" record. But Hoffman's thing doesn't replace the realness of Tina Brooks where you hear his experience all the way thru his horn. It's like an actor playing a person with cerebral palsy cannot replicate the experience I have of really living it every day.

The whole BAM thing was a better thought out argument too. I love Nick's blog

That sucks!

Would be interesting to hear your thoughts Larry. One of the most ridiculous claims he makes is that Wayne's tone is brash, loud and shows a need to "assert masculinity", and his dislike of the Plugged Nickel dates among other non music related topics.

Sorry Jim, I really didn't know. I just wanted to get people's thoughts because I thought he is dead wrong on Wayne's music, and also thank you for clarifying that theory Big Wheel. I didn't study that b/c I'm not a musician but I thought "wait a minute D sus to D major seems totally logical!" Perhaps the NYU program Hoffman is a graduate of does have a very strict view on what's "correct" in jazz, I have no idea.

In Hoffman's definition of music if it doesn't have clear voice leading or logical harmony or rhythm, clear rules it sucks. Wayne's use of non functional harmony is cool, and makes things more interesting than just a standard II-V-I or I-VI-II-V thing. Every argument was weak, and by the look on his face, he knew it. I got a similar feeling when Robert Glasper said (and he wasn't as literal as this guy) forget about Bird and Trane and focus on now, Glasper got very defensive. Also, so what if Bird or Prez sat still while they played in total concentration? Someone being fully invested in the music with their body isn't bad at all!!!!!

I enjoyed the DVD in that set more than the album, I sold that one. I remember "P.C." being pretty hot on that tho, and the free improvs with Ribot working well.

When I lived in Binghamton, that album was in the bins at a local store. A guy was looking at it, I told him it was bad, and he put it on to preview he liked it b/c it sounded like "horror movie music" Your diatribe on that album wherever it is, is classic! And yes, Jonah Johnathan is a bassist.

I felt the interviewer was intimidated by Ron Carter when he interviewed him and it was awkward. His Mulgrew Miller interview was ok b/c Mulgrew taught him.

I understand his mentor was Barry Harris who is conservative musically past bop but man............... The examples he cites of Wayne's harmony being crude are disproven by of course, courses on his music, dissertation. Even someone like me and others on this board who never studied theory, know by our ears Wayne is a great writer/soloist. He COMPLETELY misses the point of the Plugged Nickel set, Miles was breaking the form down and reconstructing it to see what could be done and that's why it's so great! The faith stuff, that's not the part of the board to get into, but the guy's whole view of jazz is so........ why does jazz have to be a clear system? I suppose Bruce Lee's jeet kune do is not valid for him because it disregards what's not practical in traditional martial arts. Not showing emotion in jazz? Get out of here! The video really hit me wrong on all levels, especially after I was lead to it from the great Lovano interview of Shorter. Wayne very well may struggle on "Birdlike", but that quirkiness is what makes it worthwhile.

Apparently I missed this controversy until today. Was this video posted here? The criticism is valid, but the evidence he uses is very weak. Music doesn't have to be in a logical straight line.

Thank you Justin! That's right, they did release Konitz Peacock and Baron. The few releases I have of them like Elvin Jones and Tain Watts (which I still maintain nearly 9 years after the recording/release has the best live Kenny Garrett on record) are nice.

His label was a subsidiary of Half Note Records, and I don't believe they are still operating.

Wow, very impressive at 20 indeed, the tone isn't quite there but pretty amazing!

Beautiful rememberance by Payton. Mulgrew was a deep cat and critically I think that got taken for granted.

Does that include "M"? Which AFAIK has never been out on CD. It was used on the CD's for the jazz history course I TA'ed, and dug it.

Thanks. I didn't realize they are playing "Live at Yoshi's vol. 2" I was thinking "I need to get this" but I have it!

Does he have enough material for a Mosaic of early recordings?

He's probably playing with Tony and Woody again to be sure. http://youtu.be/TPdPEBksCAw

That's a great tune how they use the "Poinciana" groove to add a different flavor. That CD, it's been that price at Amazon Marketplace since before his death but sellers want over $200 for a new copy!

Damn, this is a shame, such a great player.