CJ Shearn

Sounds a bit like Wynton tho LOL.

Damn. Great pianist. His work with Tony Williams I dig tremendously, as well as his MaxJazz releases.

It's a great album. It's just unfortunate Roy's chops seem to be a bit off in recent videos I've seen, he's definitely struggled with addiction which is very sad to see. He looks so much like Bobby Brown these days too it's eerie.

I say Hiromi, because with her energy, she would add something that would set it apart from anything else in the series. Dr. Lonnie Smith is so comfortable playing funky, inside, outside, I think Zorn's Masada melodies would fit him perfectly. I am listening to "Tap" again, and it makes sense at different levels at each listen. "Phanuel" has musique concrete textures, and Pat lays down a backing of what sounds like muted guitars with ebow or slide behind his solo, it's a very thought provoking track.

Zorn himself was interested in comments I made on thisalbum, because my friend, a senior board operator at WNYC, shared with him my comments, when Zorn visited WNYC maybe 3 weeks ago. He seemed very cool, so that was nice. Not that many passionate fans are acknowledged by the musicians, so that was humbling for me. I've been on/off about Zorn, so "Tap" is a gateway into that world. "The Hermetic Organ" intrigues me but my speakers choke, when I sampled it on YT. Also, no matter what you think of him Blue Train, Zorn should be commended in these circles because, his involvement with John Patton in the 90's along with Us3 (no matter what you think of them either) helped the resurgence of interest in his work. I'd love to hear "Book of Angels" volumes from Dr. Lonnie Smith, Cuong Vu, and Hiromi, of all people.

Zorn's creative and following his muse, it nay not always work, if I had half the creativity he did I would do what he does. I think The Stone is a great facility for creative music and Zorn definitely knows his fanbase. As for Pat's last 4 "What it's All About" I like the least, but everything is very consistent. I learned to enjoy all of Pat's projects.

Pat's been very interesting for a while to me 7/4, it's just this album is VERY interesting. I'm spinning it for maybe the 20th time now etherbored. You definitely know it's Pat's because he brings his whole conception to Zorn. He plays solos on distorted guitar , baritone, steel string and nylon string, and guitar synth on this. Theres a lot of orchestrion, but it's becoming more organic. Pat even plays flugel, which is pretty strange It's polarizing (theres a few PMG fans on his forum that are very upset) in the way "Song X", "Zero Tolerance for Silence" and "Sign of Four" are but it's very very good. Got the Tzadik version, really nice packaging.

What the?

Read that, thanks I wanna see how Marc Ribot's release in the series is in contrast, b/c while Pat's the more mainstream name, what he plays on "Tap" is pretty bizarre at times, that Zero Tolerance/Sign of Four bizarre. John really pushed Metheny to do some of his most interesting recorded work in a long while.

He also has some of the greatest facial expressions ever while playing. He's great on Metheny's "Secret Story" DVD. Very cool he asked you to join him for a film.

Received my copy of Downtown Music Gallery today. There are several guitar and texture things Pat employs that are quite unusual, like "Phanuel" has quite a Stockhausen influence with the backgrounds, and his flugelhorn playing is pretty funny. He sounds like a 4th grader, but somehow his piano playing improved enough to where he plays in a Cecil Taylor like fashion on the closing track. Quite an album, I think quite a few here will like it. My copy is the Tzadik release.

Huh. Interesting

Interesting, would that be on High Note?

Good stuff. Jim, hope you leave countoffs in and some studio chatter.

Joey D., Sanborn, Hutch and Hart for Blue Note? Are they trying to re sign Bobby or get Joey a deal? (he's on High Note, so I don't get why they'd sign him)

Michel, I don't know if those sets were recorded in 1957, but if "Groovin at Smalls" and "At the Club Baby Grand" are any indication, the setlists would be quite varied. They've been referenced in the liners to Jimmy's BN albums, including a 1956 Small's engagement where he was signed on the spot by Alfred and Frank.

Hasn't BN already played "small ball" with literally hundreds of "new" records deleted in the past 15 years? Or was that them putting too much stock into certain artists?

I think the C2 is on the right

LOL yeah! "Banana in your Fruit Basket" is great!

So BN will use this platform for up and coming artists? How about for projects from artists that won't make as much money? Maybe even certain reissues?

It's a take intentionally consisting of just part of the tune being worked on, for the purpose of splicing into/onto another take to produce a complete tune. "Freddie Freeloader" contains an insert as well. "Miles Ahead", "Porgy and Bess" and (I think) "Sketches of Spain" all have numerous inserts.

It's from our friends at Rare Live Recordings so I wouldn't hold too much hope this will be a good release.

FWIW starthrower, the version of "Heavy Weather" in the Columbia Albums 1976-1982 set is expanded to include a few tracks from "Live and Unreleased" and an unissued "Black Market".

Later Basie Band sets seem to be similar, that's why say for 1977, one record of a live gig is enough. Jimmy Smith had similar sets with "It's All Right With Me" being pretty much through composed. Pat Metheny plays similar sets although tunes from various eras appear on each tour, and in many cases rearranged. Many tunes get shuffled the beginning of each tour so they see what works or not.

Oh yeah "Speaking of Now Live" is my favorite PMG DVD outside of "More Travels" which is only available on DVD in Japan, I imported both about 10 years ago. Sanchez' drum solo will blow his mind, though between then and now he's really grown as a player and composer of note, "New Life" is a strong album.