CJ Shearn

14 years ago, was when I "got" Pat Metheny's music and now I'm the biggest fan. Teachers in High school had been trying to open me up tohim, Brecker, I was such a hard bop nut then. Trane's late period took me years to get into, as did Electric Miles, I'm still kind of not past 1970, I got into the 80's bands but I still need to get into all the stuff through Agharta. I prefer the live like the Live in Europe '69 box BB stuff over the album. Took me years to really get into Chick's solo stuff but I love it now.

I can't think of any 60's or 70's Byrd BN that hasn't been released on CD. But I'm sure there are rejected sessions and the July 5th, 1973 Montreux performance from the same Cookin with Blue Note night that produced the Hutcherson, Foster, Humphrey and Marlena Shaw LP's. That date would be of little interest to those of us here.

The new one is just as demanding Kyo, but it draws you in. I think if I never heard Wayne Shorter before, I think the unusual cover painting alone would make me see what the album is about.

I just got another copy of "Footprints Live!" from Amazon Marketplace for about $5 and change a week ago. The only issue I have is that the seller claimed it as "like new", the packaging and inserts are mint but the disc, though it plays perfectly is very scratched up. I may need to get it refinished but because I am staying with other family and not my own place I've been ripping discs losslessly to my HD and putting them away. I also got "Beyond the Sound Barrier", but that disc is absolutely mint. Why both are OOP I don't know, maybe Verve Select is planning a comprehensive set of the WSQ performances of that era? I wonder if they considered it too much if "Without A Net" was 2 discs?

Another wild haired guitarist has worn the same thing for that long too, lol.

I kept "Give and Take" and "Voices". "I Love You" on "Give and Take" burns, DeJohnette on brushes switching to sticks is smoking there.

It's true that Russell Ferrante has never released a solo project, there was a section of the YJ's website where you could ask them questions, and I believe he said had enough material for one.

Mike has been clean and sober for many many years now. And you are right about the YJ's, Ferrante is a great player, he's very much like what Lyle Mays is to Pat Metheny and flies under the radar.

Mike Stern I really really dig, particularly the rapport he and Richard Bona have together. That said, I think his best records that I have heard have been "Voices", "Give and Take" (with some killing Brecker, Jack DeJohnette and Don Alias) and "Who Let the Cats Out?". "Big Neighborhood" was sort of a mixed bag to me, a sort of "Who Let the Cats Out?" part 2 but not as strong. I think while he's such a great improviser, some of his tunes can get a little predictable. I will check out "All Over the Place" on Spotify to give it a spin before I buy. The "Mike Stern Live" DVD is great too. Stern's got such a pretty tone on nylon string acoustic, which is where the Pat Metheny influence comes in, not so much in ideas but his nylon string tone reminds me very much of Pat. The Yellowjackets, at least since Greenhouse in 1991 have NOT been smooth. Jaco's son Felix replaced Jimmy Haslip on bass and Will Kennedy returned on drums but their recent studio albums haven't been as exciting to me as "25" or "Mint Jam". The latter is quite expensive but very worth it. They really cook on that one.

I think what also contributes to the awfulness of music at the Grammies is that, even compared to the 80's, a lot of tunes harmonically are just bad. Theres nothing like say changes in "This Masquerade", "Broken Wings" or "Human" by the Human League that'd make you go, "hmm, ok, cool!" At least that sort of thing piques my interest as a listener,

That's great!!

I didn't think that worked at all -- their backing The Black Keys. Not that the song was horrible but what they played was generic horn comping and not at all representative of what they are about. Yeah, that's true about what they played, but they are very good players indeed.

Kenny had a great 8 bars and I liked Stanley's doublestops. Dr. John and the Preservation Hall Jazz Band too was fine musicianship. I guess the keyword with other musicians in the various bands, is that it's not everybody's thing. Definite musicianship in the Levon Helm tribute but kind of super predictable and a bit lame. Travis Barker was absolutely horrible with LL Cool J, Tom Morello and Chuck D. Lack of subtlety, feel and groove.

There's some great stuff in the more recent electronic and House realms. I recently discovered an old Detroit deep house track by Mr. Fingers called "Can You Feel It?" Last year when one of my friends visited me she got me onto Underworld and the 1992-2012 compilation. Have you heard this? Benson in 1973, two discs of live music with Mickey Tucker in support, only one vocal track, excellent song selection. Probably really his last straightahead date, it obviously pre-dates his ascent as a pop star. Wow!!! This is my favorite era of Benson and I've never heard of this album. MUST find and own!!! Milestones, also track down BODY TALK. Guitar funk at its finest! Milestones, make sure if you haven't already, track down the CTI 40th Anniversary editions of "Beyond the Blue Horizon" and "Body Talk". It's the first time those albums were mastered from the original tapes (as all the 40th anniversary reissues are) and they sound great. Although the bonus tracks are still from the remixes made back in the 80's.

I was thinking of Wayne's whistling and the general weirdness of "Gnostic", while listening to the quartet stuff and thought about Moncur, but not in *that* way. Very interesting!

That's a GREAT track. Killing solo too.

Glad he is still with us! I wonder if the Donald Byrd rumors before the confirmation of his death, gave someone the sick idea to say Mr. Priester had also passed.

Damn, another one gone.

Yeah, Impossible, I know one guy who likes hip hop very into J. Dilla, but I'm talking about people who are mainly into popular top 40 stuff, the mainstream.

Very fitting they are playing "Free Form", right now. The groove Billy Higgins sets up before the head, I've always thought is a precursor to drum n bass rhythmically.

I always feel like, and it was a staple in my early listening, that "A New Perspective" is kind of a singular achievement. Sure, quite a few of the vocal ensembles are ragged (forgetting that the vocal line ends before Kenny Burrell's solo on "Elijah") and I'm aware Byrd kind of continued with this gospel influenced sound on "I'm Tryin To Get Home", which I've never heard, but nobody took that gospel and jazz fusion thing in any direction like the way Byrd did on that record. As far as I've been aware in my listening). Some of the vocal sections on "Beyond the Wall" by Kenny Garrett remind me of the way Byrd and co. applied it on "A New Perspective". "Christo Redentor" is such a great mood tune.

Great post, Jim. This band is a well oiled machine by now, I went back to the two earlier releases (don't have "Alegria") and it is a continuation of the specific language and grammar they developed over the past decade. "Footprints Live" I think makes more of the early WR in conception you've talked about, "Beyond the Sound Barrier" went with things at a different angle (I need to listen to that one more too, it came yesterday as well) and this continues in that direction. I think "Without A Net" might be the most consistent record out of the three.. and "Pegasus" is a lovely composition. Is this music still inaccessible to people who want swing and something a bit easier on the ears? I think so, but it also provides a lot of rewards with careful listening. I gotta give credit that Don Was, with this release, the Aaron Neville (from what I've read and the little bit I sampled) and Jose James for letting them do their thing and not imposing commercial restrictions just because it is Blue Note, the brand name.

I've heard some of his work, I'm a bit more into Nujabes, but there is a textural thing different from the way hip hop used samples in the early mid 90's. I'm far from a hip hop head or authority but I could tell you that people I know who like hip hop aren't aware of J. Dilla or Nujabes, that stuff is maybe a bit too intellectual for the crowd that likes Kanye, Nicki Minaj and that kind of thing.

RIP Donald.

Grant Green was hardly "subtle" nor was Eddie McFadden, though sometimes the chops weren't quite where the imagination was in the latter case. GG's rhythmic sense in his lines is pretty explicit, as is Benson's. Pat Metheny on George Benson: "yes, george has come to see me play - and yes, i was stunned. he is one of the greatest musicians to ever address the guitar as a serious jazz instrument - and he certainly is one of the major forces in the evolution of what is possible to do with the ax. his sound, his tone, the way that he plays with the drums are all just fantastic. he is someone that i always make a point of going to hear if we are on the same festival or something. besides all that, i know there are people who moan about the fact that he sings so much - but, i love his singing almost as much or more than i love his guitar playing. i guess, you can see - i am a big fan. as far as playing together goes - i think i would just let him have it, and go off to the audience and enjoy the master - then go home and practice picking all night long!"