CJ Shearn

That is because it was one of the last entries in the 4XXX series - which is not covered. Perhaps there will be a further series mopping up the remaining 4XXX titles that have not seen CD release (one can hope). There is for example Bobbi Humphrey's initial album with Lee Morgan and Billy Harper, which, while not great, at least is better than anything that came out under her name afterwards. I've heard stories somewhere she never really improvised which I find hard to believe. After hearing "Sugar" from "Live at Montreux" (tested the album on YT) and while that did not much for me at all, I found it better than the more famous Mizell discs. When you are in the company of Morgan and Billy Harper, you *have* to play, so I would think that early disc led to promise unfulfilled.

I will get the Elvin Lighthouse dates from the next batch. Was thinking of "BN Live at the Roxy" just because it is so bad. Couldn't tell you about the GG "Live at the Lighthouse" omissions though. What does seem strange is shouldn't releases like Hutcherson Live at Montreux have the label design like above instead of a white "b"?

The rhythm section on "In Europe" doesn't really do it for me, I sold the discs, but "God Bless the Child" is still great on volume 1. I feel like they didn't really get the outside aspect of Eric's playing and they struggled. "Out to Lunch" though is a stone classic and immediately likeable for me. Had Eric lived, I wonder if he would have gone increasingly more towards completely outside playing, perhaps with a lot of European players, like Bennink.

Congratulations to him!

Bringing this up because I watched this a few nights ago on Netflix. I think it was well done generally though I felt Herbie and Wayne were sort of being portrayed as the old guard in a sense. I forget qho it was speaking, but the point about how is Bill Frissell or Robert Glasper relevant as to what they ad culturally or socially made sense in a way. What I don't think the speaker thought of though was that Frissell's contribution is bringing in the Midwestern vibe, and other disparate elements over the past 20 or so years, something he and Pat Metheny have excelled at. It's not the same as Sonny or Lee Morgan sort of expressing their experience, playing music in time of much social upheaval and the civil rights movement, but that also for many musicians the goal simply is the music. No particular cultural or social goals, just musical ones. It's also understandable too why someone who grew up on Bird, Miles, Monk, might not be hip to what's going on now too.

Kenny Garrett: Beyond the Wall, Pursuance: The Music of John Coltrane. I would also suggest much of the Pat Metheny Group's music that, while not referencing spirituality or God in that sense, the music reaches for an elevated place, to an area of something that reaches a spiritual experience. When you go to a PMG show, you really feel it. I got rid of it, but there are tracks on Jarrett/Haden's "Jasmine" that have that vibe, "Ascent" by Lyle Mays from his self titled. Of course if you do not like jazz with electronics or jazz that touches on pop areas, these may not be for you.

Amazing work! Making me aware of some players I've not previously, thank you

I saw this on Tain's FB before FB went down. I'm not really familiar with Greene's playing but this is very sad news.

Happy birthday!!

http://jalc.org/multimedia/webcasts/dizzys?reset=1#.UMqPJKwkSm5

Still play this one regularly

Good to see Dave Schnitter has something out

When I ordered Christmas gifts for my parents, I ordered the 2 Columbia Album Collection Weather Report sets. I had sold any WR I had years back and wanted to hear everything in proper context and own "Live in Tokyo" again.

おたんじょうびおめでとう。

A big loss. RIP

Ahh, ok! I like his playing more on "Live at Montreux" than the Hutcherson studio dates of the period.

Bobby Hutcherson's drummer, who was he? Same guy who made R&B records? I think I asked before but not sure.

Received the Hutcherson today and it sounds really good, not fatiguing or anything. I haven't compared the sound to the Amazon CDR version, but it does restore the spoken introduction I would assume is on the original LP.

He was on McDuff's first COncord album, 'Color me blue', recorded in 5/1991 & 3/1992. MG Thanks MG, I thought so but couldn't find appropriate session info.

Thanks Jim and Marcello. Right, I remember Jefferson passed in an emergency procedure. Boyd I don't recall much about other than being a solid player, and very good to hear that Dukes had renewed his association with McDuff in the 90's. Surprised he wasn't on McDuff's Concord dates.

One of those cases where you wonder what the players ended up doing. My friend asked me what happened to the great Joe Dukes, b/c it seems at least after Lonnie Smith's "Live at the Club Mozambique" he didn't appear on many sessions. Maybe it's similr to the case of (I realize these are all organ group references) Eddie McFadden who after the 70's seemed to stay local on the Philly scene. Or players who dissapeared entirely like Johnnie Splawn, Dewey Johnson (on "Ascension") or Donald Rafael Garrett, did he leave music after playing with Trane? Other players I wonder about, Carter Jefferson after Woody Shaw, Manny Boyd after Hutcherson's group, etc.

RIP. "Live at Carnegie Hall" is wonderful

Man, Savion with Roy and Jack in separate improvisations seems enough to warrant a buy for me at some point. I'm surprised GA that you feel both men and Savion seemed at opposites. Both were tap dancers at some point but Roy's rhythms are so tap dance like, an extension of his body.

I'm thinking of doing the same Jetman. How's is the sound? The last Wounded Bird reissues I bought were the Woody Shaw and Griffith Park Elektra Musician titles and they sounded fine to my ears. I've heard about the Joe Farrell CTI titles on Wounded Bird being compressed and less than good sounding. To me it seems like the Montreux Summit, Blue Montreux, and Casino Lights titles were all like cousins of the CTI All Star concerts, but with less consistent music. Rick Braun and Boney James marred the individual tracks sans the group jams on "Casino Lights '99" (a title I bought for Kenny Garrett) a very weak stand in for the Hubbard/Turrentine combo they seemed to try to emulate. It seems what I've heard of the Montreux Summit on the Dexter box is pretty successful with the unusual combinations. Though with Wounded Bird, I should grab those titles and Freddie's "Gleam" b/c their reissues go OOP rather quick.

Bringing this up b/c "Montreux Summit" vol 1&2 have just been reissued by Wounded Bird. Since 3 cuts, probably the best of them are on Dexter's Columbia box, is there any need for me to pick up these albums or not really?