CJ Shearn

Literally your probably right. But in reality Blue Note bears negligible relationship to the label Shorter originally recorded for. Maybe when they re-booted the label in the early eighties with the opening of the vaults -and got some of the old-guard back - it might have felt like a return of sorts. But not now. Imagine them recording Freddie Redd today. They'd probably have to do a google search to find out who he is. Exactly. I have noticed Don Was' knowledge seemingly lacking about the history of the artists, like him not realizing just how much of a force JOS was. To me, as it's been for a while, this seems more an extension of the Blue Note circa '73-76, not the classic Lion/Wolff era. I say that because they are broadening their scope to many musics and just using Blue Note as a brand name.

Odyssey of Iska? Wayne Shorter Quintet Wayne Shorter (ts) Barbara Burton (vib, bells, per) McCoy Tyner (p) Miroslav Vitous (b) Alphonse Mouzon (d, per) A&R Studios, NYC, October 13, 1970 tk.3 Pt. 1: The Creation Blue Note rejected tk.4 Pt. 2: B. Because - tk.5 Pt. 3: Cee - tk.7 Pt. 4: Dee - tk.8 Pt. 5: Effe - 1971 Wayne really dislikes this session, as is stated in the Connoisseur wishlist 2007 thread, Michael Cuscuna played the tapes for Wayne, and he was unhappy with the results.

I have "Prometheus Unbound" somewhere from a radio broadcast from the tour with Hancock Holland and Blade. Thanks as always for your thorough investigation of Wayne's music Bertrand! I think "Moto Grosso Feio" is being issued in Japan soon.

Which are the "new" compositions? Obviously "Pegasus", Bertrand, any idea on the others? My guess is Wayne has been playing these tunes for quite sometime, its just that these are new on record. Thanks! Blue Note hits a new note redux is giving us something good.

So glad it's another live album! It'd be very hard to keep the spur of the moment creativity of that quartet in a studio environment unless they just let them go. http://www.bluenote.com/news/wayne-shorter-returns-to-blue-note-records/

RIP

Roy Hargrove, Kenny Garrett, Christian McBride, Joshua Redman, all of whom have gone far beyond Wynton's scope.

It's a shame Pharoah has no label right now, I'd think Kenny Garrett would persuade Mack Avenue to sign him.

I don't know if I'll get the Japanese CD of "Cool Blues" eventually b/c I have the RVG, but you sent me a burn of the original CD back when I was in high school b/c I had been looking for it then!I think you had an extra copy of the original and later sent it. I passed it on to a friend's ex later. So I've had a long history with the CD versions of this album. First time I heard it, I was absolutely thrilled being in full hard bop mode, and it remains essential to me as a trilogy with "The Sermon" and "Houseparty". I always thought Eddie McFadden's intonation sounded really bad on this date though.

Street Fighter: The Movie with JCVD

The tenor solo (Walter Blanding maybe?) made me pull out the Newport '56 album off the shelf and I'm listening to that version, the LCJO solo comes nowhere near either the album or video versions of D&C. The LCJO is a contradiction to what Wynton says about swing and improvisation, even that, he sounds like a mouthpiece.

Exactly what I told someone yesterday.

It's an ok set, not bowling me over either.

I haven't listened to it much either since I got it, but it is excellent. I don't have an issue with the pop sensibilities, I rather like that as I do with Pat Metheny's work, but I think maybe I'm too used to Jarrett's solo and trio work, two completely different animals.

I agree with you chewy that in a sense it's important these titles are on CD, particularly the Hutcherson and Elvin Jones make a return to circulation, but titles like Blue Note Live at The Roxy are musically unsatisfying for the most part, but good for completion.

Is the Ronnie Foster title worth it? Looks to be just a trio, some of his studio albums of the period after "Two Headed Freep" got really slick in the not so good way.

Branford's new one "Four MF's Playin Tunes" is really quite good.

Leader dates: Branford, 5 Wynton, 0 Sideman Appearances: Branford: 3 Wynton: 2

BN Live at the Roxy? wow. That is a first time on CD title.

It's like going to the bathroom at a club! $10 a month to lose the commercials. I'd rather put that toward adding to my collection and not sink $120/year and walk away with nothing. And, if $10/month is the introductory rate, eventually it will rise up in cost just like an eMusic membership. They'll make it $25/month and start limiting the number of listening minutes. There will be extra charges for "lightning fast, guaranteed streams" and other bullshit. No thanks. I'll take my guaranteed commercial free iPod, loaded with tracks off MY compact discs and vinyl. Right on! There's also no guarantee the albums you want, listen to on a frequent basis will always be there with these services. Also, there are albums with missing tracks, so for whatever reason they had trouble getting the rights to full albums there are only 1 or 2 cuts.

Yes, it would be nice to know if the estates have a say in what gets put there. I checked out the links to the Kenny Drew Trio recordings for example and the cover to the Fresh Sound reissue popped up, so, it seems they are not using the official sources for some obscure titles, like "Profile" by Duke Pearson. I wonder if there are plans to include long OOP recordings including those from the 80's and 90's. The app is not as cool as being able to grab "Blue Lights" off my shelf, but it is nice.

I checked the app out, I think it's pretty nice and serves as a decent educational tool for those who are starting out with Robert Glasper or those with just the typical handful of discs. The app isn't aimed at people like us but it would be nice to have pictures of the original vinyl, pressing history from Liberty/UA/Capitol, how to spot original pressings etc. Discs I don't have from using the app will have to be purchased used eventually and, I hope they use the app to digitally get OOP stuff back out there.

That made me go put on the "Do Watcha Wanna" album, so funky.

Makes sense MG, but with the high level of improvisation on "The Sermon" and "Houseparty", it baffles me that they'd be used as party tracks, "The Sermon" I could see being used for that, but "Au Privave", "JOS" and "Just Friends", I am not sure. I grew up on those records always critically listening. It's sort of like how today most casual jazz fans might put Miles on as background or smooth jazz b/c the other stuff is too challenging. Though yours' and Chuck recollection of the social implications of JOS' music and Blue Note seems consistent with how people in my dad's side of the family used that music to function in their lives.

happy birthday Trane.