CJ Shearn

I think he is on the Jimmy and Wes albums too. RIP

He is doing an Ornette-ish improvisation on the tour bookended with "Broadway Blues". I will see/hear this for myself in October. Pat and Ornette have been talking for years about a followup. Hope they do it before time runs out for Ornette.

not at all like my iBot.

have you checked out 80/81? Some incredible blowing from Pat, Mike Brecker and Dewey Redman. "Every Day (I Thank You)" is one of Pat's best tunes melodically and harmonically. You really shouldn't ask me though b/c I own just about everything Pat has recorded as a leader . Can't wait to see him live in October on the "Orchestrion" tour. Granted I'm a big fan of Pat in certain doses (Song X--which is still the most facile translation of Ornette's phrasing to the guitar anyone has ever done--the trio with Haden and Higgins), I got 80/81 in the midst of a big Dewey Redman binge and found myself kind of perplexed at the completely unironic smooth jazz flourishes in Metheny's writing and playing. It's completely not my bag, but I wholeheartedly respect and, in some perverse way, support Metheny's reluctance to go down any clearly defined, conventionally "tasteful" career path. "Song X", the Twientieth Anniversary is a revelation, both sonically and musically. I think Pat is supporting Ornette on that album much in the same way that Don Cherry did with the parallel lines. Pat is doing some crazy things with Ornette's music using the Orchestrion.

have you checked out 80/81? Some incredible blowing from Pat, Mike Brecker and Dewey Redman. "Every Day (I Thank You)" is one of Pat's best tunes melodically and harmonically. You really shouldn't ask me though b/c I own just about everything Pat has recorded as a leader . Can't wait to see him live in October on the "Orchestrion" tour.

Herbie: Takin' Off RVG

if you don't have JOS "Six Views of the Blues", it is a must.

damn, so glad I have the Smith's Burrell's and Henderson's. Pulled out "Blue Lights" the other day.

Peter Brotzmann........ I try, but I just can't. Oh wait, this is for artists I really know, but still.

I think Trane continuing on with African inspired rhythms and percussion is likely, but I also think he would have experimented with other reed instruments also. He did experiment with the Varitone but never recorded with it, which makes me think toward the 80's, he would have made sonic innovations on the EWI before Michael Brecker. There would also be collaborations with The Last Poets and Gil Scott Heron. Trane would be largely doing things outside of straight ahead, I think like Miles he would not have looked back and played standards again circa the Prestige era or anything like that.

Quentin Warren was just kind of there as a foil for Jimmy's flights, to provide him with harmonic support. Quentin, IMO was not in the same league soloing, as was Kenny Burrell or Eddie McFadden but he was capable as "Crazy! Baby" and the Newport '59 gig show. I think Quentin was a better soloist with Jimmy later on, around '64 and '65.

the infamous article I reposted a while back. We concluded that Jack Chambers made a lot of gross accusations about Brooks carer, Blue Note and other Blue Note musicians and music being unreleased due to drug habits.

lol, Lon.

let's get Lon's take on this!!!! (just kidding!!! )

you know MG, I have to disagree with you slightly about JOS' last 4 BN sessions to finish out the contract. "Prayer Meetin'" is the most inspired, whereas "Bucket" is the weakest. Wish I hadn't sold it, but I did. The title track is a cooker, but Jimmy sounds like he's going through the motions on the rest of the album, IMO.

Interesting regarding the royalties. So Jimmy had a bitter fall out with Blue Note? Obviously he'd return to the label for three more albums: "Go For Whatcha Know" for the "new" Blue Note in '86, and the Japan live sessions licensed to BN from Somethin Else.

I like this note on that link you posted (for which many thanks, must get it) This is the alternative universe, of which we've heard so much, no doubt. MG Yes. With popular entertainers like Jimmy Smith, it's important to get a grip on the rubbish, as well as the mediochre and the good, and not just stick to the great. Because it's all part of what his thing was. It's better they reissue "Respect" and "Livin it Up" rather than "Sit on It" and "Unfinished Business". Verve already reissued "The Boss" but I wish they had restored/expanded it like "Root Down". Maybe Hip-o can tackle his Mojo era albums. You're welcome MG. I think the '69 set is the stronger of the two, again I know he did two shows that one day in '69, I don't know if it's the same as the Jazz Icons DVD, or the other show

I have the Paris stuff as well, the 68/69 stuff is with Nathan Page on guitar, Donald Bailey on drums and the '69 gig is with Eddie McFadden on guitar and Anthony Crosby on drums. It's funny that Smith didn't get with McFadden and Bailey again. The only post BN dates I know with Bailey on drums with Jimmy are "Bashin", "The Boss" and the Salle Pleyel '68 gig. http://www.amazon.com/Pleyel-Nov-1968-Dec-1969/dp/B00006IJ0H/ref=sr_1_120?ie=UTF8&s=music&qid=1275766662&sr=1-120

All the Paris material is available on 2 Laserlight sets, Salle Pleyel, May 28, 1965 and I think November 20th 1968, and a date in 1969 for the other. I think the latter show is on the Jazz Icons DVD.

yep.

"It's Necessary" is Jimmy's only Mercury session worth investigating IMHO.

I may pick this up b/c I have a crappy sounding burn of "Respect" from Rhapsody

Geez Kevin, that's pretty disgusting. They should tell someone to leave the store after that.

I have both on CD