hgweber

this may be one of the strangest piano solos i've ever heard. genius or accident? any thoughts?

i met pony in the late 80s when he was visiting germany for the last time and stayed with a good friend of mine. we drove him to several concerts in the mannheim area where he put up a little stand to sell his book. i still have the copy he gave me, with "to bill cosby" whitened out and my name over it, lol. i remember going backstage with him in mannheim to greet art blakey. for some reason woody shaw was also there, suddenly standing in front of me, holding out his hand and introducing himself. i remember that he didn't talk much and that he seemed not to be in good shape. he did like to smoke the green. i think he died a few months later. i have a tape somewhere with a gig he did on an earlier visit, no sax, just singing, with my buddy on piano and a local rhythm section, iirc. i could find it if it's of any interest. i'd love to see the photos from frankfurt. any idea who was playing with pony? and +1 to the recordings with rene thomas.

1. old devil moon. bobby hutcherson, late period? 3. fantastic bass player, could it be george tucker? is yusef lateef involved? 13. just friends. first vibraphone solo sounds like terry gibbs. i enjoyed his combo records on jasmine. 15. jim halls debut as a leader with carl perkins and red mitchell. seven come eleven, associated with charlie christian, whose influence is obvious here.

i bet it's better than "standards" or the quartet recording with wynton kelly

i've heard from a reliable scource that there is another GG with ike quebec where grant is totally on fire.

i'm not sure how much money you can actually grab from releasing Grant Green material the paris session could've been left alone, since there is video already. but i'm happy for everything new that we get. i mean, the holy barbarian session is probably not of great artistic value but gives a great snapshot of grant's development. surely there is historic value in releasing unissued material? is it a bit odd how cuscuna likes this release so much when he is appearantly still sitting on better grant green material? and is it true that he writes in his liner notes that cannonball brought grant to NYC? wasn't that lou donaldson?

good read. i think i commented on don lamond when the video came out. also ridley and kessel make quite a train-wreck of "i wish you love", playing the chords twice as fast to a visibly frustrated grant.

now i'm even more intrigued. it*s got that late fifties vibe of jim hall. a final guess: dempsey wright?

i only got jim hall on #1. looking forward to reading the discussion.

did you guys see this already?

claude was kind enough to mail me the fifth tune. it's definitely attila zoller.

i can't find my "i giganti del jazz" right now. could you post a snippet of the fifth tune?

the track is cantaloupe woman, but played as a 12-bar blues instead of the original 16-bar blues form. the only thing they add at the end is the chromatic fall to the VI chord. but they still leave out 4 bars of the original tune.

the material is from the 1966 newport guitar workshop. GG plays cantaloupe woman, zoller plays straight no chaser and darn that dream, and burrell plays an untitled blues. hth

the antibes is probably quartet with organ. did you guys notice the extra footage from ronnie scott's at the beginning of the sharony green movie? so there *is* more out there.

wow. looking very much forward to the reveal on that one. i can't come up with a single name. it's not sonny greenwich either.

track 2: the guitar player is fantastic. really channelling early 70s grant green but adds a little something. it's not grant but incredibly close. not benson but again very close. i'd say GG jr. but the recording seems older? i want more.

track 5: bass player drives me totally nuts. richard davis? jack wilkins on guitar?

neither have i. but even if there are those versions, as porter implies, his post in the comment section still makes no sense. he promises another post on the topic. looking forward to that.

thanks, i see now. i always thought that the "lamp is low" quote was a part of the tune. after all it's a "pavane" as well (by ravel), so i always thought of it as trane's little inside joke. but i find porter's response in the comments still mildly confusing: " You might have read in my book that the bridge was possibly taken from "The Lamp is Low." I no longer believe that, because in fact it is false that Coltrane plays the same bridge in every single performance. As I wrote above, "the bridge is basically the A theme played a half-step higher, as Coltrane himself sometimes performed it." even if it's false that trane did play it *everytime* it's still taken from "the lamp is low"? even if there are unreleased versions of trane playing the "turrentine" version (i haven't heard any) do they outnumber the released versions (which all have "lamp is low" afaik) by such a margin that it can be concluded that the "turrentine" version is actually the correct one, as porter seems to imply? that can't be right. i don't get it.

i'm not following. so the half-step up version is the "correct" one, and the "lamp is low" version is the "turrentine"? is that it? forgive me for being thick...

sorry if it's been mentioned before. i really enjoyed it. https://tunein.com/radio/Doodlin-Lounge-p277958/

that's a great recording of milestones. much more aggressive than the other one. did he sound like that in the 60s? greenwich must have taken a few pages out of symond's book as well. do you remember the chord solos? there seems to be little on youtube that shows what he seemingly was capable of. to floor wes montgomery with chord solos is certainly something! thank you for that blindfold test.