Wallace Roney - Home

[bertrand]

I just found out about this release so haven't had a chance to get it yet. Did anyone here buy it already? If so, what do the liner notes say about the opening track, 'Utopia'?

Thanks,

Bertrand.

[Larry Kart]

I just found out about this release so haven't had a chance to get it yet. Did anyone here buy it already? If so, what do the liner notes say about the opening track, 'Utopia'?

Thanks,

Bertrand.

It goes on forever?

[Dan Gould]

I just found out about this release so haven't had a chance to get it yet. Did anyone here buy it already? If so, what do the liner notes say about the opening track, 'Utopia'?

Thanks,

Bertrand.

It goes on forever?

No, that would be

[AllenLowe]

actually, that song has a bridge to nowhere -

[jazztrain]

Bertrand,

I can't answer your question directly, but here's a review that mentions that Utopia is a Wayne Shorter composition: Review of Home

Here's an article reviewing a concert last year at which Roney played the tune (described as an "unreleased" Shorter composition): Hartford Courant article

I just found out about this release so haven't had a chance to get it yet. Did anyone here buy it already? If so, what do the liner notes say about the opening track, 'Utopia'?

Thanks,

Bertrand.

[Lazaro Vega]

"Home" opens with a never-before recorded Wayne Shorter composition, 'Utopia.' On this driving but light-toned version, the Roney Brothers blend together very well over the active rhythm section. Their solos, along with that of keyboardist Aruan Ortiz, over the tricky chord changes sound effortless." Scott Yanow.

Later in the program they play Shorter's "Plaza Real."

edit to change Homeo to Home and ticky to tricky

Edited March 29, 2012 by Lazaro Vega

[Larry Kart]

I hate it when chord changes get "ticky."

[JSngry]

Is this a new-new Wayne tune or an old-new Wayne tune?

[king ubu]

I bet it's a new old Wayne tune

[bertrand]

Circa 1968.

I just ordered it so we shall see.

Bertrand.

[bertrand]

Interesting piece, although I am not quite sure how it would have sounded as played by the second quintet for which it was apparently written.

Frustrating that I was not aware of it when I prepared the composition inventory for Wayne's bio. Of course, he has written a few pieces since I did this in 2006, none of which have been officially recorded by Wayne: 'Prometheus Unbound', 'Pegasus', 'Mir', 'Terra Incognita' (recorded by Imani Winds'), 'Aurora' (written for Renee Fleming) and of course 'Lotus' which was the Philly museum commission. I will edit later if I think of others.

Bertrand.

Edited April 23, 2012 by bertrand

[Michael Weiss]

Interesting piece, although I am not quite sure how it would have sounded as played by the second quintet for which it was apparently written.

Wayne's tunes, more often than not, turned into something entirely different after Miles got his hands on them.

[bertrand]

I have heard that before, but then Herbie once claimed that Wayne's tunes were the only ones that Miles did NOT tinker with.

A lot of research needs to be done on this question, but of course to do a comparison you need the original piece as Wayne showed it to Miles. Keith Waters does this comparison in his book on the second quintet, but he is using the copyright deposits, which are not necessarily what was brought to the session.

Have you seen the lead sheets that are in the book 'We Want Miles' which was the catalog for the Miles exhibit which was held in Paris, Montreal and I think Brazil as well? There are some Wayne and Herbie lead sheets in there. I wonder how they compare to the recordings. I wish I were a musician so I could do this work myself.

Bertrand.

[Michael Weiss]

I have heard that before, but then Herbie once claimed that Wayne's tunes were the only ones that Miles did NOT tinker with.

A lot of research needs to be done on this question, but of course to do a comparison you need the original piece as Wayne showed it to Miles. Keith Waters does this comparison in his book on the second quintet, but he is using the copyright deposits, which are not necessarily what was brought to the session.

Have you seen the lead sheets that are in the book 'We Want Miles' which was the catalog for the Miles exhibit which was held in Paris, Montreal and I think Brazil as well? There are some Wayne and Herbie lead sheets in there. I wonder how they compare to the recordings. I wish I were a musician so I could do this work myself.

Bertrand.

I have several of Wayne's lead sheets and I also saw Wayne's lead sheets (Dolores, Pinocchio, Guinneviere, ESP, Capricorn) at the Miles exhibit. With all this existing evidence, there's no question in my mind that Miles made several "modifications" - usually form related - to many (certainly not all) of Wayne's tunes for HIS band. I'm not passing judgement; they obviously had a fruitful relationship. And obviously a collaborative one when it came to Wayne's tunes. Just compare Wayne's own recorded versions of his tunes with Miles'.

[bertrand]

I always had a hunch that Herbie's statement was not quite correct. I'm sure his pieces were altered more significantly - e.g. the rehearsal take of 'Madness'.

Bertrand.

[Rooster_Ties]

FWIW, the rehearsal takes of Herbie's own "I Have A Dream" and "Speak Like A Child" from the 65-68 box are fascinating (as is our own David Weiss' recent take on Miles' take on "I Have A Dream).

I would about kill to hear any other let's call them 'Miles-influenced' interpretations (real, or even imagined) of other Wayne and Herbie tunes from that era -- meaning compositions that Wayne and Herbie only recorded by them under their own leadership. And an absolute 'holy grail' for me would be the entire "Speak Like A Child" album done "2nd Quintet"-style. Yes, thinking about rewriting history is a perverse hobby of mine, but one can dream, can't they?