Jazz for aficionados

Learsfool, you're completely illogical, so why should I think anything you said was logical.

Learsfool, this thread has gone on continuously since 02-24-2013, and you were the first person to post on it. Why do you continue?



Enjoy the music.

Jazzcourier, you don't have to use a lot of words to say something, but if you are going to use a lot of words "say something".

Before I read Acmans post, I was in pursuit of a blues guitarist. One word in his post steered me in a different direction, "Charlie Parker"; that one word put Tiny Grimes in a different ball park.

After I found Charlie Parker and Tiny Grimes on "you tube", I realized why it's not in my collection, but it might be in my fathers collection. This music is called "early Bird"; that was "the Bird" in the making when he was playing with Tiny Grimes.

Alex, a friend of mine use to always say; "To thine self be true", and with that I'm saying I could enjoy Tiny Grimes if I were visiting you, and you played it, but I wouldn't rush out and buy it; although I can enjoy the nostalgic aspect of that music; it reminds me of music I overheard in my childhood. When I focused exclusively on "Bird's Horn" or "Tiny's" guitar, they sounded OK, but "Pre-Bop" is not my first preference in music.


Enjoy the music.

Alex, johnny Smith "Moonlight in Vermont" has been in my collection since the late 50's. It featured Stan Getz on tenor; there wasn't a cut on that album that I didn't like.


Enjoy the music

Alex, this was almost the standard for "Moonlight in Vermont"; a lot of DJ's used it as a theme song when they came on late night; it is sooo mellow .


        https://www.youtube.com/watch?v=gRNpc-hFkCs





Enjoy the music

Review by Steve Huey [-]
Grant Green recorded so much high-quality music for Blue Note during the first half of the '60s that a number of excellent sessions went unissued at the time. Even so, it's still hard to figure out why 1964's Matador was only released in Japan in 1979, prior to its U.S. CD reissue in 1990 -- it's a classic and easily one of Green's finest albums. In contrast to the soul-jazz and jazz-funk for which Green is chiefly remembered, Matador is a cool-toned, straight-ahead modal workout that features some of Green's most advanced improvisation, even more so than his sessions with Larry Young. Part of the reason for that is that Green is really pushed by his stellar backing unit: pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Elvin Jones. Not only is Green leading a group that features one-half of the classic Coltrane Quartet, but he even takes on Coltrane's groundbreaking arrangement of "My Favorite Things" -- and more than holds his own over ten-plus minutes. In fact, every track on the album is around that length; there are extended explorations of two Green originals ("Green Jeans" and the title track) and Duke Pearson's Middle Eastern-tinged "Bedouin," plus the bonus cut "Wives and Lovers," a swinging Bacharach pop tune not on the Japanese issue. The group interplay is consistently strong, but really the spotlight falls chiefly on Green, whose crystal-clear articulation flourishes in this setting. And, for all of Matador's advanced musicality, it ends up being surprisingly accessible. This sound may not be Green's claim to fame, but Matador remains one of his greatest achievements.


Anybody who has been following this thread knows why I'm posting this, in case they don't know I'll tell you why; Grant Green died in poverty, although he made many boss albums that were not released. This album was released in Japan, probably after his death; the question is WHY? If you're interested, you can read over back posts in this thread.



enjoy the music.

I first heard Grant Green when I was 16 and he was 23; he sounded then, just like he sounds on this post;


I'm feeling the spirit yall, and I'm going to "Go Down Moses"


          https://www.youtube.com/watch?v=jRyz7aWcxUc


Now I'm going with Joshua, and me and him gonna "Fit De Battle Of Jericho". Can I git a witness!



          https://www.youtube.com/watch?v=1yVPWY7Kx-M





Enjoy the music.

As I stated once before, I heard Grant Green when he was playing for "Grant Green" and nobody else. This was in St. Louis before Blue Note even heard of him. Although I was too young to be in an establishment that sold alcoholic beverages, I was tall, and wore a hat to look older. Anywhere there was live jazz, me and my high school buddies could be found. When we heard that Grant Green was playing at a club that we often passed by, you bet; we were there.

That was a long time ago, and my memory is not so good that I remember who was playing with him, or even if he had anyone playing with him. Since there was no admission, the club was packed, standing room only. That was just fine for us, because we were underage, and no one would notice this in a packed dimly lit nightclub. What I do remember is the sound of his guitar, and him; lean Grant Green with a head full of thick black hair, half standing, half leaning against a high bar stool. He was more playing to himself, than he was to the crowd of people. They were just like me and my buddies; we couldn't get enough of Grant Green's jazz guitar; all I ever heard him play was boss jazz; I can close my eyes and still hear them licks ringing in my ears. Every time he struck a note, it came ringing off that guitar like a rifle bullet, and penetrated your musical mind. Not before, not since, has anyone struck notes that rung like his.

I was listening to Grant Green before Blue Note ever heard of "Grant Green", and he was playing some boss "jazz guitar" then; how could he have been playing some kind of "Sub-Standard" jazz that was not fit for release after that time? Now I find that his records that were not released, (which were supposedly sub-standard) were the best that he ever made; the question is WHY?

I just received a CD titled "His Majesty King Funk" and Grant is striking some "Boss Jazz" licks even on this album. The organ is in the "funk" groove, but Grant's guitar is still striking some boss jazz licks. I got it posted here so you don't have to take my word for it.



          https://www.youtube.com/watch?v=Dce3qcQ6qeE



I heard the man when he was playing for himself, we all knew Grant, he didn't have to impress us; he was playing what he felt, and it came out in those ringing notes.

Although I have a lot of Grant Green CD's, the question arose in my mind, "Why don't I have Grant Green records"? I love jazz guitar, and I've got a lot of Kenny Burrell records, why don't I have Grant Green records? The reason I don't have Grant Green records is because they were not released.


Enjoy the music.

You got that right Jafant, Grant Green can put you in a mellow mood around midnight.


        https://www.youtube.com/watch?v=XPeFWcD2idg



Enjoy the music.

The tone, and timbre of Sonny Rollins "jazz sax", is the most recognizable there is, for me; it's almost like a person speaking. When you hear that voice, you know who it is, and this has gone on through the years. One of the very first albums I bought was Diz, Stitt, and Rollins on the album "Duets".


            https://en.wikipedia.org/wiki/Duets_(Dizzy_Gillespie_album)


The album was so good, that it was hard for me to pick out a favorite, but I'm going to pick a cut anyway;



            https://www.youtube.com/watch?v=P8iGRjnb2Ns




Enjoy the music.

I've written so much about Grant Green, and him being from St. Louis; that a person could think we were friends. That's a misconception that I may have unintentionally given. I know as much about Grant Green the person, as you do. He requested to see me at the club where he was appearing because we know some of the same people, and he knew, that I knew, what he wanted to know. When I told him, he told me I was lying, got angry and walked off. Now I can't think of a worse way to meet your idol face to face than that. (when I say my idol, I am referring to his music ) That conversation is moot because it will never be revealed to anyone; but my feelings were really hurt. That's the extent of my acquaintance with Mr. Grant Green.

The reason I mention this is because it might be implied that I have some personal feelings toward Mr. Green that affect my evaluation of his music. Even if I loved Mr. Green like a brother, if he played lousy music, I wouldn't even mention him; but as it happens, his music resonates with my musical psyche. That could have something to do with us being from the same town. Since I haven't ran across any music by Mr. Green that I didn't like, I felt I should clear that up.


Enjoy the music.  

Frogman, you've gone mad.  I posted the link to the album that featured  "Diz, Stitt, and Rollins"; that was sufficient enough.  I picked my favorite tune on that particular album with no reference to Rollins on that particular cut; now I didn't know we were playing some kind of game called "Name the sax, on that solo".


Enjoy the music.

Frogman, the link I posted clearly states who is playing on what cut. Anyone reading my post could go to tracks 1, 2 & 5 as is stated on the link; if they specifically wanted to hear Sonny Rollins; my favorite cut on that album has existed since the Summer of 59 when I bought it, and that has not changed. In high school, I even had a shirt like the one Sonny Stitt is wearing; they must have been very popular when he bought his; if you notice, his is very shiny.


Chill out and enjoy the music.

Jzzmusician, I must first commend you on your keen sense of hearing and good taste.

Vintage vinyl is a good place to start for a scratchy record. That's what I started with, and had my computer program clean it up. Now it sounds silky smooth on playback.

Here's where to start, Vintage Vinyl; I've been doing business with these guys since way before CD's were invented.

            http://www.vintagevinyl.com/


I'm sure they will be able to help you.


Enjoy the music.

This has got to be one of the baddest jams I have ever heard in my entire life, and since he was "hometown", I got to hear it live and often. Like Monk likes to work his jams many different ways, especially when he was live; I got to hear this in and out; upside down if that's the way "Homey" wanted to work it; what I'm getting at, is just like Horace Silver could work "Senor Blues" many different ways when live; Homey could work his jam many different ways, and I was there, with my lady friend, who dug jazz every bit as much as me.

This was at a fashionable club where we always had a table close to the bandstand in order to absorb every note that rang off Homey's guitar. This is the same jam three different times by the same person, my favorite is the one off the scratchy record, that must be the original. My computer has a program that cleans that up.

Naturally there is no comparison to this and live, but this is the best I can do. Once you got caught up in "the flow" it was like riding on a kite, and "Homey" could work it for 15 spell bound minutes. Every time he was there, I was there.


      https://www.youtube.com/watch?v=-e5FVMt0FVw


      https://www.youtube.com/watch?v=-eoL8Z4_MWQ



      https://www.youtube.com/watch?v=YyE59uG0nBc



Enjoy the music.

Just listen to this guitar and you'll know why Grant Green is my favorite guitarist; I mean he can pluck that thang, plus this is a boss jam.


        https://www.youtube.com/watch?v=DC0qN0SquJM


That was "Live At The Lighthouse". Although it's called "Jazz-funk", Grant's licks are more jazz than funk. It was recorded at the Lighthouse Club in Hermosa Beach, California on April 21, 1972. There is not one weak cut on this album; here's "Walk In The Night", that guy on soprano sax is Claude Bartee, him and Grant kick it up a notch. This jam is all the way live.


        https://www.youtube.com/watch?v=mW_YbNKAXfA



Enjoy the music.

When I saw Eddie Fisher live, and he mentioned the guys he was working with had only heard the jam that morning, it made me think about my "jazz friend"; the people he worked with had only one hour to get ready for show time.


What I will never be able to understand, is how can these guys who barely met one another, play together so coherently?

I recall one hour before "show time" when my friend was staying at my apartment, these musicians who he just met, on the bandstand talking musician talk, (Greek to me). Ain't no way this can work, I thought, but it always did.

I have no idea who you call, or what you ask for when you want musicians to work with you; there has to be a special way to do this.

That was one fun Summer. I was on sick leave, and bored out of my mind when my friend came to my apartment. I could see that he had something heavy on his mind, but I didn't ask any questions. The way I saw it, I had two jobs; one was not to ask too many questions, and the other was to keep him from thinking about what ever was troubling him so. No, I never knew what it was, nor did I ever ask him; he seemed happiest telling me about his life as a professional jazz musician, and I was happiest listening to his almost unbelievable life. If you read Anita O Days autobiography, or Art Peppers, or one of the many other "professional jazz musicians" autobiography's, you know how eventful their lives are.

I had been an ardent fan of his music for six years, consequently I was familiar with it; but I was floored every time he got on the bandstand, because I hadn't heard this music before. Since I'm not a musician, he certainly couldn't explain to me what was so different, and he never tried.

After the performance, my job was getting us to the best bowl of chili. There were two places in St. Louis where the chili was world famous, now there's no place to get a good bowl of chili. Only a connoisseur knows what a good bowl of chili tastes like; he was a connoisseur.

After two bowls of chili with spaghetti for me, and one for him, time to go home. Neither one of us needed a lot of sleep, and I was on sick leave at that time. Symbiosis is defined as a mutually beneficial relationship between two people. He enjoyed telling me about his life as a professional jazz musician, and I enjoyed listening; that was the fundamental basis of our relationship.

He was the only jazz musician who I was ever close to, consequently I can make no comparisons; but he was exactly what I expected a jazz musician would be; the way he dressed, talked and even walked. He was cool and hip, without for one instant, ever trying to be either one. Although he made sure his clothes were pressed, and clean, he never made any effort to dress; he just put on some clothes every day. "That sure is hip", I thought, what ever he was wearing.

I had read about Django Reinhardt, and saw pictures of him dressed casually, and that's as close as I can come to my friend; Django always looked hip to me, and my friend had a Gypsy personality. One day I went to my car, and he was in the drivers seat; "Just what do you think you're going to do"?

"What does it look like"?

"But you ain't got no keys, and no car", I responded; he just sat there. "People from New York don't know how to drive, and you been in New York too long for me". After a long hesitation, I handed him the keys, and we went cruising. I took a picture of him in my mind; "Gangster lean, hat cocked ace deuce; he looked the part of a big city driver anyway."



Enjoy the music.

Rok, I can leave the reservation any time for music like that. Late night and a glass of wine (or whatever), and the volume up a notch.


Here's another one from the same album; it's instrumental, closer to the jazz reservation. This music is also well recorded.


            https://www.youtube.com/watch?v=DZmeFGmiQDI


Enjoy the music.

I've got a question for all jazz musicians; say you come to St. Louis and you want to gig. Since you're a well known artist, that wont be an especially big problem, but you want two more musicians to form a trio. This was in 1969; whatever difference that would make between now and then, you would know.

How do you select and get these other two musicians. All you'll be playing is improvisational jazz, no "Moonlight In Vermont" or other standards, just straight up jazz; who do you call to get these other two musicians?


Enjoy the music.

Rok, when I was in LA sometime ago, there was a car in front of "Dino's" that looked like that, two tone and all. I could not name one single car parked in front of "Dino's". I asked the guy showing me around LA, if we should stop at "Dino's" and have a drink. Those cars parked out front told us the answer to that question, he just smiled.


Enjoy the music.

Frogman, that was a completely honest question, and it partially relates to how well those musicians played with Eddie Fisher without any rehearsal of his music.

No, I don't know enough about music to properly word a serious question, but in this instance I would like to learn and I'll be looking for your honest response.


Enjoy the music.

I'm glad you brought up the seriousness of that term. Not thinking about the seriousness is "Americanism"; that's a sort of conditioning to racism. Since we just got over a major war, as the OP, I declare this case closed and concluded; I hope that's OK with everybody.


Enjoy the music.

Jazzcourier, this is not the forum for a serious discussion about the subject you brought up, and to make an issue over the word "reservation" is pointless.

Rok, on to the next "jazz artist" and forget about it.


Enjoy the music.

While you guys are ironing things out, I'm going to enjoy some "indigenous people's music". As you pointed out Rok, she's not "Native American", but she's indigenous to Norway; although if I'm not mistaken, this music is Native American. I don't think "Eagle Brother" was Norwegian.


              https://www.youtube.com/watch?v=kprl0CECykA

Right now I'm shuffling my feet to the beat, can you dig it?


        https://www.youtube.com/watch?v=4kvTNbc8d5s



Enjoy the music.

Frogman,  I've been waiting for an answer to those questions since 5:30, and it's now 11:15,  what's up?

Enjoy the music.

I should have known better, but after all it is still April, this is an April fool joke isn't it?

Rok, they still got covered wagons under the arch, the gateway to the West.



Enjoy the music.

Frogman, your answers to my questions tell me that you are "phaking the phunk". As I stated, this was in 69 and that does make a difference. There were a number of thriving jazz clubs in St. Louis at that time. My friend was well known among "aficionados", and "hard core" jazz fans, "No phaking the phunk" with them; you had to be able to get down with the real deal, they were the fans who overflowed the clubs when "Trane" came to town.

As I recall, my phone bill was through the roof; we didn't have these plans where you can call and talk as long as you want, we had to pay for every single long distance call. He was calling other musicians for the artists he wanted in St. Louis. There's a pianist who I used to talk to a lot, who could play Silver's tunes as good as the man himself. Usually I came to where he was playing before he went to work so we could rap.

This pianist had a photographic portfolio with almost all the jazz artists of that time frame who we discuss a lot on this thread. When ever anybody came to St. Louis and wanted a jazz pianist, they called him. I often asked him why he stayed in St. Louis as good as he was. (this was something he knew without me telling him) I never got a good answer, but a friend of his, who had known him since grade school, told me, there ain't no way he was going to leave that "super fox" he was married to, while he went out on the road. The same condition might have existed with Eddie Fisher.

Now that I think back, the conversations with the selected musicians were loose and casual, as if he (my friend) had no doubts that these cats could jam, and jam they did, to a packed house.

St. Louis was, and still is "a blues town"; jazz addicts have to suffer from one fix to the next, meaning you could find blues all over the place, but not jazz; that's why when somebody like him was playing any where in St. Louis, that house was packed.

I want to thank you Frogman, for helping me to answer my own question.





Enjoy the music.
 

"Compelling. Could not turn away. What does it have to do with Native American music, I'm not sure. Great pictures also."

Rok, I've never been on or to a "reservation", or anywhere that was exclusively "Native American"; consequently, I thought that "was" Native American music. This link tells whatever anyone wants to know about a "reservation".


    https://en.wikipedia.org/wiki/Indian_reservation


Rok, I would imagine each tribe would have "at least" slightly different music; but back to what I posted, it sounded "hypnotic" to me; to use my favorite word; I was mesmerized. I've got what might be the first CD Mari Boine put out, I bought it many years ago, now I see I'm going to have to buy more.

Count me out of any discussion of whatever anybody is talking about; the name of this thread is "Jazz For Aficionados"; while we wonder wide and far in regard to music, if anyone wants to discuss Native American affairs, I suggest they find another conducive forum.



Enjoy the music.

Rok, Marcus Roberts is the "New Giant", and that CD is on order. I've got one of the "Bey's" CD's, and I'm trying to avoid a Bey overload.

Since I don't want to spoil the pleasure of listening to my own CD, I am not listening to yours.


Enjoy the music.

One thing is for certain, I didn't make up the one and only "Frogman"!


Enjoy the music.

Frogman, after reading the answers to my questions for a third time, and your last post; we should make every effort never to communicate, or even attempt to communicate again in life.


Enjoy the music.

Rok, "Radiant Warmth" was the first CD I bought by Mari Boine; these are the "Wicki" facts on that CD;


      https://en.wikipedia.org/wiki/Mari_Boine


And here is the music.


      https://www.youtube.com/watch?v=WBypIxiieEU


It was released in 1996, she was almost foxy then; there seems to be some kind of disease called "chunkitis" that ladies catch that makes them look "chunky"; but her music has gotten even better.

There is no better way to communicate than posting links, which I established at the beginning of this thread; that says it all, argue with "Wicki" or "you tube" if you don't like it.



Enjoy the music.

Mitchmiller, I just got around to reviewing "Back At The Chicken Shack" by Jimmy Smith; That is one boss jam. The album; "The Incredible Jimmy Smith", got a 5 star rating from "Allmusic".

There is no way this album could go wrong; not with a lineup like this.

Jimmy Smith - organ
Kenny Burrell - guitar
Stanley Turrentine - tenor saxophone
Donald Bailey - drums

Rather than me wasting a lot of words, I'll let your ears be the judge:


                https://www.youtube.com/watch?v=oHbwQvNg-wc


For my money, Jimmy Smith  is the best jazz organ, and I can settle back in that groove all day long.




Enjoy the music.

"Hifijones", I like that moniker; it rolls of the tongue; like Sam Spade; Peter Gunn; Memphis Slim, I could go on and on, but you get my drift.

Mr. Jones, I've had the majority of those albums in my collection forever, and I haven't played some of them in quite awhile, like Quincy Jones, "walking in Space". I think I'll pop that one into the player; Quincy is one cool dude, he goes from rap and hip hop to acid jazz. This jam reminds me of times I walked in space, at about the same time "Walking In Space" came out; what a coincident.



          https://www.youtube.com/watch?v=ebvHk62DUtA



Enjoy the music.

Rok, you're trying to take over my space, I'm suppose to be "The Grand Poobah" around here; you're recommendation of Marcus Roberts is kind of moving me out of my space.

No one but Marcus Roberts can play Jelly's music in a fashion that I will like the music; not even Mr. Jelly Roll himself; now that's really saying something about my opinion of Marcus Roberts. Keep em coming.



Enjoy the music.

Danvignau, I saw Maynard Ferguson at my favorite watering hole, stoned to the bone, and having fun. Somebody handed him a trumpet and he blew for a while, mostly clowning, and playing the high notes he's famous for. Him and the owner went way back; it was good to see somebody famous, out having fun and letting his hair down.

Diane Schur is quite a talent, I have a few of her albums.




Enjoy the music.

Here's my musical contribution for the day; Herbie was boss in this groove, call it what you like, "Charley Brown" was gitin down.



      https://www.youtube.com/watch?v=RRvZA2URBUI



Enjoy the music.

Gabor Szabo is a very interesting musician who I don't think got credit as a jazz musician; but what do I know? At any rate here is one of his compositions that I thought I would share with you.




          https://www.youtube.com/watch?v=OJaAZ4z0_v4


This is the one where he kicks it up a notch; "Thirteen."


            https://www.youtube.com/watch?v=Ld310BQioTw





Enjoy the music.

I was too upset when I learned of Gato's death to say anything coherent, that's why I remained silent. Now that I have regained my composure I can speak about my long love affair with Gato's music.

Leandro Jose Barbieri, was born on November 28, 1932 in Rosario, Santa Fe Province, Argentina. Better known as "El Gato", the cat, he began playing music after hearing Charlie Parker's "Nows The Time". He died April 2, 2016 in New York, NY.

My first album by Gato was "Chapter 1 Latin America" with cuts:
1
Encuentros
2
India
            https://www.youtube.com/watch?v=mcqbgVB-U5o
3
China

4
Nunca Más
 
5
To Be Continued

When I saw the movie "Last Tango In Paris", the soundtrack for that movie, sealed the deal for me and "El Gato" for the rest of his life. The movie and the music were "one"; meaning, after you saw the movie, when you heard the music, the scenes with Marlon Brando, and Maria Schneider flashed in your mind; the movie was erotic and seductive, so was the music, because of the movie. The Tango is both erotic and seductive; Gato's music is very seductive, it pulls you in with it's "romanticism".


          https://www.youtube.com/watch?v=UeDc_eHRM2Y


He was his music, that's why you could feel the intensity of the romantism; an example is, "She Is Michelle"


            https://www.youtube.com/watch?v=2pxJrSs1vuA


I could go on and on about Gato's music, but I hope I have introduced you to enough so that you will go on and on with Gato's music.



Enjoy the music.



 

Rok, I wonder about these musician drug addicts in regard to their business dealings. First, no matter what the "up standing business" says about the "drug addict", the public takes their word for it. Now I find that the "up standing business" was flat out lying; and another question is "Why did that business have so many drug addicts"? So many that one musician left for that very reason. I didn't finish college, but I can add, subtract, multiply, and I can even do long division; these numbers for the musicians ain't coming up right.



Enjoy the music.

Sansui,Dual, and JBL sounded pretty good back then, and they didn't break the bank. Even today, a Sansui tuner is beautiful, and it's sound is unique among tuners "mello" is how I would describe it.

Now that you mention it, I don't have any Gabor CD's. I guess I didn't keep up with musicians back then, because I didn't know a lot of things about him, like he was on drugs, and died relatively young. I don't think I've heard enough of his music.


                https://en.wikipedia.org/wiki/G%C3%A1bor_Szab%C3%B3


Enjoy the music.

Rok, you're talking in general, and I'm talking about specific cases where all the details were laid out. There is no doubt about what you are saying, but in this case the drug addicts were taken advantage of, the same as sharecroppers who couldn't read and write were taken advantage of.

You seem to be saying it's OK to take advantage of drug addicts just like it's OK to take advantage of people who can't read and write, is that right?

No, we are not talking about the same thing; this is about "so called" sub standard albums that were not released until after the musician was dead. Those albums as it turns out, were the best he ever made, and you being an 'aficionado' could judge that, in regard to the albums.


Enjoy the music.

Many of Grant's recordings were not released during his lifetime. These include McCoy Tyner and Elvin Jones (also part of the Solid group) performing on Matador (also recorded in 1964), and several albums with pianist Sonny Clark. In 1966 Grant left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was, for the most part, inactive due to personal problems and the effects of heroin addiction. In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown.



Enjoy the music.

I don't pay any attention to those categories in regard to jazz (soul jazz) What's that? I'm not going to clutter my mind trying to define it. If you listen close to Grant Greens guitar, (Boss Jazz) is the only kind it (his guitar) knows how to play; and you can tell that from the sounds coming from the audience at "The Lighthouse".

No one comes between me and my music, not even my darling wife; right now I'm listening to "Flood in Franklin Park" and it's kicking, and cooking. Everybody is getting into the act: that organ is smoking, give the drummer some, cause he done kicked it up a notch, don't play that cat on the horn cheap; everybody made outstanding contributions on that cut, even the audience.



Enjoy the music.

Frogman, by the process of deduction, we know it wasn't because they were inferior recordings, and "Live At The Lighthouse" wasn't even in the mix of possibilities that were not released. Since we know the recordings that were not released during his lifetime, all you have to do is evaluate them.

It has been stated that his "best" recordings were not released. While you say you're not a conspiracy theorist; what kind of theorist are you? After you discover the "inferior record" statement was a flat out "Lie"; what's left?


Enjoy the music.

Rok, would you please read that post again.  Maybe you can answer how the records got to Japan.  What the holy smoly does Prince have to do with Grant Green,  Since you threw in The Beatles, why quit there, lets throw in the Pope.

Just because he was from St Louis and had a rough life does not make his music any more than what it is.

Who said he had a rough life?   Bush of the beer Bushes is from St. Louis; everybody from St. Louis did not have a rough life.  What's a rough life got to do with his music?  Miles Davis is from St. Louis, and his daddy was a dentist; Miles got almost anything he wanted.  His daddy paid for Juilliard  school of music plus expenses, he was from St. Louis.  I don't get the connection of music and rough life, could you elaborate?

In regard to staying focused, I can plainly see that; you're not focused enough for me to know what you're talking about.


Enjoy the music

Below is Frogmans statement in regard to the music posted.

"the recently posted "Live At The Lighthouse". Whose idea was it to hire Claude Bartee for that recording? Who knows. But it was not a good choice; he sounds absolutely awful on soprano saxophone. I can see a scenario where label executives would decide to not release a recording like that because there was so much other music in a similar bag being released by them or other labels. I hate posting recordings of what I consider inferior music, but simply to make a point here is a recording that, to my way of thinking, one has to wonder "what where they thinking?"; and almost twenty minutes of it!! Terrible horn arrangements. Sometimes artists make bad choices; sometimes producers make bad choices or decisions. Simple as that."


Here are two jams I posted 04-28-16. This is the music Frogman referred to as "inferior". While this music is "inferior" to Frogman, I don't like it any less because of his judgment; if anything, I like it even more.




              https://www.youtube.com/watch?v=mW_YbNKAXfA




          https://www.youtube.com/watch?v=DC0qN0SquJM




Enjoy the music.

Rok, I've got almost all of Grant Greens CD's, and the one I like the least is "King Funk", but we ordered that for Donald Byrd, and not Grant Green, if you remember; consequently, that's good to.

Grant is a very creative artist, and you wont get stuck in a rut with him. I've only got two records, "Live At The Lighthouse", and "The Final Comedown" which is radically different, and I like it, but it didn't suit your taste; so almost everything except that. The best way to go about this, is to sample on "you tube" and get what you like that you don't have.

I've got so many that I forget what I got, and since I don't have them in any kind of order, it would be a job to find out what I got; if that makes any sense. He's the only artist that I didn't run into a brick wall with, meaning this sounds just like the last one; consequently, you wont buy anything that you'll regret having bought.


Enjoy the music.

Rok, facts make their own point, do you remember "The facts mam, nothing but the facts" that's all.  Once the facts are gathered, you be the judge.

Enjoy the facts.

Frogman, I will most certainly drink to both of those.


Enjoy the music.