Jazz for aficionados

Acman3, I agree with you.  I said essentially the same thing a while ago.  My question is DID they "sell big"?  I don't know.  I can tell you that in many parts of the entertainment industry "trial runs" are done outside of the U.S. in order to see if the project is commercially viable.  It is cheaper to do so outside the U.S.  This goes to the other parts of your comment.  Why did they record him?  Contracts.  A contract guarantees an artist a certain # of recordings; or, at least, mandates that he record a certain number of records.  

Acman, how do you know that? could you share your new found knowledge with me? No you can't, because you are dead 200% wrong.




llMusic Review by Stephen Thomas Erlewine [-]
Mosaic released a four-disc box set titled The Complete Blue Note With Sonny Clark in 1991, rounding up everything that the guitarist and pianist recorded together between 1961 and 1962. Blue Note's 1997 version of the set, The Complete Quartets With Sonny Clark, trims Mosaic's collection by two discs, offering only the quartet sessions (the Ike Quebec sessions, Born to Be Blue and Blue and Sentimental, are available on individual discs). In some ways, this actually results in a more unified set, since it puts Green and Clark directly in the spotlight, with no saxophone to complete for solos, but it doesn't really matter if the music is presented as this double-disc set, the four-disc box, or the individual albums -- this is superb music, showcasing the guitarist and pianist at their very best. All of the sessions are straight-ahead bop but the music has a gentle, relaxed vibe that makes it warm, intimate, and accessible. Grant and Clark's mastery is subtle -- the music is so enjoyable, you may not notice the deftness of their improvisation and technique -- but that invests the music with the grace, style, and emotion that distinguishes The Complete Quartets. Small group hard bop rarely comes any better than this.



Those records were made between 61 and 62, when they were the market; that was when "straight up jazz" was king; no "soul jazz" no "hip hop jazz" but straight up "hard bop jazz"; the kind Miles Davis is famous for.

Do You know who "Sonny Clark" is?

Enjoy the music.

Hank Mobley recorded "No Room For Squares" on October 2, 1963 at Rudy Van Gelder's studio.

Lee Morgan; trumpet

Andrew Hill; piano

John Ore; Bass

Philly Joe Jones; drums


Donald Byrd recorded "At The Half note Cafe" with Pepper Adams, baritone sax; Duke Pearson, piano; Lex Humphries, drums; Laymon Jackson, bass in November 1960; that's two months from 1961.


Frogman, I saw Trane at Gino's in St. Louis in 1963, and he was blowing a soprano sax, not a "tenor" sax. He played "My Favorite Things" much longer than what you hear on his album.

Grant Greens music would have been right on time; now come back to me with your YA YA.



Enjoy the music.

I was listening to Sonny Clark and Grant Green playing "Airgin", this is one of Grants favorite tunes; he played that for himself. I say that because before he went to Blue Note, I saw him at a club he went to informally, and played his guitar when he felt like it. There was no admission and me and my jazz buddies really dug Grant, naturally we were there.

His guitar certainly sounds nice with him and Sonny Clark; I was trying to see if I could remember when he played it back then, and the difference I'm hearing now. It's much more complex on this recording; the difference in time from then until now is not that great, now is 1961 and then was 1958; that's only 3 years but what a difference playing for yourself, and playing with guys of Sonny Clark's caliber would make.

The comments made by the peanut gallery rolled off my back like water off a duck. I'm listening to the real deal, "Grant Green", and he was idolized by us, just as much as Miles Davis. We never talked to Miles because he was in New York. They might as well say Miles is from New York, I only saw him at a show in Chicago. When he came to St. Louis on a visit, he stayed out at his fathers farm, he never came out to socialize and have a drink.

Naturally I feel closer to someone's music that I actually talked to, and heard up close and personal. Now don't misunderstand, I'm still a jazz "aficionado" and judging this music at the same time I'm listening to it. I don't say it's boss simply because I heard Grant live; but because it is. Although I talked to Grant, I can't say that I knew him, because that would mean we were friends, and seeing someone and talking to them is a long way from being friends; consequently, I'm giving this music my 'aficionado' judgment.

Right now I'm listening to "you tube", but this music will soon be in my collection. The fact that it's not in my collection is what hurts; it should have been in my collection from the time he made it. What I'm listening to at the moment has Sonny Clark piano; Sam Jones, bass; Art Blakey or Louis Hayes, drums, and of course Grant Green guitar.


                https://www.youtube.com/watch?v=PFzKG6bIwJQ&list=PLC629098E62874E5F&index=7



Now I can only get whatever they offer, when at that time I could have gotten an individual record, and not missed anything; but this is better than nothing.


Enjoy the music.