Green: Funk in France - Paris to Antibes (Live - Remastered) Grant Green
- 1I Don't Want Nobody to Give Me Nothing04:34
- 2Oleo (Live): Oleo04:24
- 3Insensatez (How Insensitive)07:18
- 4Untitled Blues08:09
- 5Sonnymoon for Two07:00
- 6I Wish You Love07:06
- 8Hurt So Bad14:35
- 10Hi-Heel Sneakers27:13
Info zu Green: Funk in France - Paris to Antibes (Live - Remastered)
In Zusammenarbeit mit dem Institut national de l’audiovisuel (INA) in Frankreich wird als erster offizieller und bisher unveröffentlichter Release der Live Aufnahme Funk In France: From Paris To Antibes (1969 - 1970) des legendären Gitarristen Grant Green in über einem Jahrzehnt erscheinen.
Dieses Deluxe Doppel-Album-Set enthält Aufnahmen von Grant Green, die zum einen am 26. Oktober 1969 im ORTF Studio in Paris zusammen mit dem Bassisten Larry Ridley und Drummer Don Lamond inklusive der Jazz Gitarren Legende Barney Kessel aufgezeichnet wurden, zum anderen am 18. und 20. Juni 1970 auf dem Antibes Jazz Festival zusammen mit dem Saxophonisten Claude Bartee sowie Organist Clarence Palmer, die beide bereits auf Greens Album »Carryin‘ On« von 1969 spielten – ebenfalls dabei war Schlagzeuger Billy Wilson.
Die ORTF Studio Session wurde für eine Radiosendung aufgenommen und von dem legendären Produzenten Andre Francis aus Frankreich produziert.
"Alles, was Greens Bands damals auspackten, war virtuos und tanzbar. Erhabene Coolness." (Jazzthing)
Grant Green, Gitarre
Larry Ridley, Bass
Don Lamond, Schlagzeug
Barney Kessel, Gitarre (on track 6)
July 18 & 20, 1970 at the Antibes Jazz Festival in Juan-les-Pins
Grant Green, Gitarre
Claude Bartee, Tenorsaxophon
Clarence Palmer, Orgel
Billy Wilson, Schlagzeug
was born in St. Louis on June 6, 1931, learned his instrument in grade school from his guitar-playing father and was playing professionally by the age of thirteen with a gospel group. He worked gigs in his home town and in East St. Louis, IL, until he moved to New York in 1960 at the suggestion of Lou Donaldson. Green told Dan Morgenstern in a Down Beat interview: "The first thing I learned to play was boogie-woogie. Then I had to do a lot of rock & roll. It's all blues, anyhow."
His extensive foundation in R&B combined with a mastery of bebop and simplicity that put expressiveness ahead of technical expertise. Green was a superb blues interpreter, and his later material was predominantly blues and R&B, though he was also a wondrous ballad and standards soloist. He was a particular admirer of Charlie Parker, and his phrasing often reflected it. Green played in the '50s with Jimmy Forrest, Harry Edison, and Lou Donaldson.
He also collaborated with many organists, among them Brother Jack McDuff, Sam Lazar, Baby Face Willette, Gloria Coleman, Big John Patton, and Larry Young. During the early '60s, both his fluid, tasteful playing in organ/guitar/drum combos and his other dates for Blue Note established Green as a star, though he seldom got the critical respect given other players. He was off the scene for a bit in the mid-'60s, but came back strong in the late '60s and '70s. Green played with Stanley Turrentine, Dave Bailey, Yusef Lateef, Joe Henderson, Hank Mobley, Herbie Hancock, McCoy Tyner, and Elvin Jones.
Sadly, drug problems interrupted his career in the '60s, and undoubtedly contributed to the illness he suffered in the late '70s. Green was hospitalized in 1978 and died a year later. Despite some rather uneven LPs near the end of his career, the great body of his work represents marvelous soul-jazz, bebop, and blues.
A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar. Like Stanley Turrentine, he tends to be left out of the books. Although he mentions Charlie Christian and Jimmy Raney as influences, Green always claimed he listened to horn players (Charlie Parker and Miles Davis) and not other guitar players, and it shows. No other player has this kind of single-note linearity (he avoids chordal playing). There is very little of the intellectual element in Green's playing, and his technique is always at the service of his music. And it is music, plain and simple, that makes Green unique.
Green's playing is immediately recognizable -- perhaps more than any other guitarist. Green has been almost systematically ignored by jazz buffs with a bent to the cool side, and he has only recently begun to be appreciated for his incredible musicality. Perhaps no guitarist has ever handled standards and ballads with the brilliance of Grant Green. Mosaic, the nation's premier jazz reissue label, issued a wonderful collection The Complete Blue Note Recordings with Sonny Clark, featuring prime early '60s Green albums plus unissued tracks. Some of the finest examples of Green's work can be found there. ~ Michael Erlewine and Ron Wynn