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Mark LeVine

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  1. first of all, where did you get that amazingly cool hoodie and do you still have it. 2nd, who's guy with mouth agape to your left? Finally, how'd you score such great seats? You looked how everyone else felt watching the film, except for real. God bless.
  2. Just listening to the Jack Johnson Tribute album which is the first Miles album to feature guitar I'm pretty sure, and it's McLaughlin, who in fact taught Page some more advanced jazz phrasings/chords/licks while Page showed him some more bluesy stuff apparently (both have done interviews talking about it. their relationship goes way way back and the two Jims and McLaughlin were the 3 main session guitarists in that mid-60s period. I ran into Branford Marsalis once in the elevator of RCA studios in NYC when we were both recording and I was arguing with my bass player who was a Sly fanatic who was the better live band - Zep or Sly and the Family Stone, and into the elevator walks Branford, so I asked him who he thought was the greatest live band ever and without missing a beat he said Zep. There was a moment in the early 70s, i think epitomized by the live versions of TSRTS, D&C and No Quarter where the band were operating at such a high level of musicality, the grooves were so intense and the connection between the musicians so tight and Page's soloing so otherworldly that if Miles had walked on the stage in those moments he woulda fit right in with the band, but perhaps not with Page so much as his energy was so much more explosive and in overdrive than Miles' had at this point. That was the closest rock ever came to jazz without being jazz -- or rather it was a more elemental jazz, the jazz of the Master Musicians of Joujouka, of improvisation that might sound constrained to a limited number of notes but when you listen more closely you realize is actually fractal and far deeper than the mind can ordinarily comprehend. In fact, I think those grooves were too funky and too powerful for Miles' music. Just like Miles couldn't have really fit into James Brown, etc. He needed a wider open tapestry that he could float above, and Zep was like a musical freight train...
  3. thank you. this is exactly the point. the NQ solo, along with the solo from sibly in the same concert, are two of the greatest solos ever. equally important which people aren't mentioning is that the version of dazed and confused on the original album contains parts that were missing from the film because they didn't have the footage, and those missing parts are gems. some of the most insane funky jamming in rock history.. i remember there was a legal issue about re-releasing the album in any form other than one that is the audio version of the film, rather than the far better original audio versions from TSRTS album. either way, no amount of remastering makes the 2007 version anywhere near as great as the original 1976 version.
  4. Apologies if this has been dealt with before, but I've not found any information here or on the web. Was the cop who had that great look on his face during SIBLY at the end of the solo, or the girl with the hood at the end of the song ever identified and/or interviewed? Thanks for any information.
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