I would really like to see this music made more widely available, it surely wouldnt cost the estate much to stream it right?

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Here is a 2016 article on how Prince is an influence on some younger NYC jazz musicians:

https://www.allaboutjazz.com/kind-of-purple-jazz-musicians-on-prince-prince-by-kurt-gottschalk

It is a collection of short interviews, featuring each musician. The Madhouse 8 album is also discussed.

jazzz said:

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Here is a 2016 article on how Prince is an influence on some younger NYC jazz musicians:

https://www.allaboutjazz.com/kind-of-purple-jazz-musicians-on-prince-prince-by-kurt-gottschalk

It is a collection of short interviews, featuring each musician. The Madhouse 8 album is also discussed.

.

Yeah, I read this one and, like we discussed here, these jazz musicians aren´t that impressed with Prince´s jazz. They like Madhouse, but they prefer the Prince that did stuff like SOTT

plus they are big fans. they arent going to really be that objective or want to be critical.

but one of them says madhouse was basically like what prince normally did, but instrumental, which is probably about right.

GustavoRibas said:

jazzz said:

.

Here is a 2016 article on how Prince is an influence on some younger NYC jazz musicians:

https://www.allaboutjazz.com/kind-of-purple-jazz-musicians-on-prince-prince-by-kurt-gottschalk

It is a collection of short interviews, featuring each musician. The Madhouse 8 album is also discussed.

.

Yeah, I read this one and, like we discussed here, these jazz musicians aren´t that impressed with Prince´s jazz. They like Madhouse, but they prefer the Prince that did stuff like SOTT

Lucky 4 us......he did both.

GustavoRibas said:

jazzz said:

.

Here is a 2016 article on how Prince is an influence on some younger NYC jazz musicians:

https://www.allaboutjazz.com/kind-of-purple-jazz-musicians-on-prince-prince-by-kurt-gottschalk

It is a collection of short interviews, featuring each musician. The Madhouse 8 album is also discussed.

.

Yeah, I read this one and, like we discussed here, these jazz musicians aren´t that impressed with Prince´s jazz. They like Madhouse, but they prefer the Prince that did stuff like SOTT

.

Note: Not one of them chose a Madhouse track as the track that influenced them. They all chose other tracks that influenced them as jazz musicians generally to the point that they played them as jazz tracks. This is the problem with getting too worried about genres when people like Prince were not so concerned.

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I have played tracks from NEWS etc to jazz aficionados without revealing who it was and they have all praised them highly before they knew who it was. And this the point against the OP's suggestion. Note the artists were interviewed with a common set of questions and all but two gave a printable answer about pop artists or tracks being successas a result of appealing to the lowest common denominator. All the printed answers partly or wholly rejected that notion in regard to Prince (hinting that the other two accepted it). The starting point is that the audience of fringe styles of music like jazz is that their fans feel that their genre is superior to other genres and others should keep in their lane - which really means so many of their audiences keep in their lane regardless of how good a cross-over artist may be. An attempt by the Estate to monetise the jazz tracks by a separate label will likely fall on deaf ears.

[Edited 6/26/22 14:51pm]

Gooddoctor23 said:

GustavoRibas said:

.

Yeah, I read this one and, like we discussed here, these jazz musicians aren´t that impressed with Prince´s jazz. They like Madhouse, but they prefer the Prince that did stuff like SOTT

Lucky 4 us......he did both.

.

Yes, and that´s one of the main reasons - if not the main one - that I am such a huge fan

IanRG said:

GustavoRibas said:

.

Yeah, I read this one and, like we discussed here, these jazz musicians aren´t that impressed with Prince´s jazz. They like Madhouse, but they prefer the Prince that did stuff like SOTT

.

Note: Not one of them chose a Madhouse track as the track that influenced them. They all chose other tracks that influenced them as jazz musicians generally to the point that they played them as jazz tracks. This is the problem with getting too worried about genres when people like Prince were not so concerned.

.

I have played tracks from NEWS etc to jazz aficionados without revealing who it was and they have all praised them highly before they knew who it was. And this the point against the OP's suggestion. Note the artists were interviewed with a common set of questions and all but two gave a printable answer about pop artists or tracks being successas a result of appealing to the lowest common denominator. All the printed answers partly or wholly rejected that notion in regard to Prince (hinting that the other two accepted it). The starting point is that the audience of fringe styles of music like jazz is that their fans feel that their genre is superior to other genres and others should keep in their lane - which really means so many of their audiences keep in their lane regardless of how good a cross-over artist may be. An attempt by the Estate to monetise the jazz tracks by a separate label will likely fall on deaf ears.

[Edited 6/26/22 14:51pm]

Which is why I was thinking a good test market is Record Store Day. Limited Releases, maybe 5,000. It's a timid run, as the hardcore Prince Fans will eat up maybe half or more and then they can see what the other half does. If it falls flat, no real money lost. If it scores big, with good reviews and sells, now they have something.

I would start with C-Note as a RSD release, since it also has a vocal of Empty Room on it.

IanRG said:

(...)

.

I have played tracks from NEWS etc to jazz aficionados without revealing who it was and they have all praised them highly before they knew who it was. And this the point against the OP's suggestion(...)

.

- I wasn´t that lucky. I have two friends who are professional musicians and jazz-trained. One of them graduated in Berklee in film scoring (he loves pop music and rock too) and the other one is a pro bass player, who is mostly into jazz and brazilian music.

.

I showed some of Prince´s most complex stuff to the songwriter and he said ´yes, it´s well played, but Prince´s strenght to me is as a pop songwriter´. He loves Little Red Corvette, Love thy will be done, Kiss, etc. But he doesn´t give a damn about stuff like ´She spoke 2 me´ or Montreux 2009 concert.

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I showed Madhouse 8 to my bass player friend and he said ´The only real good cat is the sax player´. On the other hand, he enjoyed ´Loring Park sessions´. Specially Andre´s bass. I didn´t show him many things yet, because I didnt have the chance and because he is narrow minded. He is not into pop or rock and usually despises the artists from this field.

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But, speaking of Loring Park sessions, it´s cool to see all those positive comments on the Youtube video. Many people that didn´t even know Prince played instruments.

johnnieb said:

IanRG said:

.

Note: Not one of them chose a Madhouse track as the track that influenced them. They all chose other tracks that influenced them as jazz musicians generally to the point that they played them as jazz tracks. This is the problem with getting too worried about genres when people like Prince were not so concerned.

.

I have played tracks from NEWS etc to jazz aficionados without revealing who it was and they have all praised them highly before they knew who it was. And this the point against the OP's suggestion. Note the artists were interviewed with a common set of questions and all but two gave a printable answer about pop artists or tracks being successas a result of appealing to the lowest common denominator. All the printed answers partly or wholly rejected that notion in regard to Prince (hinting that the other two accepted it). The starting point is that the audience of fringe styles of music like jazz is that their fans feel that their genre is superior to other genres and others should keep in their lane - which really means so many of their audiences keep in their lane regardless of how good a cross-over artist may be. An attempt by the Estate to monetise the jazz tracks by a separate label will likely fall on deaf ears.

[Edited 6/26/22 14:51pm]

Which is why I was thinking a good test market is Record Store Day. Limited Releases, maybe 5,000. It's a timid run, as the hardcore Prince Fans will eat up maybe half or more and then they can see what the other half does. If it falls flat, no real money lost. If it scores big, with good reviews and sells, now they have something.

I would start with C-Note as a RSD release, since it also has a vocal of Empty Room on it.

C-Note is a realy nice album. "osaka/tokyo" are just so so beautiful and atmospheric.

personally I think "Empty Room" sticks out like a sore thumb on that EP. it's a so-so
verion of the track, which never topped the initial studio recording in any live setting.
mainly because the initial studio take is one of the most brilliant moments in recorded
music, period.

I'd rather have had one more of those sweet sweet instrumentals from the ONA tour
rehearsals/sound checks.

LILpoundCAKE said:

C-Note is a realy nice album. "osaka/tokyo" are just so so beautiful and atmospheric.

personally I think "Empty Room" sticks out like a sore thumb on that EP. it's a so-so
verion of the track, which never topped the initial studio recording in any live setting.
mainly because the initial studio take is one of the most brilliant moments in recorded
music, period.

I'd rather have had one more of those sweet sweet instrumentals from the ONA tour
rehearsals/sound checks.

.

- Agree!

GustavoRibas said:

LILpoundCAKE said:

C-Note is a realy nice album. "osaka/tokyo" are just so so beautiful and atmospheric.

personally I think "Empty Room" sticks out like a sore thumb on that EP. it's a so-so
verion of the track, which never topped the initial studio recording in any live setting.
mainly because the initial studio take is one of the most brilliant moments in recorded
music, period.

I'd rather have had one more of those sweet sweet instrumentals from the ONA tour
rehearsals/sound checks.

.

- Agree!

Agreed, it would be great to have a deluxe box set of all of the One night alone/2003 NPGMC soundchecks I would buy it