# What Jazz Are You Listening To Now?



## Blake

I'm going to test this out here. I see quite a few members have been posting a solid bit of great Jazz listenings… So, I figured it'd be pretty cool if we could have a thread entirely dedicated to all things Jazz. And I mean anything - From the early beginnings of the late 19th century, to Bebop/Hard-Bop, to Avant-Garde, and on to the Moon.

Post whatever you want... videos, pictures, news… This is a free-range.

I've been in a Bebop/Hard-Bop dig lately, so I'll impart this cool little documentary where Bob Cranshaw talks about his time with Lee Morgan.


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## samurai

Vesuvius said:


> I'm going to test this out here. I see quite a few members have been posting a solid bit of great Jazz listenings… So, I figured it'd be pretty cool if we could have a thread entirely dedicated to all things Jazz. And I mean anything - From the early beginnings of the late 19th century, to Bebop/Hard-Bop, to Avant-Garde, and on to the Moon.
> 
> Post whatever you want... videos, pictures, news… This is a free-range.
> 
> I've been in a Bebop/Hard-Bop dig lately, so I'll impart this cool little documentary where Bob Cranshaw talks about his time with Lee Morgan.


@ Vesuvius, What a great idea for a thread! I've been on something of a Miles Davis, Sonny Rollins and Eric Dolphy "kick" lately. I shall definitely have some *YouTube* and or *Spotify* contributions to make in future. Lee Morgan also happens to be one of my favorites as well. Good find. :cheers:


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## Blake

samurai said:


> @ Vesuvius, What a great idea for a thread! I've been on something of a Miles Davis, Sonny Rollins and Eric Dolphy "kick" lately. I shall definitely have some YouTube and or Spotify contributions to make in future. Lee Morgan also happens to be one of my favorites as well. Good find. :cheers:


Excellent. I've seen you make a lot of healthy jazz contributions. Post whatever you want! This thread is really just an open bag, or "hole," so anyone who's into Jazz can throw in or check out what's here.


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## samurai

I simply love this piece by Trane:


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## Blake

This is a neat glimpse of a time when Jazz was really on the up in innovation. Brubeck talking about wanting to further investigate odd time signatures, polytones and polyrhythms…


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## shangoyal

Speaking of jazz, Charles Mingus's The Black Saint and the Sinner Lady was the album which left a HUGE impression on me in college (along with Coltrane's A Love Supreme). I guess these two have to be at the top of best albums in jazz history. Anyway, here is a track from Mingus' album that absolutely blew me to the wall every time I blasted it from my speakers... (to my friends' chagrin, those with really conservative or non-existent musical tastes)

:tiphat:


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## Morimur

*Darcy James Argue - Grand Opening, Brooklyn Babylon*


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## Morimur

*Wayne Shorter Quartet - Pegasus*


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## Morimur

*Craig Taborn - light made lighter*


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## Wood

Great idea for a thread, thanks Vesuvius.

What do you all understand by the term 'hard bop'? How does it differ from 'bebop'?

I pick up more variety in the later hard bop, ie use of earlier styles, plus elements like Latin, but I have to say I'm a bit vague as to the distinctions between the two.


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## Rhythm

*Bill Evans with Marian McPartland | a conversation & demonstrations*

Vesuvius, I love this thread! Tear me away from baroque and the romantics, and I'll listen to a couple of hours of jazz.

Here are four half-hour videos of a conversation between Evans and McPartland, who demonstrated how players create together to produce jazz. I suppose I'll be forever fascinated by sounds of jazz and the spontaneous intuitive recall of inventiveness during rehearsals and performances!


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## Blake

Wood said:


> Great idea for a thread, thanks Vesuvius.
> 
> What do you all understand by the term 'hard bop'? How does it differ from 'bebop'?
> 
> I pick up more variety in the later hard bop, ie use of earlier styles, plus elements like Latin, but I have to say I'm a bit vague as to the distinctions between the two.


Bebop was the foundation that Hard-bop extended from.

-Bop-
Also known as bebop, Bop was a radical new music that developed gradually in the early '40s and exploded in 1945. The main difference between bop and swing is that the soloists engaged in chordal (rather than melodic) improvisation, often discarding the melody altogether after the first chorus and using the chords as the basis for the solo. Ensembles tended to be unisons, most jazz groups were under seven pieces, and the soloist was free to get as adventurous as possible as long as the overall improvisation fit into the chord structure.

Since the virtuoso musicians were getting away from using the melodies as the basis for their solos (leading some listeners to ask "Where's the melody?") and some of the tempos were very fast, bop divorced itself from popular music and a dancing audience, uplifting jazz to an art music but cutting deeply into its potential commercial success. Ironically the once-radical bebop style has become the foundation for all of the innovations that followed and now can be almost thought of as establishment music. Among its key innovators were altoist Charlie Parker, trumpeter Dizzy Gillespie, pianist Bud Powell, drummer Max Roach, and pianist/composer Thelonious Monk.

-Hard-Bop-
Although some history books claim that Hard Bop arose as a reaction to the softer sounds featured in cool jazz, it was actually an extension of bop that largely ignored West Coast jazz. The main differences between hard bop and bop are that the melodies tend to be simpler and often more "soulful"; the rhythm section is usually looser, with the bassist not as tightly confined to playing four-beats-to-the-bar as in bop; a gospel influence is felt in some of the music; and quite often, the saxophonists and pianists sound as if they were quite familiar with early rhythm & blues.

Since the prime time period of hard bop (1955-70) was a decade later than bop, these differences were a logical evolution and one can think of hard bop as bop of the '50s and '60s. By the second half of the 1960s, the influence of the avant garde was being felt and some of the more adventurous performances of the hard bop stylists (such as Jackie McLean and Lee Morgan) fell somewhere between the two styles. With the rise of fusion and the sale of Blue Note (hard bop's top label) in the late '60s, the style fell on hard times although it was revived to a certain extent in the 1980s. Much of the music performed by the so-called Young Lions during the latter decade (due to other influences altering their style) was considered modern mainstream, although some groups (such as the Harper Brothers and T.S. Monk's sextet) have kept the 1960s' idiom alive.

By the way, great posts fellas. :tiphat:


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## Alypius

Vesuvius, Great idea for a thead. I had in mind something similiar. I first began listening to jazz in the late 60s, and I have been following developments pretty intensely for the last 20 years.

As a teacher, I've tried to find creative ways to introduce my students to jazz, to give them some sense both of its enormously rich history and of its wide-ranging and very creative contemporary practitioners. One of the techniques I've been working on in recent years is creating sets of playlists, given that most of my students listen to things on their iPods / iPhones. In creating these playlists, I've put some tough restrictions on my selections, namely, to make sure any given playlist would fit on a single CD and thus be under 80 minutes. I've deliberately chosen a wide spread of things (generally no more than one track per record -- though a few exceptions), but tried to sequence them so that there is a good flow from track to track. While I do try to give a range of artists and albums, I'm concerned less with completeness and more with capturing my students' attention, so that they'll begin to pursue things on their own initiative. I've tried to set out the history of jazz over the last 50 or so years (56 to be precise), keeping it limited to 6 playlists that are the equivalent of 6 CDs. So I post this in hopes that it might prove useful to newcomers who happen to explore this realm of the forum. I don't want to overload this post. So I'll distribute the 6 playlists over 3 postings.

*Playlist #1: Miles Davis*

1. So What (9:25) (from Miles Davis, _Kind of Blue_, 1959)
2. Flamenco Sketches (9:26) (from Miles Davis, _Kind of Blue_, 1959)
3. Milestones (5:46) (from Miles Davis, _Milestones_, 1958)
4. Summertime (3:21) (from Miles Davis, _Porgy & Bess_, 1958)
5. Joshua (7:00) (from Miles Davis, _Seven Steps to Heaven_, 1963)
6. Eighty-One (6:18) (from Miles Davis, _E.S.P._, 1965)
7. Masqualero (8:54) (from Miles Davis, _Sorcerer_, 1967)
8. Pharaoh's Dance (20:07) (from Miles Davis, _Bitches Brew_, 1969)
9. Black Satin (5:20) (from Miles Davis, _On the Corner_, 1972)
10. Time After Time (3:41) (from Miles Davis, _Essential Miles Davis_, 1986)

*Playlist #2: John Coltrane*

1. Blue Train (10:44) (from John Coltrane, _Blue Train_, 1957)
2. Giant Steps (4:47) (from John Coltrane, _Giant Steps_, 1960)
3. Naima (4:25) (from John Coltrane, _Giant Steps_, 1960)
4. Impressions (6:32) (from John Coltrane, _Coltrane_ (Impulse!), 1962)
5. Wise One (9:04) (from John Coltrane, _Crescent_, 1964)
6. Afro Blue (10:53) (from John Coltrane, _Live at Birdland_, 1963)
7. In a Sentimental Mood (4:17) (from _Duke Ellington & John Coltrane_, 1962)
8. Africa (16:29) (from John Coltrane, _Africa / Brass Sessions_, 1961)
9. Acknowledgement (7:43) (from John Coltrane, _A Love Supreme_, 1964)


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## Alypius

(Continuation of above). Here's two more playlists

*Playlist #3: The Blue Note Era (1960s)*

1. Stolen Moments (8:47) (from Oliver Nelson, _The Blues and the Abstract Truth_, 1961)
2. Song for My Father (7:18) (from Horace Silver, _Song for My Father_, 1964)
3. Lazy Afternoon (5:35) (from Pete La Roca [& Joe Henderson], _Basra_, 1965)
4. The Sidewinder (10:25) (from Lee Morgan, _The Sidewinder_, 1963)
5. Midnight Blue (4:02) (from Kenny Burrell, _Midnight Blue_, 1963)
6. Maiden Voyage (7:57) (from Herbie Hancock, _Maiden Voyage_, 1965)
7. Speak No Evil (8:24) (from Wayne Shorter, _Speak No Evil_, 1966)
8. Footprints (7:30) (from Wayne Shorter, _Adam's Apple_, 1966)
9. If 6:42 (6:47) (from Larry Young, Unity, 1966)
10. Free for All (11:09) (from Art Blakey & the Jazz Messengers, _Free for All_, 1964)

*Playlist #4: The Fusion Years (1970s)*

1. Watermelon Man (6:32) (from Herbie Hancock, _Head Hunters_, 1973)
2. Tell Me a Bedtime Story (5:05) (from Herbie Hancock, _Mwandishi_, 1971)
3. Meeting of the Spirits (6:54) (from Mahavishnu Orchestra, _Inner Mounting Flame_, 1971)
4. Hope (2:00) (from Mahavishnu Orchestra, _Birds of Fire_, 1973)
5. Vulcan Worlds (7:54) (from Return to Forever, _Where Have I Known You Before_, 1974 / reissue: _Anthology_, 2008)
6. Black Market (6:34) (from Weather Report, _Black Market_, 1976 / reissue: _Forecast: Tomorrow_, 2006)
7. Birdland (5:58) (from Weather Report, _Heavy Weather_, 1977 / reissue: _Forecast: Tomorrow_, 2006)
8. Bright Size Life (4:46) (from Pat Metheny, _Bright Size Life_, 1975)
9. Conference of the Birds (4:42)	(from Dave Holland, _Conference of the Birds_, 1973)
10. Waterwheel (9:21) (from Ralph Towner, _Batik_, 1978 / 2008)
11. Timeless (11:59) (from John Abercrombie, _Timeless_, 1974)
12. Part IIC (5:36) (from Keith Jarrett, _The Köln Concert_, 1975)


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## Alypius

*Playlist #5: Post-Modern Postbop (1990-2005)*

1. Blue Heaven (6:23) (from Dave Douglas, _Soul on Soul_, 1999)
2. Sweet Sorrow (8:43) (from Joshua Redman, _Mood Swing_, 1994)
3. Lotus Flower (5:52) (from Steve Turre, _Lotus Flower_, 1999)
4. Prime Directive (7:46) (from Dave Holland Quintet, _Prime Directive_, 1999)
5. Upswing (6:56) (from Dave Holland Big Band, _What Goes Around_, 2001)
6. Blues Dream (2:32) (from Bill Frisell, _Blues Dream_, 2001)
7. Shenandoah (6:11) (from Bill Frisell, _Good Dog, Happy Man_, 1999)
8. The Persistence of Memory (4:40) (from Dave Douglas, _In Our Lifetime_, 1994)
9. Gevurah (6:52) (from John Zorn / Bar Kokhba, _The Circle Maker_, 1998)
10. Harvesting Dance (11:43) (from Terence Blanchard, _Flow_, 2005)
11. River Man (9:00)	(from Brad Mehldau, _Live in Tokyo_, 2003)


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## Blake

Nice write-up, Alypius. I might be missing some of these that still need checking out.


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## Alypius

*Playlist #6: The Latest (2006-2014)*

1. A Night Away (8:01) (from Brad Mehldau & Pat Metheny, _Quartet_, 2007)
2. Roll Credits (6:10) (from Ben Allison, _Little Things Run the World_, 2008)
3. Signing (7:56) (from Joe Locke / Geoffrey Keezer Group, _Signing_, 2012)
4. Nengueleru (5:04) (from David Sánchez / Stefon Harris, _Ninety Miles_, 2011)
5. Vignette (8:08) (from Marcin Wasilewski, _January_, 2008)
6. Amish Pinxtos (5:03) (from Medeski, Martin & Wood, _Radiolarians II_, 2009)
7. Jackalope (6:35) (from Gary Burton, _Guided Tour_, 2013)
8. The Clutch (6:30) (from Chris Lightcap's Bigmouth, _Deluxe_, 2010)
9. African Sunset (8:04) (from John Moulder, _The Eleventh Hour: Live at the Green Mill_, 2012)
10. Canales' Cabeza (4:26)	(from Nel Cline Singers, _Macroscope_, 2014)
11. Galang (2:41) (from Vijay Iyer, _Historicity_, 2009)
12. Transit (7:02) (from Darcy James Argue's Secret Society, _Infernal Machines_, 2009)


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## Blake

I've seriously been up on some Lee Morgan lately, so I'll post more of that. 

A couple live performances:

_Moanin'_





_I Remember Clifford_


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## cwarchc

Great idea for a thread
There are quite a number of Jazz lovers on the site
Mods.
Can we make it a sticky?


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## Manxfeeder

Here's something nice by Art Pepper and Warne Marsh.

Warne Marsh was a great improviser. Here he has a Lester Young sound, but his way with the chords is more advanced. On the surface, his solo sounds a little strange, but closer listening reveals his grasp of extended scalar and chordal ideas. 
I was just thinking about him, having just found out he died on the bandstand, playing, still high on marijuana offered by his bandmate. That's a strange way to go.

Back in the day, Art Pepper was invited to play with my college band. He had just come out of rehab and looked terrible, but he still could cook. I wish I knew what happened to that tape.


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## Blake

Charles Lloyd Quartet - _Caroline No._


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## Blake

An absolute gem of a video. For any of the jazz trumpet fans out there, this should be of utmost delight. You won't find many videos of this guy.

Clifford Brown


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## regressivetransphobe

Early jazz up until bebop is woefully underexposed, more talked about than listened to. If you look at people's jazz ratings on some music site it's all relatively loose, soupy stuff from the 50s and beyond. I wish I heard Louis Armstrong's Hot Five/Hot Seven recordings sooner. That's a pretty good base to gauge all jazz afterward. Earl Hines should be mentioned in the same breath as Duke Ellington.


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## Blake

regressivetransphobe said:


> Early jazz up until bebop is woefully underexposed, more talked about than listened to. If you look at people's jazz ratings on some music site it's all relatively loose, soupy stuff from the 50s and beyond. I wish I heard Louis Armstrong's Hot Five/Hot Seven recordings sooner. That's a pretty good base to gauge all jazz afterward. Earl Hines should be mentioned in the same breath as Duke Ellington.


Taste vary, for sure. Maybe it's because I'm from New Orleans… but everyone and their grandma knows about Armstrong, so that's not considered some 'elite' knowledge. I dig it all, man. He wasn't the first, and certainly not the last.


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## Piwikiwi

Alypius said:


> Vesuvius, Great idea for a thead. I had in mind something similiar. I first began listening to jazz in the late 60s, and I have been following developments pretty intensely for the last 20 years.
> 
> As a teacher, I've tried to find creative ways to introduce my students to jazz, to give them some sense both of its enormously rich history and of its wide-ranging and very creative contemporary practitioners. One of the techniques I've been working on in recent years is creating sets of playlists, given that most of my students listen to things on their iPods / iPhones. In creating these playlists, I've put some tough restrictions on my selections, namely, to make sure any given playlist would fit on a single CD and thus be under 80 minutes. I've deliberately chosen a wide spread of things (generally no more than one track per record -- though a few exceptions), but tried to sequence them so that there is a good flow from track to track. While I do try to give a range of artists and albums, I'm concerned less with completeness and more with capturing my students' attention, so that they'll begin to pursue things on their own initiative. I've tried to set out the history of jazz over the last 50 or so years (56 to be precise), keeping it limited to 6 playlists that are the equivalent of 6 CDs. So I post this in hopes that it might prove useful to newcomers who happen to explore this realm of the forum. I don't want to overload this post. So I'll distribute the 6 playlists over 3 postings.


I think this is a very bad compilation for students. There is absolutely nothing wrong with the songs you included but it's extremely biased. I suspect it's because of your personal taste. I'll sum up my problems for you.

- No Sonny Rollins at all, arguably the greatest Tenor Saxophone player that has ever lived.

- No Charlie Parker, without a doubt the greatest Saxophone player that has ever lived and certainly the most influential.

- No Bud Powell, No Clifford Brown, No Max Roach, No Dexter Gordon, No Thelonious Monk.

- No East Coast Jazz at all, not even Gerry Mulligan and Chet Baker or Dave Brubeck.

- No Louis Armstrong, one of the most influential musicians of the 20th century who turned Jazz into a soloist art.

- No swing, you can't just skip over 20 years of jazz history. Count Basie and Duke Ellington should be included in that list with their own music, not just with Coltrane.

You are giving your students an example of the jazz you like, the blue note list really makes that obvious because most of the songs you included there are performed by the same artists.

I apologize if this comes across as a bit aggressive, that is not my intention.


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## Piwikiwi

Vesuvius said:


> An absolute gem of a video. For any of the jazz trumpet fans out there, this should be of utmost delight. You won't find many videos of this guy.
> 
> Clifford Brown


Greatest Trumpet player that has ever lived.


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## Alypius

Piwikiwi said:


> I think this is a very bad compilation for students. There is absolutely nothing wrong with the songs you included but it's extremely biased. I suspect it's because of your personal taste. I'll sum up my problems for you.
> 
> - No Sonny Rollins at all, arguably the greatest Tenor Saxophone player that has ever lived.
> 
> - No Charlie Parker, without a doubt the greatest Saxophone player that has ever lived and certainly the most influential.
> 
> - No Bud Powell, No Clifford Brown, No Max Roach, No Dexter Gordon, No Thelonious Monk.
> 
> - No East Coast Jazz at all, not even Gerry Mulligan and Chet Baker or Dave Brubeck.
> 
> - No Louis Armstrong, one of the most influential musicians of the 20th century who turned Jazz into a soloist art.
> 
> - No swing, you can't just skip over 20 years of jazz history. Count Basie and Duke Ellington should be included in that list with their own music, not just with Coltrane.
> 
> You are giving your students an example of the jazz you like, the blue note list really makes that obvious because most of the songs you included there are performed by the same artists.
> 
> I apologize if this comes across as a bit aggressive, that is not my intention.


Please look at what I originally set out. It was not to do the _entire history_ of jazz, only the last _50 years_. Please note: These were _not_ put together for a _course in jazz_. They came from my students informally expressing an interest in jazz but feeling overwhelmed by its variety and its complexity. I don't know how much you work with 18-year-olds. _There is a pedagogy at work here._ It is a pedagogy of _igniting interest, not covering some 'completist' syllabus_.

I'm not sure what the psychology of it is, but for some reason, my students are drawn initially _not_ to the older artists, but to the most current jazz, in other words, the music on Playlist #6, and then to Playlist #5. Playlists #2, #3 and #4 are things that take more time for them to get into; that music is more of an acquired taste. Many do eventually come to enjoy the jazz of the 60s and 70s just as they tend to enjoy some of the rock of the 60s and 70s. But their first instinct is to explore the contemporary. College students, I find, are temperamentally geared to looking for the cutting edge of the culture around them, for what's new and different. Whatever the psychology, it's part of the complex process by which they negotiate their own emerging adult identity. As they begin to unfold the potential in their own talents, they tend to be on the lookout for emerging artistic trends to bounce their own explorations off of. So Playlists #5 and #6 give them some taste of what's new and different and creative in the sonic world. It lets them see that jazz is not something from their parents' generation or their grandparents', but a living breathing artform. I've found that it's urgent to communicate to them how creative the contemporary jazz scene is.

As for getting them to listen to older artists: they tend to reach back and explore those older artists _only after they become convinced that jazz is a viable contemporary medium_, an artform that has a future. (By "viable," I don't mean "mass popularity," but rather artistic creativity; my students tend to be pretty cynical about most of what passes for pop music). Anyway, the music they are used to is guitar-based rather than brass-based. And so the brass-dominated sound of much 60s jazz requires getting used to. Like I said, it's an acquired taste for them. But they plug in almost immediately to the creative surf guitar stylings of Marc Ribot (of Bar Kokhba) or to the sound of Darcy James Argue's amazing big band or to the guitar-led sound of Ben Allison's recent compositions. Most of my students already like Wilco and are familiar with Nels Cline's work as lead guitarist for Wilco; so when they encounter him out on his own and get a taste of Nels Cline the Avant-Garde Experimentalist, they are in awe. They also love creative use of electronica (remember that Radiohead is the most popular and most respected rock band out there), and so the funk experimentalism of Medeski Martin & Wood grabs them; so does Dave Douglas' experiments with electronic effects, the way he uses it for atmospherics. Also, because they know Radiohead's compositions so well, they really begin to hear what jazz improvisation means when they listen to the way that a Brad Mehldau reworks Radiohead compositions such as "Exit Music (for a Film)".

Generally, Miles Davis intrigues them almost immediately, at least aspects of his work. They are pretty uniformly fascinated with Bitches Brew-they don't understand its structure, but something about it grabs them. The 2nd Quintet takes a bit more work for them; the Gil Evans collaborations are probably the least attractive on first hearings. One of my former students came up to me a year or so after graduation and told me that when I first exposed him to Miles' music, he thought it was okay, but didn't really get it. But he said that now that he's older, now that he's become sensitive to a range of musics, he keeps coming back to Miles and said that he was very grateful that I put him on to Miles' artistry. He could hear all sorts of depths in Miles' music that he was not hearing in so much contemporary rock / pop (and this student had a pretty wide range of tastes).

My playlists don't include artists prior to 1960s, artists such as Duke or Monk or Bill Evans or Dizzy Gillespie--exactly the era of the artists you listed. I return to my opening point: Have you ever taught 18-year-olds? I have learned from experience that it is best to wait and let them follow their natural curiosity and find their own way back to older artists. Once they get into contemporary artists, they might read what someone like a Brad Mehldau or a Brian Blade says about jazz greats of the past. Then they'll come up and ask: "Who's this Monk guy?" "Who's this Mingus?" "Who's Bird?" That gives me the opening. By the way, they tend to dig Mingus right away. They get intrigued by Monk's quirkiness, but I've not met any who get seriously hooked on his sound (let alone, grasp its sophistication). No matter. At least, they're listening, dabbling, rummaging around. My concern, as I put in my initial post, is not to be thorough in any historical sense. I want to ignite their own natural curiosity, to let their own instincts drive them. It works if one is patient. Then they come see it as their own idea and their own discovery. They then own it.


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## Piwikiwi

Alypius said:


> Please look at what I originally set out. It was not to do the _entire history_ of jazz, only the last _50 years_. Please note: These were _not_ put together for a _course in jazz_. They came from my students informally expressing an interest in jazz but feeling overwhelmed by its variety and its complexity.
> 
> I don't know how much you work with 18-year-olds. There is a pedagogy at work here. It is a pedagogy of _igniting interest, not covering some 'completist' syllabus_. I'm not sure what the psychology of it is, but for some reason, my students are drawn initially _not_ to the older artists, but to the most current jazz, in other words, the music on Playlist #6, and then to Playlist #5. Playlists #2, #3 and #4 are things that take more time for them to get into; that music is more of an acquired taste. Many do eventually come to enjoy the jazz of the 60s and 70s just as they tend to enjoy some of the rock of the 60s and 70s. But their first instinct is to explore the contemporary. College students, I find, are temperamentally geared to looking for the cutting edge of the culture around them, for what's new and different. Whatever the psychology, it's part of the complex process by which they negotiate their own emerging adult identity. As they begin to unfold the potential in their own talents, they tend to be on the lookout for emerging artistic trends to bounce their own explorations off of. So Playlists #5 and #6 give them some taste of what's new and different and creative in the sonic world. It lets them see that jazz is not something from their parents' generation or their grandparents', but a living breathing artform. I've found that it's urgent to communicate to them how creative the contemporary jazz scene is.
> 
> As for getting them to listen to older artists: they tend to reach back and explore those older artists _only after they become convinced that jazz is a viable contemporary medium_, an artform that has a future. (By "viable," I don't mean "mass popularity," but rather artistic creativity; my students tend to be pretty cynical about most of what passes for pop music). Anyway, the music they are used to is guitar-based rather than brass-based. And so the brass-dominated sound of much 60s jazz requires getting used to. Like I said, it's an acquired taste for them. But they plug in almost immediately to the creative surf guitar stylings of Marc Ribot (of Bar Kokhba) or to the sound of Darcy James Argue's amazing big band or to the guitar-led sound of Ben Allison's recent compositions. Most of my students already like Wilco and are familiar with Nels Cline's work as lead guitarist for Wilco; so when they encounter him out on his own and get a taste of Nels Cline the Avant-Garde Experimentalist, they are in awe. They also love creative use of electronica (remember that Radiohead is the most popular and most respected rock band out there), and so the funk experimentalism of Medeski Martin & Wood grabs them; so does Dave Douglas' experiments with electronic effects, the way he uses it for atmospherics. Also, because they know Radiohead's compositions so well, they really begin to hear what jazz improvisation means when they listen to the way that a Brad Mehldau reworks Radiohead compositions such as "Exit Music (for a Film)".
> 
> Generally, Miles Davis intrigues them almost immediately, at least aspects of his work. They are pretty uniformly fascinated with Bitches Brew-they don't understand its structure, but something about it grabs them. The 2nd Quintet takes a bit more work for them; the Gil Evans collaborations are probably the least attractive on first hearings. One of my former students came up to me a year or so after graduation and told me that when I first exposed him to Miles' music, he thought it was okay, but didn't really get it. But he said that now that he's older, now that he's become sensitive to a range of musics, he keeps coming back to Miles and said that he was very grateful that I put him on to Miles' artistry. He could hear all sorts of depths in Miles' music that he was not hearing in so much contemporary rock / pop (and this student had a pretty wide range of tastes).
> 
> My playlists don't include artists prior to 1960s, artists such as Duke or Monk or Bill Evans or Dizzy Gillespie--exactly the era of the artists you listed. I return to my opening point: Have you ever taught 18-year-olds? I have learned from experience that it is best to wait and let them follow their natural curiosity and find their own way back to older artists. Once they get into contemporary artists, they might read what someone like a Brad Mehldau or a Brian Blade says about jazz greats of the past. Then they'll come up and ask: "Who's this Monk guy?" "Who's this Mingus?" "Who's Bird?" That gives me the opening. By the way, they tend to dig Mingus right away. They get intrigued by Monk's quirkiness, but I've not met any who get seriously hooked on his sound (let alone, grasp its sophistication). No matter. At least, they're listening, dabbling, rummaging around. My concern, as I put in my initial post, is not to be thorough in any historical sense. I want to ignite their own natural curiosity, to let their own instincts drive them. It works if one is patient. Then they come see it as their own idea and their own discovery. They then own it.


I discovered jazz when I was 18 myself(8 years ago) and it was mostly through older jazz. I understand your point and I really appreciate your efforts but I'm still critical of some of your choices. I completely get why you focus on contemporary jazz but shouldn't you at least try to add some older artists. Some students might be putt off by the modern styles and care more about the older styles.

If you would translate your selection of jazz to classical it will might be something like this. You start with all of Wagner's opera's and all of Mahler his symphonies than go to Schoenberg, Berg and Webern; you would end with stockhausen, boulez, xenakis and Ligeti.

Like I said before I really appreciate your effort to get kids to appreciate jazz. However, the more I look at the list the more I get convinced that you want them to like the jazz you like. Even the lists with contemporary jazz is lacking some names who are really quite approachable while being modern. Guys like Roy Hargrove, Christian Scott and even Branford Marsalis.


----------



## Blake

Some Thelonious Monk in Poland (1966).


----------



## Blake

An interesting documentary on the early beginnings of Jazz…


----------



## starthrower

Piwikiwi said:


> Greatest Trumpet player that has ever lived.


Statements like this don't really mean much. There are many great players, and all can be enjoyed for different reasons whether it's Brownie, Pops, Roy Eldridge, Dizzy, Fats, Miles, Kenny Dorham, Booker Little, Chet Baker, Kenny Wheeler, Freddie Hubbard, Lee Morgan, Manfred Schoof, Tomasz Stanko, etc...

And I wouldn't give students playlists. Just let then explore on their own. One thing leads to another. That's how I did it. I learned the entire history of recorded jazz by teaching myself.


----------



## Manxfeeder

regressivetransphobe said:


> Early jazz up until bebop is woefully underexposed, more talked about than listened to.


I think Bix is wonderful. And I really like Frankie Trumbauer. (I own a C Melody sax because of him.) They both need to be at least mentioned here. And then there's that Dorsey guy on clarinet.


----------



## Manxfeeder

And if you haven't heard Hawk playing Body and Soul, you've missed one of the landmarks of jazz.


----------



## Blake

Play it like Bill Evans, will ya'?


----------



## Manxfeeder

My last indulgence for today, Johnny Hodges. I don't know how to describe his style; Duke Ellington just said, "He just plays Johnny." Downbeat's comment on this solo, when he makes the long slide at 1:37: "Exquisite."


----------



## aleazk

Vesuvius said:


> Play it like Bill Evans, will ya'?


haha, yes, play it like Bill!

Bill is the Mozart of jazz piano. Pure elegance and grace in gesture, form and emotion.

This is my favorite Bill Evans vid on youtube:


----------



## norman bates

aleazk said:


> haha, yes, play it like Bill!
> 
> Bill is the Mozart of jazz piano


I'd say he's more the Debussy 
Anyway, talking of early jazz, Pee Wee Russell is my favorite improviser ever not only in early jazz but in the entire genre. 
In his weird solos there's so much creativity and soul it's incredible, and who says that only black musicians can play the blues?
Pee Wee was an absolute master at it:


----------



## Blake

Dave Holland Quintet live in Spain.


----------



## Alypius

Vesuvius said:


> Dave Holland Quintet live in Spain.


Dave Holland is one of my longtime favorites. He had simply a phenomenal run of records with ECM from 1997 to 2003: _Point of View_ (1997), _Prime Directive_ (1999), _Not for Nothin'_ (2001), _What Goes Around_ (expanding his quintet to a big band), and _Extended Play: Live at Birdland_ (2003).
























Here's the title track of "Prime Directive":


----------



## Blake

Yea, I have about 6 of his albums, including Prime Directive. Always a pleasure to listen to.


----------



## Alypius

Anyone else a fan of ECM's jazz catalog? What are your favorite ECM jazz recordings?

I'll skip Dave Holland's recent catalog since I listed him above:

A few classics:

1. Ralph Towner - Solo Concert (1980)
2. Keith Jarrett - Köln Concert (1975)
3. John Abercrombie - Timeless (1975)
4. Pat Metheny - Bright Size Life (1976)
5. Steve Tibbett - Yr (1980)
6. Kenny Wheeler - Deer Wan (1978)
7. Dave Holland - Conference of the Birds (1972)
8. Enrico Rava - The Pilgrim and the Stars (1975)
9. Marc Johnson - Bass Desires (1987)
10. Bill Frisell - (1988)

A few recent ones:

1. Marcin Wasilewski Trio - January (2008)
2. Tomasz Stanko - Lontano (2006)
3. Anouar Brahem - Le voyage de Sahar (2007)
4. Marc Johnson / Eliane Elias - Swept Away (2012)
5. Chris Potter - The Sirens (2013)
6. Wolfert Brederode - Post Scriptum (2011)
7. Aaron Parks - Arborescence (2013)
8. Craig Taborn Trio - Chants (2013)
9. Colin Vallon - Rruga (2011)
10. Manu Katche - Manu Katche (2012)


----------



## cwarchc

Some great postings here
Lots to investigate


----------



## Blake

Alypius said:


> Anyone else a fan of ECM's jazz catalog? What are your favorite ECM jazz recordings?
> 
> I'll skip Dave Holland's recent catalog since I listed him above:
> 
> A few classics:
> 
> 1. Ralph Towner - Solo Concert (1980)
> 2. Keith Jarrett - Köln Concert (1975)
> 3. John Abercrombie - Timeless (1975)
> 4. Pat Metheny - Bright Size Life (1976)
> 5. Steve Tibbett - Yr (1980)
> 6. Kenny Wheeler - Deer Wan (1978)
> 7. Dave Holland - Conference of the Birds (1972)
> 8. Enrico Rava - The Pilgrim and the Stars (1975)
> 9. Marc Johnson - Bass Desires (1987)
> 10. Bill Frisell - (1988)
> 
> A few recent ones:
> 
> 1. Marcin Wasilewski Trio - January (2008)
> 2. Tomasz Stanko - Lontano (2006)
> 3. Anouar Brahem - Le voyage de Sahar (2007)
> 4. Marc Johnson / Eliane Elias - Swept Away (2012)
> 5. Chris Potter - The Sirens (2013)
> 6. Wolfert Brederode - Post Scriptum (2011)
> 7. Aaron Parks - Arborescence (2013)
> 8. Craig Taborn Trio - Chants (2013)
> 9. Colin Vallon - Rruga (2011)
> 10. Manu Katche - Manu Katche (2012)


Definitely, I'd also have to add in Jan Garbarek.

http://www.last.fm/music/Jan+Garbarek


----------



## Blake

By the way, an excellent contemporary trumpeter/composer that's deserving of attention is Alex Sipiagin. Just stumbled on him the other day, and he's doing some great things.

http://www.last.fm/music/Alex+Sipiagin?utm_source=last.fm&utm_medium=application&utm_campaign=last.fm_desktop_application&utm_content=2.1.36&utm_term=OSX


----------



## Alypius

Vesuvius said:


> By the way, an excellent contemporary trumpeter/composer that's deserving of attention is Alex Sipiagin. Just stumbled on him the other day, and he's doing some great things.


I agree. I first encountered him with his contributions to Dave Holland's Big Band (see _What Goes Around_ above). I am familiar with only a portion of his discography, but my two favorites of his (as a leader) are:

_Destinations Unknown_ (CrissCross, 2011) & _Overlooking Moments_ (CrissCross, 2013)

















I have both and can recommend them.


----------



## Alypius

Speaking of trumpeters deserving greater attention, one recent, one from the 60s:

*Tom Harrell, Prana Dance (High Note, 2008) & Number 5 (High Note, 2012)*

















These are only two of his large discography. They capture something of his range.

*Booker Little, Out Front (Candid, 1961)* (tragically died at age 23, one of jazz's many tragic figures)


----------



## Blake

Alypius said:


> Speaking of trumpeters deserving greater attention, one recent, one from the 60s:
> 
> *Tom Harrell, Prana Dance (High Note, 2008) & Number 5 (High Note, 2012)*
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> These are only two of his large discography. They capture something of his range.


Aha, thanks for bringing my attention back on Harrell. I've been meaning to get some of his stuff.
I know he struggles with schizophrenia, and I find him exceptionally sweet and brilliant.


----------



## norman bates

Alypius said:


> *Booker Little, Out Front (Candid, 1961)* (tragically died at age 23, one of jazz's many tragic figures)


Out front is a fantastic album.
Even with his little discography my favorite trumpet player and one of my favorite musicians ever, his arrangements (by the way, I'm not sure but I guess he's the arranger on Straight ahead, that wonderful album of Abbey Lincoln), his brilliant use of the dissonance, his musical ideas, his lyric voice on the instrument. So sad to think what he could have done if he would have lived a longer life.


----------



## Alypius

Vesuvius, Thanks for the Tom Harrell video. I knew that he battled with schizophrenia, but I had never seen him interviewed before. It's intriguing. I have loved his music for a long time. There's a richness, a depth of sensitivity, in it.

norman, Glad to find another fan of Booker Little's amazing music. Have you heard Dave Douglas' homage to Booker Little? _In Our Lifetime_ (New World, 1995). It's one of Douglas' earliest records and still one of my favorites. About 1/3 of the record are covers, the rest are compositions in the style of Booker Little.










Here's one of the covers (in this case from Booker Little's other major release, _Booker Little and Friends_):


----------



## Simon Moon

Some great posts so far.

As far as modern pianists go, Gonzalo Rubilcaba is truly amazing.






No mention of modern trumpet players should exclude the impressive Quong Vu. He's a pretty adventurous player, with great technique and vocabulary.


----------



## cwarchc

I have to admit to have a liking for this promising young pianist


----------



## Blake

A little jazzy guitar is needed. One of my current favorites…

Gilad Hekselman


----------



## Wood

Vesuvius said:


> A little jazzy guitar is needed. One of my current favorites…
> 
> Gilad Hekselman


Guitar huh?

Here's Emily Remler:


----------



## Alypius

There have been a few mentions of contemporary jazz pianists. There are so many excellent ones these days: Vijay Iyer, Craig Taborn, Enrico Pieranunzi, Marcin Wasilewski, Matthew Shipp, Aaron Parks, Geoffrey Keezer, Marc Cary. I'll try to highlight a few of these in posts over the next few days, whenever I can find a little time. But let me highlight here Brad Mehldau. I figure that he is still not widely known even if he has been one of the leading jazz pianists for the last 15 years. A few recommendations:

_The Art of the Trio, 1996-2001_ (a 7 CD box) (Nonesuch, 2011). If you can't afford the whole box, try _Art of the Trio, Vol. 3: Songs_










_Live in Tokyo_ (Nonesuch, 2004). Mehldau may be best live, and this, to my mind, is his best live performance. It opens with his brilliant reworking of Nick Drake's "Things Behind the Sun" and closes with Nick Drake's "River Man". He also covers Radiohead's "Paranoid Android" (a 20 minute version!).










_Ode_ (Nonesuch, 2012). This is for me his best performance with his current trio: Larry Grenadier on bass, and Jeff Ballard on drums.










I should add that two of my favorite performances by Mehldau are his 2 record partnership with Pat Metheny, the first entitled _Metheny / Mehldau_ (Nonesuch, 2006), the second _Quartet_ (Nonesuch, 2007).


----------



## Blake

Ari Hoenig - _Birdless._


----------



## Blake

Wood said:


> Guitar huh?
> 
> Here's Emily Remler:


Here's Kurt Rosenwinkel:






... and Peter Bernstein:


----------



## samurai

Another gem from Trane: http://www.youtube.com/watch?feature=player_detailpage&v=qP6RsC7cTvg


----------



## Alypius

Vesuvius said:


> Here's Kurt Rosenwinkel


Vesuvius, I too am a fan of Kurt Rosenwinkel. What are your favorites? He's got a pretty good size discography. My favorites are:

*Star of Jupiter (Wommusic, 2012)*










* The Remedy: Live at the Village Vanguard (Wommusic, 2008)*










*The Next Step (Polygram, 2001)*


----------



## Blake

Alypius said:


> Vesuvius, I too am a fan of Kurt Rosenwinkel. What are your favorites? He's got a pretty good size discography.


Yea, big fan of Kurt. I have about 5 of his albums and I dig them all pretty equally:

_Deep Song
Heartcore
The Next Step
Our Secret World
Star of Jupiter_

I'll probably pick up a few more because he's that good.

Edit... Just bought his major label debut - _Enemies of Energy._ So I'll be jamming on that soon.


----------



## Blake

Welp, now I'm in a serious Rosenwinkel mood. Here's another beauty:

_All the Way to Rajasthan_


----------



## Alypius

Vesuvius said:


> Yea, big fan of Kurt... I'll probably pick up a few more because he's that good.
> 
> Edit... Just bought his major label debut - _Enemies of Energy._ So I'll be jamming on that soon.


Have you heard his contributions to the Brian Blade Fellowship? In many ways, Rosenwinkel really shapes their sound. Check out :

*Brian Blade Fellowship, Season of Changes (Verve, 2008)*










Speaking of guitar-dominated jazz, two recent favorites:

*Dylan Ryan / Sand, Sky Bleached (Cuneiform, 2013)*










The group here is named after the drummer (as in the case of Brian Blade's group), but the guitarist Timothy Young controls the sound. Nels Cline's bassist, Devon Hoff, contributes well here. Here's a YouTube:






One other:

*Jeff Parker, Bright Light in Winter (Delmark, 2012)*










Parker was the lead guitarist for the rock group Tortoise, but also kept his hand in jazz, playing with avant-garde sax player Fred Anderson (_From the River to the Ocean_, 2007, with Hamid Drake on drums on percussion).


----------



## cwarchc

Excellent album, IMHO








rather a fan of Monk


----------



## starthrower

Snarky Puppy, anyone?


----------



## Alypius

Earlier several mentioned Bill Evans. One of my favorite contemporary jazz pianists is Marcin Wasilewski, who leads a piano trio with Slawomir Kurikiewicz on bass and Michal Miskiewicz on drums. They began playing together as teenagers and in the mid-90s began working as the backing band of the great Polish trumpeter, Tomasz Stanko:

*_Soul of Things_ (ECM, 2002)
*_Suspended Night_ (ECM, 2004)
*_Lontano_ (ECM, 2006)

As a trio, they've had three releases on ECM.

*_Trio_ (ECM, 2005)
*_January_ (ECM, 2008)
*_Faithful_ (ECM, 2011)

_Faithful_ was to my mind the best jazz release of 2011. On first listen, they seem very traditional, but Wasilewski has a profound lyricism and the group has this great telepathic interplay. A few representative tracks: "Night Train to You" (from Faithful); "Soul of Things, Var. 3", (from Soul of Things; "Vignette" (8:08) (from January); and "K.T.C." (from Trio)


----------



## Blake

Alypius, you're making some really great and informative post. Most excellent. :tiphat:


----------



## Simon Moon

Here's some pretty sophisticated stuff from France.

Forgas Band Phenomena

Drums, violin, brass, guitar, bass.


----------



## Alypius

Vesuvius said:


> Alypius, you're making some really great and informative post. Most excellent. :tiphat:


Glad that you are finding them helpful. More to come.

My jazz collection is actually larger than my classical -- and it is only in the last 5 years that classical has been getting almost as much of my listening time. I have been following developments in the jazz world pretty avidly for the last 20 years.


----------



## KnulpJose

ORNETTE COLEMAN - THE SHAPE OF JAZZ TO COME.

The album that would latter help to establish free jazz.


----------



## cwarchc

Still one of my faves


----------



## Alypius

Let me highlight three recent releases that, in my view, have been some of the best of the last few years:

*Joe Locke / Geoffrey Keezer, Signing (Motema, 2012)*










Joe Locke is one of the finest contemporary vibes players and has been active since the 80s. He has teamed with pianist / keyboard player Geoffrey Keezer on several recordings. Locke has told the very moving story about the origins of this title track, the relationship between his elderly mother and a blind-and-deaf man in a nursing home. Here's an interview with Locke in which he tells the story: http://www.allaboutjazz.com/joe-locke-chemistry-and-camaraderie-joe-locke-by-seton-hawkins.php#.U3vCo15kjnY Here's that title track:






*Stefon Harris / David Sanchez / Christian Scott, Ninety Miles (Concord Picante, 2011)*










This is a unique joining of three top-flight contemporary American jazz artists (Stefon Harris on vibes, David Sanchez on sax, Christian Scott on trumpet) with an array of Cuban jazz artists. Thus the title "ninety miles," the 90 miles that divides the US and Cuba. A brilliant merging of American and Cuban jazz traditions:






*John Moulder, Eleventh Hour: Live at the Green Mill (Origin, 2012)*










Moulder is a dazzling jazz guitarist (who as his day job works as a priest in the Chicago Catholic Archdiocese). He teaches music at Northwestern and plays principally in Chicago area. This video captures his often blazing style.


----------



## jim prideaux

Alypius said:


> Earlier several mentioned Bill Evans. One of my favorite contemporary jazz pianists is Marcin Wasilewski, who leads a piano trio with Slawomir Kurikiewicz on bass and Michal Miskiewicz on drums. They began playing together as teenagers and in the mid-90s began working as the backing band of the great Polish trumpeter, Tomasz Stanko:
> 
> *_Soul of Things_ (ECM, 2002)
> *_Suspended Night_ (ECM, 2004)
> *_Lontano_ (ECM, 2006)
> 
> As a trio, they've had three releases on ECM.
> 
> *_Trio_ (ECM, 2005)
> *_January_ (ECM, 2008)
> *_Faithful_ (ECM, 2011)
> 
> _Faithful_ was to my mind the best jazz release of 2011. On first listen, they seem very traditional, but Wasilewski has a profound lyricism and the group has this great telepathic interplay. A few representative tracks: "Night Train to You" (from Faithful); "Soul of Things, Var. 3", (from Soul of Things; "Vignette" (8:08) (from January); and "K.T.C." (from Trio)


Marcin Wasilewski is the man!-seen them live twice, and I find the sense of lyricism you mention almost overwhelming at times.........recent purchase has been the Jacob Young album Forever Young on ECM,primarily because the Norwegian guitarist has the Wasilewski trio with him....slowly but surely the album is opening up to me and I suspect its a biggy!

not wishing to be awkward but for anyone new to the Polish maestro try Song for Swirek from Faithful.....

all the Stanko albums listed are tremendous and personally I find that is largely down to Wasilewski,it is also worth noting that he plays a major part in Manu Katche's Playground and Neighbourhood


----------



## jim prideaux

vesuvius said:


> charles lloyd quartet - _caroline no._


anyone who happens to be looking through this thread do yourself a big big favour-watch this-i too came across this on you tube-last summer it was-the intro is stunning!

LOOKS LIKE I HAVE MADE A MESS OF THIS -JUST GO TO YOU TUBE-CHARLES LLOYD,LIVE VERSION OF CAROLINE NO!


----------



## Blake

I'm digging that Joe Locke you posted, A. Going to check out the rest after I investigate more into Locke. Really enjoy the vibes.


----------



## Alypius

jim prideaux said:


> Marcin Wasilewski is the man!-seen them live twice, and I find the sense of lyricism you mention almost overwhelming at times.........recent purchase has been the Jacob Young album Forever Young on ECM,primarily because the Norwegian guitarist has the Wasilewski trio with him....slowly but surely the album is opening up to me and I suspect its a biggy!
> 
> not wishing to be awkward but for anyone new to the Polish maestro try Song for Swirek from Faithful.....
> 
> all the Stanko albums listed are tremendous and personally I find that is largely down to Wasilewski,it is also worth noting that he plays a major part in Manu Katche's Playground and Neighbourhood


Jim, It's great to find someone else who knows Wasilewski's work. I agree about his sense of lyricism (and also about the excellence of "Song for Swirek"). I bought Manu Katche's _Neighborhood_ precisely because of Wasilewski's contribution. But I haven't heard _Playground_. I'll have to check that out. Jacob Young's _Forever Young_ is not yet available in the U.S. June 17th is listed as the release date. Thanks for the heads up on it.


----------



## Blake

More on the vibes...

Gary Burton - _Jackalope._


----------



## Blake

A couple more from the Burton. The uprising guitarist Julian Lage is in his new quartet, and I've been digging him for a while. Don't know why I'm just finding this out...


----------



## Alypius

Vesuvius said:


> More on the vibes...
> 
> Gary Burton - _Jackalope._


A great track and a great album. (It was on one of the playlists I posted earlier). Gary Burton has been on a roll ever since he retired from the Berklee School of Music. His work with Julian Lage is really striking. I much enjoyed _Common Ground_ (Mack Avenue, 2011). For that matter, I much enjoyed that reunion live album with Pat Metheny and Steve Swallow:

















I listened to all three just this afternoon.


----------



## Blake

Alypius said:


> A great track and a great album. (It was one of the playlists I posted earlier). Gary Burton has been on a roll ever since he retired from the Berklee School of Music. His work with Julian Lage is really striking. I much enjoyed _Common Ground_ (Mack Avenue, 2011). For that matter, I much enjoyed that reunion live album with Pat Metheny and Steve Swallow:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> I listened to all three just this afternoon.


Right on. His new quartet is top-notch. I also scooped up _Common Ground._ Will be checking out that reunion album, as well. So much to get, so little money....


----------



## Manxfeeder

cwarchc said:


> Still one of my faves
> 
> View attachment 42339


That album caused me to go to Little Tokyo back when I lived by LA and try to find a globular flute. I didn't succeed. It's probably a good thing.


----------



## Alypius

Current listening: a couple of classics from Freddie Hubbard's CTI days:

















Still, my favorites by Hubbard are mostly albums in which he plays as a sideman (e.g. Wayne Shorter's _Speak No Evil_, Herbie Hancock's _Empyrean Isles_, Art Blakey's _Free for All_), though his early _Ready for Freddie_ (Blue Note, 1961) is masterful.


----------



## Torkelburger

Awesome thread!

I am a jazz piano player and composer. I wanted to share one of my favorite compositions I wrote and dedicated to Thelonius Monk, paying homage to his ground-breaking style:


----------



## Blake

Torkelburger said:


> Awesome thread!
> 
> I am a jazz piano player and composer. I wanted to share one of my favorite compositions I wrote and dedicated to Thelonius Monk, paying homage to his ground-breaking style:


Very nice, T. Cool to have an accomplished Jazz musician in here. I really enjoyed that. :tiphat:


----------



## Alypius

Torkelburger said:


> Awesome thread!
> 
> I am a jazz piano player and composer. I wanted to share one of my favorite compositions I wrote and dedicated to Thelonius Monk, paying homage to his ground-breaking style:


Adam, That is a very fine track. I found that your album _Market Street Afternoon_ is available as a download on Amazon. Congratulations. I see that it came out in 2012. Anything new in the works?


----------



## Piwikiwi

This one is great, a young charlie parker playing Cherokee


----------



## Torkelburger

Vesuvius said:


> Very nice, T. Cool to have an accomplished Jazz musician in here. I really enjoyed that. :tiphat:


Thank you so much! It's great to be here with others who love jazz! I can't believe it!


----------



## Torkelburger

Alypius said:


> Adam, That is a very fine track. I found that your album _Market Street Afternoon_ is available as a download on Amazon. Congratulations. I see that it came out in 2012. Anything new in the works?


Thank you!! Yes, we released a second album of my jazz compositions titled _Frogs Playing Backgammon_ in 2013. It is not up on iTunes or amazon yet, but will be soon. Right now all of the tracks are on my youtube channel.

Here is my favorite one from the new album:





I don't have any other albums in the works this year. I've been catching up on my "classical" compositions, of which I post some of them over at the Today's Composers forum. I'm doing a lot of composition contests and it is keeping me busy, writing-wise. My jazz group plays every Friday at a local restaurant, so I keep up what little playing chops I have that way.

Recently, I arranged my jazz composition "The Far Side" from _Market Street Afternoon_ for a composition contest and it was a finalist. It was performed with the other finalists earlier this month by the Boathouse Cello Choir in Florida.
http://www.boathousecellochoir.com/uploads/6/2/8/5/6285329/concert_notes.pdf


----------



## Torkelburger

Incredible jazz rendition of the Beatles' "Eleanor Rigby" performed by Vince Guaraldi:


----------



## Alypius

One of my favorite current jazz groups is Medeski, Martin & Wood. They have been one of the cutting-edge groups since the mid-1990s. They are a trio of keyboards/organ, bass, drums and have, as their core, this groove-based, funk sound. But they are also fearless experimentalists and have stretched their sound with intriguing use of electronica and all sorts of other effects. They sometimes add a fourth to their trio, such as guitarist John Scofield and (recently) Nels Cline, as well as turntablist/effects wiz DJ Logic. They have had a strong cross-over appeal from an early date and draw out all sorts of younger listeners. In the 1990s, they toured with Phish and became associated with the jam-band scene. They did a series of increasingly bold records for Blue Note, and when they completed their contract, Blue Note released an excellent compilation of their years with the label under the title _Note Bleu: Best of the Blue Note Years, 1998-2005_. Since then they have released records under their own label (Indirecto), and in 2008-2009 released a trio of albums (arguably their best) under the title _Radiolarians_.


----------



## Simon Moon

Steve Coleman and Five Elements - Rhythm People






The Toa of Mad Phat


----------



## starthrower

I got turned onto this band through their Decapo albums Giraf, and China Jungle.






I've been revisiting my Volker Kriegel albums lately. His 1972 MPS album Inside: Missing Link is one of my better discoveries in the past couple of years. Beautifully recorded, with great material and featuring some top tier German and British jazz musicians.


----------



## Alypius

Simon Moon said:


> Steve Coleman and Five Elements - Rhythm People
> 
> The Toa of Mad Phat


Simon, Did you hear last year's Steve Coleman album, _Functional Arrhythmias_ (Pi, 2013)? It was excellent! Also Coleman's trumpeter Jonathan Finlayson put out an equally superb album, _Moment and the Message_ (Pi, 2013). Both releases lean towards the avant-garde, especially Coleman's.


----------



## Alypius

starthrower said:


> I got turned onto this band through their Decapo albums Giraf, and China Jungle.


Starthrower, A friend of mine put me onto their early work, notably _Music from the Danish Jungle_ (1996). I also have a recent one, _Pierre Dorge Presents New Jungle Orchestra_ (Steeplechase, 2010). I have not heard their latest, _Tjak Tjaka Tchicai_ (Steeplechase, 2014) which he has been singing the praises of:


----------



## Morimur

*Sergey Kuryokhin, Document*


----------



## starthrower

^^^^
Too bad he died so young. I have an old CD he recorded with Henry Kaiser.


----------



## starthrower

Alypius said:


> Starthrower, A friend of mine put me onto their early work, notably _Music from the Danish Jungle_ (1996). I also have a recent one, _Pierre Dorge Presents New Jungle Orchestra_ (Steeplechase, 2010). I have not heard their latest, _Tjak Tjaka Tchicai_ (Steeplechase, 2014) which he has been singing the praises of:


I need to pick up those two. I recently ordered their Sketches of India CD. I recommend grabbing the Decapo CDs I mentioned while they're back in print. Both great albums!


----------



## Mesa

Hunting down a copy of this record soon. This in particular, i find better than the original (it makes more sense?) and YMSN is pretty strong too.


----------



## starthrower

Just discovered this album. May appeal to fans of Chick Corea or Hermeto Pascoal?


----------



## Alypius

One of my favorite trumpeters is Woody Shaw (1944-1989). In the mid-60s, he began appearing as a sideman with leading artists of the era (Horace Silver, Chick Corea, McCoy Tyner, Andrew Hill). One of his earliest recorded appearances was on Horace Silver's _Cape Verdean Blues_ (Blue Note, 1965), alongside the great saxophonist Joe Henderson. In _Downbeat_ magazine a couple of years ago, trumpeter Dave Douglas said that he considered _Cape Verdean Blues_ the finest Blue Note record ever. If it is, it is because of the fiery duo of Shaw and Henderson. One of Shaw's most famous original compositions-and one of the finest tunes in the whole Blue Note catalog-is "The Moontrane," which he contributed to Larry Young's famous _Unity_ (Blue Note, 1965). He later re-recorded it as the title track of the 1974 record from Muse, one of earliest records as a band leader, but I find the Blue Note original has better sound quality and also has him alongside Henderson. But of all his recordings, my favorite is _Little Red's Fantasy_ (Muse, 1976). Some of his finest recordings were in the 1970s, but this was an era in which mainstream hardbop was struggling. From 1977-1981, he recorded five records for Columbia (4 studio, 1 live), but despite winning Downbeat's Album of the Year honors for _Rosewood_, his stint with the prestigious label failed to win him the wide recognition his colleagues thought his talent justly deserved. During these years, he worked with an excellent band that included pianist Mulgrew Miller and trombonist extraordinaire Steve Turre, and on occasion was joined by vibes great Bobby Hutcherson. Shaw was another of jazz's tragic figures, dying in his 40s as a result of subway train accident. The Muse recordings were boxed up last year and won various awards, but from what I can see the price is pretty prohibitive. His Columbia years have also been boxed up a couple of years ago.


----------



## science

Went out tonight in NYC (I'm on vacation) and heard Al Foster - phenomenal. Got to shake his hand and get a picture taken. Lots of other great musicians were there too, but that was special for me.


----------



## Alypius

A recent discovery: pianist Orrin Evans. Last year, he had one of the best records of the year:

*Orrin Evans, "It was beauty" (CrissCross, 2013)*










His latest, a big band album, came out last week:

*Orrin Evans' Captain Black Big Band, Mother's Touch (Posi-Tone Records, 2014)*










Review:



> "Big band jazz is not the most lucrative style of music: after paying twenty guys for the gig, you re lucky if there s anything left over for you. But some of the most exciting composers in jazz persist in writing and recording large-ensemble pieces. Darcy James Argue is probably the most cutting-edge. Of all the purist, oldschool, blues-based big bands playing original material, pianist Orrin Evans Captain Black Big Band is without a doubt the most powerful and entertaining. For those who don t know his music, Evans is a vigorously cerebral tunesmith and one of this era's most distinctive pianists... Evans initial recording with this band was a roller-coaster ride through lively and often explosive, majestically blues-infused tunes. His new one, Mother's Touch, is arguably even better, and has a broader emotional scope.... The best song on the album and maybe the best single song thats come over the transom here this year is Dita. Throughout its long, impressionistic crescendos, elegant solo voices peeking in through the Gil Evans-like lustre and gracefully acrobatic outro, the pianist has a great time alluding to both the rhythm and the blues... [T]he whole thing is a sweeping, passionate performance from a big crew ..."--Lucid Culture


I had hoped to find it at the Jazz Record Mart (arguably the best jazz store in the country) last week in Chicago, but it hadn't arrived yet. So it's on top of my jazz wishlist.

By the way, here's a link to his website:

http://www.orrinevansmusic.com/news.html


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## starthrower

I have all three of the Graham Collier 3-fers on the BGO label, and this one gets my top vote!


----------



## shangoyal

This here is a passionate, intense and cathartic jazz album. Not for listening to too frequently.


----------



## samurai

shangoyal said:


> This here is a passionate, intense and cathartic jazz album. Not for listening to too frequently.


Excellent album; for me Tyner is one of the giants of jazz. Good job!


----------



## shangoyal

samurai said:


> Excellent album; for me Tyner is one of the giants of jazz. Good job!


Yeah, before this album came out, they wondered what Tyner and Jones could do without Coltrane. After it came out, they were thinking what Coltrane could have done without Tyner and Jones.


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## samurai

Absolutely spot on observation; Ron Carter on bass doesn't hurt too much, either.


----------



## jim prideaux

Jacob Young-Forever Young, new album on ECM-after repeated listenings I now 'get this' album, and of course any album that features the great Marcin Wasilewski has to be worth a listen!


----------



## Alypius

jim prideaux said:


> Jacob Young-Forever Young, new album on ECM-after repeated listenings I now 'get this' album, and of course any album that features the great Marcin Wasilewski has to be worth a listen!


Jim, This is hard on us Americans. We don't get the new release until June 17th. I look forward to picking it up on its release date.


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## starthrower

Any Ben Monder fans? He's one of the best chord players I've ever heard. I started with his first album Flux, and now I've got five CDs. The volume on this clip is a bit low, so turn it up!


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## Alypius

I've heard only a portion of his discography (as a bandleader). Of those, my favorite is _Oceana_ (2005):















I've enjoyed a lot of his work as a sideman, notably for Donny McCaslin's _In Pursuit_ (Sunnyside, 2007) (and other of McCaslin's releases) and for Taylor Haskins' _Recombination_ (2011):

















Here's a live performance of one track from McCaslin's group:






Here's a track from Taylor Haskin's Recombination in which Monder plays a big role:


----------



## norman bates

starthrower said:


> Any Ben Monder fans? He's one of the best chord players I've ever heard.


Harmonically he's one of the most advanced guitarists I know... I've mixed feelings about his own albums, but I love this rendition of Autumn in New York with Julia Dollison, a piece written in the thirties (altough admittedly one of the most sophisticated songs in the american songbook) that sounds truly contemporary.


----------



## Blake

starthrower said:


> Any Ben Monder fans? He's one of the best chord players I've ever heard. I started with his first album Flux, and now I've got five CDs. The volume on this clip is a bit low, so turn it up!


Yea, Monder is pretty awesome. I have his Hydra and Oceana albums in my library that I still need to dive further in. He's very experimental from what I remember.


----------



## Alypius

Some more contemporary jazz pianists:

*Aaron Goldberg and Guillermo Klein, Bienestan (Sunnyside, 2011)*










Here's a link to a complete track, "Burrito":
http://sunnysidezone.com/track/burrito

Goldberg and Klein are both pianists. On this, Goldberg plays the acoustic keyboard, Klein, the fender rhodes. Sometimes they have a backing band, sometimes, it's just them. A great album.

*Aaron Parks, Invisible Cinema (Blue Note, 2008)*










Parks apprenticed under trumpeter Terence Blanchard, playing in Blanchard's band for a number of years. In 2008, he released his first record as a bandleader and it was stunning. Deeply melodic, well composed. One of the best tracks is "Harvesting Dance" (which also appears on one of Blanchard's records):






But then silence. He popped up occasionally, notably as the pianist in a jazz supergroup with Joshua Redman (tenor sax), Eric Harland (drums), and Matt Penman (bass) entitled _James Farm_ (2011). Again silence, then last year:

*Aaron Parks, Arborescence (ECM, 2013)*










This is solo piano, an improvised record, mostly midtempo, mostly meditative. It does not reveal itself on first hearing. I found it came to grab me slowly. Often I let it play as a quiet first-play record in the morning. One of the better releases of last year. Link to the opening track:

http://player.ecmrecords.com/aaron-parks--arborescence


----------



## Blake

Aaron Parks is great. I really enjoy those two albums above.


----------



## LucusT

Anything with Grant Green playing guitar. Anything....


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## cwarchc

this was todays commute 
yesterdays was


----------



## Alypius

A pair of excellent new releases:

*David Binney, Anacapa (CrissCross, 2014)*










Released yesterday (June 10th). One listen thus far. Excellent overall, but especially the title track. Available for listening on Spotify. BTW, I don't get the cover. Is that Binney? Doesn't look like him.

*Angles 9, Injuries (Clean Feed, 2014)*










Bold, a bit edgy, but excellent.

Forthcoming this month:

Jacob Young - _Forever Young_ (ECM) - June 17
Keith Jarrett and Charlie Haden - _Last Dance_ (ECM) - June 17
Matthew Halsall - _When the World Was One_ - June 17
Joshua Redman - _Trios Live_ - June 17
Bobby Hutcherson - _Enjoy the View_ - June 24
Steve Lehman - _Mise Em Abime_ - June 24
Ginger Baker - Why? - June 24
Wolfgang Muthspiel - Driftwood - June 24


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## starthrower

Getting into some of Elvin Jones's Blue Note albums of the late 60s & early 70s.
This one here is great, but not currently available. Several others I ordered from CD Japan.


----------



## science

I found this article - http://www.thedailybeast.com/articl...and-donuts-has-respect-but-it-needs-love.html - through a link titled "Can Starbucks Save Jazz?"

Ok, so that was intentionally provocative and it worked - the world and I are both worse for it. Of course Starbucks cannot save Jazz and if Jazz were the kind of thing Starbucks could save it wouldn't be much worth saving.

Actually it has an interesting conclusion:



> I'm convinced that there's a lesson here for jazz advocacy groups. Face it, the battle to improve the image of the art form is over, and those who fought for respectability get credit for winning the fight. Now we need to rise to the next challenge and remind listeners how much pleasure they can find in this music.


----------



## Morimur

science said:


> I found this article - http://www.thedailybeast.com/articl...and-donuts-has-respect-but-it-needs-love.html - through a link titled "Can Starbucks Save Jazz?"
> 
> Ok, so that was intentionally provocative and it worked - the world and I are both worse for it. Of course Starbucks cannot save Jazz and if Jazz were the kind of thing Starbucks could save it wouldn't be much worth saving.
> 
> Actually it has an interesting conclusion:


Great article. Sad, though. And Starbucks sucks. Panera has much better coffee.


----------



## Alypius

science said:


> I found this article - http://www.thedailybeast.com/articl...and-donuts-has-respect-but-it-needs-love.html - through a link titled "Can Starbucks Save Jazz?"
> 
> Ok, so that was intentionally provocative and it worked - the world and I are both worse for it. Of course Starbucks cannot save Jazz and if Jazz were the kind of thing Starbucks could save it wouldn't be much worth saving.


An interesting article, and its author, Ted Gioia, is one of the finest jazz historians out there (_History of Jazz_ [Oxford University Press, 2011]). So his perspectives are worth paying close attention to. As a regular customer of Starbucks and Peet's, I appreciate going to somewhere that picks good jazz as its soundtrack. (I go a little crazy at banks or grocery stores with their "Best of the 80s" mixes). One consolation, as Gioia points out, is that there is nothing watered down about Starbuck's and Peet's choices: "None of this music came from the 'smooth jazz' or 'fusion jazz' categories that, according to conventional wisdom, possess crossover appeal for the general public." Instead, they play the real deal: Miles Davis, John Coltrane, Horace Silver, Dave Brubeck. Yes, it's dated. But I think it may have a positive effect over the long run. His conclusion which Science quoted is right on the mark. The single biggest challenge is for contemporary jazz artists to catch the wave, to bring all those people exposed hour after hour to classic jazz and get them to take the next and hear the innovative and creative contemporary jazz world, to get them to go jazz clubs, to attend jazz concerts and festivals, to buy the music. No easy task. Jazz ever since Charlie Parker and the bebop revolution has ceased to be a dancehall music and become an art music geared to an elite audience (and by "elite," I don't mean wealth -- since most jazz audiences over the last 70 years have not been wealthy; I mean people with ears for advanced music). The question is whether jazz, like classical, can continue to attract its elite audience.


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## starthrower

A coffee store chain playing old records isn't going to save jazz. Musicians need clubs where they can perform and develop their music. And Starbucks isn't going to foot the bill for that. I know I don't want hang out at a Starbucks store.


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## shangoyal

Listening to this very famous record - hadn't heard it properly before, and as soon as the trumpet solo in Moanin' began, I was like totally mindblown! Turns out it's Lee Morgan...


----------



## SimonNZ

RIP Horace Silver

played Blowing The Blues Away and Horace Silver And The Jazz Messengers yesterday

will play The Jody Grind later today


----------



## Alypius

SimonNZ said:


> RIP Horace Silver


One of the greats. Leader of two of my all-time favorites. Great pianist!


----------



## starthrower

Live footage w/ Joe Henderson and Carmell Jones.


----------



## norman bates

A truly lovely piece written by Jaroslav Jezek called Tmavomodrý svět (dark blue world)


----------



## SONNET CLV

Listened this evening to _Makatuka_ (Segue 1000), an album from 1971 by Pittsburgh's celebrated jazzman Dr. Nathan Davis, a reed player who had been the Director of Jazz Studies at the University of Pittsburgh for over 4 decades. (He retired in 2013 after 44 years of teaching.) Anyone out there familiar with Davis's work? _Makatuka_ has been one of my favorite jazz discs since the 70s when I picked up a copy (along with Davis's 1972 disc _6th Sense in the 11th House_ (Segue 1002), another classic, from a small record shop in the Oakland section of Pittsburgh a couple of blocks away from the University of Pittsburgh. Yeah -- they used to have record shops. I don't know if either of these were ever released on CD; I treasure the LP discs. Highlights include Davis's own compositions "Makatuka", "To Ursula With Love", and "Extra Sensory Perfection" from _Makatuka_, and the title cut and "This For Richard" on _6th Sense_....















A Nathan Davis disc perhaps more familiar to some of you (since it is currently available on both newly pressed vinyl and CD) is _If_ from 1976.









Though I never became as fond of _If _as I have of the prior two masterpieces, there's no denying the work is astounding. I recommend any of you who are unfamiliar with _this_ Davis to give him a try. Try one of the titles mentioned above. I have a feeling you'll be hooked, too.


----------



## norman bates

thanks Sonnet, I've listened a couple of tracks from youtube and I've really liked what I've heard. He was very influenced by Coltrane I guess. I've never heard his albums before, but even the fact that he plays with fantastic players like Roland Hanna and Richard Davis say something.


----------



## Alypius

I have noticed that when some of us listen to jazz, we post it over on "The Non-Classical 'I'm Currently Listening to ..." thread. I have a proposal. How about using this thread instead? I enjoy seeing what all of us who enjoy jazz are listening to.

Most evenings, especially later in the evening, I listen to jazz. I'll try and post what I'm listening to for the next few evenings and see if others consider doing the same. I would like to see this thread continue to be a good gathering spot.

Tonight's listening: Three lesser-known but fascinating talents:

*Todd Sickafoose, Tiny Resistors (Cryptogrammophone, 2008)*










Here's the title track:







> "The inventive bassist/composer Todd Sickafoose has been plying his trade as a sideman while occasionally venturing forth as a bandleader in the progressive jazz world. With Tiny Resistors, he's hitting for a high average in presenting original music with a dramatic flair while playing not just the bass. Overdubbing keyboards, accordion, mallet instruments and the electric bass guitar, he orchestrates charts with many layers for a large ensemble that features electric guitars, brass and some woodwinds. Special guests Andrew Bird and Ani DiFranco play cameo roles, while the dynamic drummer Allison Miller focuses on tricky rhythms - rock and funk - to drive these pieces along bumpy hillsides... The pieces "Bye Bye Bees" and "Pianos Of The Ninth Ward" with both Bird (violin) and DiFranco (wordless vocals) have a polyrhythmic base with handclapping, whistling and song sounds in tandem with the horns, or a somber post-Katrina waltz with Sickafoose on piano, the guitars, and an electric ukulele from DiFranco respectively. Bird also plays some country and eastern styled violin for the heartland Americana stylized "Cloud Of Dust." Also along this line of far east/far west dialect comparable to Bill Frisell is the rural feeling of "Whistle" with Sickafoose again on piano, or the very Midwestern "Everyone Is Going."... This is quite an ambitious project from Sickafoose. Considering his need to play many instruments while guiding the talented group through a variety of changes and phases, you would be hard pressed to fully realize the effort to took to make this music perfect. It's very close to complete, universally appealing, and unique unto itself." - Michael Nastos, All Music Guide. Rating: **** (of 5)


*Matt Jorgensen, Tattooed by Passion (Origin, 2010)*










Here's the title track live: 







> "Music based on visual art is nothing new (many know of Mussorgsky's Pictures at an Exhibition if nothing else), but can be a mixed bag in terms of quality. Though both art forms can show improvisation and structure, musicians have to walk a fine line: too literal in their transcription of color and strength and they risk making terrible music; too free with the aesthetics of their own musical ideas and they risk ignoring the visual starting point. Drummer and bandleader Matt Jorgensen manages, while working from the paintings of his father-in-law, Dale Chisman, to walk that line carefully and perfectly, however. Instead of creating simplistic program music to represent the subjects of Chisman's paintings, Jorgensen tends to create with the mood of the painting in mind instead, as well as a hearty enjoyment of improvisation, taking a cue from the constant reworking apparent in the brushstrokes, with layered sounds mimicking layered color ideas. The music that results is at times deep and groove-laden (especially when featuring the power of guitarist Corey Christiansen) and at times philosophical.."-Adam Greenberg (All Music Guide). Rating: **** (of 5)


*Taylor Haskins, Recombination (19/8 Records, 2011)*










Includes Todd Sickafoose on bass and Ben Monder on guitar. Taylor Haskins plays trumpet with Dave Holland's Big Band (on _Overtime_). Here he uses an electric device for amplifying his trumpet on certain tracks (somewhat like Miles Davis did on certain 70s records, but the sound is different).

Here's the track "Here Is the Big Sky"


----------



## starthrower




----------



## starthrower

I have the 2 CD compilation reissued on ECM, but this live footage is great too!


----------



## csolomonholmes

This album changed my life -







From AllMusic "The Major Works of John Coltrane compiles the saxophonist's most important extended free jazz pieces from 1965. This is the material that made Coltrane a giant of the avant-garde, completely casting off the limits of melody, harmony, and tonality that he'd been straining against."


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## starthrower

Played this one at 3:30 am this morning. A great late night record!

George Russell-New York, NY recorded 1958 w/ Bill Evans, Art Farmer, John Coltrane
Jon Hendricks, Charlie Persip, etc.


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## starthrower

I dig that Matt Jorgensen quartet. Some great, snappy, no nonsense straight ahead playing that doesn't sound retro, but totally contemporary.


----------



## SONNET CLV

starthrower said:


> Played this one at 3:30 am this morning. A great late night record!
> 
> George Russell-New York, NY recorded 1958 w/ Bill Evans, Art Farmer, John Coltrane
> Jon Hendricks, Charlie Persip, etc.


Try this one next time you're on late shift:








*Joe Morris Trio ‎- Wraparound *
Label: Riti Records ‎- RITI 1001 
Format: Vinyl, LP 
Free Jazz, Contemporary Jazz, Free Improvisation
Released: 1983


----------



## starthrower

Spinning this one, since I just stumbled upon it while looking for all of my George Russell CDs. I have a lot of McCoy albums, but not very many of his Impulse records, which is probably why I bought this.










Okay, finally located these two after a couple of hours, so they're on deck.


----------



## Alypius

I'm a little late tonight posting my evening jazz listening because I was out and about and caught a new (young) jazz group at a local club.

In any case, this evening:

*Tunnel Six, Alive (self-released, 2013)*










Tunnel Six is based in the Northwest and includes: 
Ben Dietschl: sax
Chad McCullough: trumpet, flugelhorn
Andrew Oliver: piano 
Brian Seligman: guitar 
Ron Hynes: bass 
Tyson Stubelek: drums

Also check out their earlier release with Origin Records from 2011, _Lake Superior_










You can hear complete tracks from both records (and, perhaps, the records in their entirety) on their website:

http://tunnelsix.com


----------



## norman bates

starthrower said:


>


I've always loved the mysterious Beast blues on this one. Carla Bley wrote some fine tunes.


----------



## Serge

Has anybody brought this in here already? It includes an immensely enigmatic piano piece that somebody on these boards has tried to identify like a very long time ago, I believe.

*Charles Mingus - The Black Saint and the Sinner Lady*


----------



## starthrower

Too bad all of Hill's 60s material is on Blue Note. I never liked the way Van Gelder recorded piano. 
It just doesn't sound like a piano.










Anyway, just finished listening to this one after several years on the shelf. I like it a bit more now than 5-6 years ago. I'd like it more if it didn't sound like it was packed in moth balls.

I didn't get to the Five Spot album last night, so it's on now. Actually recorded in the studio after a three week stay at the club. I suppose Russell is a hard bopper at heart, but a much more interesting one than a lot of the formulaic stuff on Blue Note.


----------



## norman bates

starthrower said:


> Too bad all of Hill's 60s material is on Blue Note. I never liked the way Van Gelder recorded piano.
> It just doesn't sound like a piano.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Anyway, just finished listening to this one after several years on the shelf. I like it a bit more now than 5-6 years ago. I'd like it more if it didn't sound like it was packed in moth balls.


I don't know, but the music is extraordinary. Especially this album and Judgment are my favorites of him (I prefer both over Point of departure, and POD is an amazing album too), some of his best compositions are here. And it's a shame that John Gilmore record with him only on Andrew and Compulsion because he was a perfect choice for the music of the pianist.


----------



## starthrower

^^^
Yeah, Gilmore sounds great! And Bobby Hutcherson is always superb. Funny you should mention Judgement, because I was listening to it Friday night, and unfortunately the recorded sound is even worse. I bought quite a few Hill albums several years back, and I still have a lot of music to absorb. But since then I've listened to Dance With Death, Passing Ships, and the Mosaic Select group sessions the most.


----------



## starthrower

Speaking of Hutcherson, here's one I've been revisiting lately. A mid 80s Landmark release featuring some high energy Latin influenced music. A great set of originals along with Tin Tin Deo, and a superb marimba workout on Besame Mucho.


----------



## Alypius

starthrower said:


> Speaking of Hutcherson, here's one I've been revisiting lately ...


Also speaking of Hutcherson, he has a new record that came out last Tuesday from Blue Note:


----------



## norman bates

Alypius said:


> Also speaking of Hutcherson, he has a new record that came out last Tuesday from Blue Note:


I don't know if the effect is intentional, but those circles seem like soft focus lights... intriguing cover.


----------



## SONNET CLV

starthrower said:


> Too bad all of Hill's 60s material is on Blue Note. I never liked the way Van Gelder recorded piano.
> It just doesn't sound like a piano.


The Jean Barraqué Concerto (on cpo) that I had been listening to just finished, so I put on the Hill album to hear the piano. It sounds okay on my system, so I'm wondering ... can you name a couple of recordings that get the piano "right". I'd like to take a listen. Chances are if you list a couple, I'll have one of them.

By the way, I'm listening to the CD, not a vinyl copy. Don't have this on vinyl, which would probably present a somewhat different sound on my system.


----------



## csolomonholmes

If you think that one is good, this one will blow your mind!










shangoyal said:


> Listening to this very famous record - hadn't heard it properly before, and as soon as the trumpet solo in Moanin' began, I was like totally mindblown! Turns out it's Lee Morgan...


----------



## Alypius

csolomonholmes said:


> If you think that one is good, this one will blow your mind!
> View attachment 45586


CSolomon, I agree. _Free for All_ is simply masterful -- especially Wayne Shorter's solo on the title track. Simply staggering! One of the great solos in jazz history. I enjoy almost all the Art Blakey releases on Blue Note, especially during the Wayne Shorter era: _Big Beat_, _Mosaic_, _Indestructible_, _Buhaina's Delight_, and especially _Night in Tunisia_. From the same era, two of the best are ones he did on Impulse!: _Art Blakey & the Jazz Messengers_ and _Ugetsu_:


----------



## starthrower

SONNET CLV said:


> The Jean Barraqué Concerto (on cpo) that I had been listening to just finished, so I put on the Hill album to hear the piano. It sounds okay on my system, so I'm wondering ... can you name a couple of recordings that get the piano "right". I'd like to take a listen. Chances are if you list a couple, I'll have one of them.


Not on Blue Note. I'm listening to Strange Meadow Lark from Time Out at the moment. It sounds much more natural to my ears. The way Van Gelder recorded pianos, they sound chalky and murky, and nothing close to what a piano sounds like in person. In fact, the best sounding Blue Note albums I've heard don't feature any piano. Some of Elvin Jones's albums, and Ornette Coleman At The Golden Circle, which was not recorded by Van Gelder. Lester Koenig's Contemporary label made far superior sounding records compared to Blue Note.

I have some Japanese Blue Notes on order, so I'll report back on those when I hear them. A few Horace Silver CDs, and a Wayne Shorter title.


----------



## SONNET CLV

starthrower said:


> Not on Blue Note. *I'm listening to Strange Meadow Lark from Time Out at the moment. It sounds much more natural to my ears. *The way Van Gelder recorded pianos, they sound chalky and murky, and nothing close to what a piano sounds like in person. In fact, the best sounding Blue Note albums I've heard don't feature any piano. Some of Elvin Jones's albums, and Ornette Coleman At The Golden Circle, which was not recorded by Van Gelder. Lester Koenig's Contemporary label made far superior sounding records compared to Blue Note.
> 
> I have some Japanese Blue Notes on order, so I'll report back on those when I hear them. A few Horace Silver CDs, and a Wayne Shorter title.


What format and/or recording is that _Time Out _album? original LP, remastered, CD, SACD ... what year is the pressing? I collect copies of Time Out and have a variety of versions, and they do not all sound alike. In fact, the original CD release of the album is terrible sounding. While the Analogue Productions release on vinyl of the album at 45 rpm is sublime.


----------



## starthrower

I think I have the "terrible sounding" original CD, which still sounds better than most Blue Note albums I've heard. I don't know if the later remastered CD sounds any better. I've re-purchased a few Columbia CDs of various types of music, but didn't notice any difference, with the exception of Weather Report's Mysterious Traveller. The first edition sounded horrible.


----------



## Morimur

*Miles Davis: Sketches of Spain*










I am sure you all have this beauty in your possession. I never tire of it.


----------



## Morimur

*John Coltrane: Giant Steps*


----------



## Alypius

Lope's citing of two essential jazz recordings sparked an idea:

*What are, for you, the essential jazz records? Best 10? 25? 50? *

My list is below. I decided to limit it to one record per artist, with just a couple of exceptions (Miles Davis, John Coltrane, Charles Mingus, Herbie Hancock). That limitation proved little short of anguishing, but it seemed to me a way to make sure that I represent a wide range of my favorite artists. With those artists whose best work occurred before the rise of the LP (e.g. Louis Armstrong, Charlie Parker), it seemed best to cite famous "greatest hits" compilations. I also deliberately stopped at the year 1980. I will post another list of essentials since 1980s at a later time.

My list will certainly be easy to challenge -- whether my choice of artists or of albums. I hope that this listing might prove helpful to those who are getting started in jazz. And for those of you who already know jazz well, I hope it proves provocative enough that you will post rival lists of your own. I have listed them in chronological order. Here goes:

1.	Louis Armstrong, _Complete Hot Fives & Hot Seven Recordings_ (1925-1928)
2.	Count Basie, _Ken Burns Jazz: Count Basie_ (1932-1950s; released: 2000)
3.	Billie Holiday, _Lady Day: The Best of Billie Holiday_ (1933-1944)
4.	Coleman Hawkins, _Body and Soul_ (1939-1956)
5.	Dizzy Gillespie, _Ken Burns Jazz: Dizzy Gillespie_ (1940-1967; released: 2000)
6.	Charlie Parker, _The Yardbird Suite_ (1942-1949)
7.	Lester Young, _The Complete Alladin Recordings_ (1945-1947)
8.	Kenny Dorham, _Afro-Cuban_ (1955)
9.	Sonny Rollins, _Saxophone Colossus_ (1956)
10.	Duke Ellington, _Ellington at Newport 1956_ (1956)
11.	Thelonious Monk, _Monk's Music_ (1957)
12.	Lou Donaldson, _Blues Walk_ (1958)
13.	Sonny Clark, _Cool Struttin_ (1958)
14.	Miles Davis, _Kind of Blue_ (1959)
15.	Dave Brubeck, _Time Out_ (1959)
16.	Charles Mingus, _Mingus Ah Um_ (1959)
17.	Ornette Coleman, _Shape of Jazz to Come_ (1959)
18.	Art Blakey, _A Night in Tunisia_ (1960)
19.	John Coltrane, _Giant Steps_ (1960)
20.	Bill Evans, _Sunday at the Village Vanguard_ (1961)
21.	Wes Montgomery, _The Incredible Jazz Guitar of Wes Montgomery_ (1961)
22.	Oliver Nelson, _The Blues and the Abstract Truth_ (1961)
23.	Dexter Gordon, _Go_ (1962)
24.	Charles Mingus, _The Black Saint and the Sinner Lady_ (1963)
25.	John Coltrane, _A Love Supreme_ (1964)
26.	Joe Henderson, _In 'N' Out_ (1964) 
27.	Lee Morgan, _The Sidewinder_ (1964)
28.	Horace Silver, _Song for My Father_ (1964) 
29.	Andrew Hill, _Point of Departure_ (1964) 
30.	Eric Dolphy, _Out to Lunch_ (1964)
31.	Wayne Shorter, _Speak No Evil_ (1964) 
32.	Stan Getz, _Getz / Gilberto_ (1964)
33.	Herbie Hancock, _Maiden Voyage_ (1965)
34.	Larry Young, _Unity_ (1965)
35.	Grant Green, _Idle Moments_ (1965)
36.	Cannonball Adderley, _Mercy, Mercy, Mercy_ (1966)
37.	McCoy Tyner, _The Real McCoy_ (1967)
38.	Kenny Burrell, _Midnight Blue_ (1967)
39.	Bobby Hutcherson, Medina / Spiral (1969)
40.	Miles Davis, _Bitches Brew _(1970)
41.	Freddie Hubbard, _Red Clay_ (1970)
42.	Herbie Hancock, _Head Hunters_ (1973)
43.	Mahavishnu Orchestra, _Birds of Fire_ (1973)
44.	Weather Report, _Mysterious Traveller_ (1974)
45.	Keith Jarrett, _Köln Concert_ (1975)
46.	John Abercrombie, _Timeless_ (1975)
47.	Jaco Pastorius, _Jaco Pastorius_ (1976)
48.	Woody Shaw, _Little Red's Fantasy_ (1976)
49.	Pat Metheny, _Bright Size Life_ (1976)
50.	Ralph Towner, _Solo Concert_ (1980)

What 50 would you list?


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## Morimur

Hard to argue with your list, Alypius.


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## starthrower

I don't have time to list 50, but I'll list some records that made a big impact on me.
In no particular order:

George Russell-Ezz-Thetics
Mal Waldron-The Quest
Pat Martino-Consciousness 
Oliver Nelson-Straight Ahead
Thelonious Monk-Brilliant Corners
Joe Henderson-Inner Urge
John Scofield-Time On My Hands
Michael Brecker-s/t
Dave Holland-Extensions
Bill Frisell/Kermit Driscoll/Joey Baron-Live
The Either/Orchestra-Half Life Of Desire
Pierre Dorge & New Jungle Orchestra-Giraf
John McLaughlin-Belo Horizonte
Hermeto Pascoal-Slaves Mass
Michel Camilo-One More Once
Archie Shepp-Four For Trane
Pat Metheny Group-The First Circle
McCoy Tyner-Together
Alice Coltrane-Monastic Trio
Miles Davis-Miles Smiles
Herbie Hancock-Inventions And Dimensions
Keith Jarrett-Treasure Island
Yusef Lateef-Live At Pep's
Jaco Pastorius-The Birthday Concert
Roland Kirk-I Talk To The Spirits
Sonny Simmons/Prince Lasha-The Cry
Eric Dolphy-Iron Man
Mark Murphy-Stolen & Other Moments
Return To Forever-Light As A Feather
Larry Coryell/Philip Catherine-Splendid
Tony Williams-Believe It
Steve Lacy-Momentum
Mingus-Oh Yeah!
Don Pullen's African/Brazilian Connection-Kele Mou Bana
Mulligan/Desmond-Two Of A Mind


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## Alypius

Lope de Aguirre said:


> Hard to argue with your list, Alypius.


Thanks. Actually, I argued with myself about it -- a lot! I'm so conscious of who I dropped. From the early era, Jelly Roll Morton, Benny Goodman, Fletcher Henderson, Sidney Bechet, Ella Fitzgerald, for instance. From the Blue Note era, Hank Mobley, Blue Mitchell, Donald Byrd, Jackie MacLean. Great ones from the free jazz movement: Sam Rivers, Anthony Braxton, Pharoah Sanders, Art Ensemble of Chicago, Sun Ra. I argued with myself about choice of individual records. For instance, I love all of Joe Henderson's Blue Note releases; I chose _In 'n' Out_, but I love _Inner Urge_ and _Mode for Joe_ as much. The same could be said about my choices for Wayne Shorter and any of a dozen others. And, for that matter, how does one choose just one Duke Ellington record. But one has to start people somewhere, and these seemed decent choices.


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## Morimur

*Albert Ayler - Live in Greenwich Village: The Complete Impulse Sessions*

I couldn't possibly come up with a list at the moment. My knowledge of Jazz is rudimentary at best but I know what I like and this is one of my very favorite albums...


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## SONNET CLV

ESSENTIAL JAZZ -- to me ...

I quickly went through my collection to note the handful of jazz albums I most listen to. Here's that quick list. Alphabetized by album.

Acoustic – Gilberto Gil
Blue Train – John Coltrane
Brazil Project (I) – Toots Thielemans
Canyon Lady – Joe Henderson
Carmen Sings Monk – Carmen McRae
Collection – Larry Carlton
Companion – Patricia Barber
Ella and Louis – Ella F. and Louis A.
Folkvisor – Jan Johansson
Givin’ Away the Store 3 – Pat Martino
Getz/Gilberto – Stan Getz and João Gilberto
Harlequin – Dave Grusin/Lee Ritenour
Idle Moments – Grant Green
Kind of Blue – Miles Davis
Laid Back – Kenny Burrell
Letter to Evan -- David Benoit
Lontano – Tomasz Stanko Quartet
Loxodonta Africana – Ricky Ford
Makatuka – Nathan Davis
Manhatten Symphony – Dexter Gordon Quartet
Moodswing – Joshua Redman Quartet
Naked Guitar – Earl Klugh
Nonaah – Roscoe Mitchell
Ondas – Mike Nock
Orchestra of the 80’s – Gerald Wilson
Play Bach – Jacques Loussier
Re: Pasolini -- Stefano Battaglia
Reed Seed – Grover Washington, Jr.
Songs For Ellen – Joe Pass
The Best Of … -- Bill Evans
The Best Of … -- Freddie Hubbard
The Look of Love – Diana Krall
The Words and the Days – Enrico Rava Quintet
Time Out – Dave Brubeck Quartet
Tomorrow Sky – Kellis Ethridge
Touchdown – Bob James
Tutu – Miles Davis
Yarona – Abdullah Ibrahim Trio


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## Morimur

*Miles Davis - (1975) Agharta*










_Review by Thom Jurek _

Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis -- saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume -- was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here. The music on Agharta, a total of three tunes spread over two CDs and four LP sides, contains the "Prelude," which clocks in at over a half-hour. There is "Maiysha" from Get up With It and the Agharta "Interlude," which segues into the "Theme From Jack Johnson." The music here is almost totally devoid of melody and harmony, and is steeped into a steamy amalgam of riffs shot through and through with crossing polyrhythms, creating a deep voodoo funk groove for the soloists to inhabit for long periods of time as they solo and interact with one another. Davis' band leading at this time was never more exacting or free. The sense of dynamics created by the stop-start accents and the moods, textures, and colors brought out by this particular interaction of musicians is unparalleled in Davis' live work -- yeah, that includes the Coltrane and Bill Evans bands, but they're like apples and oranges anyway. Driven by the combination of Davis' direction and the soloing of Sonny Fortune and guitarist Pete Cosey, who is as undervalued and underappreciated for his incalculable guitar-slinging gifts as Jimi Hendrix is celebrated for his, and the percussion mania of Mtume, the performance on Agharta is literally almost too much of a good thing to bear. When Cosey starts his solo in the "Prelude" at the 12-minute mark, listeners cannot be prepared for the Hendrixian energy and pure electric whammy-bar weirdness that's about to come splintering out of the speakers. As the band reacts in intensity, the entire proceeding threatens to short out the stereo. These are some of the most screaming notes ever recorded. Luckily, since this is just the first track on the whole package, Davis can bring the tempos down a bit here and there and snake them into spots that I don't think even he anticipated before that afternoon (check the middle of "Maiysha" and the second third of "Jack Johnson" for some truly creepy and beautiful wonders). While Pangaea is awesome as well, there is simply nothing like Agharta in the canon of recorded music. This is the greatest electric funk-rock jazz record ever made -- period.


----------



## Alypius

Lope de Aguirre said:


>


Lope, As much as I love _Agharta_, I enjoy the companion piece _Pangaea_ even more. It's noisier and rowdier on "Zimbabwe" (=disc 1) and then darker and yet beautiful on "Gondawana" (=disc 2). The picture you posted is of the American edition, which is much lower quality sound. There are Japanese DSD and Blu-Spec formats that are much superior. The price is about double -- and is worth it! (Though I've seen the price go much higher than that -- the various Japanese versions go in and out of print). Note the different covers (the Japanese DSD and Blu-Spec of _Agharta_ on the left, _Pangaea_ on the right)

















A reviewer on Amazon notes his experience:



> "This is a blue-spec CD, the first I've owned. As promised, and contrary to what some reviews claim, it plays without problems on regular cd players... Agharta is the purest expression of Miles Davis's '70s voodoo funk. The other live double albums of this period, Dark Magus ('74) and Pangaea (recorded on the same day as Agharta in early '75) are also killer, but for sheer unstoppable filthy funkiness, this is the one. It's my understanding that Sony Japan owns and hoards the master tapes to Agharta and Pangaea, which were originally only released there as LPs. At least two versions have been issued there in the last 15 years or so. *Not only remastered but remixed, they are substantially different from and superior to the first CDs to come out, the Columbia "Contemporary Masters" editions of 1990*... [T]o my ears, this blue-spec cd, which I believe follows an edition of 2009, is the best sounding. The mix is very clear and satisfying. Michael Henderson's bass is meaner, more defined, and you can really distinguish the two guitarists' playing. If you've only heard the US version, you'll be amazed. Bottom line: ... opt for "Made in Japan," especially if you like this music and have only heard the old CDs. Not being able to read the liner notes is a small price to pay for the big improvement in sound."


Strongly recommended!


----------



## Morimur

Alypius said:


> Lope, As much as I love _Agharta_, I enjoy the companion piece _Pangaea_ even more. It's noisier and rowdier on "Zimbabwe" (=disc 1) and then darker and yet beautiful on "Gondawana" (=disc 2). The picture you posted is of the American edition, which is much lower quality sound. There are Japanese DSD and Blu-Spec formats that are much superior. The price is about double -- and is worth it! (Though I've seen the price go much higher than that -- the various Japanese versions go in and out of print). Note the different covers (the Japanese DSD and Blu-Spec of _Agharta_ on the left, _Pangaea_ on the right)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> A reviewer on Amazon notes his experience:
> 
> Strongly recommended!


Thanks for the info. I'll have to get a copy of the Japanese edition.

Now I am listening to Don Ellis' 'Tears of Joy' -- what a great album! I am hooked on this. The music is wickedly complex and exciting. I am surprised Ellis isn't better known.


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## starthrower

Don Ellis was a phenomenal musician, but he's been dead for over 35 years, so he was largely forgotten. I like his early, small group albums, especially Essence. And his work with George Russell. Also, Don's MPS album Soaring.


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## Alypius

In a post above, I had asked: What are the essential jazz records? Best 10? 25? 50? 

A few have posted lists and recommendations. My earlier list of 50 deliberately stopped at the year 1980, and I promised that I would follow up with a list of works since 1980. So here's an additional 50, listed in chronological order. As before, I have tried to limit it to one record per artist, but have in a few cases listed a second one. And I've deliberately biased it toward works since 2000. I hope that it proves helpful to those who don't know the current scene. And for those of you who do, I hope it proves provocative enough that you will post rival lists of your own.

1.	Steve Tibbetts - Yr (1980)
2.	Wynton Marsalis - Black Codes (from the Underground) (1985)
3.	Bela Fleck - Bela Fleck and the Flecktones (1990)
4.	John Abercrombie - While We’re Young (1993)
5.	Dave Douglas - In Our Lifetime (1994)
6.	Joshua Redman - Moodswing (1995)
7.	John Zorn / Bar Kokhba - The Circle Maker (1998)
8.	Brad Mehldau - The Art of the Trio, Vol. 3: Songs (1998)
9.	Bill Frisell - Good Dog, Happy Man (1999)
10.	Kenny Garrett - Songbook (1999)
11.	Steve Turre - Lotus Flower (1999)
12.	Dave Holland (Quintet) - Prime Directive (1999)
13.	Andrew Hill - Dusk (2000)
14.	Dave Douglas - Soul on Soul (2000)
15.	Either / Orchestra - More Beautiful Than Death (2000)
16.	Chris Potter - Gratitude (2001)
17.	Greg Osby - Symbols of Light: A Solution (2001)
18.	Herbie Hancock / Michael Brecker / Roy Hargrove - Directions in Music: Live at Massey Hall (2002)
19.	Dave Holland (Big Band) - What Goes Around (2002)
20.	Tomasz Stanko - Soul of Things (2002)
21.	Dave Douglas - The Infinite (2002)
22.	Nels Cline Singers - Instrumentals (2002)
23.	Terence Blanchard - Bounce (2003)
24.	Matthew Shipp - Equilibrium (2003)
25.	Michael Brecker - Wide Angles (2003)
26.	William Parker - O’Neal’s Porch (2003)
27.	Kenny Wheeler - What Now? (2005)
28.	Pat Metheny Group - The Way Up (2005)
29.	Enrico Pieranunzi - Live in Paris (2006)
30.	Donny McCaslin - In Pursuit (2007)
31.	Anouar Brahem - Voyage de Sahar (2007)
32.	Pat Metheny & Brad Mehldau - Quartet (2007)
33.	The Bad Plus - Prog (2007)
34.	Roy Hargrove - Earfood (2008)
35.	Marcin Wasilewski - January (2008)
36.	Nik Bärtsch’s Ronin - Holon (2008)
37.	Todd Sickafoose - Tiny Resistors (2008)
38.	Ben Allison - Little Things Run the World (2008)
39.	Darcy James Argue’s Secret Society - Infernal Machines (2009)
40.	Tom Harrell - Prana Dance (2009)
41.	Medeski, Martin & Wood - Radiolarians II (2009)
42.	Jon Hassell - Last Night the Moon Came Dropping ... (2009)
43.	Christian Scott - Yesterday You Said Tomorrow (2010)
44.	David Sanchez / Stefon Harris / Christian Scott - Ninety Miles (2011)
45.	Vijay Iyer - Acclerando (2012)
46.	Joe Locke / Geoffrey Keezer - Signing (2012)
47.	Kurt Rosenwinkel - Star of Jupiter (2012)
48.	Jeff Parker - Bright Light in Winter (2012)
49.	Gary Burton - Guided Tour (2013)
50.	Orrin Evans’ Captain Black Big Band - Mother’s Touch (2014)


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## Morimur

*Herbie Hancock: Crossings*

Loving this album.


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## Alypius

Lope, If you like Herbie's music from that period, check out _Flood_, which was a live performance in Japan in 1975. It opens with an acoustic version of "Maiden Voyage," then turns funky (check out "Watermelon Man" at the 25:00 mark). It's a bit pricey as a CD since it's a Japanese import. I was surprised to find the entire record on YouTube. Link here:






Given your tastes, you might check out William Parker's _O'Neal's Porch_ (which I had included in my recommendations above). He's the senior statesman of the free jazz movement today, and, while he's really prolific and adventurous, I think this is his masterpiece (a live recording, by the way -- he's fearless). The interaction between him and Hamid Drake is amazing:


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## Morimur

Alypius said:


> Lope, If you like Herbie's music from that period, check out _Flood_, which was a live performance in Japan in 1975. It opens with an acoustic version of "Maiden Voyage," then turns funky (check out "Watermelon Man" at the 25:00 mark). It's a bit pricey as a CD since it's a Japanese import. I was surprised to find the entire record on YouTube. Link here:
> 
> 
> 
> 
> 
> 
> Given your tastes, you might check out William Parker's _O'Neal's Porch_ (which I had included in my recommendations above). He's the senior statesman of the free jazz movement today, and, while he's really prolific and adventurous, I think this is his masterpiece (a live recording, by the way -- he's fearless). The interaction between him and Hamid Drake is amazing:


Thanks! Just added them to my wish list.


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## 38157

Is anyone familiar with Don Preston's piano playing? I have a CD called "Transformations" which is fantastic. Only thing I find with Preston is that in his old age he seems to like using cheesy-sounding synths (see, for example, The Don and Bunk Show. Good musicians, but Preston's keyboard sounds hideous at times).

Hermeto Pascoal, ladies and gents:


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## starthrower

Don Preston is wonderful!


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## starthrower

If you like Herbie's Mwandishi band, these two albums by Eddie Henderson should float yer boat.
It's the Mwandishi band sans Herbie, but some great stuff!


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## Morimur

*Albert Ayler: Spiritual Unity*










Spiritual Unity was the album that pushed Albert Ayler to the forefront of jazz's avant-garde, and the first jazz album ever released by Bernard Stollman's seminal ESP label. It was really the first available document of Ayler's music that matched him with a group of truly sympathetic musicians, and the results are a magnificently pure distillation of his aesthetic. Bassist Gary Peacock's full-toned, free-flowing ideas and drummer Sunny Murray's shifting, stream-of-consciousness rhythms (which rely heavily on shimmering cymbal work) are crucial in throwing the constraints off of Ayler's playing. Yet as liberated and ferociously primitive as Ayler sounds, the group isn't an unhinged mess -- all the members listen to the subtler nuances in one another's playing, pushing and responding where appropriate. Their collective improvisation is remarkably unified -- and as for the other half of the album's title, Ayler conjures otherworldly visions of the spiritual realm with a gospel-derived fervor. Titles like "The Wizard," "Spirits," and "Ghosts" (his signature tune, introduced here in two versions) make it clear that Ayler's arsenal of vocal-like effects -- screams, squeals, wails, honks, and the widest vibrato ever heard on a jazz record -- were sonic expressions of a wildly intense longing for transcendence. With singable melodies based on traditional folk songs and standard scales, Ayler took the simplest musical forms and imbued them with a shockingly visceral power -- in a way, not unlike the best rock & roll, which probably accounted for the controversy his approach generated. To paraphrase one of Ayler's most famous quotes, this music was about feelings, not notes, and on Spiritual Unity that philosophy finds its most concise, concentrated expression. A landmark recording that's essential to any basic understanding of free jazz. _-Steve Huey_


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## Morimur

Surprised there aren't more people listening to Jazz in TC. I propose we merge this thread with Current Listening Vol II. Classical and Jazz are two sides of the same coin.


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## Alypius

Lope, I had recommended William Parker to you earlier. Given your interest in Ayler, you really need to explore Parker. A couple of YouTubes: The first is a brief (5 minute) documentary on Parker. It will give you a sense of what one might call his "spirituality of free jazz". The second is from his _Sound Unity_ -- which clearly has Ayler's _Spiritual Unity_ as a touchstone not so much in its sound as in its spirit.











Biography here: http://en.wikipedia.org/wiki/William_Parker_(musician)
Website here:
http://williamparker.net/


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## starthrower

If you like free music, this 3 CD set may be of interest? It was recorded at Sam Rivers's loft. I picked up a copy last year, and there's lots of good stuff here. http://www.douglasrecords.com/ReleasesWildflowers.htm

I also have another 3 disc set entitled Jazzactuel.










I've always liked sax trios, and some of my other favorites albums include:

Archie Shepp-Steam
New Air-At The Montreal International Jazz Fest
Sonny Simmons-Ancient Ritual
The Ultimate Elvin Jones w/ Joe Farrell

And the two Air albums on the Why Not label featuring Threadgill, Fred Hopkins, and Steve McCall.

One more I'll mention is the New York Reunion concert w/ Sam Rivers, Dave Holland, Barry Altschul. A 2 CD set of a completely improvised concert, and it's really great!


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## Whippoorwill

I've been following this thread for a while before I decided to register an account. I've been fascinated by jazz since childhood, parties at my grandparents' house pervaded by the smell of smoke and alcohol and the sound of Fats Waller, Kid Ory and Jack Teagarden. My infatuation as a result spans the entirety of jazz; ragtime, Dixieland and swing, through the big band stuff, hard bop and East Coast cool to the free jazz, third stream and ECM albums of late. At the moment, however, I'm digging Jimmy Noone, a wholly underrated clarinettist born on the cusp of the 20th century. He inspired Goodman and Ravel, and yet is, at least among my circle, a mere historical footnote.











On a wholly unrelated note, I must commend Lope de Aguirre on his choice of username. I'm a huge Herzog fan.


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## Alypius

Whippoorwill said:


> I've been following this thread for a while before I decided to register an account. I've been fascinated by jazz since childhood, parties at my grandparents' house pervaded by the smell of smoke and alcohol and the sound of Fats Waller, Kid Ory and Jack Teagarden. My infatuation as a result spans the entirety of jazz; ragtime, Dixieland and swing, through the big band stuff, hard bop and East Coast cool to the free jazz, third stream and ECM albums of late. At the moment, however, I'm digging Jimmy Noone, a wholly underrated clarinettist born on the cusp of the 20th century. He inspired Goodman and Ravel, and yet is, at least among my circle, a mere historical footnote ... On a wholly unrelated note, I must commend Lope de Aguirre on his choice of username. I'm a huge Herzog fan.


Whippoorwill, Welcome to the forum. Hope you'll continue to join us and contribute much on jazz -- and classical, of course. I enjoyed your YouTube links. The only name I recognized was Earl Hines on piano. I have a pretty pedestrian knowledge of jazz before Charlie Parker and the bebop revolution. A friend of mine is a historian of early jazz, and knows the ins and outs of that period extremely well. I'll have to pass those along to him. Thanks. All the best.


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## Morimur

Thanks for the recommendations Alypius and Starthrower!


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## starthrower

Alypius said:


> Also speaking of Hutcherson, he has a new record that came out last Tuesday from Blue Note:


I'm not too sure about the sound of vibes and Hammond organ together, but here's a live clip. I doubt I'll buy the record, but I'd be there in a heartbeat if they showed up in town.


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## starthrower

Here's a killer show I found a little while back.


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## Morimur

*Art Ensemble of Chicago: People in Sorrow*






Awesome.


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## starthrower

Re: People In Sorrow
An album that's hard to find, but I got it on this EMI two-fer.


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## 38157

I don't think this is a very popular album, but I love it. The track order has been changed in the video for whatever reason, but it's all still there.


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## starthrower

^^^
I bought a copy directly from ZHR back in 2003. A very rare CD at this point.


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## 38157

I think Amazon produced the packaging for my copy - the image is fuzzy and there is no information about personnel or anything. Did earlier pressings have more informative packaging? I assume that since (when I bought it and to my knowledge at least) Amazon produced units on demand that they rushed it just to get it out there.


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## starthrower

I'll have to locate my copy. I don't buy CD-Rs from Amazon or anybody, except Kimara Sajn. Amazon's shoddy product doesn't surprise me. And charging 16 dollars for a CD-R is a rip off.


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## 38157

It really is. I bought the CD hoping for liner notes or something (I'm sure earlier pressings had different packaging-I saw an image of Zoot with a Jerry Jones Longhorn baritone and a tracklist, which is not present on my copy). Had I known, I'd have downloaded the sound files and burnt my own discs.


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## starthrower

Yeah, that Longhorn guitar (or is it a 6 string bass?) is pictured on the original CD. Apparently Mr. Harkleroad was content with selling out a limited pressing of the album, and continuing his quiet life in Eugene, Oregon. You can contact him about the album graphics, as he is selling a download of the album at his website. http://www.zoothornrollo.com/


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## 38157

Had no idea he updated the site - last I saw, it was just a picture of him and an email spelt out in such a way as to avoid spambots. Thanks.


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## starthrower

A Blue Note album I've yet to pick up. Sounds good!


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## Whippoorwill

Alypius said:


> Whippoorwill, Welcome to the forum. Hope you'll continue to join us and contribute much on jazz -- and classical, of course. I enjoyed your YouTube links. The only name I recognized was Earl Hines on piano. I have a pretty pedestrian knowledge of jazz before Charlie Parker and the bebop revolution. A friend of mine is a historian of early jazz, and knows the ins and outs of that period extremely well. I'll have to pass those along to him. Thanks. All the best.


Thanks for the introduction Alypius. The books I've read on jazz and the sounds of my youth tended towards the formative years of the music. As I'm writing this I'm listening to Sidney Bechet's LP '_Bechet Souvenirs_' on the French Disques Vogue label. I couldn't find any Youtube videos of these particular performances, more's the pity.

@starthrower: 'Basra's been on my wishlist for a while. La Roca's work with Henderson is always great.









EDIT: I realise that the phrase 'sounds of my youth' may appear somewhat indulgently sentimental considering my mere eighteen years of age.


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## SONNET CLV

Spent part of the evening with this vinyl album featuring Terumasa Hino Sextet on Catalyst, CAT-7901, Stereo:









I remember picking this up at a supermarket kind of place, from a bin filled with vinyl discs for 25 cents. I've played this many times over the years, and have enjoyed every play. The best "two bits" I ever spent.

Terumasa Hino plays trumpet, stunningly. The album also features tenor sax, electric piano, guitar, bass, and an "electric percussion" (not wired, just played with high amperage or wattage or whatever) on the drum kit from Motohiko Hino. This album may have been cheap, but the musical pleasures are a treasure. Three cuts by Hino, and the final track on side B "A Child Is Born" by Thad Jones. Thrilling stuff.

One weakness of this particular album -- at least of my copy -- is an inordinate amount of phono echo -- you, know, that effect of a pre-sound emitting from the speakers at a barely audible but audible enough volume to prove annoying. Because Hino has many strong "attacks" on his instrument (especially in "Fuji" -- track one side B) the echo comes across as a bit of shrill smear a moment before the trumpet rings in with a glorious note. Still, the music is so engaging, the echo effect is quickly forgiven, and on the stunning "A Child Is Born" it's barely noticeable.

Otherwise, the sound is rich and clear, and surface noise minimal for a 25 cent disc. Really minimal, like ... silent.

If you ever see this one in the 25 cent bin, do yourself a favor. Spring for a full 50 cents and pick up two copies. It's well worth it.


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## elgar's ghost

Could I please have some advice from Duke Ellington fans? I wondered if there are: 

a) any live albums from the 50s onwards which are considered essential or are recommended (apart from the famous Newport '56 set)?

b) Ellington playing alone.


----------



## starthrower

Here's Duke alone at the piano.


----------



## Whippoorwill

elgars ghost said:


> b) Ellington playing alone.


In terms of Ellington playing completely alone on record, you've not really got a lot of choice, at least as far as I've experienced. If you want to hear Ellington's piano playing come to the fore, you're better off going for a trio or duo set.





















The first cover is of '_Piano Reflections_', originally released as '_The Duke Plays Ellington_', which is a set of trio sessions recorded for Captiol. The second, '_Money Jungle_' is an absolute classic, though the compelling Mingus and Roach compete (understandably) for space. Finally, seek out '_This One's for Blanton_', an underrated duo recording with Ray Brown. All three recordings are worth hearing.


----------



## Alypius

Whippoorwill, Thanks for your comments on Duke Ellington & solo piano. I don't know Ellington's vast discography as well as I should, but what you say is what I had thought. He thought of himself first and foremost as a band leader. I think here of the interestingly titled: _Piano in the Background_










Despite the title, by the way, Ellington's piano is a bit more prominent here -- each track opens with a lengthy piano introduction and often closes with one. It is really a great record. But being the piano in the background is really how he thought about himself. It was more about the band, about highlighting their (enormous) talents. Ellington's piano work does really tend to come to the fore best in those duo and trio settings. Speaking of which, my favorite of those is his relatively late work with John Coltrane:


----------



## Whippoorwill

Alypius said:


> Ellington's piano work does really tend to come to the fore best in those duo and trio settings. Speaking of which, my favorite of those is his relatively late work with John Coltrane.


An exceptional album, which plays beautifully alongside '_Duke Ellington Meets Coleman Hawkins_', recorded just over a month earlier in the August of '62. Two of the great, fleeting partnerships in jazz.


----------



## tdc

Jazz wankery here, but pretty enjoyable stuff. Metheny is a heck of a player.


----------



## starthrower

^^^
That isn't wankery. It's an excellent composition.


----------



## Whippoorwill

*@elgars ghost*: After a bit more digging, I've exhumed two more albums where Duke's piano playing is prominent: '_The Pianist_', recorded in '66 and '70, and '_Piano In The Foreground_', recorded in '61 with Aaron Bell, Jimmy Woode and Sam Woodyard. The latter is particularly interesting, mainly because of Ellington's strikingly dissonant interpretation of Gershwin's 'Summertime', as well as some compelling piano improvisations present on the CD reissue. As an aside, the verb 'exhumed' serves only my digging metaphor and says nothing for the vitality of Duke's music.


----------



## Whippoorwill

Ellington's '_Summertime_' posted above reminded me of Art Tatum's '_Aunt Hagar's Blues_', a track from the Pablo Solo Masterpieces set in which dissonance serves to lend Tatum's playing a bluesy sort of solemnity. Both the Solo and Group Masterpieces box sets are indispensable.


----------



## Sudonim

elgars ghost said:


> Could I please have some advice from Duke Ellington fans? I wondered if there are:
> 
> a) any live albums from the 50s onwards which are considered essential or are recommended (apart from the famous Newport '56 set)?


Here are a couple of albums from the Duke's later period that I enjoy:








From 1967, after Billy Strayhorn's passing.

And:








From 1971 (IIRC). Excellent.


----------



## Sudonim

Oh, one more, since I can include the 1950s too:









The only caveat with this one is that, for some inexplicable reason, the CD includes a different take of "Up and Down, Up and Down (I Will Lead Them Up and Down)" than was on the original LP. The LP version featured Clark Terry's trumpet-quote of Puck's "Oh, what fools these mortals be" at the end, while the CD version does not. (Read the reviews on Amazon for more.) Nevertheless, outstanding music.


----------



## Whippoorwill

*@Sudonim*: I'm not familiar with '_The Afro-Eurasian Eclipse_', but the other two albums are certainly wonderful recordings. The 'Sonnet' tracks on '_Such Sweet Thunder_' are particularly enchanting.


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## elgar's ghost

Thanks to all who answered my post - for someone as prolific as Ellington was down the decades I'm genuinely surprised there is relatively little output for solo piano from him.


----------



## Blake

I'm startin to put my sights on pianists like Hank Jones. Any albums or other artists recommendations?


----------



## Sudonim

Vesuvius said:


> I'm startin to put my sights on pianists like Hank Jones. Any albums or other artists recommendations?


Well, here's a classic on which he plays (with a rare appearance by Miles Davis as a sideman!).


----------



## SalieriIsInnocent

One of the most essential jazz recordings ever. Paul Whiteman, Bix Beiderbecke, Irene Taylor, Frankie Trumbauer, and Bing Crosby singing with the Rhythm Boys. Only with jazz, could you have giants all in one room recording.


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## Whippoorwill

Vesuvius said:


> I'm startin to put my sights on pianists like Hank Jones. Any albums or other artists recommendations?


I'll focus on the second half of your question. Hank was brought up, I believe, in the Teddy Wilson school of piano-playing, until he arrived in New York in '44 at the height of the bop movement, whereupon he heard Al Haig and Bud Powell, whose playing made a great impression on him. Bud's harmonic changes and Haig's strong left hand made their way into Hank's own style, and therefore I'd suggest looking into their discographies at some point. Other than that, Hank was perhaps at his best as an impeccably accentuated sideman, if the numerous sides he made as Ella Fitzgerald's Savoy accompanist are anything to go by.

Hank's '_Original Trio Recordings_' is a fantastic set, and try to find the '_Al Haig Trio_' album recorded with Bill Crow and Lee Abrams, which is, if not essential, then highly recommended, despite the awful cover.


----------



## Alypius

*Tonight: Electric Miles*

*Miles Davis, Bitches Brew Live (1969 & 1970; Columbia Legacy, 2011)*










*Miles Davis, On the Corner (1972; Columbia Legacy, 2000)*










*Miles Davis, Agharta (1975; Sony Japan, 2009*










Lope posted above a fine review of _Agharta_ from the _All Music Guide_; see also my note above about the superiority of the Japanese Blu-Spec version, which vastly enhances the quality of the sound over the standard 1991 version widely available in the U.S.


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## starthrower

Just got a copy of this 1972 live album. Features George Duke, Airto, Ernie Watts, Nat Adderley, among others.


----------



## 38157




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## Whippoorwill

*@*******: I'm not familiar with Trevor Dunn's work outside of Mr. Bungle. The track you posted is fascinating.


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## 38157

That whole album's fascinating. Dunn has an interesting sense of composition, and is, as you probably know, a very adept bass player. His idea of structure and harmony derives from 20th century classical music, far as I know, and this is evidenced by a double bass solo he performs called "Pentagram", which can be found on Youtube.
In his Trio Convulsant, he plays with a fantastic jazz guitarist called Mary Halverson, and an excellent drummer called (I think) Ches Smith.


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## Whippoorwill

****** said:


> That whole album's fascinating. Dunn has an interesting sense of composition, and is, as you probably know, a very adept bass player. His idea of structure and harmony derives from 20th century classical music, far as I know, and this is evidenced by a double bass solo he performs called "Pentagram", which can be found on Youtube.
> In his Trio Convulsant, he plays with a fantastic jazz guitarist called Mary Halverson, and an excellent drummer called (I think) Ches Smith.


Thanks for the information. The few minutes I've heard of 'Pentagram' are intriguing; I'll have to set a half hour aside at some point to fully immerse myself in it.


----------



## starthrower

Recently I stumbled upon an early 70s album by Paul Bley entitled Scorpio. Here's a beautiful tune from the album composed by Annette Peacock.






Thanks to a review at Amazon I learned that this album, along with Bley's Synthesizer Show were re-issued on a two-fer CD under the title Circles. It sells for only 6.99, so I bought a copy. I like it a lot!


----------



## Alypius

Back to late night jazz. Tonight a pair of guitar trios:

*John McLaughlin / Al DiMeola / Paco de Lucia, Guitar Trio (Polygram, 1996)*










*Ralph Towner / Wolfgang Muthspiel / Slava Grigoryan, Travel Guide (ECM, 2013)*


----------



## Alypius

Tonight's jazz -- Bobby Hutcherson as leader and as sideman:

*Bobby Hutcherson, Medina / Spiral (Blue Note, recorded in 1969, released in 1980)*










This hard-to-find release is actually my favorite of his. Great partnership with Harold Land.

*Joe Henderson, Mode for Joe (Blue Note, 1966)*










*Eric Dolphy, Out to Lunch (Blue Note, 1964)*


----------



## SalieriIsInnocent

While I do not like much of the post Big Band music that came about, as I find a lot of it became dull and pretentious, I do love the greats like Dizzy Gillespie, who kept things exciting. I don't pretend to know a lot about jazz, but I know what I like, and this is definitely something I like.


----------



## Jay

Alypius said:


> *Bobby Hutcherson, Medina / Spiral (Blue Note, recorded in 1969, released in 1980)*
> 
> Great partnership with Harold Land.


Land rarely gets his props. No tenor player swung harder.


----------



## starthrower

In the studio with Jack Bruce.


----------



## Alypius

Late night jazz: Contemporary Big Band:

*Orrin Evans' Captain Black Big Band, Mother's Touch (Posi-Tone, 2014)*










*Either/Orchestra, More Beautiful Than Death (Accurate, 2000)*










*Dave Holland Big Band, Overtime (Dare2, 2005)*


----------



## starthrower

^^^
I became a big E/O fan about 15 years ago. And everything up to More Beautiful Than Death is the period I enjoy the most. Their 2 disc set of leftovers, Across The Omniverse features a lot of great material. It's currently selling for under five dollars at Amazon.

Notice how Russ Gershon lifts the familiar three note phrase from Wayne Shorter's Speak No Evil on the 2nd track, Number Three, from More Beautiful Than Death.


----------



## Jay




----------



## Jay

John Hollenbeck:


----------



## Alypius

Jay said:


> John Hollenbeck:


Jay, Welcome to TC. Good to have another contemporary jazz fan around here. Could you say a few things about Hollenbeck's _Eternal Interlude_? I've not heard it. Donny McCaslin is a longtime favorite. My favorite of his is the earlier _In Pursuit_ from 2007.


----------



## SONNET CLV

Had to do some long term driving this weekend, so I took along the Black Saint Soul Note box set of Charlie Haden music. Stunning stuff, each album in the set. But especially endearing are the two trio sessions: one with Billy Higgins and Enrico Pieranunzi (featuring a gorgeous "First Song" written by Haden) and the other with Paul Motian and Geri Allen (featuring a great "Lonely Woman," the Ornette Coleman tune). But this is no way slights the other three discs in the set. I could live with any one of these records.


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## starthrower

I'm a big Hollenbeck fan, but Eternal Interlude is my least favorite of his large ensemble recordings. I really like Shut Up And Dance, and Joys & Desires. That said, Eternal Interlude is and excellent album, but I just happen to like the material on the other albums more. I also like his more recent CD, Songs I Like A Lot, which has some vocals.


----------



## Alypius

Last night's listening, inspired by Lope's U Shrinivas recommendations over in the "Current Listening, vol. II" thread. Here it's Shrinivas teaming up with John McLaughlin and, properly speaking, Indian-classical-meets-jazz-or-whatever-you-want-to-call-it music. I would call it "brilliant":










Review here:



> "The band Shakti, together from 1975 to 1977, was an extension of John McLaughlin's longstanding interest in Indian music, integrating his guitar with Indian instruments and exploring the myriad tonal and rhythmic complexities of the subcontinent. After re-forming in 1997 as Remember Shakti, the group went through some personnel shifts before reaching the form heard here on a 1999 European tour. Along with McLaughlin's original partner Zakir Hussain on tabla drums, the quartet includes V. Selvaganesh on percussion and U. Shrinivas on mandolin. The combination is heady, pairing two string players and two hand drummers in improvised dialogues that are often carried on at superhuman speed. Even the Indian elements are a synthesis. Hussain's tablas are the drums of choice in Northern Indian music, while Selvaganesh plays instruments of the South-a clay pot called a ghatam, the two-headed mridangam that functions like tablas, and kanjira, a small tambourine that has somehow become a virtuoso instrument. Shrinivas's electric mandolin is a Southern adaptation that in practice resembles a soprano slide guitar or a high-pitched vina. McLaughlin adds Western harmonic elements into the mix, blending chords with pitch-shifting Indian scales to create some very distinctive music. There's tremendous diversity in the 77-minute CD, from the serene reflections of McLaughlin's "Lotus Feet" to playful exchanges to flights of transcendent and transcontinental virtuosity, like Shrinivas's solo on his own "Maya." There's a natural affinity between the improvisational languages of Indian music and jazz, and the flexibility here is such that McLaughlin can even suggest some roadhouse roots on Hussain's "Ma No Pa."


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## muzik

Silence is made of music notes. The piece is to be accompanied with a quiet winter evening near the fire place.


----------



## Alypius

For me, Dave Douglas is one of the finest living jazz artists. Over his career, he has shown himself at home in an enormous range of styles -- from mainstream hard bop to avant-garde. Just a couple of my favorites (and I have many more), each completely different than the others:

Dave Douglas - _Stargazer_ (Arabesque, 1997)










Dave Douglas - _Witness_ (RCA Bluebird, 2001)










Dave Douglas - _Charms of the Night Sky_ (Winter & Winter, 1998)


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## Alypius

Alypius said:


> Last night's listening, inspired by Lope's U Shrinivas recommendations over in the "Current Listening, vol. II" thread. Here it's Shrinivas teaming up with John McLaughlin and, properly speaking, Indian-classical-meets-jazz-or-whatever-you-want-to-call-it music. I would call it "brilliant":


Just found a YouTube of a performance from the record, but unfortunately Shrinivas doesn't play on this particular track: But it will give you some glimpse of their energy and creativity.


----------



## SONNET CLV

Alypius said:


> For me, Dave Douglas is one of the finest living jazz artists. Over his career, he has shown himself at home in an enormous range of styles -- from mainstream hard bop to avant-garde. Just a couple of my favorites (and I have many more), each completely different than the others:
> 
> Dave Douglas - _Stargazer_ (Arabesque, 1997)
> 
> Dave Douglas - _Witness_ (RCA Bluebird, 2001)
> 
> Dave Douglas - _Charms of the Night Sky_ (Winter & Winter, 1998)


Dave Douglas fans should be interested in the six disc box set DAVE DOUGLAS: THE COMPLETE REMASTERED RECORDINGS ON BLACK SAINT & SOUL NOTE. Not a bum record in the whole set.









Albums include:
PARALLEL WORLDS
FIVE
CONVERGENCE
JOHN COLTRANE'S ASCENSION
BOUNCE
FORCE GREEN

All releases date from 1993 through 1998. One fine box set.


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## cwarchc

Started with Wayne Shorter








Moved onto Mr Coltrane, I may be here for a while?


----------



## Morimur

*Herbie Hancock: The Ethics of Jazz | Mahindra Humanities Center*

I don't know if you've seen this, Alypius but it's a fascinating lecture. Herbie is an amazing artist and is quickly becoming one of my favorites.


----------



## Alypius

Tonight began with Eric Dolphy, _Out of Lunch_ (Blue Note, 1964)










For those who enjoy Dolphy's masterpiece, let me recommend his spiritual successor, Steve Lehman (b. 1978), a contemporary jazz composer and saxophonist. His recent recording, _Travail, Transformation & Flow_ (Pi, 2009), is an adventurous avant-gard outing. Like Dolphy's, it's not harsh, or loud. It tends to dwell mainly in the mid-range. But its harmonic vocabulary is startling, its rhythms jagged and rapidly modulating. He gets the most amazing sounds not only out of his horn but out of his band.










Just out is his follow-up, _Mise en abime_ (Pi, 2014). It's on order:


----------



## Alypius

Lope de Aguirre said:


> I don't know if you've seen this, Alypius but it's a fascinating lecture. Herbie is an amazing artist and is quickly becoming one of my favorites.


Lope, Thanks so much for that. I've bookmarked it, and need to show some of it to my students. Great wisdom.

And you've shown me what I need to listen to tomorrow night: all those great Herbie Hancock Blue Note records (_Empyrean Isles_, _Maiden Voyage_, etc.), those 70s fusion releases (_Headhunters_, _Thrust_, _Flood_); and especially this one: his homage to Miles and Coltrane:


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## starthrower

I thought about picking up this set a couple of years ago, but never did. This copy's on loan from the library. It's such a beautiful recording with wonderful performances, and a great set list. Bravo Chick, Eddie, and Paul! And thanks to the master, Bill Evans.


----------



## cwarchc

This has to be one of my all time faves


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## Alypius

After watching Herbie Hancock's inaugural 2014 "Charles E. Norton Poetry Lecture" at Harvard University (see Lope's post above with the YouTube link), I got inspired for my late night jazz listening to go back and revisit his Blue Note era recordings

_Empyrean Isles_ (Blue Note, 1964 / RVG remaster, 1999)










_Maiden Voyage_ (Blue Note, 1965 / RVG remaster, 1999)










_Speak Like a Child_ (Blue Note, 1968 / RVG remaster, 2005)


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## norman bates

Speak like a child (the piece) is one of my favorite compositions of Hancock. 
Talking of pianists, a gorgeous aching tune of Roland Hanna. It clearly shows a classical influence (rachmaninoff, chopin or something like that) but in a good way. Definitely one of my favorite jazz melodies made in the seventies.


----------



## Blake

I'm sure there are some Sinatra fans in this joint, eh? Started getting into more of his stuff recently. Of course, he's more on the easy-listening side, but good grief he's got a voice.


----------



## SONNET CLV

View attachment 47589


Madlib -- _Shades of Blue: Madlib Invades Blue Note_, 2003

Picked up a vinyl copy of this today, so I slapped it on the turntable this evening. Intriguing stuff, to say the least.

VINYL FORMAT. 2014, Blue Note
_Shades of Blue _is a remix album by DJ Madlib that was released by Blue Note in 2003. Madlib was invited to explore the Blue Note vaults and remix/reinterpret the Blue Note classics. _Shades of Blue _was reissued as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.

View attachment 47590

Otis Jackson Jr., known professionally as Madlib, is a Los Angeles, California-based DJ, multi-instrumentalist, MC, and music producer born on October 24, 1973 in Oxnard, California, United States. Known under a plethora of pseudonyms, he is one of the most prolific and critically acclaimed hip hop producers of the 2000s and has collaborated with myriad hip hop artists, including Tha Alkaholiks, Mos Def, De La Soul, Ghostface Killah, Talib Kweli, A.G.


----------



## SalieriIsInnocent

Vesuvius said:


> I'm sure there are some Sinatra fans in this joint, eh? Started getting into more of his stuff recently. Of course, he's more on the easy-listening side, but good grief he's got a voice.
> 
> View attachment 47585


Great, great, great album. Speaking of which, I celebrated finally getting my record player hooked back up with this gem:









I really love Sinatra. He might've changed arrangers and conductors over the years, but he always had his own sound. I don't care if Nelson Riddle was there or Billy May was. I usually can't like pop acts that people put on a divine pedestal, but I cannot deny Frank Sinatra's talent. Shame I didn't pay him much attention when he was alive.


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## cwarchc

Today's commute
Not the best singer in the world, but a great entertainer
I managed to see him live, good fun


----------



## Blake

SalieriIsInnocent said:


> I really love Sinatra. He might've changed arrangers and conductors over the years, but he always had his own sound. I don't care if Nelson Riddle was there or Billy May was. I usually can't like pop acts that people put on a divine pedestal, but I cannot deny Frank Sinatra's talent. Shame I didn't pay him much attention when he was alive.


Yea, I usually enjoy hanging out in the underground. But he's one of the popular acts that's nearly impossible not to have some admiration for. Really, one of the greatest vocalist of all time.


----------



## jim prideaux

lost touch with jazz.....listening to classical.........summer evening....time to get back....Brad Meldhau/Day is done...not sure why!

anyone out there encountered Jacob Young, Young Forever, his recent ECM album yet?


----------



## Brofski

Some songs from possibly my favourite jazz album. Very moody. Sort of "Noir" I guess.


----------



## Alypius

Brofski said:


> Some songs from possibly my favourite jazz album. Very moody. Sort of "Noir" I guess.


Brofski, Welcome to the forum -- and it's great to have another who also enjoys jazz. Bohren and der Club de Gore are new to me. I much enjoyed the tracks you cited and have put the record on my wishlist. I checked around on them and saw that they have a new record that came out last January entitled, _Piano Nights_. In a review over on _All About Jazz_, Karl Ackermann gives some useful background on the band:



> Of the many hard-to-define sub-genres of jazz, "dark jazz" may be the most challenging to classify. Exemplifying the category is Bohren & der Club of Gore's Piano Nights . The German quartet, whose members have a variety of doom metal origins, has morphed their earlier inclinations into a hybrid that has little to suggest the player's roots. Unequal parts of ambient, experimental and modern jazz, it represents the most radical career transition since Charles Lloyd joined the The Beach Boys. Founded in 1992, Bohren & der Club of Gore have long had a following in Europe, recording eight studio albums beginning with the guitar and bass focused Gore Motel (Epistrophy, 1994). Minimalist-ambient pieces pervaded until the 2000 release Sunset Mission (Wonder, 2000) which saw one of the two original guitarists-Reiner Henseleit-replaced by multi-instrumentalist Christoph Clöser. The latter added a decidedly jazzier element to the group dynamic and as a result, his first collaboration is a largely undiscovered masterpiece.


_Sunset Mission_, which you cited, is in his view "a largely undiscovered masterpiece." Here's a link to his full review:
http://www.allaboutjazz.com/piano-nights-spencer-bohren-pias-recordings-review-by-karl-ackermann.php#.U9sW0yh-QUU

Not sure what to make of the cover of the new record. Looks very 70s:


----------



## norman bates

Von Freeman playing a great rendition of Footprints


----------



## starthrower

I found this CD for 4 dollars at a local store yesterday. I've been looking for a copy for years.


----------



## SONNET CLV

starthrower said:


> I found this CD for 4 dollars at a local store yesterday. I've been looking for a copy for years.


Isn't that always fun. Congratulations.
Can you believe that there is one "new" copy of this CD listed at Amazon for ... gasp ... $345.34?

Now ... if I can only find more Nathan Davis LPs, at a reasonable price.


----------



## starthrower

The store personnel obviously didn't know it was out of print and worth more than 3.99. My lucky day!


----------



## muzik

shangoyal said:


> Speaking of jazz, Charles Mingus's The Black Saint and the Sinner Lady was the album which left a HUGE impression on me in college (along with Coltrane's A Love Supreme). I guess these two have to be at the top of best albums in jazz history. Anyway, here is a track from Mingus' album that absolutely blew me to the wall every time I blasted it from my speakers... (to my friends' chagrin, those with really conservative or non-existent musical tastes)
> 
> :tiphat:


This single piece of music is so so so good.


----------



## starthrower

Title track from the ECM CD I picked up recently.


----------



## cwarchc

This has been my pleasure in the car, all week


----------



## starthrower

Beautiful concert here!


----------



## wandelweisering

John Butcher, one of my favorite improvisers right now:


----------



## cwarchc

off to Saturn


----------



## JACE

*Alexis Cuadrado - A Lorca Soundscape (Sunnyside, 2013)*
Excellent! Features Miguel Miguel Zenón (as) and Claudia Acuña (vo).


----------



## Badinerie

I like jazz too. This LP started me off way back..Modern 180g reissue on my turntable right now!


----------



## norman bates

In these last days I was listening a lot of different versions of Very early, the first composition written by Bill Evans in 1948 (altough for some reason he didn't recorded it until 1962). He wrote other beautiful tunes but Very early is my favorite without a doubt, and it sounds still fresh as a breeze today. Definitely a very modern piece for 1948.
My favorite at the moment is the one made by Stan Getz for Pure Getz, with Jim McNeely at the piano


----------



## Alypius

Sunday morning seems a good time for a little Bill Evans:

Bill Evans Trio - _Explorations_ (Original Jazz Classics, 1961; remaster 2011)










Bill Evans Trio - _Everybody Digs Bill Evans_ (Original Jazz Classics, 1958 / remaster: Keepnews Collection, 2007)










Bill Evans Trio - _Moon Beams_ (Original Jazz Classics / Riverside; remaster 2012)


----------



## Dustin

The more I listen, the more I believe I've found my favorite jazz album ever. This album is simply extraordinary in every way. If you don't know this album, please do yourself a favor here. Trust me folks. Allen Toussaint's catchier and slightly more pop-oriented music was what originally grabbed me but in this album he assembles an all star team of brilliant musicians and shows how masterly he is himself in the realm of jazz.


----------



## echo

quite into this guy at the moment - and the number 7 in general


----------



## echo




----------



## starthrower

Just picked up this one over the weekend.

Bill Evans/Jim Hall - Undercurrent


----------



## Badinerie

Looking for somethin else I found this and slapped it on me turntable.
Lovely clean live recording.


----------



## Badinerie

Now Im in the kitchen making Tattie Pot and Im accompanied by Jackie McLean at al.


----------



## Badinerie

Finished off a jazz session with these two lp's


----------



## SimonNZ

Badinerie said:


> I like jazz too. This LP started me off way back..Modern 180g reissue on my turntable right now!
> 
> View attachment 48915


My favorite version of "Four" is the one on that album.


----------



## Morimur

Finally, some action in the hole!


----------



## SimonNZ

Just back from the secondhand store where I found this 2-in-1 cd of Kenny Burrell / Prestige All Stars "All Night Long" and "All Day Long":










originally relkeased as these:

















be giving it a spin later today


----------



## Blake

Anyone heard of Mark Feldman? A contemporary jazz/classical violinist. Was listening to Morton Feldman and came across this Feldman. Interesting.

Album: _What Exit_


----------



## starthrower

Yeah, I've heard of Mark Feldman. He's on one of John Abercrombie's ECM albums. He also played with a progressive rock band called Tunnels, which featured former Brand X bassist Percy Jones.


----------



## Alypius

Vesuvius said:


> Anyone heard of Mark Feldman? A contemporary jazz/classical violinist.


Mark Feldman is one of the finest jazz violiniists that I know. Starthrower mentioned that he has one record with Feldman and Abercrombie. They've worked together a lot. Feldman began appearing, from what I know, with John Abercrombie regularly since the late 1990s. Their first colloboration is, for me, their finest: _Open Land_ (ECM, 1999) (and it includes the great Canadian trumpeter Kenny Wheeler). They followed that up with: _Cat n Mouse_ (ECM, 2002), _Class Trip_ (ECM, 2004), _The Third Quartet_ (ECM, 2007), and _Wait Till You See Her_ (ECM, 2009).










Feldman has also been a regular participant in two of John Zorn's ensembles: Bar Kokhba and the Masada String Trio. Both groups appear on Zorn's _Circle Maker_ (Tzadik, 1999). I also recommend the Bar Kokbha, _Lucifer: Book of Angels, vol. 10_ (Tzadik, 2008).

















A couple of videos. The first is from Abercrombie's _Open Land_, the track "Gimme Five":






Here's Feldman playing in the Bar Kokhba group, a track called "Kisofim":


----------



## Lukecash12

Some Shawn Lane, anyone?


----------



## Badinerie

Lope de Aguirre said:


> Finally, some action in the hole!


Oo -er Missus!



SimonNZ said:


> My favorite version of "Four" is the one on that album.


Me too, often when Im playing guitar I'll play the first part of this...


----------



## SimonNZ

Feeling in an ECM mood and considering ordering some overlooked gems I was casting around the internet for recommendations and top ten lists for the label, and struck paydirt with a superb thread devoted to just that on a jazz forum (one which, i think, may be known to at least one regular on this thread).

As a result of which I've just put on order:

Gary Peacock - Shift In The Wind
John Taylor - Rosslyn
Marilyn Crispel - Amaryllis
Ralph Towner - Batik
Old And New Dreams - Playing
Egberto Gismonti - Sanfona
Terje Rypdal - Odyssey

Anyone here got any favorites from ECM they think fit into the category of "why isn't this stunner more famous"?

and in that mood currently listening to Dave Holland's Conference Of The Birds after having just played Eberhard Weber's The colours Of Chloe:


----------



## Jos

Terje Rypdal ! That's been a while...
Thanks for reminding me, Simon !

This one is also on ECM. Jack DeJohnette on drums and Miroslav Vitous on bass and piano.
Recorded in 1978

View attachment 49487


Cheers,
Jos


----------



## SimonNZ

^I think the secondhand store I'll be visiting in the middle of the week has a copy of that. I'll grab it on your recommendation. Thanks!


----------



## Jos

Simon,

I'm playing Rypdal als we speak, ambient with energy, if that makes any sense...
If you enjoy this Scandinavian style of playing, I'd like to recommend the guitarist Eivind Aarset. (If you don't know him already..) I discovered him a few years ago and was instantly reminded of him when I put the needle on the Rypdalalbum. 
He has done a few wonderful albums. Also on YT with lots of livesets.
Here's "silk worm"






Cheers,
Jos


----------



## norman bates

SimonNZ said:


> Anyone here got any favorites from ECM they think fit into the category of "why isn't this stunner more famous"?


I'm not a big fan of ECM, but I adore Jimmy Giuffre's Fusion
http://en.wikipedia.org/wiki/Fusion_%28album%29


----------



## SimonNZ

norman bates said:


> I'm not a big fan of ECM, but I adore Jimmy Giuffre's Fusion
> http://en.wikipedia.org/wiki/Fusion_%28album%29


Yeah, the ECM reissue of the Fusion and Thesis albums as "1961" is terrific.










Why is it you're "not a big fan"?


----------



## norman bates

considering guitarists of that kind on ECM there's also David Torn, Best laid plans and Cloud about mercury are very good and original guitar albums, if you like the kind of work made by Jon Hassel
http://grooveshark.com/#!/search/song?q=David+Torn+In+the+Fifth+Direction


----------



## norman bates

SimonNZ said:


> Why is it you're "not a big fan"?


because even if there are albums I love, sometimes I feel that the antyseptical classical sound of the label is a bit too much manneristic for my tastes.


----------



## Alypius

SimonNZ said:


> Feeling in an ECM mood and considering ordering some overlooked gems I was casting around the internet for recommendations and top ten lists for the label, and struck paydirt with a superb thread devoted to just that on a jazz forum (one which, i think, may be known to at least one regular on this thread).
> 
> As a result of which I've just put on order:
> 
> Gary Peacock - Shift In The Wind
> John Taylor - Rosslyn
> Marilyn Crispel - Amaryllis
> Ralph Towner - Batik
> Old And New Dreams - Playing
> Egberto Gismonti - Sanfona
> Terje Rypdal - Odyssey
> 
> Anyone here got any favorites from ECM they think fit into the category of "why isn't this stunner more famous"?


Simon, Earlier in the thread I posted two top 10 ECM lists. I've copied them again here. #7 is the Dave Holland _Conference of the Birds_ you cited. To your exact question, I'm not sure why many, many ECMs are not better known. They are lots of stunners -- though I've been a bit more critical of the last decade. I think Manfred Eicher (owner and producer of ECM) has recently tended to encourage his artists to tone down their normal sound, to do too much as adagio. That said, there are lots of stunning ECMs since 2000 -- and tons in the catalog:

A few classics:

1. Ralph Towner - Solo Concert (1980)
2. Keith Jarrett - Köln Concert (1975)
3. John Abercrombie - Timeless (1975)
4. Pat Metheny - Bright Size Life (1976)
5. Steve Tibbett - Yr (1980)
6. Kenny Wheeler - Deer Wan (1978)
7. Dave Holland - Conference of the Birds (1972)
8. Enrico Rava - The Pilgrim and the Stars (1975)
9. Marc Johnson - Bass Desires (1987)
10. Bill Frisell - Lookout for Hope (1988)

A few recent ones:

1. Marcin Wasilewski Trio - January (2008)
2. Tomasz Stanko - Lontano (2006)
3. Anouar Brahem - Le voyage de Sahar (2007)
4. Marc Johnson / Eliane Elias - Swept Away (2012)
5. Chris Potter - The Sirens (2013)
6. Wolfert Brederode - Post Scriptum (2011)
7. Aaron Parks - Arborescence (2013)
8. Craig Taborn Trio - Chants (2013)
9. Colin Vallon - Rruga (2011)
10. Manu Katche - Manu Katche (2012)

A few others (several of these I've discussed in various posts on this thread):

1. Dave Holland Quintet - Prime Directive (1999) -- I love almost everything Dave Holland did on ECM. This, for me, is his best.
2. Dave Holland Quintet - Points of View (1998) -- This is 2nd best.
3. Marcin Wasilewski Trio - Faithful (2011)
4. John Abercrombie - Open Land (1999) (discussion & video above)
5. John Abercrombie - While We're Young (1993)
6. John Abercrombie & Ralph Towner - Sargasso Sea (1976)
7. Ralph Towner - Travel Guide (2013) 
8. Jon Hassell - Last night the moon came dropping (2009)
9. Carla Bley - Trios (2013)
10. Tomasz Stanko - Soul of things (2002)


----------



## Morimur

norman bates said:


> because even if there are albums I love, sometimes I feel that the antyseptical classical sound of the label is a bit too much manneristic for my tastes.


I like antiseptical. The Hole favors the anticeptical stylings of ECM.


----------



## SimonNZ

Thanks, Alypius. Sorry I missed the original post (odd - I ususlly prick up my ears at any mention of ECM).

I've made a note of the recent releases you recommend.

In the spirit of top ten lists, here's a few of my most played ECM's - not necessarily their or the artists most essential - just personal favorites and old friends:

Chick Corea / Gary Burton - Crystal Silence
Meredith Monk - Dolmen Music (specifically side two: the title work)
Keith Jarrett - The Book Of Ways
Paul Bley - Open, To Love
Egberto Gismonti - Solo
Potter / Field - Being Dufay
Jan Garbraek - Its OK To Listen To The Grey Voice
Ralph Towner - Solstice
Peacock / Motian / Bley - Not Two, Not One
Pat Metheny - As Falls Witchita, So Falls Witchita Falls

that last one is a real sentimental favorite: the first ECM I owned or heard


----------



## Badinerie

Chillin out before we go to bed. Selections from...


----------



## 38157

Halvorson is a sicko. I wish more solo music was available from her - I mostly hear the stuff she does with her bands and collaborations with others (such as Trevor Dunn's Trio Convulsant).


----------



## starthrower

Re:ECM
The bonus live disc that comes with Rypdal's Odyssey re-issue is great! I'm sure you'll love the Gismonti Sanfona album. Lots of great material on that one.

Some other favorites over the years:

Dave Holland Quintet-Seeds Of Time
Dave Holland-Extensions
Marc Johnson-Bass Desires
Bobo Stenson-Cantando
Haden/Gismonti-In Montreal
Tomasz Stanko-Leosia
Abercrombie/Johnson/Erskine-November
Towner/Abercrombie-Five Years Later
Art Ensemble-Nice Guys
Pat Metheny-Watercolors; The First Circle
Kenny Wheeler-Deer Wan; Widow In The Window


----------



## JACE

*Brazilian Trio - Forests*
One of my favorite trios.


----------



## starthrower

Here's something that may be of interest to Euro jazz/Rypdal fans. A 6 CD set under drummer Paolo Vinaccia's name. You can sample all of the tracks at this link. I believe these are soundboard recordings, but they sound pretty good.

http://www.gubemusic.com/album_16359


----------



## JACE

More Brazilian jazz:









_*Eliane Elias Plays Jobim*_


----------



## starthrower

Listening to bassist Arild Andersen.










I also picked up his latest CD.


----------



## Alypius

New release:

Stefano Bollani, with Mark Turner, Bill Frisell, and others
_Joy In Spite of Everything_ (ECM, 2014). Released last Tuesday in the US:










Review here:
All About Jazz Review (Karl Ackermann)


----------



## Alypius

*New label, Old-school jazz, Audiophile sound*:

The new label is "Smoke Sessions". Its releases come from live performances at the Smoke Jazz Club in New York. I just stumbled across it a couple of days ago (though I had run into one earlier this year -- just didn't realize its significance). Smoke Sessions has released 8 records in quick succession this year, mostly in the last couple of months, and a 9th is on the way:

*Orrin Evans, _Liberation Blues_
*Louis Hayes, _Return of the Jazz Communicators_
*Cyrus Chestnut, _Midnight Melodies_
*Jimmy Cobb, _The Original Mob_
*David Hazeltine, _For All We Know_
*Vincent Herring, _Uptown Shuffle_
*Harold Mabern, _Right on Time_
*Javon Jackson, _Expressions_
and coming out next month, Eric Reed, _Groovetime_

The style is definitely "old school" -- very much Blue Note-era style hard bop. And some of these guys actually date from that era. Jimmy Cobb was, of course, the drummer on Miles Davis' classic _Kind of Blue_. Louis Hayes was drummer for people like Horace Silver, Cannonball Adderley, Joe Henderson and Oscar Peterson. Hayes has enlisted Dave Holland's longtime vibes wizard Steve Nelson, while Jimmy Cobb has enlisted pianist Brad Mehldau. For those who enjoy 60s Blue Note, you gotta check these out. I have two thus far: Orrin Evans and Louis Hayes, and will certainly pick up the Javon Jackson, Jimmy Cobb, and David Hazeltine sometime soon.

What will strike you immediately is the *sound*. The purity of it just leaps out the speakers. It's audiophile quality. I've not heard jazz recordings with this quality sound before -- and since the recordings come from live sessions, the sound quality is all the more amazing. I gotta say: They are on pace to be label of the year.

By the way, here's the link to their website: Smoke Session Records


----------



## JACE

NP:










*Trio da Paz - Partido Out (Malandro, 1998)*

More fantastic Brazilian jazz! With Romero Lubambo (g), Nilson Matta (b), and Duduka da Fonseca (d).


----------



## SimonNZ

"Duke Ellington At Carnegie Hall: December, 1944"

just picked up three of the four Duke At Carnegie double disc sets on Prestige, going super cheap at the secondhand store

because, you know, I've only got about sixty Ellington discs as it is


----------



## norman bates

I was looking Ted Greene on youtube explaining Lenny Breau's style and especially his incredible "chime chords" who allowed him to have a sound very similar to that of a Fender Rhodes and close voicings impossible to achieve with a normal technique. Even if he's just playing casually it's mindblowing stuff. I think it's one of the most underdeveloped and underappreciated techniques of the instrument, probably because it's so difficult.
Just to have an idea of the sound, listen to the things he does from 2:59 to 3:10 or from 7:32 to 7:38)


----------



## starthrower

Mal Waldron is a favorite. Last night I listened to Sempre Amour, and Communique w/ Steve Lacy. Tonight it's this live date.


----------



## starthrower

Where's my post?


----------



## SimonNZ

Playing all the Miles Ahead stuff from this, the material which was the reason I upgraded from the four albums to this box.

The astonishing album itself, a composite album made up of alternate takes (which I think may have been mistakenly released at some point - I seem to recall an early edition of the Penguin Jazz guide lambasting them for this). Then there's the disc and a half worths of getting to listen to Gil Evans in the studio putting the orchestra, and Miles himself, through their paces, and perfecting all the subtle nuances.

I've decided against upgrading to some of the other boxes in this series, largely because, unlike here, they don't retain the original albums as albums, but shuffle everything back into their sessions. I can see the advantage in this, but then I don't get to experience the work as they would have in, say, the 1950s.


----------



## JACE

starthrower said:


> Mal Waldron is a favorite. Last night I listened to Sempre Amour, and Communique w/ Steve Lacy. Tonight it's this live date.


YEAH!!! :cheers:

A few years ago, I went on BIG Waldron bender, bought a ton of his recordings, listened to his stuff constantly. He's amazingly consistent, particularly after his emigration to Europe.


----------



## starthrower

Years ago I bought The Quest because Eric Dolphy and Booker Ervin were on it. It's a classic. More recently I've picked up some of his Enja releases. And I have a great sounding trio album from 1970 on the French Futura-Marge label. Check out their website, they have some cool stuff. You have to email them with a list if you want to order something, as they don't have a shopping cart feature on their site. They use Paypal.


----------



## cwarchc

Off to Saturn
Just got a 4 disc set of Sun Ra
spinning this one, at the mo


----------



## SimonNZ

found in the sale bins today, first time I've heard it, and well pleased:

Bud Powell - Portrait Of Thelonious (with Pierre Michelot on bass and Kenny Clarke on drums)

heh, which I see is also available with this cover:


----------



## Badinerie

Yeah!...ahnch owwww...









not sure if this belongs here or not but....


----------



## norman bates

Badinerie said:


> Yeah!...ahnch owwww...


There's a topic about good songs for driving, and I was thinking of a possible list of jazz pieces... Mucho gusto from The magician would be definitely there.


----------



## Badinerie

Im Listening to Duke ellingtons Peer Gynt/Suite Thursday lp now
'Schwiphti' on the Suite Thursday side of the Ellington lp would be a great Driving jazz tune!


----------



## Alypius

Two new ECMs:

Mark Turner Quartet, _The Lathe of Heaven_ (ECM, 2014). Released last Tuesday:










Marcin Wasilewski Trio, _Spark of Life_ (ECM, 2014). To be released in early October










Also a new release from the new label Smoke Sessions. I have three of theirs thus far (Jimmy Cobb, Orrin Evans, and Louis Hayes), and they are among the best new jazz of the year:


----------



## starthrower

70s Czech jazz/rock band. I paid quite a bit for this CD, but it was worth it.










Here's a track from their self titled album.


----------



## SimonNZ

John Abercrombie Quartet - Within A Song (ECM, 2012)

couldn't resist hearing another version of the too-seldom covered "Flamenco Sketches".


----------



## JACE

NP:










*Tierney Sutton - Paris Sessions*

Saw her perform recently and got this CD at the show.


----------



## starthrower

From the new Cuneiform release.


----------



## Guest

In keeping with the OP (_Post whatever you want... videos, pictures, news… This is a free-range._), here is an interesting article about jazz and the Third Reich : http://www.theguardian.com/stage/2014/sep/16/propaganda-swing-nazi-jazz


----------



## SimonNZ

Egberto Gismonti and Naná Vasconcelos - Dança das Cabeças (1977)

another long-time favorite


----------



## JACE

Sampling a few tracks from Jerome Sabbagh's latest release _The Turn_, available at http://sunnysidezone.com/album/the-turn:









with Ben Monder (g), Joe Martin (b), Ted Poor (d)

Everything released by this long-standing band has been excellent.

Compelling, original tunes and a telepathic, freakishly talented band.

What's not to like?


----------



## starthrower

^^^
Will give them a listen. Thanks!


----------



## norman bates

Do you guys have any Joe Diorio favorite?
I was listening to his Narayani album with Hal Crook, with lovely pieces like this slow ballad (it reminds me of those slow Wayne Shorter's pieces for the second quintet)


----------



## starthrower

I like the sound of this.






PS If you like this, give the Anthony Pirog tune a listen on the previous page.


----------



## GreenMamba

Listening to the MTKJ Quartet. I like it a lot. Sounds really fresh and inventive.


----------



## starthrower

RIP Kenny Wheeler 1930-2014


----------



## Alypius

starthrower said:


> RIP Kenny Wheeler 1930-2014


That's sad news. One of my favorite jazz artists.


----------



## SimonNZ

RIP Kenny

playing now:


----------



## Rhythm

TalkingHead said:


> ...here is an interesting article about jazz and the Third Reich : http://www.theguardian.com/stage/2014/sep/16/propaganda-swing-nazi-jazz


Got it. Thanks.

Interesting, too, is H's Very Own Hot Jazz Band; Smithsonian dot com, May 17, 2012.


----------



## Guest

Rhythm said:


> [...] Interesting, too, is H's Very Own Hot Jazz Band; Smithsonian dot com, May 17, 2012.


Wow, and I got your link too. I'm just reading those 10 decrees now. This one cracks me up :

"8. *Plucking of the strings is prohibited*, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;"

So then, if we are to apply this logic, the Nazis would have detested *Beethoven's* "Harp" string quartet, whose 1st movement has a hell of a lot of _pizz_. Check out the degenerates on this link from the 2.09" mark :





Anyway, thanks Rhythm for the link.


----------



## JACE

starthrower said:


> RIP Kenny Wheeler 1930-2014


Oh no. So sorry to hear this.


----------



## Guest

Actually Rhythm, I think these Nazi decrees on Jazz practices are worth posting in full, for their comic absurdity. Without wishing to exaggerate, I think that when state or governing bodies attempt to legislate over matters musical this sort of absurdity is what results. In more recent times we may remember how the Taliban "government" prior to 9/11 banned certain musical genres being played on radios or on cassette players and so on. Anyway, here are these ridiculous Nazi jazz decrees:

1) Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands;

2) In this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;

3) As to tempo, preference is also to be given to brisk compositions over slow ones so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will ******* excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated;

4) So-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs);

5) Strictly prohibited is the use of instruments alien to the German spirit (so-called cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.); 

6) Also prohibited are so-called drum breaks longer than half a bar in four-quarter beat (except in stylized military marches);

7) The double bass must be played solely with the bow in so-called jazz compositions;

8) Plucking of the strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;

9) Musicians are likewise forbidden to make vocal improvisations (so-called scat);

10) All light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them the violin-cello, the viola or possibly a suitable folk instrument.


----------



## norman bates

TalkingHead said:


> So-called jazz compositions may contain at most 10% syncopation;


well, at least they swung harder than a lot of ECM recordings


----------



## Guest

Can you imagine Nazi functionaries going around night clubs in early 40s Berlin with a clipboard and stopwatch trying to work out % quotas of syncopation? Beggars belief, it really does.


----------



## JACE

starthrower said:


> I like the sound of this.


Yeah, this tune is on Sabbagh's CD called _Pogo_ (Sunnyside, 2007). Good stuff!!!



starthrower said:


> PS If you like this, give the Anthony Pirog tune a listen on the previous page.


Thanks for the heads up! Will do.


----------



## SimonNZ

norman bates said:


> well, at least they swung harder than a lot of ECM recordings


yeah...while I'm a big fan of ECM I don't own a single album of theirs from the Thirties or Forties


----------



## JACE

NP:










*Chico Freeman - Peaceful Heart, Gentle Spirit (Contemporary, 1980)*

Great record.


----------



## norman bates

SimonNZ said:


> yeah...while I'm a big fan of ECM I don't own a single album of theirs from the Thirties or Forties


you don't need to listen to those album to know that they swung harder!


----------



## SimonNZ

norman bates said:


> you don't need to listen to those album to know that they swung harder!


The point/joke I was making was that ECM didn't put out albums in the Swing Era for you to be comparing apples with apples.

Founded 1969. The C stands for Contemporary - they've never been a nostalgia label.


----------



## norman bates

SimonNZ said:


> The point/joke I was making was that ECM didn't put out albums in the Swing Era for you to be comparing apples with apples.
> 
> Founded 1969. The C stands for Contemporary - they've never been a nostalgia label.


Swing is not just a subgenre, is one of the rhythmic characteristics of jazz and one of the most important. There are tons of swing in the music of McCoy Tyner, Eric Dolphy, Sun ra, Ornette Coleman, David Murray, Muhal Richard Abrams, Denny Zeitlin and a lot of contemporary jazz that can't be defined as conservative or nostalgic.
After that I was joking too, because first of all I don't think at all that the value of a music should be judged considering only if it swings or not, and by the way I appreciate also certain things on ECM (and there are also things that swing hard). 
But it's true that ECM is a label that is famous for its swingless (certain times many would say lifeless) approach to the genre. 
Anyway lately I'm listening a lot to Ran Blake, who certainly isn't Bud Powell, Teddy Wilson ot Dave Mckenna... I don't know if he has some album on ECM but I wouldn't be surprised to find that he recorded for the label. And I love his music.


----------



## starthrower

Variety is the spice of life. Sometimes I'm in the mood for Charlie Parker and Fats Navarro. Other days I want Bobo Stenson or Terje Rypdal. And ECM had plenty of cooking stuff as well. The first Dave Holland Quintet, Conference Of The Birds, etc...


----------



## Rhythm

Thanks, TalkingHead, for posting those absurdities; in some ways, they can be successful, temporarily. Just one more idea as my closing reference on this subject.


TalkingHead said:


> Actually Rhythm, I think these Nazi decrees on Jazz practices are worth posting in full, for their comic absurdity. Without wishing to exaggerate, I think that when state or governing bodies attempt to legislate over matters musical this sort of absurdity is what results. …


As a resource that connects jazz with racism, which would eliminate elements of visual and performing arts during dreaded movements, here's the Wiki piece on *Degenerate music* (Entartete Musik) and Degenerate art (Entartete Kunst).


----------



## SimonNZ

Steve Swallow - Home (1980)

The vocal parts date it a little, but lots of fine playing, especially from Steve Kuhn on piano and Bob Moses on drums


----------



## starthrower

^^^
I've never seen that album before. I've always liked Swallow's playing


----------



## SimonNZ

Marc Johnson - Bass Desires (1985)

with Bill Frisell, John Scofield and Peter Erskine

I hadn't realized or expected that the second track "Resolution" would be the one from A Love Supreme. Sat bolt upright when that started.


----------



## starthrower

^^^
Very cool album! I bought it back in the 80s. There is some great live footage of this band on YouTube.


----------



## Rhythm

TalkClassical was searched, and this video I don't think has been posted.

When I listen to jazz like this, the fascination rolls all over me! When I play jazz, or try to, it kinda sounds like two Bach inventions played _simultaneously_, _syncopatedly_ :lol:. 
I just gave up!





^ This Masquerade | *Jazz Baltica*, 2003
Pat Metheny Project & Michael Brecker

Nils Landgren: Trombone, Vocals
Michael Brecker: Tenor Saxophone
Esbjorn Svensson: Piano
Pat Metheny: Guitar
Lars Danielsson: Bass
Wolfgang Haffner: Drums​


----------



## JACE

SimonNZ said:


> Marc Johnson - Bass Desires (1985)
> 
> with Bill Frisell, John Scofield and Peter Erskine


Speaking of ECM, this is one of my all-time favorite releases on Manfred Eicher's great label.


----------



## Alypius

Tonight's listening, a new arrival, one from the new label Smoke Sessions. Simply a great performance:










Just finished my first listen. For a great up tempo burner, check out track #6 ("Eddie Harris"); for a mid-tempo number with fine solos, check out track #3 ("Pooh").


----------



## SimonNZ

John Abercrombie / Marc Johnson / Peter Erskine - s/t (1988)

a little disappointed with this after the first listen - lots of fine individual moments that don't seem to add up to anything greater than the sum of their parts, and occasionally directionless (even taking into account that its a concert rather than a studio project) - but that's just the first listen


----------



## Alypius

SimonNZ said:


> John Abercrombie / Marc Johnson / Peter Erskine - s/t (1988)
> 
> a little disappointed with this after the first listen - lots of fine individual moments that don't seem to add up to anything greater than the sum of their parts, and occasionally directionless (even taking into account that its a concert rather than a studio project) - but that's just the first listen


Simon, I agree. I enjoy all three artists, but that performance was, for me, less interesting than other efforts. A couple of favorites from around that period:

John Abercrombie / Adam Nussbaum / Dan Wall, _While We're Young_ (ECM, 1993)










Also:

John Abercrombie / John Surman / Marc Johnson / Peter Erskine, _November_ (ECM, 1993)


----------



## starthrower

Just ordered the studio album.


----------



## starthrower

Alypius said:


> Simon, I agree. I enjoy all three artists, but that performance was, for me, less interesting than other efforts. A couple of favorites from around that period:
> 
> John Abercrombie / Adam Nussbaum / Dan Wall, _While We're Young_ (ECM, 1993)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Also:
> 
> John Abercrombie / John Surman / Marc Johnson / Peter Erskine, _November_ (ECM, 1993)


November is an excellent album. I don't think you'll be disappointed if you decide to pick up a copy. Another great release featuring Abercrombie is bassist Mark Egan's As We Speak. A really fine 2 CD set w/ Danny Gottlieb on drums. You can listen to samples here. http://wavetone.com/?section=products


----------



## SimonNZ

David Darling - Cycles (1982)

Here's a quote from the two star review in the Penguin Guide:



> Cycles is probably the closest thing one could find to an identikit ECM record - shapelessly impressionistic themes and poster-print ethnic soundscapes, redeemed only by Jan Garbarek's unmistakable voice


I'm going to stick my neck out and say that I completely disagree - that this is a fine album by any measure, and Steve Kuhn's typically selfless and enthusiastic work in sideman role stands out far more than Garbarek's. ECM may have released a couple or three "identikit" albums - this is not one.


----------



## Simon Moon

Uh oh....

The 'fusion' floodgates have been opened.



starthrower said:


> Just ordered the studio album.


Alex Machacek is an amazing improvisor and a very unique composer.

Another one of his to get is "24 Tales". This was a project started by drummer extraordinaire, Marco Minnemann. He recorded a 51 minute drum solo, then sent it to several musicians to compose music to it.

Machacek's results on '24 Tales' is both complex and hypnotic.


----------



## Simon Moon

SimonNZ said:


> I'm going to stick my neck out and say that I completely disagree - that this is a fine album by any measure, and Steve Kuhn's typically selfless and enthusiastic work in sideman role stands out far more than Garbarek's. ECM may have released a couple or three "identikit" albums - this is not one.


I am right there with you on this.

Quite unfair to call this an "identikit" album.


----------



## JACE

starthrower said:


> November is an excellent album.


starthrower and Alypius, I agree with both of you. _November_ is the best album from that particular band, and one of Abercrombie's very best. Surman's presence helps them take flight, and Marc Johnson's "Right Brain Patrol" is unstoppable.


----------



## SimonNZ

Sarah Vaughn Sings George Gershwin, volumes 1 and 2

coincidentally I believe it is Gershwin's birthday today - or at least I assume that was the reason the radio woke me this morning with a someone's spirited rendition of "Swanee"


----------



## 38157

Looking forwards to November - Henry Cow are back and are playing the music of the deceased Lindsay Cooper. Seeing them in my university town quite soon. Especially anticipating Fred Frith's appearance.


----------



## Simon Moon

****** said:


> Looking forwards to November - Henry Cow are back and are playing the music of the deceased Lindsay Cooper. Seeing them in my university town quite soon. Especially anticipating Fred Frith's appearance.


Not really jazz, but awesome nonetheless!

Frith teaches composition at Mills College in Oakland, so I wonder if that means there might be appearances in the US?


----------



## starthrower

Simon Moon said:


> Uh oh....
> 
> The 'fusion' floodgates have been opened.
> 
> Alex Machacek is an amazing improvisor and a very unique composer.
> 
> Another one of his to get is "24 Tales". This was a project started by drummer extraordinaire, Marco Minnemann. He recorded a 51 minute drum solo, then sent it to several musicians to compose music to it.
> 
> Machacek's results on '24 Tales' is both complex and hypnotic.


I've held off on 24 Tales for four years, because Mike Keneally's album was so great I couldn't imagine anything better. But I decided to order Machacek's 24 Tale's last night. When it comes to guitar I'm more of a fusion listener. I don't care much for straight jazz guitar.


----------



## JACE

NP:










*Cedar Walton Trio - Ironclad: Live at Yoshi's (Monarch Records, 1995)*
with David Williams & Billy Higgins

Goofy cover. Great music. Perfect, effortless swinging.

I wish Cedar wasn't gone. I never got the chance to see him perform live.


----------



## Alypius

JACE said:


> *Cedar Walton Trio - Ironclad: Live at Yoshi's (Monarch Records, 1995)*
> with David Williams & Billy Higgins.
> 
> Goofy cover. Great music. Perfect, effortless swinging.
> 
> I wish Cedar wasn't gone. I never got the chance to see him perform live.


JACE, As much as I enjoy Cedar Walton's music--and I really do enjoy it--how could he ever have approved that cover???? Yikes!!!


----------



## Alypius

Just released Sept. 23rd:

*Otis Brown III, The Thought of You (Blue Note)*










From what I've heard, mostly solid straightahead hardbop, reminiscent of the classic Blue Note tradition. It does have at least two vocal tracks (one with Gretchen Parlato and another by Bilal):

Here's a link to the opening track: "The Way (Truth & Life)":

__
https://soundcloud.com/bluenoterecords%2Fotis-brown-the-way


----------



## JACE

Alypius said:


> JACE, As much as I enjoy Cedar Walton's music--and I really do enjoy it--how could he ever have approved that cover???? Yikes!!!


Yeah, it's horrendous.


----------



## Simon Moon

Iceberg was a great fusion band from Spain in the mid to late 70's.

They were headed by guitarist Joaquim 'Max' Sune.








starthrower said:


> I've held off on 24 Tales for four years, because Mike Keneally's album was so great I couldn't imagine anything better. But I decided to order Machacek's 24 Tale's last night. When it comes to guitar I'm more of a fusion listener. I don't care much for straight jazz guitar.


Keneally's version is also great. I'd be hard pressed to say which I like better.

I am the same way with respect to fusion vs jazz guitar. Most other instruments I like equally in various forms of jazz.


----------



## norman bates

Chris Anderson - Inverted image/My romance

I wonder why he's so little known, considering that Herbie Hancock wanted to study with him because he listened in his harmonies things that he didn't found in Bill Evans, and Denny Zeitlin for the same reason has a huge admiration for him.
Von Freeman said that he was the musician with the best ears he ever knew and he was an influence also on musicians like Ahamad Jamal and Sun ra... and still until few days ago I barely knew his name.
Anyway I don't know if there's another city like Chicago with so many great jazz pianists.


----------



## TurnaboutVox

*Thelonious Monk

Monk's Moods: Blue Monk*
(Originally released by Riverside, rec. 1955) [CD Proper Records, 1986]


----------



## TurnaboutVox

I can't seem to stop listening to Thelonious Monk now I've started

*Thelonious Monk
Monk's Moods - Disc 2 Misterioso* (rec. 1948) [Proper, 1986]


----------



## starthrower

The Bean on a Sunday afternoon.


----------



## Simon Moon

Mahavishnu Orchestra - One Word


----------



## starthrower

Picked these up at the local library:

Dave Holland - Prime Directive
Pat Metheny Unity Band
Charlie Haden/Hank Jones - Come Sunday
Grachan Moncur - Exploration
Dizzy Gillespie - Birks Works Big Band Sessions
Fats Waller Piano Solos - Turn On The Heat


----------



## SimonNZ

starthrower said:


> Grachan Moncur - Exploration


A couple of years ago a guy leaving the country sold me his collection of lesser-known Blue Notes - about 100 or 120 discs. The biggest surprise was Grachan Moncur's Some Other Stuff. A masterpiece. Somehow I hadn't heard his name before that.

Damn, now I want to hear it again.


----------



## starthrower

I have that album. I like it a lot. I also like the albums he did with Jackie McLean and Bobby Hutcherson.
And Archie Shepp's The Way Ahead.


----------



## SimonNZ

Oh yeah...Jackie McLean's Destination Out and One Step Beyond, great. I'm going to pull those out for another listen, too.

I don't think I've ever heard the Archie Shepp. I'll keep an eye out for it.


----------



## starthrower

It's one of my favorite Shepp records. The second track is Moncur's tune.


----------



## JACE

NP:








*The Teddy Charles Tentet*

Best track: the LP-opening composition "Vibrations" by Mal Waldron.


----------



## norman bates

another great demonstration on how a guitar could be transformed in a fender rhodes


----------



## Simon Moon

From Japan, I bring you Machine and the Synergetic Nuts, M-B from their album "Leap Second Neutral".


----------



## DamoX

^ Thanks for your recommendation. They're one of Japanese prides.


----------



## starthrower

^^^
I have the CD. Pretty good stuff, but the production and sound is a bit dirty/muddy. I believe I bought it from Wayside Music. I usually scarf up those Cuneiform releases when they have a punch-hole 4.99 sale.


----------



## Piwikiwi




----------



## SimonNZ

Ornette Coleman's Science Fiction


----------



## starthrower

Found this one at the library. For 23 years (1982-2005) I bought just about everything Metheny released. But I've lost interest in recent years. The playing is great here, but for some reason I could never get into Chris Potter's playing.


----------



## SimonNZ

Wes Montgomery - Fingerpickin (1957) and Trio (1958)


----------



## Bluecrab

I'm new here, and I realize that this post (Alypius's post, #98, on page 7)goes back a few months, but it's always nice to run across another Woody Shaw fan. I've always thought that he is one of the most underappreciated artists in modern jazz. Completely agree with you: his 77-81 work on Columbia is outstanding. In particular, _Woody III_ is one of my favorite jazz albums, and I've been listening to jazz since I was in high school, over 40 years ago. Brilliant compositions and a smoking band. Curious that he plays only cornet and flugelhorn on the album-no trumpet. The first cut, _Woody I - On the New Ark_, is simply fantastic. The band is unbelievably tight. Shaw on flugelhorn and George Cables on piano on _Organ Grinder_ are as good as it gets. Such a shame that we lost him so young, especially considering that he had overcome heroin addiction. AFAIK, the cause of the subway accident was never determined, but people have suggested that it had something to do with the congenital eye disease (retinitis pigmentosa) he had that had already left him legally blind. As I understand it, he was struck by a train as it was entering the station.


----------



## JACE

Bluecrab said:


> I'm new here, and I realize that this post (Alypius's post, #98, on page 7)goes back a few months, but it's always nice to run across another Woody Shaw fan. I've always thought that he is one of the most underappreciated artists in modern jazz. Completely agree with you: his 77-81 work on Columbia is outstanding. In particular, _Woody III_ is one of my favorite jazz albums, and I've been listening to jazz since I was in high school, over 40 years ago. Brilliant compositions and a smoking band. Curious that he plays only cornet and flugelhorn on the album-no trumpet. The first cut, _Woody I - On the New Ark_, is simply fantastic. The band is unbelievably tight. Shaw on flugelhorn and George Cables on piano on _Organ Grinder_ are as good as it gets.


Yeah! Woody was awesome!

:cheers:










BTW: Welcome to Talk Classical.  (where we sometimes talk about jazz)


----------



## Bluecrab

JACE said:


> Yeah! Woody was awesome!... BTW: Welcome to Talk Classical.


Thanks. It's nice to be here.

btw, check out a late 70s album by the brilliant alto/soprano saxophonist Sonny Fortune called _Serengeti Minstel_. Woody Shaw is on three cuts, and they smoke.


----------



## JACE

Bluecrab said:


> Thanks. It's nice to be here.
> 
> btw, check out a late 70s album by the brilliant alto/soprano saxophonist Sonny Fortune called _Serengeti Minstel_. Woody Shaw is on three cuts, and they smoke.


Yeah, I've got that one. Good stuff! 

But I think Fortune's records _Awakening_ and _Waves of Dreams_ are even better. (Though Charles Sullivan plays trumpet on those, not Woody.)


----------



## Bluecrab

_Awakening _is a fine album... I have it on vinyl somewhere. Isn't Kenny Barron the pianist? For some later stuff by Sonny Fortune, check out _A Better Understanding_ and _From Now On_, from '95 and '96, respectively. Somehow, I suspect you eiiher have these albums or are familiar with them.  Sonny Fortune also did some nice work with McCoy Tyner in the early 70s.


----------



## SimonNZ

A couple of ECMs from the library:

















Enrico Rava - New York Days (2009)
Steve Kuhn - Promises Kept (2004)

A little underwhelmed by both, I'm sorry to say. But that's just the first listen - their quiter charms may grow on me.


----------



## starthrower

I've been underwhelmed by a number of ECM releases in the past decade. At the rate they've been cranking out material, Manfred Eicher has got to be getting a little weary. I'm getting weary of all their black album covers too.


----------



## SimonNZ

Wes Mongomery

Movin' Along (1960)
Groove Yard (1961)


----------



## TurnaboutVox

Esbjörn Svensson Trio
Esbjörn Svensson Trio Plays Monk
[RCA Victor, 1997]

Knowing the Monk originals well, this strays a bit too close to 'lounge jazz' a lot of the time. Monk's quirky rhythms are largely smoothed out - this is very laid back. I'm not overly convinced.


----------



## Jos

View attachment 53175


View attachment 53180


My wife has been diggin' in the crates and came up with these. Good girl !!


----------



## Simon Moon

Eberhard Weber - The Colours of Chloe









In the top 10 of ECM releases.

A beautiful album with more than a few nods to prog-rock.


----------



## Simon Moon

Alex Machacek - a live clip and interview.

An amazing modern guitar player.


----------



## TurnaboutVox

Simon Moon said:


> Eberhard Weber - The Colours of Chloe
> 
> View attachment 53189
> 
> 
> In the top 10 of ECM releases.
> 
> A beautiful album with more than a few nods to prog-rock.


Oh, I have this! I kept it very quiet from my punk and New Wave loving friends in 1979, let me tell you. Yes, it is very good, isn't it?


----------



## Marschallin Blair

TurnaboutVox said:


> Oh, I have this! I kept it very quiet from my punk and New Wave loving friends in 1979, let me tell you. Yes, it is very good, isn't it?


Shhhhhhhhhhhhhhhhhhh.

I won't tell. . .

It it true that the original bass player of the Sex Pistols was let go because he confessed that he liked the Beatles?

Well, sorry for him if the folklore's true; but of course great for the band's PR since they got Sid!


----------



## Jos

^^ #394
Thank you Simon,

Been checking out lots of YT clips from Alex Machacek, on your recommendation.
Great guitarplayer indeed
The red guitar looks a bit amputated, his playing sure doesn't!

Cheers,
Jos


----------



## starthrower

I just bought three Alex Machacek CDs.

24 Tales, w/ Marco Minnemann
FAT, his European trio
Now, duo album w/ Gary Husband on keys.


----------



## norman bates

Simon Moon said:


> Eberhard Weber - The Colours of Chloe
> 
> View attachment 53189
> 
> 
> In the top 10 of ECM releases.
> 
> A beautiful album with more than a few nods to prog-rock.


Do you know the version of the tune played by Gary Burton on his album "Ring"? There's a solo played by Mick Goodrick that is fantastic.


----------



## TurnaboutVox

norman bates said:


> Do you know the version of the tune played by Gary Burton on his album "Ring"? There's a solo played by Mick Goodrick that is fantastic.


Yes, I have that album too


----------



## Jos

View attachment 53247
.
View attachment 53248
.
View attachment 53249


My missus' got the jazz-bug and I aint complaining


----------



## Jos

View attachment 53250
.
View attachment 53251
.
View attachment 53252


----------



## Jos

View attachment 53274


Nice and easy, "easy living". What a player, what a sad ending at 33.
Back to classical tomorrow.......I think


----------



## starthrower

Features Gary Bartz, Charles Tolliver, Stanley Cowell, Jymie Merritt, Andy Bey.










A compilation of some 50s recordings.


----------



## TurnaboutVox

Inspired by Norman Bates, I have been listening to Gary Burton and Armando Anthony "Chick" Corea, mostly from the 
Jazzwoche Burghausen 2011. On YouTube. there doesn't seem to be any Gary Burton to speak of on Spotify, unfortunately.


----------



## TurnaboutVox

*Handful of Keys* (4cd box) - CDs 1 & 2
Thomas 'Fats' Waller [Delko Music, 2007]


----------



## muzik

Jazz is awesome, thanks for sharing all this music guys!


----------



## JACE

One of my favorite jazz albums:









*Art Farmer - Ph.D.*

with Clifford Jordan (sax); Kenny Burrell (gtr); James Williams (pno); Rufus Reid (b); and Marvin "Smitty" Smith (d)

A fan-stinkin'-tastic band.


----------



## starthrower

Ordered vols 2 & 3 of this comprehensive series.

Fats Waller-Complete Recorded Works 4 CD sets on JSP label.
http://www.allmusic.com/search/all/fats waller complete recorded works


----------



## SimonNZ

Mary Lou Williams - I Made You Love Paris

From the "Gitanes" series, whose uneven catalogue and generic packaging too often hide some very interesting releases


----------



## starthrower

RIP Tim Hauser, founding member of Manhattan Transfer.
http://jazztimes.com/articles/143902-tim-hauser-co-founder-of-the-manhattan-transfer-dead-at-72


----------



## SimonNZ

Oh no! I've been a big, unapologetic, fan of the Manhattan Transfer since I was a kid.

Vocalese, my favorite of theirs, is still an album I play regularly, and will pull it out for another spin










but for now: RIP Tim






edit: its a bit misleading the way that article says he was the "only original member still with the band". That first album was a misfire. And like, say, Genesis, their second album was their first album proper and included Alan Paul and Janis Siegel, who have been there throughout.

It also says the did an album called The chick Corea Songbook, which I haven't heard and will now go looking for.


----------



## starthrower

SimonNZ said:


> Mary Lou Williams - I Made You Love Paris
> 
> From the "Gitanes" series, whose uneven catalogue and generic packaging too often hide some very interesting releases


I have a Toots Thielemanns CD from that label. It's an early 60s recording featuring his tasty guitar work and wonderful whistling.


----------



## brotagonist

I only have two unplayed discs left from my amazing classical birthday bash in August, so I need to fill the remaining three spots on the CD player with something from my collection. How to decide? My non-repeating random algorithm, of course.

NP:









Just disc one "Swing Guitars" today. Four CDs in this Proper Box: it's all the Reinhardt I could ever want. I admit I was never a huge Reinhardt fan, although I do like him and have seen his longtime partner, Stéphane Grappelli, live in concert, but I got this album in memory of a now departed friend who was a HUGE fan. We spent many smoky hours listening (he smoked; I had horrible headaches from it  ).


----------



## JACE

Now playing:










*David Friesen - Amber Skies*

As good as you'd expect, given the stellar line-up.

The playing and compositions remind me a bit of Keith Jarrett's "American Quartet" -- which also featured Paul Motian.


----------



## starthrower

^^^
Nice record! I bought the CD quite a few years ago when I spotted it in a store. I probably bought it based on the sidemen, since I wasn't familiar with Friesen at the time. I also have another CD from that label by Mal Waldron which also features Joe Henderson.


----------



## JACE

starthrower said:


> ^^^
> Nice record! I bought the CD quite a few years ago when I spotted it in a store. I probably bought it based on the sidemen, since I wasn't familiar with Friesen at the time. I also have another CD from that label by Mal Waldron which also features Joe Henderson.


Yeah! _One Entrance, Many Exits_. More good stuff.


----------



## SimonNZ

Ornette Coleman - Free Jazz (1961)


----------



## JACE

A compilation of tracks from Kenny Burrell's Muse LPs (1978-1983):










*Kenny Burrell - Laid Back (Savoy)*
I'm not usually a fan of compilations, but this one works PERFECTLY -- probably because Burrell's style is so consistent throughout. The tracks are mostly duos & trios, so KB is right up front. No horns, no pianos. Just Kenny's unadulterated, SWINGING, blusey guitar with bass and (sometimes) drums.


----------



## JACE

Listening to two great trumpeters who both deserved a lot more acclaim:

*Kenny Dorham - Matador & Inta Somethin'* 









*Joe Newman - The 1954-1955 Vanguard, Storyville & Jazztone Sessions*


----------



## starthrower

Gotta get a copy of the Kenny Dorham 2-fer. I was listening to it on YouTube the other night. I pulled out a related album, Jackie Mclean's Let Freedom Ring, and gave it a listen. Fantastic record!


----------



## JACE

starthrower said:


> Gotta get a copy of the Kenny Dorham 2-fer. I was listening to it on YouTube the other night. I pulled out a related album, Jackie Mclean's Let Freedom Ring, and gave it a listen. Fantastic record!


:cheers:

Jackie McLean consistently made SUPERB records all through the 60's -- and _Let Freedom Ring_ might be the best of them!


----------



## JACE

It's shaping up to be a jazz sorta day...

I'm now listening to *Larry Willis* play solo piano:










*This Time the Dream's on Me*

This music makes me feel good.


----------



## JACE

Now listening to Dave Liebman's new band:









*Expansions: The Dave Liebman Group - Samsara*
This CD came out last week. Giving it a first listen via Spotify.

Earlier:









*Richie Beirach, George Mraz, Al Foster - Elegy for Bill Evans*


----------



## starthrower

I'm posting this link for any fusion fans who are looking to pick up these albums. The first six Brand X albums on a 4 CD set. Too bad about the ugly cover, but it's a lot of music for a good price.
http://www.amazon.co.uk/dp/B00O9K8W...TF8&colid=3454CGEDD1Z0H&coliid=I3IWY0ZAF4I08V


----------



## Bluecrab

JACE said:


> I'm now listening to *Larry Willis*...


He's a very tasteful pianist. You'd probably like a Gary Bartz album called _Episode One: Children of Harlem_. Larry Willis is the pianist; Buster Williams and Ben Riley round out the fine rhythm section. Gary Bartz has been one of my favorite saxophonists since the late 60s/early 70s.


----------



## starthrower

Just found this in a baggy piled up in my living room. I was listening to three or four Blake
albums a decade or more ago. Always dug his stuff. Blake's playing approach is the opposite 
of Michael Brecker or Chris Potter. He takes things at a slower, more meditative pace.










Blake has a new album being released this week.


----------



## SimonNZ

JACE said:


> :cheers:
> 
> Jackie McLean consistently made SUPERB records all through the 60's -- and _Let Freedom Ring_ might be the best of them!


Pulling this out for another listen. I love Jackie, but for some reason seldom play this one, no idea why - right now it sounds amazing.


----------



## starthrower

^^^
That's a great one! 
Here's my JM collection:

Jackie's Bag
Bluesnik
Let Freedom Ring
Destination Out
One Step Beyond
Capuchin Swing
Right Now
It's Time
Action
Demon's Dance
Jacknife
Dynasty
Rites Of Passage

I should have A Fickle Sonance, but never picked up that one.


----------



## JACE

Earlier today, I got a email from the Louis Armstrong House & Museum. It prompted me to pull out:










*Louis Armstrong - Portrait of the Artist as a Young Man: 1923-1934*
Now playing Disc 1.


----------



## JACE

Listening to a new release:








*Thomas Marriott - Urban Folklore (Origin)*
Features a KILLER rhythm section: Orrin Evans (p); Eric Revis (b); and Donald Edwards (d).

Giving a first listen via Spotify. Sounds really good!


----------



## Jos

View attachment 54561


Dino Saluzzi, "Andina". On ECM, 1988

Ex-rental from public library. Not many fans, I guess, as it is pop and click free.

Bandoneon and (very little) flute.
First impression is good.


----------



## cwarchc

Nice mix of players


----------



## starthrower

3 CD set I picked up for 10 dollars.


----------



## kirsten

cwarchc said:


> Nice mix of players
> View attachment 54577


Yes! I have this too. Excellent group of musicians.


----------



## Vaneyes

Codgers who remember the TV series Peter Gunn (1958 - 1961), may be interested in this new album. Sound clips at Presto Classical.:tiphat:

http://www.prestoclassical.co.uk/r/Harmonia+Mundi/HMU907624#listen


----------



## Xaltotun

I've been listening to "Time Out" by the Dave Brubeck Quartet. I find it spellbinding! Yes, it's a little "polished" and well-behaving; I cannot smell the sweat. But this kind of very cerebral music makes me smile and feel good!


----------



## Torkelburger

Xaltotun said:


> I've been listening to "Time Out" by the Dave Brubeck Quartet. I find it spellbinding! Yes, it's a little "polished" and well-behaving; I cannot smell the sweat. But this kind of very cerebral music makes me smile and feel good!


Yeah, that's one of the "Bibles" of the "West Coast" jazz style (one of the major jazz styles). It's chill. I also love it!


----------



## norman bates

I'm not sure I would use the word "cerebral" to describe the music of the quartet.


----------



## Torkelburger

norman bates said:


> I'm not sure I would use the word "cerebral" to describe the music of the quartet.


In regards to meter I would.

"Take Five" and "Forty Days" in 5/4.
"Three to Get Ready" is in 3/4, 3/4, 4/4, 4/4 (that pattern repeats over and over for the entire piece).
"Unsquare Dance" in 7/4.
"Blue Rondo a la Turk" is in a fast 9/8 (3 bars of 2+2+2+3 then one bar of 3+3+3). Then time signature changes to 4/4 throughout (with tempo changes) and going back and forth between feels.

Dave is also fond of polymeter where he will play some upbeat patterns underneath a solo (sometimes his own solo) and those upbeats become downbeats of a different meter so you get a polymeter effect.

It's no Le Sacre, but it's no walk in the park either.


----------



## SimonNZ

Donald Byrd - Electric Byrd (Blue Note, 1970)

while I flip through this new impressive history of the label:










so many great albums still to hear...

for example, somehow I've never yet heard Tony Williams' Life Time, despite it having at least five of my all-time favorite jazz musicians together


----------



## starthrower

Life Time is a great album! Very different from the Blue Note hard bop fare. This is high art, and deserves close listening.


----------



## starthrower

Just finished listening to Life Time. Now onto the Spring album w/ Sam Rivers and Wayne Shorter.


----------



## jim prideaux

while taking a break from classical listening with Jacob Young's ECM album Forever Young I am reminded that the great Marci Wasilewski Trio have a new release and I am awaiting delivery-thought this might be of interest to others with similar 'tastes'!


----------



## norman bates

Torkelburger said:


> In regards to meter I would.
> 
> "Take Five" and "Forty Days" in 5/4.
> "Three to Get Ready" is in 3/4, 3/4, 4/4, 4/4 (that pattern repeats over and over for the entire piece).
> "Unsquare Dance" in 7/4.
> "Blue Rondo a la Turk" is in a fast 9/8 (3 bars of 2+2+2+3 then one bar of 3+3+3). Then time signature changes to 4/4 throughout (with tempo changes) and going back and forth between feels.
> 
> Dave is also fond of polymeter where he will play some upbeat patterns underneath a solo (sometimes his own solo) and those upbeats become downbeats of a different meter so you get a polymeter effect.
> 
> It's no Le Sacre, but it's no walk in the park either.


I don't know if you have ever listened to Soundgarden, anyway a lot of their music is full of weird signatures. When someone mentioned this to them, they just said that they weren't think about making complex rhythms, it was just good for the songs. Now, Paul Desmond (one of my favorite saxophonists) and Brubeck certainly had a lot more knowledge, but a tune like Take five is just naturally memorable (in fact is one of those tunes that is very popular even outside the jazz world) and doesn't sound complex at all. I mean, a 5/4 has nothing intrinsically more cerebral than a 4/4 or a waltz.


----------



## Torkelburger

norman bates said:


> I don't know if you have ever listened to Soundgarden, anyway a lot of their music is full of weird signatures. When someone mentioned this to them, they just said that they weren't think about making complex rhythms, it was just good for the songs. Now, Paul Desmond (one of my favorite saxophonists) and Brubeck certainly had a lot more knowledge, but a tune like Take five is just naturally memorable (in fact is one of those tunes that is very popular even outside the jazz world) and doesn't sound complex at all. I mean, a 5/4 has nothing intrinsically more cerebral than a 4/4 or a waltz.


I take it you've never taught music for a living. I have and can tell you even the average *high school student* not only struggles with 5 beats in a bar, but can *barely* sight read in 6/8.

5/4 is more cerebral and sounds more complex since there are an odd number of beats in the bar and you cannot feel it in one (as in a medium to fast waltz), so much that there are commercial arrangements out there of the tune in 4/4. I make a substantial part of my living playing jazz in clubs and restaurants every weekend for the past eight years and have played with enough people who, when I call the tune, mess up the head and also get tripped up occasionally in the solo or in the comp parts all because of the time. The head becomes much easier to play in 4/4. And that's the main point, since the same music arranged in 4/4 is easier to play, then 5/4 is more complex.

It doesn't matter anyway. There are plenty of other tunes you left out that clearly sound complex as well as the use of the already mentioned polymeter (and hemiola, such as in "Theme to Mr. Broadway") and fully merit a "cerebral" or "complex" label IMO.

Even if someone doesn't know the theory, they can do something cerebral and complex. Many traditional African rhythms for example played hemiolas and layering of different rhythmic groupings on top of each other as well as the same rhythmic displacement techniques centuries before Le Sacre without knowing any kind of "theory" at all. Still complex though.


----------



## norman bates

Torkelburger said:


> I take it you've never taught music for a living. I have and can tell you even the average *high school student* not only struggles with 5 beats in a bar, but can *barely* sight read in 6/8.
> 
> 5/4 is more cerebral and sounds more complex since there are an odd number of beats in the bar and you cannot feel it in one (as in a medium to fast waltz), so much that there are commercial arrangements out there of the tune in 4/4. I make a substantial part of my living playing jazz in clubs and restaurants every weekend for the past eight years and have played with enough people who, when I call the tune, mess up the head and also get tripped up occasionally in the solo or in the comp parts all because of the time. The head becomes much easier to play in 4/4. And that's the main point, since the same music arranged in 4/4 is easier to play, then 5/4 is more complex.
> 
> It doesn't matter anyway. There are plenty of other tunes you left out that clearly sound complex as well as the use of the already mentioned polymeter (and hemiola, such as in "Theme to Mr. Broadway") and fully merit a "cerebral" or "complex" label IMO.
> 
> Even if someone doesn't know the theory, they can do something cerebral and complex. Many traditional African rhythms for example played hemiolas and layering of different rhythmic groupings on top of each other as well as the same rhythmic displacement techniques centuries before Le Sacre without knowing any kind of "theory" at all. Still complex though.


but as you've said, the hemiola is a fundamental part of a lot of african music, while for us is something perceived as advanced... maybe the fact the 5/4 is perceived more has more to do with the fact that in western music is more rare. Besides the fact that I've never perceived a composition as Take five as difficult (anyway it's a merit of the piece) Miles Davis in a blindfold test listening to Don Ellis said:" Somebody was impressed with 5/4 time, but what difference does that make? What's so great about a whole number in 5/4? In our group we change the beat around and do all kind of things with time, but not just to say, "Look at me, I'm playing 5/4!"
I mean, you can play extremely complex and interesting things in a simple 4/4, rhyhtm is much more than a time signature.
To mention an example, there's a story involving Pee Wee Russell:



> On the last night, a student at the Conservatory went up to the bandstand and unrolled a sizable series of music manuscript pages. Sitting near the stand, I saw the pages were densely covered with what looked like an intricately scored, complex classical-music composition.
> 
> "I brought this for you," the student told the clarinetist. "It's some of your solos these past nights. I transcribed them."
> 
> Peering quizzically at this sudden tribute, Pee Wee said, shaking his head, "This can't be me. I can't play this!" Assured by the student that it was as faithful a transcription as he could manage, Pee Wee said, sighing, "Even if this is what I played, I wouldn't play it again the same way -- even if I could, which I can't."


 I wonder if Pee Wee ever played something else than a 4/4 or 3/4, and still rhythmically he always made incredibly complex things in his solos.


----------



## jim prideaux

jim prideaux said:


> while taking a break from classical listening with Jacob Young's ECM album Forever Young I am reminded that the great Marci Wasilewski Trio have a new release and I am awaiting delivery-thought this might be of interest to others with similar 'tastes'!


somebody 'down in the hole' might be interested-the new Marcin Wasilewski Trio album is a winner (admittedly on first couple of listens)-first track is superb-'Austin'-further evidence that Jarrett c.mid 70's still exerts an influence melody wise!


----------



## cwarchc

I have been given some jazz cd's from a friend of Mrs cwarchc who's father died








This is one of them
There are a couple of Eddie Calvert as well
Very good of her to give them to me:tiphat:


----------



## Torkelburger

> but as you've said, the hemiola is a fundamental part of a lot of african music, while for us is something perceived as advanced... maybe the fact the 5/4 is perceived more has more to do with the fact that in western music is more rare.


No, maybe its because people of color are quite imaginative and we can give them the proper credit they deserve and not be racist ethnocentrists and indeed admit that they have created something complex, interesting, and worthwhile. And maybe 5 beats to the bar is more rare has more to do with the fact that in western music it is perceived as more advanced.


> Besides the fact that I've never perceived a composition as Take five as difficult (anyway it's a merit of the piece) Miles Davis in a blindfold test listening to Don Ellis said:" Somebody was impressed with 5/4 time, but what difference does that make? What's so great about a whole number in 5/4? In our group we change the beat around and do all kind of things with time, but not just to say, "Look at me, I'm playing 5/4!"


The fact that he addressed that at all shows that a significant number of people associate 5/4 with complexity. I'm not sure why you keep harping on this one point/tune. Why don't you just admit that in your opinion the quartet was not complex but you can understand why with certain tunes (not Take Five though) odd time signatures, odd groupings, time changes, tempo changes, hemiola, and polymeter, you can understand why someone else (of lesser-refined musical tastes as yourself, of course) may think so? Sheesh.


> I mean, you can play extremely complex and interesting things in a simple 4/4, rhyhtm is much more than a time signature.


Right, but the point again is that that same music becomes even more complex when transposed to 5/4. It's like Steve Vai's very famous audition for Frank Zappa: They both had guitars on, and Zappa said, "Play this," and played a lot of notes in common time. Vai copied. Zappa then said, "Now play it reggae," and Vai did so. Then Zappa said, "Now put this note somewhere," and put a note way up the neck in and Vai did so. Then Zappa said, "Now play it in 7/8". By requesting odd time signature, he was *adding* complexity.


> I wonder if Pee Wee ever played something else than a 4/4 or 3/4, and still rhythmically he always made incredibly complex things in his solos.


Again, that misses the point that that same music would have the difficulty increased when transposed to 5/4.


----------



## norman bates

Torkelburger said:


> The fact that he addressed that at all shows that a significant number of people associate 5/4 with complexity. I'm not sure why you keep harping on this one point/tune. Why don't you just admit that in your opinion the quartet was not complex but you can understand why with certain tunes (not Take Five though) odd time signatures, odd groupings, time changes, tempo changes, hemiola, and polymeter, you can understand why someone else (of lesser-refined musical tastes as yourself, of course) may think so? Sheesh.


I'm sorry, I'm not sure I've understood what you're saying here.



Torkelburger said:


> Right, but the point again is that that same music becomes even more complex when transposed to 5/4. It's like Steve Vai's very famous audition for Frank Zappa: They both had guitars on, and Zappa said, "Play this," and played a lot of notes in common time. Vai copied. Zappa then said, "Now play it reggae," and Vai did so. Then Zappa said, "Now put this note somewhere," and put a note way up the neck in and Vai did so. Then Zappa said, "Now play it in 7/8". By requesting odd time signature, he was *adding* complexity.
> 
> Again, that misses the point that that same music would have the difficulty increased when transposed to 5/4.


fair enough, but on the other side that doesn't mean that everything that is played in 5/4 has to be considered cerebral (or even complex but that is another story). And I don't want to be misundestood, I really like Take five if it isn't clear.


----------



## SimonNZ

Tina Brooks - True Blue (Blue Note, 1960)


----------



## cwarchc

Rather partial to this


----------



## starthrower

^^^
Big fan of Yusef Lateef. He was a great musician and beautiful man who outlived most of his contemporaries, but never received much attention from the jazz press.

Some favorite recordings:

Live At Pep's Vol 1 & 2
The Three faces Of...
The Centaur & The Phoenix
The Last Savoy Sessions
The Diverse Yusef Lateef


----------



## Torkelburger

> I'm sorry, I'm not sure I've understood what you're saying here.


I said two things: The fact that Miles Davis was defending not playing in 5/4 so adamantly in the first place means that people had to first bring it to his attention that they felt it was interesting or complex to play in 5/4. The rest of my quote was me pointing out that your are using Take Five as a logical Fallacy of Composition http://en.wikipedia.org/wiki/Fallacy_of_composition
In other words, if you think Take Five is simple, then all the quartet's tunes are simple. No, there are plenty of other tunes and many more examples from the quartet with complex, "cerebral" techniques (odd time signatures, odd groupings, time changes, tempo changes, hemiola, and polymeter) for you to understand why other people would label them as such ("cerebral", "complex").


> fair enough, but on the other side that doesn't mean that everything that is played in 5/4 has to be considered cerebral (or even complex but that is another story). And I don't want to be misundestood, I really like Take five if it isn't clear.


I would speculate that if you took the average high school band and had a significant portion of them have to count about 100 bars of 5/4 of RESTS (*completely empty measures*) in a piece they were sightreading, and did the same thing with bars of 4/4 (and in each trial the conductor would not give a cue to enter), you'd have more people (a much higher percentage) come in at the wrong place in the 5/4 trial. Guaranteed. Yeah, pure speculation on my part. But from my experience, I would bet anything on it.


----------



## norman bates

Torkelburger said:


> I said two things: The fact that Miles Davis was defending not playing in 5/4 so adamantly in the first place means that people had to first bring it to his attention that they felt it was interesting or complex to play in 5/4. The rest of my quote was me pointing out that your are using Take Five as a logical Fallacy of Composition http://en.wikipedia.org/wiki/Fallacy_of_composition
> In other words, if you think Take Five is simple, then all the quartet's tunes are simple. No, there are plenty of other tunes and many more examples from the quartet with complex, "cerebral" techniques (odd time signatures, odd groupings, time changes, tempo changes, hemiola, and polymeter) for you to understand why other people would label them as such ("cerebral", "complex").


Complex and cerebral are different things, and not necessarily a demonstration of quality. There's a incredible amount of music complex or cerebral or complex and cerebral that I find utter garbage. And there's music that is very simple that I absolutely love.
What I was trying to say is that even with the unusual meters is music that sounds immediate and memorable (I was taking Take five as an example but I think the same of Blue rondo a la turk or Kathy's waltz), something that I would not say of a lot of jazz and I guess it's the same for many others considering that Time out is one of the most popular jazz albums ever.
Considering the tunes written by Brubeck, a lovely and contemplative piece like Rising sun is something that I would consider (a bit) more on the cerebral side because of the harmony.


----------



## Torkelburger

norman bates said:


> Complex and cerebral are different things, and not necessarily a demonstration of quality. There's a incredible amount of music complex or cerebral or complex and cerebral that I find utter garbage. And there's music that is very simple that I absolutely love.
> What I was trying to say is that even with the unusual meters is music that sounds immediate and memorable (I was taking Take five as an example but I think the same of Blue rondo a la turk or Kathy's waltz), something that I would not say of a lot of jazz and I guess it's the same for many others considering that Time out is one of the most popular jazz albums ever.
> Considering the tunes written by Brubeck, a lovely and contemplative piece like Rising sun is something that I would consider (a bit) more on the cerebral side because of the harmony.


Nobody equated cerebral with complex until you did in post #445. Prior to that I said I would use the cerebral label in regards to meter. And nobody suggested it was a demonstration of quality. Yes we can all agree on your statements of the obvious for the rest of your post and thank you for admitting to seeing the cerebral side of Brubeck.


----------



## norman bates

Torkelburger said:


> Nobody equated cerebral with complex until you did in post #445. Prior to that I said I would use the cerebral label in regards to meter. And nobody suggested it was a demonstration of quality. Yes we can all agree on your statements of the obvious for the rest of your post and thank you for admitting to seeing the cerebral side of Brubeck.


oh god, I'm sorry if I've hurted your feelings album saying that I didn't find it cerebral.
Onestly I don't know why you are taking a simple opinion as a personal insult, even considering that I like the music.


----------



## JACE

Now playing Pat Metheny's _Bright Size Life_:










with Jaco Pastorius (b) and Bob Moses (d)


----------



## starthrower

JACE said:


> Now playing Pat Metheny's _Bright Size Life_:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> with Jaco Pastorius (b) and Bob Moses (d)


Amazing record for a 21 year old!


----------



## SimonNZ

Miles Davis - Kind Of Blue

heard of it? it's rather good

(and I must add: not, _not_, not the remastered "corrected" release)


----------



## Vaneyes




----------



## Vaneyes

cwarchc said:


> I have been given some jazz cd's from a friend of Mrs cwarchc who's father died
> 
> 
> 
> 
> 
> 
> 
> 
> This is one of them
> There are a couple of Eddie Calvert as well
> Very good of her to give them to me:tiphat:


IIRC Ray used Roy on this album...






Later edit. No, I was mistaken. That linked album's personnel is listed at this page...

http://en.wikipedia.org/wiki/Genius_+_Soul_=_Jazz


----------



## starthrower

Finally got this on CD. I've had a vinyl copy for about 30 years.


----------



## Jos

View attachment 56068


This may raise an eyebrow but I'll post it in the jazz-hole anyways. Some of the basslines are supergroovy; turntableism, spokenword, some hiphop of the non-gangsta variety. Great improvisations.

Cold crush cuts ; coldcut meets dj Krush meets Dj Food fight and vadim and Cam, triple vinyl, on one of my favourite non-classical labels: Ninja tunes. Check it out !


----------



## JACE

Now spinning a Woody Shaw Muse LP from '81:










*Woody Shaw with Anthony Braxton - The Iron Men*

Check out the RIDICULOUS line-up of musicians on these sessions:
- Woody (trumpet, cornet & fluegelhorn)
- Arthur Blythe (alto sax)
- Anthony Braxton (alto & sop sax)
- Muhal Richard Abrams (piano)
- Cecil McBee (bass)
- Joe Chambers (drums)
- Victor Lewis (drums)


----------



## starthrower

^^^
I've never seen that one before. A fantastic line-up! Muse was a great label.


----------



## JACE

starthrower said:


> ^^^
> I've never seen that one before. A fantastic line-up! *Muse was a great label.*


Yeah, Muse was a great label. It's a shame that so many of those recordings are out of print.

After hearing *Arthur Blythe* on that Woody Shaw record, I pulled out this one:










_*Light Blue: Arthur Blythe Plays Theolnious Monk*_


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## starthrower

I snapped up a bunch of the re-issues on Joel Dorn's old label, 32Jazz. And several years back Dusty Groove got hold of a bunch of the original CDs they were selling for 5 bucks.

I have Blythe's live CD Retroflection, which is excellent. A while back I read that he wasn't in very good health.


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## JACE

starthrower said:


> I snapped up a bunch of the re-issues on Joel Dorn's old label, 32Jazz. And several years back Dusty Groove got hold of a bunch of the original CDs they were selling for 5 bucks.


Yep. Me too.  Especially Woody Shaw & Pat Martino.



starthrower said:


> I have Blythe's live CD Retroflection, which is excellent. A while back I read that he wasn't in very good health.


IIRC, he has Parkinson's Disease. Horrible.


----------



## starthrower

When I was in my early 20s about 30 years ago, I stopped into an old city music store. The kind with creaky wood floors, loads of sheet music, instruments, and vinyl records. That's where I bought Pat Martino's Live, and Consciousness. Later got the 32Jazz double CD. Sorry to hear about Blythe suffering with Parkinson's. That's a bummer.

I'm also a big Mark Murphy fan. Love his Muse stuff. He's from my hometown. A jazz legend, but probably most people here never heard of him.


----------



## JACE

starthrower said:


> When I was in my early 20s about 30 years ago, I stopped into an old city music store. The kind with creaky wood floors, loads of sheet music, instruments, and vinyl records. That's where I bought Pat Martino's Live, and Consciousness. Later got the 32Jazz double CD.


LOVE those two Martino records!!! :cheers:



starthrower said:


> I'm also a big Mark Murphy fan. Love his Muse stuff. He's from my hometown. A jazz legend, but probably most people here never heard of him.


Murphy is someone that I've always meant to investigate, but I've not got 'round to it. Where would you suggest that I begin?


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## starthrower

JACE said:


> Murphy is someone that I've always meant to investigate, but I've not got 'round to it. Where would you suggest that I begin?


I would suggest grabbing a used copy of the 2 CD set Stolen and Other Moments on 32Jazz. It features loads of great material and performances displaying Murphy's diversity and love for bebop, post-bop, Brazilian, and his beat inspirations coming from Jack Kerouac. Here's a few great tracks from this collection.
















The YouTube sound on this last one is crappy, but the CD sounds better.

My other favorite 32Jazz collection is Songbook, but that one is a bit more expensive. Mark Murphy is definitely an eccentric personality, but he's a great singer, and a unique artist.


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## starthrower

Here's a favorite performance from the Mark Murphy Songbook collection. I actually have a copy of the original CD pictured here. Got it from the radio station where I used to do my jazz show.


----------



## Vaneyes

For those interested, an article, "Where Jazz Meets Classical".

http://www.theguardian.com/music/to...-best-jazz-meets-classical-pieces-tom-service


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## JACE

starthrower said:


> I would suggest grabbing a used copy of the 2 CD set Stolen and Other Moments on 32Jazz. It features loads of great material and performances displaying Murphy's diversity and love for bebop, post-bop, Brazilian, and his beat inspirations coming from Jack Kerouac.


Added this to my "to get" list. Thanks for the recommendation, starthrower. 

BTW: These YT tracks sound great!


----------



## starthrower

The Jazz Standards double CD is also excellent. That one is going for around 15 dollars. There's a great version of Lee Morgan's Ceora, and McCoy Tyner's Effendi.


----------



## JACE

*Steve Kuhn - Remembering Tomorrow*
with David Finck and Joey Baron

In my book, this CD earns 10 stars out of 10. One of my favorite records.

I hadn't listened in a while, and it walloped me again.


----------



## Albert7

Lately I've been on a Blue Note Dexter Gordon kick .

Seriously eyeing that complete Bill Evans Verve box set to download on iTunes.


----------



## Blake

Jamming some Kreisberg - _The South of Everywhere._ Way clean.









Hekselman - _Splitlife._ Way cool.


----------



## Blake

A little Mike Moreno - _First in Mind._ There are quite a few great jazz guitarist about today.


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## JACE

Vesuvius said:


> A little Mike Moreno - _First in Mind._ There are quite a few great jazz guitarist about today.
> 
> View attachment 56490


I dig Moreno. He always sounds good. Very musical.


----------



## Blake

JACE said:


> I dig Moreno. He always sounds good. Very musical.


One of my favorites. Not as stiff as some others I've heard, but he still retains that fresh, cooly-detached jazziness.


----------



## Blake

Or some Adam Rogers Quartet at The Baked Potato playing around on a Coltrane standard.






And some Julian Lage (another world-class player)


----------



## SimonNZ

playng:










Donald Byrd - Places And Spaces (Blue Note, 1975)


----------



## Albert7

SimonNZ said:


> playng:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Donald Byrd - Places And Spaces (Blue Note, 1975)


Oh my... I love this album. Plus this was sampled by Pete Rock!


----------



## Blake

Another splash of Moreno. This is tasteful stuff.


----------



## JACE

Earlier:








*Dave Douglas - In Our Lifetime*

Now playing:








*Kenny Drew & Niels-Henning Ørsted Pedersen - Duo*


----------



## SimonNZ

^I keep meaning / wanting to get a handle on the NHOP discography. Any particular favorites?


----------



## JACE

SimonNZ said:


> ^I keep meaning / wanting to get a handle on the NHOP discography. Any particular favorites?


I love the music that NHOP made with Kenny Drew. They made three excellent duo records together: _Duo_, _Duo 2_, and _Duo Live in Concert_. But I think their best stuff is the trio records with Tootie Heath. Incidentally, this trio was the "house rhythm section" for the Cafe Montmartre in Copenhagen for many years. So their playing is near-telepathic. 

You might start with either _Dark Beauty_ or _If They Could See Me Now_. These two recordings have also been collected in a 2-fer called _Dark and Beautiful_.


----------



## JACE

Now playing Kenny Burrell's classic _Ellington is Forever, Vol. 1_:


----------



## cwarchc

another trip to Saturn


----------



## SimonNZ

Donald Byrd - Royal Flush (Blue Note, 1961)


----------



## Blake

Jonathan Kreisberg Group - _Twenty-One._ Excellent group. Most excellent guitarist. He's up there with Moreno for me.


----------



## Blake

Carrying on... Brad Mehldau Trio - _Ode._


----------



## starthrower




----------



## Blake

This Mehldau guy is really excellent. It's funny I'm just now getting into his stuff.


----------



## Blake

Does anyone know of other great active contemporary piano players besides Mehldau and Parks? I'm really in a piano dig lately. Particularly with trios, quartets, quintets, etc...


----------



## starthrower

Matthew Shipp, who is probably considered to be in the avant garde bag. There are quite a few excellent pianists recording for ECM. Craig Taborn, who is progressive. And there's the more mellow stuff. Julia Hulsmann, Marcin Wasilewski. And long time Swedish pianist Bobo Stenson. His CD Cantando, I can recommend strongly. The rhythm section is great. I love the drummer.


----------



## Blake

starthrower said:


> Matthew Shipp, who is probably considered to be in the avant garde bag. There are quite a few excellent pianists recording for ECM. Craig Taborn, who is progressive. And there's the more mellow stuff. Julia Hulsmann, Marcin Wasilewski. And long time Swedish pianist Bobo Stenson. His CD Cantando, I can recommend strongly. The rhythm section is great. I love the drummer.


Thanks, star. I'll check those guys out. I also came across Vijay Iyer. Pretty cool stuff.


----------



## starthrower

I bought the wrong album by Iyer. A jazz/Indian hybrid called Tirtha. The magic just isn't there on the studio recording.

I'll tell you about a guy who is very inspiring to listen to. His name is DD Jackson. He has some of that heavy percussive element, because he was a big Don Pullen fan, but he plays very soulfully. His debut album Peace Song w/ David Murray is fantastic. And his follow up trio album Rhythm Dance is also excellent. It has a big sound with a lot of vitality. No cocktail music here.


----------



## starthrower

One other pianist I'll mention is Patricia Barber. I think she's one of the most talented artists I've encountered in the past 15 years. She is also a great singer with a deep, dark, sexy voice, and she's a brilliant writer as well. She usually plays with a quartet including guitar, and the music is cutting edge and progressive, but still retains deep jazz roots. Just the way she can deliver a lyric is devastating.

Some people don't like her because they think she is too brainy, condescending, or whatever. But I think she's great! I would recommend her excellent live album, A Fortnight In France, for starters. Here's the lead off track.


----------



## Blake

Barber is awesome, no doubt. I love her voice.


----------



## starthrower

I don't know if you're a fan of the eccentric Brazilian pianist, flutist, guitarist, Hermeto Pascoal, but many of his great 70s albums that were selling for ridiculous prices on Amazon, are now available super cheap at CD Japan. I just picked up another one I didn't have. But so far, Slaves Mass, and Zabumbe-Bum-A are my favorites. http://www.cdjapan.co.jp/products?q=hermeto+pascoal


----------



## Blake

I'll have to give that a look.

I've been digging more into Iyer's stuff. I know it can be controversial, but I think he's quite awesome.


----------



## starthrower

Will give some of that a listen, thanks!


----------



## JACE

Vesuvius said:


> Does anyone know of other great active contemporary piano players besides Mehldau and Parks? I'm really in a piano dig lately. Particularly with trios, quartets, quintets, etc...


Here are a few of my favorite piano TRIO recordings from the last ten years or so:
- Orrin Evans - _Flip the Script_ (Posi-Tone) 
- Bill Carrothers - _Castaways_ (Pirouet)
- Marc Cary - _Focus_ (Motema)
- Brazilian Trio - _Constelação_ (Motema) - featuring Helio Alves on piano
- Marc Copland - _Modinha-New York Trio Recordings, Vol. 1_ (Pirouet)
- Luis Perdomo - _Universal Mind_ (Now Forward Music)
- Kenny Werner - _Peace_ (Half Note)
- Mad Vinding - _Open Minds_ (Storyville) - featuring Jean-Michel Pilc on piano
- Denny Zeitlin - _Denny Zeitlin Trio featuring Buster Williams and Matt Wilson_ (Sunnyside)
- Steve Kuhn - _Live at Birdland_ (Blue Note)
- Joachim Kühn, Jean-François Jenny-Clark, Daniel Humair - _Usual Confusion_ (Label Bleu)
- Bobo Stenson - _Cantando_ (ECM)
- Richie Beirach - _Manhattan Reverie_ (Venus)
- Frank Kimbrough - Lullabluebye (Palmetto)

This is a mixture of older and younger guys. But they're all still active, still making great music.


----------



## JACE

Vesuvius said:


> I'll have to give that a look.
> 
> I've been digging more into Iyer's stuff. I know it can be controversial, but I think he's quite awesome.


I like Iyer. He's a VERY interesting pianist, and he writes great compositions.

His touch isn't the greatest. But touch isn't everything.


----------



## Blake

JACE said:


> Here are a few of my favorite piano TRIO recordings from the last ten years or so:
> - Orrin Evans - _Flip the Script_ (Posi-Tone)
> - Bill Carrothers - _Castaways_ (Pirouet)
> - Marc Cary - _Focus_ (Motema)
> - Brazilian Trio - _Constelação_ (Motema) - featuring Helio Alves on piano
> - Marc Copland - _Modinha-New York Trio Recordings, Vol. 1_ (Pirouet)
> - Luis Perdomo - _Universal Mind_ (Now Forward Music)
> - Kenny Werner - _Peace_ (Half Note)
> - Mad Vinding - _Open Minds_ (Storyville) - featuring Jean-Michel Pilc on piano
> - Denny Zeitlin - _Denny Zeitlin Trio featuring Buster Williams and Matt Wilson_ (Sunnyside)
> - Steve Kuhn - _Live at Birdland_ (Blue Note)
> - Joachim Kühn, Jean-François Jenny-Clark, Daniel Humair - _Usual Confusion_ (Label Bleu)
> - Bobo Stenson - _Cantando_ (ECM)
> - Richie Beirach - _Manhattan Reverie_ (Venus)
> - Frank Kimbrough - Lullabluebye (Palmetto)
> 
> This is a mixture of older and younger guys. But they're all still active, still making great music.


Thanks, Jace. Looks like I'll have my hands full for a bit. :tiphat:



JACE said:


> I like Iyer. He's a VERY interesting pianist, and he writes great compositions.
> 
> His touch isn't the greatest. But touch isn't everything.


Yea, I've heard some complaints regarding his lack of swing, as if he might be a bit too "intellectual" for some. But like most, you either dig or you don't. I think he's excellent.


----------



## starthrower

Here's what I ended up getting from CD Japan:

[CD] Dizzy Gillespie / Gettin' Dizzy [2CD/Import Disc]

[CD] George Russell / The Jazz Workshop +2 [Limited Pressing]

[CD] Bobby Hutcherson / Patterns +1 [Limited Low-priced Edition]

[CD] Bobby Hutcherson / Medina [Limited Low-priced Edition]

[CD] Andrew Hill (Pf) / Lift Ebery Voice +6 [SHM-CD]

[CD] Steve Kuhn / Trance [SHM-CD]

[CD] Hermeto Pascoal / Festa Dos Deuses [Limited Release]


----------



## starthrower

I like Kenny Werner a lot. I used to listen to him with Joe Lovano. And there's a great old Peter Erskine album he's on w/ Lovano, Marc Johnson, and John Scofield called Sweet Soul. 

Speaking of Lovano and albums with soul in the title, this reminds me of his album From The Soul with the late great Ed Blackwell, and Michel Petrucciani on piano. Those early 90s Lovano albums including Landmarks, and Universal Language are favorites.

Another great album from those days is by the late pianist Don Grolnick titled Weaver Of Dreams. He was a great writer too. His tune Nothing Personal is a favorite.


----------



## Blake

Mehldau has really been impressing the hell out of me.


----------



## Albert7

Listening to Andrew Hill's Passing Ships on the fairly rare Blue Note Connoisseur label.









Honestly I am a huge fan of the 1950's-1970's Blue Note label. Hard core stuff along with Impulse and OJC label stuff. I would listen to more updated jazz if I had more time but amongst listening to pop and rock and classical there is only so much that I can absorb.

This disc is out of print so I recommend YouTube or hunting a used copy from Amazon. It's a treasure.


----------



## JACE

albertfallickwang said:


> Listening to Andrew Hill's Passing Ships on the fairly rare Blue Note Connoisseur label.
> 
> View attachment 56856


Possibly my favorite Andrew Hill record. 

Joe Farrell sounds so good on that record too. In my book, he's a heavyweight, a *great* jazz musician -- even though no one seems to talk about him.


----------



## Albert7

JACE said:


> Possibly my favorite Andrew Hill record.
> 
> Joe Farrell sounds so good on that record too. In my book, he's a heavyweight, a *great* jazz musician -- even though no one seems to talk about him.


Me too. I only heard one other Hill record but this one is a classic. Got it ripped into Apple Lossless and it's a beauty. I still have to rip a rare Ike Quebec CD later on tonight when I get home. And Charles Mingus solo on a piano which is so exquisite.


----------



## Blake

albertfallickwang said:


> Listening to Andrew Hill's Passing Ships on the fairly rare Blue Note Connoisseur label.
> 
> View attachment 56856
> 
> 
> Honestly I am a huge fan of the 1950's-1970's Blue Note label. Hard core stuff along with Impulse and OJC label stuff. I would listen to more updated jazz if I had more time but amongst listening to pop and rock and classical there is only so much that I can absorb.
> 
> This disc is out of print so I recommend YouTube or hunting a used copy from Amazon. It's a treasure.


That era of Blue Note is teaming with gems. If you're also a fan of trumpet players, Lee Morgan was ripping on this label in the 60s.


----------



## Albert7

Vesuvius said:


> That era of Blue Note is teaming with gems. If you're also a fan of trumpet players, Lee Morgan was ripping on this label in the 60s.


Oh yeah, "The Sidewinder" is a classic album. Also early Donald Byrd and Freddie Hubbard too.
Sadly enough, too many people in my generation don't know about the true gems from this time period.

Also I still have to rip the complete Riverside T.S. Monk albums (15 discs) onto my Dell laptop. I am not looking forward to the ripping process but I can't wait to hear the results of that one.


----------



## Blake

albertfallickwang said:


> Oh yeah, "The Sidewinder" is a classic album. Also early Donald Byrd and Freddie Hubbard too.
> Sadly enough, too many people in my generation don't know about the true gems from this time period.
> 
> Also I still have to rip the complete Riverside T.S. Monk albums (15 discs) onto my Dell laptop. I am not looking forward to the ripping process but I can't wait to hear the results of that one.


Monk is my man. I remember his wise words I heard on an interview once - "I'm famous? Aint that a b**ch."


----------



## JACE

Now listening to one of my favorite trios:










*The Brazilian Trio - Forests (Zoho)*
Duduka Da Fonseca (d); Helio Alves (p); Nilson Matta (b)


----------



## starthrower

I also love Passing Ships. And Dance With Death. I'm a big Joe Farrell fan too. He played quite a bit with Chick Corea, and Elvin Jones. Earlier this year I bought about half a dozen Elvin Jones Blue Note CDs from CD Japan. The trio album with Farrell is great! But sadly, Farrell died rather young. I think he had drug addiction issues.

There's a lot of great stuff on the Andrew Hill Mosaic Select 3 disc set. It's probably out of print by now, but my library has a copy.


----------



## starthrower

Here's a rare one from the Muse label. I've never seen it on CD.


----------



## Blake

A little Bill Evans. Interview and concert.


----------



## Blake

Brad Mehldau Trio... live. This is an extraordinary trio.


----------



## Blake

Bobo Stenson Trio... live... in the forest. Pretty sweet, indeed.


----------



## Albert7

Going to encode a few jazz records tonight into ALAC including this relatively underrated jazz debut by the great Cecil Taylor entitled Jazz Advance... this appeared before the controversial Unit Structures appears.


----------



## Jos

View attachment 57249

Groovin high, Dizzy Gillespie
Savoy USA, recordings from 1944/1945.

View attachment 57250

Walkin', Miles Davis
1957 Prestige compilation, recordings from 1954


----------



## JACE

NP:








*Wynton Marsalis - Unforgivable Blackness: The Rise and Fall of Jack Johnson*


----------



## Albert7

Encoding this relatively unknown classic from the Blue Note values... Kenny Dorham's Una Mas which I really dig.









Tragic that Dorham didn't live very long.


----------



## JACE

albertfallickwang said:


> Encoding this relatively unknown classic from the Blue Note values... Kenny Dorham's Una Mas which I really dig.
> 
> View attachment 57276


Yeah!!! KD is awesome. IIRC, Art Blakey called Dorham the "uncrowned king of jazz trumpet"!

I'm now listening to Jim Snidero's _Stream of Consciousness_:










Really enjoying this!


----------



## jim prideaux

there must be someone out there in Jazz Hole land with an interest in Marcin Wasilewski's new album 'Spark of Life'-suffice to say it maintains the high standards set by previous recordings!


----------



## jim prideaux

starthrower said:


> I like Kenny Werner a lot. I used to listen to him with Joe Lovano. And there's a great old Peter Erskine album he's on w/ Lovano, Marc Johnson, and John Scofield called Sweet Soul.
> 
> Speaking of Lovano and albums with soul in the title, this reminds me of his album From The Soul with the late great Ed Blackwell, and Michel Petrucciani on piano. Those early 90s Lovano albums including Landmarks, and Universal Language are favorites.
> 
> Another great album from those days is by the late pianist Don Grolnick titled Weaver Of Dreams. He was a great writer too. His tune Nothing Personal is a favorite.


just to lend my support to this observation about 'Sweet Soul'-it is a tremendous album with an impressive variation in line up, composition and atmosphere-not directly relevant but Erskine also made some superb trio albums for ECM where the pianist John Taylor really does shine!


----------



## Jos

View attachment 57319


Bill Evans at the Montreux Jazz Festival
Verve, 1968

View attachment 57321


More Montreux:
Count Basie Jam Session 
Pablo Records 1975


----------



## JACE

Listening to the late, great Johnny Griffin:










*Johnny Griffin - You Leave Me Breathless (Black Lion)*
Recorded at the Cafe Montmartre in Copenhagen in March 1967; with Kenny Drew (p), Niels-Henning Ørsted Pedersen (b), and Albert "Tootie" Heath (d). Superlative jazz.


----------



## JACE

jim prideaux said:


> there must be someone out there in Jazz Hole land with an interest in Marcin Wasilewski's new album 'Spark of Life'-suffice to say it maintains the high standards set by previous recordings!


I've not heard the new one. But I do like their album _January_.


----------



## Jos

JACE said:


> Listening to the late, great Johnny Griffin:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *Johnny Griffin - You Leave Me Breathless (Black Lion)*
> Recorded at the Cafe Montmartre in Copenhagen in March 1967; with Kenny Drew (p), Niels-Henning Ørsted Pedersen (b), and Albert "Tootie" Heath (d). Superlative jazz.


Niels Pedersen also plays on that Basie Montreux album.


----------



## JACE

More from the Montmartre. Via Spotify:










*Eddie Gomez & Carsten Dahl - Live at Montmartre (Storyville, 2014)*


----------



## starthrower

Anybody planning on picking up any of the new Black Saint/Soul Note box sets. This latest round carries higher list prices. I'm gonna wait it out for a good price and hopefully pick up the Steve Lacy set. http://www.camjazz.com/boxsets.html/


----------



## grimtraveller

Simon Moon said:


> Mahavishnu Orchestra - One Word


Although it's by no means one of the better tracks on "Birds of fire", it has the distinction of being the first Mahavishnu piece I ever heard. I was at my mate's house, waiting for him to get out of the bath and I was looking through his record collection and I liked the cover. For a jazz or even fusion cover, it seemed much more inventive than most that I'd seen and that made me want to listen. Nearly every time I've been attracted to an album because of it's cover, it's turned out to be a good, great or outstanding one.
As it happens, I put the wrong side on first !
But I was sufficiently impressed by "One word" to listen to the rest of the album and it absolutely knocked me for six {apart from the sound effects track}. Along with Robbie Steinhardt of Kansas, Jerry Goodman is responsible for turning me onto the violin in a rock/jazz setting and watching him in these two clips, it's hard to believe him when he says he never really had any confidence in his playing and often felt lost on stage in this period.
And watching Rick Laird reconfirms for me why, on record at least, he was, for me anyway, the premier jazz rock bass player ~ he was no flashy soloist ! His 'solo' here isn't much. Holding everything together was much more his forté ! Whether on double bass or bass guitar he usually played attractive lines that propelled and enhanced rather than dominated or called attention to themselves.
Funnily enough, 30 years after first hearing the album, I still listen to side 2 first, starting with "One word."


----------



## grimtraveller

cwarchc said:


> another trip to Saturn
> 
> View attachment 56582


:lol: I remember seeing him and the Arkestra when they came to London in the autumn of 1983. They played a three hour gig in two parts and finished so late my pal and I had to walk miles home because all the buses and trains had long stopped running !
But they were insane !! I had never seen a group like that and I haven't since. The singers, the dancers, the band, Sun Ra himself {he looked old _then_ but his energy put me to shame and I was 20 and a regular footballer!}, they put flesh on the bones of the word "intense." They were just so funny at points but they could really play and sing and they communicated every feeling and emotion possible through their spectacle. When they introduced "Nuclear war" as their new single, it was hard to work out if it was humour or if it really _was _a single ! In any event, I laughed {and not for the first time that night}. 
They were also incredibly loud, not just in their costumes, but volume wise. Being near the front, they came across almost as loud as AC/DC ! Whoever would've guessed a brass blast could be so painful to stand in front of ?
Not a band I could watch every night, they nonetheless left an indelible mark on my psyche, not least the double bass player bouncing around on his instrument like a pogo stick as he played {he was pretty old looking too !}. How it remained in one piece, I'm sure no one knows for sure !


----------



## Albert7

Blasting to one of the 5 most important jazz albums of all time... Ornette Coleman's Free Jazz which was just as revolutionary as Arnold Scheonberg.


----------



## starthrower

Pat Metheny At Newport


----------



## SimonNZ

The Art Tatum Group Masterpieces Vol.1


----------



## Albert7

SimonNZ said:


> The Art Tatum Group Masterpieces Vol.1


Ooooooooo... part of huge box set too...


----------



## Buddha

Hi, Alypius! Folks, Alypius' playlist threads are fantastic. I always try to accumulate his Best of (Whatever Year) he posts over on All About Jazz. Great stuff!

That having been said, I've really enjoyed Angels 9 album Injuries from this year. There's a great sample of their work on YouTube, the cut _In Our Midst_ in a live performance.


----------



## Albert7

Going to blast this later on tomorrow I think:









A true gem remastered for the ages. Her voice is quite an exceptional feat.


----------



## JACE

Two records featuring one of my favorite pianists: *Larry Willis*.









*Jerry Gonzalez & the Fort Apache Band - Fire Dance*
A live record from Blues Alley in Washington, D.C.









*Larry Willis - Steal Away*
with Gary Bartz & Cecil McBee


----------



## JACE

*Ron Carter & Jim Hall - Telepathy*

Unbelievable duo music.


----------



## SimonNZ

The Art Tatum Group Masterpieces Vol.2


----------



## JACE

SimonNZ said:


> The Art Tatum Group Masterpieces Vol.2


Roy Eldridge is the one of _baddest_ trumpeters ever!!!


----------



## Blake

Another round of Mehldau. I can't get enough of this guy. His technique and style are right up my alley. A bit impressionistic, yet undeniably precise.


----------



## SimonNZ

Lee Morgan - Live At The Lighthouse

Absolutely superb! An exciting and adventurous album that deserves to be much more widely known!


----------



## starthrower

^^^
Yeah! Good stuff. But it never seems to be in print.


----------



## Blake

Metheny Mehldau Quartet. Metheny is quite the admirer of Mr. Mehldau. I'm sure it goes both ways.


----------



## starthrower




----------



## norman bates

A great and very dark rendition of Angel eyes made by Ran Blake and Christine Correa. As always with Blake the music sounds like a cross of jazz and classical music, but fortunately in a good way. And Christine Correa deserves to be much more well known (she reminds me a bit of the great Jeanne Lee, another singer who has collaborated in the past with Blake).


----------



## brotagonist

I'm listening to a couple of jazz albums today (I posted Cab Calloway, the swing bandmaster, on the non-classical thread: he should have been here).

Next up:









Miles Davis Kind of Blue

I don't put Miles on a pedestal, like many do, but this album is a classic. I do really like his Bitches Brew era, though.









Duke Ellington Intimacy of the Blues

This less known album is quite a treasure.


----------



## starthrower

norman bates said:


> A great and very dark rendition of Angel eyes made by Ran Blake and Christine Correa. As always with Blake the music sounds like a cross of jazz and classical music, but fortunately in a good way. And Christine Correa deserves to be much more well known (she reminds me a bit of the great Jeanne Lee, another singer who has collaborated in the past with Blake).


Good stuff! I'm embarrassed to say that after 32 years of collecting jazz recordings, I have nothing by Ran Blake. I should have grabbed the Hatology CD when it was selling cheap.


----------



## norman bates

starthrower said:


> Good stuff! I'm embarrassed to say that after 32 years of collecting jazz recordings, I have nothing by Ran Blake. I should have grabbed the Hatology CD when it was selling cheap.


You know when people starts looking for dark/noir jazz? It seems to me that he should be like the first musician to be mentioned.
All I've heard of him has deliberately that cinematographic feel, Blake is a movie buff with a passion for noir and thriller movies and he often try to recapture that kind of atmosphere and often his music is nearly atonal. 
If you're interested to listen something I don't pretend to say that it's his best album because I don't know a lot of his music, but his Short life of Barbara Monk is a very good introduction (Thelonious was a friend of him and a fan of his music).


----------



## SimonNZ

Bobby Hutcherson - Spiral (1968)










McCoy Tyner - Expansions (1968)


----------



## Albert7

I plan on tonight and tomorrow listening to the two discer of the Ahmad Jamal Trio (early stuff):









I really enjoyed his album on Impulse called The Awakening. Now if only I could find my lost box set of the complete Herbie Hancock on Blue Note.


----------



## SimonNZ

Lee Morgan - City Lights (1957)










Oliver Nelson - Straight Ahead (1961)


----------



## starthrower

^^^
Love that Oliver Nelson album! Especially Dolphy's solo on Ralph's New Blues.


----------



## starthrower

Beautiful album by Steve Kuhn w/ Jack DeJohnette and Steve Swallow
plus some additional percussion.


----------



## Albert7

Planning to spin this classic tomorrow or the next day for Izzy:


----------



## Simon Moon

Give this a listen and let me know what your opinions are.






I think the it's a killer.


----------



## Blake

Bobo Stenson - _Goodbye._ The Swedish tend to play a sparse and spacious style of jazz. Really great stuff.


----------



## starthrower

Simon Moon said:


> Give this a listen and let me know what your opinions are.
> 
> 
> 
> 
> 
> 
> I think it's a killer.


Craig Taborn is great! Some pretty cool lines they're playing in unison. Tim Berne is from my hometown, but he's never been asked to come back here and play. Pretty sad.


----------



## millionrainbows

Mike Stern...the track "Showbiz" stands out.










Also, this video:


----------



## Blake

Marcin Wasilewski - _January._ Another subtle invention.


----------



## SONNET CLV

Through headphones, I'm currently enjoying track 6 -- "Where It Comes From" -- on Michelle Rosewoman's 1994 trio session "Live at the Festival International de Jazz de Montreal" Bluenote release titled _Spirit_.










A stunning album, this is one I've turned to often over the years. Rosewoman has a masterful technique for both straight ahead jazz standards and more innovative, funky stylings. And she sings, too, though not too much on this particular outing. She's accompanied by Kenny Davis on double bass and Gene Jackson on drums. Both supporting musicians prove capable of keeping up with Ms. Rosewoman's estimable "chops". There are some fine bass and drum solos peeking through the mix, but overall this is a well-blended trio set featuring Ms. Rosewoman's song introductions and audience applause.

Songs include Herbie Hancock's "Dolphin Dance" and the Segal/Fisher "When Sunny Gets Blue" as well as several Rosewoman originals. Great stuff.

One to check out, all you lovers of jazz piano trios.


----------



## starthrower

^^^
She is a great musician! I picked up one of her albums last spring.










This one is very diverse, featuring a host of excellent players.


----------



## Simon Moon

From France...

The Forgas Band Phenomena


----------



## starthrower

Just discovered these cats! The sound is great on this too.

[YT]v=-aaV5Alxky8#t=210[/YT]


----------



## JACE

starthrower said:


> Just discovered these cats! The sound is great on this too.
> 
> [YT]v=-aaV5Alxky8#t=210[/YT]


Yeah, Kreisberg is great. I dig Will Vinson, the alto player, too.


----------



## starthrower

Yeah, I dug the altoist too! Don't know why I never heard these guys before? Maybe Kreisberg has been overshadowed by Kurt Rosenwinkel, who gets more press coverage?

NP:










I've been meaning to pick up this album for years. Finally got it!


----------



## Simon Moon

Some unapologetic fusion.

Alex Machacek (guitar), Jeff Sipe (drums), and Matthew Garrison (bass) play "There's a new Sheriff in Town" from the 2007 album, "Improvision".

It really starts to 'swing' at 1:40.


----------



## Blake

starthrower said:


> Yeah, I dug the altoist too! Don't know why I never heard these guys before? Maybe Kreisberg has been overshadowed by Kurt Rosenwinkel, who gets more press coverage?


I've been posting about Kreisberg for months, haha. So many good things are being posted around here that things often get overlooked. Mike Moreno is another great... might want to check him out, as well.


----------



## starthrower

This is some very interesting jazz composition/improv.


----------



## Albert7

This is such a classic album that I must recommend to any jazz listener this round:









Gil Evans Orchestra is flawless and this compares to Stan Kenton's finest work.


----------



## starthrower

Bobby Hutcherson-Patterns Japanese issue
Features James Spaulding on alto sax & flute


----------



## JACE

starthrower said:


> Bobby Hutcherson-Patterns Japanese issue
> Features James Spaulding on alto sax & flute


FANTASTIC! 
:cheers:


----------



## starthrower

Yeah! Some beautiful ballads on this one. Hutcherson rarely ever disappoints. Have you ever heard his mid 80s Latin album, Ambos Mundos? It features some terrific playing on both vibes and marimba, and some great material.


----------



## JACE

starthrower said:


> Yeah! Some beautiful ballads on this one. Hutcherson rarely ever disappoints. Have you ever heard his mid 80s Latin album, Ambos Mundos? It features some terrific playing on both vibes and marimba, and some great material.


I pretty much have EVERY Bobby Hutcherson album! 

Years ago, I collected all of his records when I built my Bobby Hutcherson website:
http://www.musicweb-international.com/jazz/Hutcherson/


----------



## starthrower

Cool! I heard he has a bad case of Emphysema. I hope he sticks around for a while. He's one of a kind.


----------



## Blake

Marcin Wasilewski - _Trio._ 








Jacob Young - _Sideways._


----------



## brotagonist

I enjoyed this earlier. I have known the album, one of Ella's lesser known gems, since the '70s. I'm not big on blues music, but Ella can do anything and I'll let her


----------



## SimonNZ

The Art Tatum Group Masterpieces Volume 3


----------



## starthrower

Beautiful Peter Erskine ballad w/ some exotic guitar from Nguyen Le.


----------



## brotagonist




----------



## SimonNZ

The Art Tatum Group Masterpieces Vol.4


----------



## starthrower

I can't believe I waited so long to pick up this great album. But I just never got around to it. The title track really knocked me out! Hubbard's playing is phenomenal. And it's such an interesting composition. And my man James Spaulding is playing great as always on alto sax and flute. I don't think I've ever heard Ronnie Mathews before, but I love his playing too. Definitely a keeper!


----------



## SimonNZ

The Art Tatum Group Masterpieces Vol.5


----------



## JACE

Been enjoying this CD tonight:










*Joe Lovano - Joyous Encounter*
with Hank Jones, George Mraz, and Paul Motian


----------



## Albert7

starthrower said:


> Bobby Hutcherson-Patterns Japanese issue
> Features James Spaulding on alto sax & flute


Ooooo I really like Bobby's vibe work. Thanks for sharing... is this on vinyl or CD?


----------



## starthrower

CD. I got it directly from CD Japan.


----------



## JACE

Speaking of Bobby Hutcherson, I've been listening to a CD from one of his "children" (in terms of musical influence only! ):










*Stefon Harris - A Cloud of Red Dust*


----------



## TurnaboutVox

*Red Hill*
Musicians: Wadada Leo Smith : Trumpet, Jamie Saft : Piano, Fender Rhodes, Joe Morris : Upright Bass, Balazs Pandi : Drums 
[RareNoise Records, 2014]


----------



## JACE

Now playing:










*Adam Rogers - Sight*
with John Patitucci and Clarence Penn


----------



## tortkis

JACE said:


> Speaking of Bobby Hutcherson, I've been listening to a CD from one of his "children" (in terms of musical influence only! ):
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *Stefon Harris - A Cloud of Red Dust*


Stefon Harris is an extremely talented musician. I was astonished when I first saw him in a concert with Milt Jackson and Bobby Hatcherson (3 generations of great Jazz vibraphonists!)


----------



## starthrower

Listening to The Hearinga Suite from this box.


----------



## SimonNZ

Ornette Coleman - Broken Shadows










Donald Byrd - Byrd In Hand










James Newton - Axum


----------



## JACE

SimonNZ said:


> Ornette Coleman - Broken Shadows
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Donald Byrd - Byrd In Hand
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> James Newton - Axum


Nice! Love those first two albums.

And I love James Newton too. But I've never heard _Axum_.

Now listening to some old-time New Orleans faves:










*Al Hirt - Pete Fountain Presents "The Best of Dixieland"*
Despite the cheese-ball/touristy packaging, this is some fine music.


----------



## aajj

SimonNZ said:


> Ornette Coleman - Broken Shadows


Broken Shadows is a classic! It's also available on the double CD, _The Complete Science Fiction Sessions._


----------



## SimonNZ

The Art Tatum Group Masterpieces Vol.6










Sun Ra - The Magic City










Cedar Walton - Cedar!


----------



## aajj

^^^ The Art Tatum album i love, from this "Group Masterpiece" series, is with Ben Webster.


----------



## starthrower

Slated for a January release in Europe, and March in the states.


----------



## starthrower

A link for some of the DeJohnette live performances in Chicago. I'm not sure if these will be on the CD?

https://www.newmusicusa.org/projects/jack-dejohnettes-made-in-chicago/


----------



## norman bates

starthrower said:


> Listening to The Hearinga Suite from this box.


Good album. And I remember also Blu blu blu as very good (I remember both albums in a poll of the best jazz albums of the eighties and nineties).


----------



## SimonNZ

Rahsaan Roland Kirk - The Inflated Tear


----------



## SimonNZ

aajj said:


> ^^^ The Art Tatum album i love, from this "Group Masterpiece" series, is with Ben Webster.


I don't know if you've seen it but those Tatum/Webster recordings are used to great effect in Woody Allen's seemingly forgotten but excellent film "September" - not just as soundtrack music but as lps playing in the scenes and being commented on, as well as reflecting back the emotion of the characters. I raced out and grabbed that album the day after I watched it.

...and I'd quite like to see that again now.


----------



## aajj

The lineup for Dejohnette's Chicago group has my mouth watering.

Love The Inflated Tear. My prized CD for Kirk contains Rip, Rig & Panic and Please Don't You Cry, Beautiful Edith on a single disc.

September is one of the few Woody Allen movies I have _not _seen. Had no idea Tatum and Webster were featured! Nobody and I mean nobody had a tone like Big Ben.


----------



## SimonNZ

aajj said:


> The lineup for Dejohnette's Chicago group has my mouth watering.
> 
> Love The Inflated Tear. My prized CD for Kirk contains Rip, Rig & Panic and *Please Don't You Cry, Beautiful Edith* on a single disc.
> 
> September is one of the few Woody Allen movies I have _not _seen. Had no idea Tatum and Webster were featured! Nobody and I mean nobody had a tone like Big Ben.


I've got Beautiful Edith lined up for my first listen tonight.










September is in the mould of Interiors and Another Woman (both of which I like very much), with a generous helping of added Chekhov.


----------



## aajj

Beautiful Edith is beautifully funky! Rip Rig & Panic is more out there. 

Of those three highly serious Woody movies, I have only seen Interiors and had mixed feelings. I prefer when he mixes the serious with the humorous, such as Crimes & Misdemeanors (which if you've seen, you know makes ample use of Schubert's final string quartet).


----------



## starthrower

A good friend of mine from the Netherlands, who is here visiting this week, stopped by last night. Just by coincidence, we also listened to some Roland Kirk.










And these too.

This Jarrett album is a marvel. Charlie Haden's bass fills the whole room with good vibes!










A favorite Sco album w/ Charlie Haden, Bill Frisell and Joey Baron.


----------



## brotagonist

This morning:









Billie Holiday Quintessential VI: 1938


----------



## brotagonist

Now:









"Cannonball" Somethin' Else

Last few Sundays, I've caught up on some non-classical music. Today has followed suit.


----------



## SimonNZ

Zoot Sims - If I'm Lucly










Ron Carter - Third Plane


----------



## starthrower




----------



## JACE

starthrower said:


> A good friend of mine from the Netherlands, who is here visiting this week, stopped by last night. Just by coincidence, we also listened to some Roland Kirk.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> This Jarrett album is a marvel. Charlie Haden's bass fills the whole room with good vibes!


Two of my all-time favorite records. :cheers:


----------



## aajj

SimonNZ said:


>


Rowles reminds me of one of my long time favorite albums. Webster has never been better, Mulligan is happily Mulligan and Rowles more than holds his own in this exalted company. The CD contains a slew of superb tracks not on the original release.


----------



## Vronsky

These days:


----------



## JACE

aajj said:


> Rowles reminds me of one of my long time favorite albums. Webster has never been better, Mulligan is happily Mulligan and Rowles more than holds his own in this exalted company. The CD contains a slew of superb tracks not on the original release.
> 
> View attachment 60302


Jimmy Rowles was such a wonderful pianist -- and so under-appreciated. Great to see other folks who dig what he did! I love that Mulligan/Webster record too. 

"For Lady Day" is my favorite Rowles record. Like "If I'm Lucky," it was released under Zoot Sims' name. But Rowles is the star of the show.


----------



## aajj

^^^ Rowles was so tasteful and i agree is under-rated. He belongs on a Billie tribute. He made some fine recordings with her in the '50s (despite her declining voice) during her Verve years, with Webster again by his side.

Speaking of which, Rowles is with Webster on the latter's At the Renaissance album. Jim Hall also appears on that one. The CD again includes a large amount of previously unissued and extremely worthy tracks.


----------



## JACE

aajj said:


> Speaking of which, Rowles is with Webster on the latter's At the Renaissance album. Jim Hall also appears on that one. The CD again includes a large amount of previously unissued and extremely worthy tracks.
> 
> View attachment 60306


Yes!!!! Great record! Rowles' solo on "Georgia on My Mind" is MAGIC!


----------



## aajj

^^^ I do believe the word "soulful" was invented for the Webster & Rowles solos on this track.


----------



## JACE

I'm now listening to Cedar Walton's _Spectrum_:


----------



## aajj

^^^ I notice the lineup includes the amazing Richard Davis on bass.

I have not heard Cedar Walton as a leader but with Art Blakey's Jazz Messengers, on albums Mosaic and Free For All with the likes of Freddie Hubbard and Wayne Shorter.... although i think the earlier Moanin', with Lee Morgan and others, is even better.

But my absolute favorite is the collaboration with Thelonious Monk.


----------



## SimonNZ

Damn, i want to hear some Art Blakey now - maybe The Witch Doctor

but playing now:










Barre Phillips - Mountainscapes










Archie Shepp and Niels-Henning Ørsted Pedersen - Looking At Bird


----------



## Piwikiwi

aajj said:


> Rowles reminds me of one of my long time favorite albums. Webster has never been better, Mulligan is happily Mulligan and Rowles more than holds his own in this exalted company. The CD contains a slew of superb tracks not on the original release.
> 
> View attachment 60302


If you like that then you should watch this. A live performance of the same group with (imho) Gerry's best solo.






Bonus video:


----------



## SimonNZ

^ That made me pause what I was listening to so I could watch this moment of magic again:


----------



## JACE

On the way into work today:










*The Best of Paul Desmond*
A compilation of tracks from his CTI recordings.


----------



## aajj

^^^ Ah yeah! I found that clip a couple of years ago of Mulligan & Webster on the Dinah Shore tv show doing "Who's Got Rhythm." The funny thing is, in the notes to the reissue of _Gerry Mulligan Meets Ben Webster_, Mulligan makes a point of saying they never appeared on the show, that it was scheduled and got canceled. I guess his memory failed him.

That "Fine and Mellow" from _The Sound of Jazz _features a once-in-history lineup of legends - on mainstream CBS television!

Never heard of the Archie Shepp and Niels-Henning Ørsted Pedersen album. Pedersen is another guy with a Ben Webster connection, playing and recording with him in the '60s. On this great live album, for example.


----------



## tortkis

SimonNZ said:


> Damn, i want to hear some Art Blakey now - maybe The Witch Doctor
> 
> but playing now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Barre Phillips - Mountainscapes
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Archie Shepp and Niels-Henning Ørsted Pedersen - Looking At Bird


That Shepp/Pedersen duo is really lovely. Now listening to _Confirmation_.

I have a couple of Barre Phillips's bass solo albums but don't have _Mountainscapes_. It looks nice.


----------



## SimonNZ

Leo Smith - Divine Love










Don Cherry - Brown Rice


----------



## Piwikiwi

If anyone is looking for a great Gerry Mulligan album then I highly recommend this one:










Recorded in the Concert Gebouw in the 50's and it features a pianoless sextet with Zoot Sims and Bob Brookmeyer. I've collected all recordings of that group and this is one of their last recordings and by far the most energetic.

Not on this recoding but this is a great arrangement of Debussy's - La plus que lente by the same group


----------



## SimonNZ

Mal Waldron - Free At Last

ECM's first release. I'd always heard this dismissed as an inauspicious start for the label, but it seems a good strong trio session to me now, even if its not characteristic of what would quickly become known as the ECM sound


----------



## Albert7

Trying to hunt this album


----------



## SimonNZ

Enrico Rava - The Pilgrim And The Stars










Billy Harper - Black Saint










Tete Montoliu - Catalonian Fire










Julian Priester - Love, Love


----------



## norman bates

SimonNZ said:


> Mal Waldron - Free At Last
> 
> ECM's first release. I'd always heard this dismissed as an inauspicious start for the label, but it seems a good strong trio session to me now, even if its not characteristic of what would quickly become known as the ECM sound


I'd like to hear it again, I remember that I liked it very much and one of the reasons is exactly that it does not have the typical ECM sound. But I think I've liked everything I've heard of him.


----------



## Piwikiwi

albertfallickwang said:


> Trying to hunt this album
> 
> View attachment 60519


Just the albums or with this cover? Because they changed the cover for the cd release.


----------



## starthrower

norman bates said:


> I'd like to hear it again, I remember that I liked it very much and one of the reasons is exactly that it does not have the typical ECM sound. But I think I've liked everything I've heard of him.


I don't believe there is a typical ECM sound. I haven't heard the Waldron album, but I have another trio album of his recorded around the same time, and I like it a lot. It's an obscure release available from the French Futura-Marge label. They have some good stuff listed on their website.


----------



## JACE

norman bates said:


> I'd like to hear it again, I remember that I liked it very much and one of the reasons is exactly that it does not have the typical ECM sound. But I think I've liked everything I've heard of him.


Honestly, ALL of Waldron's recordings after his emigration to Europe are worth hearing. Several years ago, I went on a BIG Waldron bender and acquired many of his recordings. There's hardly a weak one in the lot, particularly after he moved to Europe.

A bit of trivia: Along with making the very first recording for ECM, Waldron also made the first for Enja.


----------



## aajj

I had no idea Waldron recorded for ECM. My long time favorite of his is The Quest, with major contributions by Dolphy and Ervin.
Waldron also figured prominently on the live album with Dolphy and Booker Little, At the Five Spot.


----------



## JACE

aajj said:


> I had no idea Waldron recorded for ECM.


He only made that one LP for ECM.

If you haven't heard it, you might want to check out *Moods* on Enja. That's my Waldron single-CD desert-island pick.










Originally a double-LP, this consists of several solo tracks and three long full-band tracks (with Steve Lacy, Terumasa Hino, et al).


----------



## starthrower

I have Moods, and One-Upmanship. Both great albums!


----------



## aajj

The great Steve Lacy's name caught my eye. He and Waldron recorded often in duets. I am especially fond of Hot House, featuring compositions by Monk, Ellington, Herbie Nichols and others.


----------



## tortkis

I first heard _Sieg Haile_ (the 2nd track of _Moods_) on this trio album, _Black Glory_, with Jimmy Woode and Piere Favre. It's so cool and exciting. Other works, including _La Gloire Du Noir_, are great as well. One of my favorite Waldron albums.


----------



## SimonNZ

Kenny Drew - Dark Beauty


----------



## Piwikiwi

This kids is insane


----------



## SimonNZ

Paul Motian - Tribute










Archie Shepp - Attica Blues

unrelated: what are peoples opinions here of Charles Lloyd?
It occurred to me that since reading ian Carr's biography of Keith Jarrett many years ago, with its very unflattering portrait of Lloyd, I've been reluctant to explore his discography


----------



## JACE

SimonNZ said:


> unrelated: what are peoples opinions here of Charles Lloyd?
> It occurred to me that since reading ian Carr's biography of Keith Jarrett many years ago, with its very unflattering portrait of Lloyd, I've been reluctant to explore his discography


Lloyd often gets bashed by critics. You mention that Carr didn't think much of him, and I know Gary Giddins doesn't like him either.

I don't get it. I think Lloyd's a compelling artist. I REALLY liked his band with Bobo Stenson, Anders Jormin and Billy Hart. IMHO, they made several outstanding records for ECM. My favorites are _All My Relations_ and _Canto_.

More recently, Lloyd made another really, really good record called _Rabo de Nube_ -- also on ECM (with Jason Moran & Eric Harland).

I even like the early Atlantic stuff with Jarrett, McBee and DeJohnette. (How could it NOT be interesting with a line-up like that?!?) I think _Forest Flower_ and _Dream Weaver_ are the strongest from that band. ...I would say that Lloyd's sound was more clearly derived from Coltrane at this point in his career. But that doesn't diminish the fact that it's still really, really good music.

YMMV, of course.


----------



## JACE

Yesterday's Mal Waldron-talk prompted me to pull out this CD and listen to it on the way into work this morning:










*Mal Waldron - What It Is*

Waldron at his jazz trance-inducing best!!! This whole band sounds fan-stinkin'-tastic.

The spirit of Mingus hovers over it all.


----------



## aajj

With this lineup, Mingus' spirit has to be present - Mingus would not have it any other way!

The one album i've heard by Charles Lloyd is the very fine Forest Flower.

Kenny Drew is another of those American musicians who found superior opportunities in Europe during the '60s. Another Ben Webster connection, they performed and recorded often together.


----------



## starthrower

JACE said:


> Lloyd often gets bashed by critics. You mention that Carr didn't think much of him, and I know Gary Giddins doesn't like him either.


I hope listeners don't take these critics too seriously. I don't need Gary Giddins to tell me what's good. I've listened to him interview musicians on YouTube, and I wasn't too impressed. I'm much more impressed with Ted Gioia's writing. I have some of Chico Hamilton's early 60s stuff with Charles Lloyd. I've always liked it.


----------



## JACE

starthrower said:


> I hope listeners don't take these critics too seriously. I don't need Gary Giddins to tell me what's good. I've listened to him interview musicians on YouTube, and I wasn't too impressed. I'm much more impressed with Ted Gioia's writing. I have some of Chico Hamilton's early 60s stuff with Charles Lloyd. I've always liked it.


What's odd to me is that I often see eye-to-eye with Giddins. Not always of course. But I think he's fine author, and I've read nearly everything he's written. But he's always seemed to have a special vitriol for Lloyd.

But your point is a good one, starthrower: Critics are most useful for pointing you towards music that they _like_. And it's always good to have a healthy skepticism for the stuff that they _dislike_. Or at least that's how I like to think about critics. _Tell me what you dig, not what you don't!!!_


----------



## starthrower

At this point in my life, I just don't feel the need to read these guys anymore. I no longer read Downbeat, Jazztimes, or the big jazz guides. I used to get a kick out of those two British guys writing for Penguin. They are snobs, and very predictable. They like to give their 4 star crown awards to English jazzers, and they poo poo a lot of other good stuff.


----------



## JACE

starthrower said:


> At this point in my life, I just don't feel the need to read these guys anymore. I no longer read Downbeat, Jazztimes, or the big jazz guides. I used to get a kick out of those two British guys writing for Penguin. They are snobs, and very predictable. They like to give their 4 star crown awards to English jazzers, and they poo poo a lot of other good stuff.


LOL

Yeah, you definitely don't want to read the _Penguin Guide to Jazz_ guys for advice about which Johnny Griffin or "Lockjaw" Davis record you should get!

But if it's an obscure Brit (or Norwegian), you just might be in luck!


----------



## JACE

Now listening to one of my all-time favorite jazz groups:










*Quest - Searching for the New Sound of Be-Bop*
with David Liebman, Richie Beirach, Ron McClure & Billy Hart

This 2-CD set compiles three Storyville LPs: 
- _Quest II_
- _Midpoint: Quest III_
- _Double Edge_, which is a Liebman/Beirach duo record


----------



## JACE

Winding down my Friday afternoon with this:










_*Relaxin' with the Miles Davis Quintet*_


----------



## SimonNZ

starthrower said:


> At this point in my life, I just don't feel the need to read these guys anymore. I no longer read Downbeat, Jazztimes, or the big jazz guides. I used to get a kick out of those two British guys writing for Penguin. They are snobs, and very predictable. They like to give their 4 star crown awards to English jazzers, and they poo poo a lot of other good stuff.


I still use the Penguin Guide from time to time, but I've learned to distrust most of all their "damning with faint praise" three-star no-mans-land assessments/reviews. So many of those are actually very exciting albums, whether or not they are the artists best or the most forward looking, and are unjustly dismissed as "merely average".

Funny thing though...

Just recently I've discovered that the Penguin 1001 Best Jazz albums is much more interesting than I had initially thought, includes important usually deleted albums not found in the main guide, has expanded reviews and contains more surprises - not just the same old same old at all.

In fact (I half expected someone to pick up on this) my listening on this thread over the last week or two has often been from selecting albums listed in that book which I haven't heard before, or don't remember well. And its proving _very_ rewarding. So: highly recommended (and no-one's more surprised than me)










but playing now:










Duke Ellington - The Complete RCA Recordings, disc one (of 24)

starting an unhurried project (along with all the other listening projects I'm juggling) of playing all these discs again, from this birthday present of a few years back.


----------



## Simon Moon

The Claudia Quintet - Sphinx

A bit of Zappa in there....


----------



## aajj

SimonNZ said:


> Duke Ellington - The Complete RCA Recordings, disc one (of 24)
> 
> starting an unhurried project (along with all the other listening projects I'm juggling) of playing all these discs again, from this birthday present of a few years back.


Wow, i never heard of this 24 (!) disc set. Must've been a very happy birthday! I have a few from his RCA years. This classic covers 1940-1942 in three discs.









This covers small group recordings from the same early '40s period.









While this one is a single disc overview of 24 classic recordings, 1927-1934.









I periodically return to these discs and they never fail to sound as fresh as the first day i heard them.


----------



## SimonNZ

The Ellington RCA box breaks down like this:

Discs 1-7: Early Victor recordings 1927-34

Discs 8-13: 1940-42 (five of those six discs are the "Blanton-Webster" band)

Discs 14-17:1944-46 plus the Seatle Concert from 1952

Discs 18-20: The Three Sacred Concerts (1965, 1968, 1973)

Discs 21-24: 1966-1973 (the albums The Far East Suite, The Popular Ellington, The Jazz Piano, Duke At Tanglewood, And His Mother Called Him Bill, Eastbourne Performance)

and to think that all this is but a fragent of the Ellington discography (just went and counted: I have a further 57 discs in addition to this in my own Ellington collection, and I'm still missing lots of important stuff - never mind being complete)

playing now:










McCoy Tyner - Sahara

another recommendation from the Penguin 1001


----------



## aajj

Your Ellington collection is staggering. I have 15-ish, including multi disc sets. I forgot that the Far East Suite is on RCA, among his best late period albums. Also, And His Mother Called Him Bill, a touching tribute to the recently deceased Billy Strayhorn.

Ellington was heavily into collaborations with other greats in the early '60s. In December i returned to those with Coleman Hawkins and Mingus/Roach. The famous one with Coltrane is also wonderful but i have not gone back to it recently. I am not a huge Hawkins fan - i prefer some of his progeny - but he is at his relaxed best with a reduced lineup of the Ellington band.


----------



## JACE

I can only take one musician's music to my desert island? 
Without a doubt it's *Duke Ellington*, my all-time greatest musical hero. :tiphat:


----------



## aajj

^^^ I am guessing that picture is from the mid '30s. Do you have a favorite among his lineups?


----------



## JACE

aajj said:


> ^^^ I am guessing that picture is from the mid '30s. *Do you have a favorite among his lineups?*


Hmm. Tough question. So many great musicians passed through his band.

I love the early, rough-and-tumble groups, dominated by Bubber Miley's trumpet work.

And I love the 30's band, which I sometimes think gets shortshrifted as "less than" the Blanton-Webster band. But they were so incredible: Rex Stewart and Cootie Williams and Barney Bigard and Johnny Hodges and Harry Carney!

Naturally, how could I not be bowled over by the Blanton-Webster band? 

And I love the late-40's and early-50's band that recorded for Columbia. This is when Paul Gonsalves joined. And Tyree Glenn. One of the least appreciated Ellington eras, I think. But I think they made some incredible music. Check out "Brown Betty" and "Turquoise Cloud."

And I love the resurgent late 50's and early 60's band, when both Hodges and then Cootie Williams rejoined the fold. Plus you had Jimmy Hamilton and Clark Terry.

So it's impossible for me to pick just one!

I have something like 150 Ellington recordings, and I wouldn't want to give away any of them.


----------



## JACE

SimonNZ said:


> playing now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> McCoy Tyner - Sahara
> 
> another recommendation from the Penguin 1001


That band -- with Sonny Fortune -- burned!!! McCoy was making so many great records back then.


----------



## norman bates

JACE said:


> Hmm. Tough question. So many great musicians passed through his band.
> 
> I love the early, rough-and-tumble groups, dominated by Bubber Miley's trumpet work.
> 
> And I love the 30's band, which I sometimes think gets shortshrifted as "less than" the Blanton-Webster band. But they were so incredible: Rex Stewart and Cootie Williams and Barney Bigard and Johnny Hodges and Harry Carney!
> 
> Naturally, how could I not be bowled over by the Blanton-Webster band?
> 
> And I love the late-40's and early-50's band that recorded for Columbia. This is when Paul Gonsalves joined. And Tyree Glenn. One of the least appreciated Ellington eras, I think. But I think they made some incredible music. Check out "Brown Betty" and "Turquoise Cloud."
> 
> And I love the resurgent late 50's and early 60's band, when both Hodges and then Cootie Williams rejoined the fold. Plus you had Jimmy Hamilton and Clark Terry.
> 
> So it's impossible for me to pick just one!
> 
> I have something like 150 Ellington recordings, and I wouldn't want to give away any of them.


What are your favorite pieces? Very hard question I know


----------



## JACE

norman bates said:


> What are your favorite pieces? Very hard question I know.


Oh, I'm sure that I couldn't pick favorite songs. There are too many.

Here are a few of the CDs that made a convert of me:









This compilation collects absolute gems from the 30's band: "In My Solitude"; "Azure"; "Caravan." This cheap 36-minute CD opened my ears to Ellington. I've listened to it a million times, and it never gets old.









_Back Room Romp: The Duke Ellington Small Bands_
This is the cream of the cream of the 30's small band recordings. Rex. Cootie. Barney. Rabbit.









_Masterpieces by Ellington_ (Sony)
Classic recordings re-made for the new-at-the-time LP format.









_Piano Reflections_
Solo and trio recordings featuring Ellington the pianist.









_Ellington Uptown_
The 50's era band in full flight.

I could easily list 20 more.

One thing: the Blanton-Webster band recordings were not my gateway into Ellington, even though they were some of the first recordings that I bought. It was only after listening to 20's and 30's era band that I really began to enjoy the 40's era recordings.


----------



## aajj

My initiation into the world of Ellingtonia was the RCA disc, Early Ellington: 1927 - 1934. Twenty two classic recordings, tracing the band's early evolution, with Miley replace by Cootie and the arrivals of Hodges, Tizol, Bigard and others. East St. Louis Toodle-Oo, Black & Tan Fantasy, The Mooche and others always strike me as pure Americana.

I agree about the '30s bands being overlooked, though not on a par with the band of the early '40s. I have a Columbia collection called Braggin' in Brass (sub-par sound, oh well) and an Italian single disc import sort of randomly collecting 1932-1938, as well as the Back Room Stomp collection of small bands. 

A couple i enjoy from the early '60s are Afro-Bossa, a colorfully arranged collection of Ellington and Strayhorn miniatures, and Blues in Orbit, which is nothing innovative but simply a wonderful studio date. Going back to the late '50s, Such Sweet Thunder is a standout for me.


----------



## norman bates

JACE said:


> One thing: the Blanton-Webster band recordings were not my gateway into Ellington, even though they were some of the first recordings that I bought. It was only after listening to 20's and 30's era band that I really began to enjoy the 40's era recordings.


Oh, I wasn't talking of albums or compilations, but of single compositions, like Come Sunday, Prelude to a kiss or Warm valley.


----------



## aajj

JACE said:


> I have something like* 150 *Ellington recordings, and I wouldn't want to give away any of them.


This number just jumped out at me. Do you mean individual tracks or 150 CDs/vinyl/cassettes/whatever?


----------



## tortkis

I wanted the RCA 24-disc set but couldn't find it. The first Ellington album I was captivated by was _The Popular Duke Ellington_. (seems included in the RCA set.) I listened to it many times. I have been searching for CD or mp3 of the album, with no success.

I have the 3-disc set _Never No Lament - The Blanton-Webster Band_. A lot of wonderful pieces: Cotton Tail, In A Mellotone, Chelsea Bridge, Raincheck, ... The duo with Jimmy Blanton is also very good. I like the duo album with Ray Brown, dedicated to Blanton: _This One's For Blanton_.


----------



## aajj

^^^ The Never No Lament collection on RCA has an advantage over the earlier 3 disc collection i own: it contains the duets with Blanton.


----------



## SimonNZ

All this reminds me that I keep meaning to make myself copies of the many late Ellington concert albums - but with all the song introductions taken out. There's some damn fine playing on those albums, and many deserve more attention than they've had, but the long chatty bits keep bringing the mood back down to zero after each exciting tune.

I actually wish they'd release the cds with the intros given their own track numbers so they can be programmed out, and I/we can just keep on swinging/swooning.


----------



## SimonNZ

aajj said:


> ^^^ The Never No Lament collection on RCA has an advantage over the earlier 3 disc collection i own: it contains the duets with Blanton.


You _definitely_ need the original "Pitter Patter Panther"!


----------



## aajj

^^^ Yeah! That and Mr. J.B. Blues are my favorites of the duets.

The Great Paris Concert, recorded 1963, is an excellent live album.


----------



## JACE

aajj said:


> This number just jumped out at me. Do you mean individual tracks or 150 CDs/vinyl/cassettes/whatever?


I keep all of my jazz records listed in a spreadsheet. So I did some number crunching. Here's what I discovered:

I have 165 Ellington "albums" (CDs, LPs, and MP3s), many of which are multi-disc sets.

If I count every single disc (accounting for multi-disc sets), the count is 287.

I have no idea how many "tracks" I have.


----------



## JACE

aajj said:


> The Great Paris Concert, recorded 1963, is an excellent live album.


Yes!!! Cootie Williams, who had just re-joined Ellington, TEARS IT UP on that recording.


----------



## SimonNZ

This also reminds me that I've been meaning to put together a list of the absolute favorite versions of the standards that Duke recorded dozens of times. Some will be pretty obvious, one that mightn't be though is the eleven minute version of Sophisticated Lady on the 1950 Masterpieces By Ellington lp with Harry Carney on bass clarinet.

but playing now:










Gerry Mulligan - The Age Of Steam


----------



## starthrower

SimonNZ said:


> but playing now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Gerry Mulligan - The Age Of Steam


I bought the deluxe edition from the Mulligan website a few years ago. It comes with an excellent documentary DVD. Conductor Ricardo Muti was a Mulligan fan, and he's interviewed in the film. One of the most touching scenes was watching Mulligan and Jobim playing together at home. Jobim teaches Gerry the One Note Samba.


----------



## aajj

JACE said:


> I keep all of my jazz records listed in a spreadsheet. So I did some number crunching. Here's what I discovered:
> 
> I have 165 Ellington "albums" (CDs, LPs, and MP3s), many of which are multi-disc sets.
> 
> If I count every single disc (accounting for multi-disc sets),_ the count is 287._
> 
> I have no idea how many "tracks" I have.


This is staggering! Safe to say you have more Ellington than any other artist in your collection, any genre? I did an official count and i have 22 Ellington discs, including each disc in multi sets. I only have more Mozart than Ellington.

The mention of Clark Terry somewhere on this thread sent me back to his excellent In Orbit album. The rare instance of Monk in a sideman role. Terry plays flugelhorn.


----------



## aajj

SimonNZ said:


> This also reminds me that I've been meaning to put together a list of the absolute favorite versions of the standards that Duke recorded dozens of times. Some will be pretty obvious, one that mightn't be though is the eleven minute version of Sophisticated Lady on the 1950 Masterpieces By Ellington lp with Harry Carney on bass clarinet.
> 
> but playing now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Gerry Mulligan - The Age Of Steam


That would make an interesting list.

The Age of Steam is an excellent late period album. My favorite, other than the Webster collaboration, is _What is There to Say_. He had plenty to say!


----------



## SimonNZ

Thad Jones / Mel Lewis - Consummation


----------



## JACE

aajj said:


> This is staggering! *Safe to say you have more Ellington than any other artist in your collection, any genre?* I did an official count and i have 22 Ellington discs, including each disc in multi sets. I only have more Mozart than Ellington.


I have a very large collection of Charles Ives' music too. I'm not sure whether I have more of Ellington or Ives -- since I haven't gotten round to cataloging the classical discs in my collection yet.

But those two are definitely the most-represented artists in my music collection. Whoever is third is WAY back, a very distant third.


----------



## JACE

aajj said:


> My favorite, other than the Webster collaboration, is _What is There to Say_. He had plenty to say!
> 
> View attachment 60831


Agreed! The Mulligan albums with Art Farmer are fantastic.


----------



## JACE

Now playing more *Mal Waldron*:










*The Seagulls of Kristiansund: Live at the Village Vanguard*
Helluva band with Woody Shaw (tr), Charlie Rouse (ts), Reggie Workman (b), Ed Blackwell (d).

On the way into work this morning, I listened to:










*Tete Montoliu Trio - The Man from Barcelona*
with George Mraz & Lewis Nash.


----------



## JACE

*Mal Waldron* again:










_*Hard Talk*_

Mal Waldron (p)
Manfred Schoof (cor)
Steve Lacy (ss)
Isla Eckinger (b)
Allen Blairman (d)


----------



## brotagonist

I had another Sinful Sunday yesterday, with a bit of non-classical music:









After couple of albums, one jazz (above), I was ready to get back to CM


----------



## aajj

^^^ Wonderful album and Armstrong's tribute to Fats Waller, _Satch Plays Fats_, makes for a perfect companion.



JACE said:


> I have a very large collection of Charles Ives' music too. I'm not sure whether I have more of Ellington or Ives -- since I haven't gotten round to cataloging the classical discs in my collection yet.
> 
> But those two are definitely the most-represented artists in my music collection. Whoever is third is WAY back, a very distant third.


Ives seems more impressive because his music is not as readily available as Ellington's. He's still relatively on the fringe, so if you can collect such a collection that is quite the achievement!


----------



## JACE

aajj said:


> Ives seems more impressive because his music is not as readily available as Ellington's. He's still relatively on the fringe, so if you can collect such a collection that is quite the achievement!


Well, I've collected both Ives & Ellington recordings for a LONG time. 

Plus, years ago, when I was working on my Charles Ives web site, people often sent me new recordings for free so I would include information about them on the site. So that helped.


----------



## aajj

JACE said:


> Well, I've collected both Ives & Ellington recordings for a LONG time.
> 
> Plus, years ago, when I was working on my Charles Ives web site, people often sent me new recordings for free so I would include information about them on the site. So that helped.


Yes, receipt of free recordings would help the cause!  Awesome web site. Looks like a go-to for Ives. Of your desert island discs, i own nos. 1, 2 & 6 and i've heard a few others, though not the 2nd Symphony from Schermerhorn on Naxos.

I am a huge Mingus fan and returned happily to Blues & Roots. With his compositions and arrangements and a stellar lineup - including McLean, Ervin, Knepper, Pepper Adams & others - he couldn't miss. Blakey and the Jazz Messengers had their classic "Moanin' " and Mingus had his own on this album.


----------



## sadams

Emily Bear Jazz Trio live concert Strings Music Festival 2014

The Emily Bear Trio is;
Emily Bear - Piano
Peter Slavov - Bass
Mark McLean - Drums

Also John Sant Ambrogio - Cello


----------



## Vronsky

Dylan Ryan / Sand - White Nights

Dylan Ryan / Sand - Trees, Voices, Saturn


----------



## JACE

Now listening to Eric Dolphy's _Far Cry_ with Booker Little:


----------



## aajj

^^^ _Far Cry _is great stuff. The Bird tributes, Dolphy's unaccompanied alto solo on "Tenderly," and Jaki Byard is always exciting.

An album with Booker Little as leader that I cherish and always return to is _Out Front_, recorded for the short-lived Candid label (Mingus also recorded classics for this label). Dolphy appeared on this one, along with Roach. Little wrote some beautiful compositions and his playing is so warm and introspective, completely his own voice.


----------



## tortkis

Booker Little was an amazing trumpeter. I was really shocked when I listened to _Opening Statement_ of the quartet album _Booker Little_ for the first time. His playing style was more classical compared with contemporary Jazz trumpeters? Very unique. My favorites are this one and At The Five Spot with Dolphy (love Waldron's performance).


----------



## SimonNZ

John Surman / John Warren - Tales Of The Algonquin


----------



## JACE

*Ryan Cohan - The River (Motéma, 2013)*

Superb!


----------



## Vronsky

Excellent piece of art.


----------



## aajj

Henry Threadgill Sextet (with seven musicians; he counted the two drummers as one) - Just the Facts & Pass the Bucket

My long-time favorite of his many amazing albums, including with Air. Brilliant, unique composer, instrumentalist, arranger, bandleader.


----------



## SimonNZ

Charles Tyler - Saga Of The Outlaws


----------



## Vronsky

Lionel Hampton - Bossa Nova Jazz (1963)


----------



## Bluecrab

JACE said:


> That band -- with Sonny Fortune -- burned!!! McCoy was making so many great records back then.


Boy, did they ever. The album that followed _Sahara_, _Song for My Lady_, has a great version of _The Night has a Thousand Eyes_. Sonny Fortune just tears it up on alto.


----------



## Bluecrab

Another classic by McCoy Tyner... Wayne Shorter, Gary Bartz, Elvin Jones, Ron Carter, and Alice Coltrane (on harp). From 1970, not long before he formed the band with Sonny Fortune. Wayne Shorter has seldom sounded better on soprano than he does on the opening cut, _Message from the Nile_.


----------



## aajj

Love Tyner's _Song of the New World _with a large band. As a sideman, other than Coltrane, i'm big on _Open Sesame _with Freddie Hubbard and especially _Inner Urge _with Joe Henderson.


----------



## SimonNZ

Just spotted a recent Keith Jarrett release of an old trio concert I wasn't aware of:










(are ECM doing more and more of this sort of vault reconsideration thing? I'm not complaining.)

Also: that led me to some Miles kinda-bootlegs that have recently turned up on Amazon:
























That last one is 4 cds (though I think I might have seen parts of it on other bootlegs)


----------



## Bluecrab

aajj said:


> Love Tyner's _Song of the New World _with a large band.


Yeah, me too, although it took me a few listens to get used to the strings. Tyner's piano playing on that album is just superb. And on that album and the two before it (also on Milestone), Alphonse Mouzon and Sonny Fortune prove to be two of the few musicians who could match Tyner's energy level. What sheer, raw power that band had. Plus, _Song of the New World_ sounded great on vinyl. Excellent recording.



aajj said:


> ...i'm big on...especially _Inner Urge _with Joe Henderson.


One of my favorite jazz albums ever. Mulgrew Miller did a really nice version of _Inner Urge_ in a trio setting back around 1990.


----------



## aajj

^^^ I agree about the strings but I quickly adjusted to them and they're only on a couple of tracks.

A wonderful & deservedly popular Joe Henderson album from later in his career.


----------



## SimonNZ

following Bluecrab, playing now:

McCoy Tyner - Extensions


----------



## aajj

SimonNZ said:


> Also: that led me to some Miles kinda-bootlegs that have recently turned up on Amazon:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> This one caught my attention because of the year, 1966, same year they recorded _Miles Smiles_, my favorite of his classic '60s lineup.
Click to expand...


----------



## SimonNZ

Yeah, my favorite Miles era. I know lots of the same bootlegs turn up again again in different packaging, but that one seems like something I might not have seen before.

Now there's just the small matter of the sound quality...

edit: must remind myself to check that in Richard Cook's Its About That Time when I get home


----------



## aajj

^^^ Here is one track from the Oriental Theatre bootleg. The amazing Richard Davis is filling in for the amazing Ron Carter!
I don't think the sound is bad for a bootleg but that's just one guy's opinion.


----------



## SimonNZ

That sounds okay, as far as bootlegs go. Thanks for finding it.

btw, if anyone is thinking of buying it: its way, way cheaper from AmazonUK

http://www.amazon.co.uk/At-Oriental...1554177&sr=8-1&keywords=miles+davis+live+1966

Also: checked in It's About That Time when I got home and it seems that bootleg was previously known as No More Blues - but that was a single disc that had only three items of the material now on the 2cd set (and three from elsewhere.

Richard Cook also notes that Gary Peacock was subbing in the Davis band for Ron Carter at around this time as well.


----------



## aajj

Like Richard Davis, Gary Peacock was/is a highly versatile bassist. Miles only took the best during this period! 

I suppose Peacock is best known these days for working with Keith Jarrett. But he recorded with Albert Ayler in the '60s, Paul Bley in the '70s and appeared on the first (very fine) Tony Williams solo album, Life Time. Plenty of other recordings i can't think of at the moment.


----------



## SimonNZ

Love Gary Peacock, and grab whatever I come across that has his name on it

currently listening to a couple of selections from the Davis Cellar Door Sessions on YT, and wishing i owned the set - one of the few Miles items I have yet to acquire (in fact I own more Miles discs than I do Ellington)

edit: and playing now:










Johnny Dyani - Witchdoctor's Son


----------



## starthrower

^^^
Those three cats were some great musicians. Too bad they're all gone now. As for the Cellar Door Sessions, it's a case of too much of a good thing for this listener. I prefer the album, Live Evil.


----------



## aajj

Had an urge for Django & Stephane on a Sunday morning. 
This ASV collection includes 22 tracks recorded 1935 - 1939.


----------



## starthrower

Recorded on tour in 1979. Not the original album cover
but it is an authorized release.


----------



## Kevin Pearson

If you like your jazz flavored with a little bit of world sound than the album *Sunrise* by the Amit Friedman Sextet might be right up your alley. It's really a beautiful piece of work. One of my more more frequently played jazz albums in the last year.










Kevin


----------



## Vronsky

Filmworks XIII: Invitation to a Suicide


----------



## JACE

Wayne Shorter - _Etcetera_


----------



## SimonNZ

^ hmmm...I've got that and haven't played it in quite a while. I'm going to give it another listen later tonight

edit: playing now:










Horace Parlan - Blue Parlan


----------



## JACE

SimonNZ said:


> ^ hmmm...I've got that and haven't played it in quite a while. I'm going to give it another listen later tonight


It's a great one! :cheers:

Earlier:










George Cables - _Icons & Influences_


----------



## Kevin Pearson

A really great album!


----------



## Albert7

Still waiting for the public library to get a copy of this masterwork 









18 discs of pure bliss and headfones.


----------



## Albert7

Two box sets from the library I have yet to listen to:

Miles Davis complete On the Corner sessions:









and

Miles Davis and Gil Evans Complete Studio Sessions


----------



## SimonNZ

Arthur Blythe - Lenox Avenue Breakdown


----------



## JACE

SimonNZ said:


> Arthur Blythe - Lenox Avenue Breakdown


Love that one! :cheers:

Arthur Blythe's Columbia LPs would make a good Mosaic set.


----------



## Albert7

Got to relax with a few tracks from this unknown classic:


----------



## Albert7

JACE said:


> Love that one! :cheers:
> 
> Arthur Blythe's Columbia LPs would make a good Mosaic set.


Sadly enough, Mosiac box sets aren't on iTunes .


----------



## JACE

albertfallickwang said:


> Sadly enough, Mosiac box sets aren't on iTunes .


Albert, after a while, they're typically released as part of "The Capitol Vaults Jazz Series." (I'm not sure that they're available on iTunes, but I know that they are on amazon and emusic.)

For example, this is the Bobby Hutcherson Mosaic set -- and the same music released in the Capitol series:

















Nearly all of the older, out-of-print Mosaic sets are also available in this series.


----------



## JACE

This again:










*George Cables - Icons & Influences*

This music is the jazz equivalent of comfy slippers and hearty soup. Nothing new. But it feels, tastes, sounds GOOD.


----------



## starthrower

Some late 50s Chico Hamilton w/ Eric Dolphy, among others.


----------



## aajj

^^^ Gongs East! Dolphy before he went to New York, doing a Johnny Hodges imitation on "Passion Flower."

Bobby Hutcherson's _Dialogue_, his first album as a leader and my favorite. Much more "free" than his later albums. Andrew Hill wrote some of the compositions and did the arrangements. Recorded a year after Dolphy's death, Sam Rivers is on multi-reeds.


----------



## aajj

SimonNZ said:


> Arthur Blythe - Lenox Avenue Breakdown


Another classic. Before i got into LAB, i got into his _Illusions _. Half the tracks are similar instrumentation as LAB and the other half a more traditional piano quartet.


----------



## tortkis

JACE said:


> Albert, after a while, they're typically released as part of "The Capitol Vaults Jazz Series." (I'm not sure that they're available on iTunes, but I know that they are on amazon and emusic.)
> 
> For example, this is the Bobby Hutcherson Mosaic set -- and the same music released in the Capitol series:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Nearly all of the older, out-of-print Mosaic sets are also available in this series.


Great, thank you! I didn't know that. Search on Amazon hits only 14 albums. Are others also available?

These seem the same. Now listening to _Funk In Deep Freeze_. I have the original Mosaic 6-CD set. Highly recommended.


----------



## GreenMamba

If nothing else, I love the cover. Good album too.


----------



## SimonNZ

Gary Burton - Reunion










Mal Waldron / Gary Peacock - First Encounter


----------



## JACE

SimonNZ said:


> Mal Waldron / Gary Peacock - First Encounter


Simon, what do you think of that Waldron/Peacock LP? I've never heard it.

A local shop has a copy and I've mulled purchasing it several times. But the price ain't cheap!


----------



## SimonNZ

JACE said:


> Simon, what do you think of that Waldron/Peacock LP? I've never heard it.
> 
> A local shop has a copy and I've mulled purchasing it several times. But the price ain't cheap!


I was very impressed after my first listen, which was done via this:






Not on cd as far as i can tell, which is a pity, as I can't afford the prices that rarer jazz vinyl sell for out this way.

How expensive is it at your shop? (and what would you usually pay?)

edit: playing now:










Mark Murphy - Bop For Kerouac


----------



## JACE

SimonNZ said:


> I was very impressed after my first listen... [snip]
> 
> Not on cd as far as i can tell, which is a pity, as I can't afford the prices that rarer jazz vinyl sell for out this way.
> 
> How expensive is it at your shop? (and what would you usually pay?)


Thanks for the YT link. 

IIRC, it's priced at $18, which is more than I typically pay for LPs.

But, as you say, it's a rare LP that's never been released on CD. And those sorts of records are _especially_ tempting -- especially one from Mal Maldron, who's a favorite of mine. 

EDIT:
Listening to the music now. Sounds great! Seems like nearly EVERYTHING that Waldron did after his move to Europe was gold.


----------



## brotagonist

I've been -ing at Webern, Saint-Saëns and Stravinsky, so every time this disc comes on, I start in horror at the loud squawk and skip it. Today, I'm going to have to do it. My non-repeating random algorithm insists :lol:









John Coltrane First Meditations


----------



## aajj

If there was a morning wake-me-up, it's Blakey and his men doing "A Night in Tunisia."


----------



## JACE

aajj said:


> If there was a morning wake-me-up, it's Blakey and his men doing "A Night in Tunisia."
> 
> View attachment 61844


Woo-hoo!!! Lee Morgan tearin' it UP!


----------



## starthrower




----------



## tortkis

I am not an enthusiastic fan of Metheny, but SONG X with Ornette Coleman is really good.

Now listening to _Funk In Deep Freeze_ by Zorn, Lewis and Frisell.


----------



## starthrower

tortkis said:


> I am not an enthusiastic fan of Metheny, but SONG X with Ornette Coleman is really good.


I was fortunate to hear them live on the '86 tour. It was a very exciting show.


----------



## SimonNZ

Lester Bowie - The Great Pretender










Sarah Vaughan - Crazy And Mixed Up


----------



## JACE

Miles Davis - _Miles in the Sky_


----------



## starthrower

Plucked this one out of the B&N bargain bin.
Sonny Meets Hawk alone is worth the price!


----------



## JACE

starthrower said:


> Plucked this one out of the B&N bargain bin.
> Sonny Meets Hawk alone is worth the price!


I got that set for Christmas a couple years ago! Sonny's RCA stuff is WAY under-rated, imho. :cheers:


----------



## starthrower

The Bridge is probably one of my all time favorite Sonny albums. I haven't really listened to much Sonny in years, but I'm going to get back into it now!


----------



## starthrower

Our Man In Jazz w/ Don Cherry

My first time listening to this! Oleo really cooks!
But this cheapo edition only has the three original tracks.


----------



## tortkis

I have _The Complete Sonny Rollins RCA Victor Recordings_ and love it. I believe the contents are almost the same as the Original Album Classics. Rollins's playing style was becoming adventurous but always tuneful. My favorites are _If Ever I Would Leave You_ and _Four_, but every track is quite powerful and wonderful.


----------



## starthrower

I was mistaken. The Original Album Classics Our Man In Jazz does have all six tracks, but only three listed on the mini album sleeve.


----------



## Kevin Pearson

This album by the Andrew Read Trio is really pretty good. I enjoyed it immensely.










Kevin


----------



## SimonNZ

Miles Davis - Blue Moods

one of my favorites in the Miles discography


----------



## Albert7

Relaxing to this album:


----------



## SimonNZ

Rene Thomas - Guitar Groove


----------



## JACE

Last night, I listened to *Woody Shaw*:

















*Little Red's Fantasy (Muse/Savoy) / The Moontrane (Muse/32 Jazz)*

Both of these are 5-star records in my book, two of Woody's very best.


----------



## SimonNZ

Don Ellis - Electric Bath


----------



## tortkis

JACE said:


> Last night, I listened to *Woody Shaw*:
> 
> *Little Red's Fantasy (Muse/Savoy) / The Moontrane (Muse/32 Jazz)*
> 
> Both of these are 5-star records in my book, two of Woody's very best.


Woddy Shaw's improvisation is incredible. I liked that album but I lost the LP.

Some of my favorites.





























By the way, I have been searching for _Double Take_ for a long time. I believe it had been OOP, but while I was checking Shaw's albums on amazon after seeing your post, I found that it's now available. Thank you! It's an excellent album. I love _Desert Moonlight_.


----------



## Kevin Pearson

I'm really digging listening to Jazz again with the Senn HD-800 headphones. This 1960 recording by John Lewis, formerly of The Modern Jazz Quartet, is considered a jazz classic and one any lover of jazz, or of just good music, should try and hear. This is jazz at it's finest.










Kevin


----------



## tortkis

SimonNZ said:


> Also: that led me to some Miles kinda-bootlegs that have recently turned up on Amazon:
> [...]
> 
> 
> 
> 
> 
> 
> 
> 
> 
> That last one is 4 cds (though I think I might have seen parts of it on other bootlegs)


Received this set today. Since I already have the Stockholm disc (I think I had two: first release and a part of 4-disc Stockholm set with Coltrane/Stitt. Now I have 3!), I started listening to Copenhagen concert. Needless to say, the performance of the group is superb. The rhythm section is extraordinarily swinging, Coltrane is very stable yet his solo is otherworldly at times, and Miles is perfect. I am glad that these concerts are officially released at last.


----------



## SimonNZ

tortkis said:


>


I think a local secondhand store has that one. I'll grab it on your recommendation.


----------



## aajj

Dolphy's _Out There _is my second favorite of his albums (after _Out to Lunch_). Ron Carter plays cello as the second lead instrument with Roy Haynes as the perfect anchor.









_Miles Smiles_ is my favorite of the '60s quintet albums but i love these two as well, particularly _E.S.P._ This band could do no wrong.


----------



## JACE

Kevin Pearson said:


> I'm really digging listening to Jazz again with the Senn HD-800 headphones. This 1960 recording by John Lewis, formerly of The Modern Jazz Quartet, is considered a jazz classic and one any lover of jazz, or of just good music, should try and hear. This is jazz at it's finest.


YEAH! Great album!!!

I love, love, LOVE Paul Gonsalves' playing on this LP's version of "Body and Soul"!


----------



## JACE

tortkis said:


> By the way, I have been searching for _Double Take_ for a long time. I believe it had been OOP, but while I was checking Shaw's albums on amazon after seeing your post, I found that it's now available. Thank you! It's an excellent album. I love _Desert Moonlight_.


Good deal. Glad to be of service. 

The other Woody/Freddie album, _Eternal Triangle_, is excellent too.


----------



## JACE

aajj said:


> _Miles Smiles_ is my favorite of the '60s quintet albums but i love these two as well, particularly _E.S.P._ This band could do no wrong.
> 
> View attachment 62357
> 
> 
> View attachment 62359


If I had to pick one from the "Second Great Quintet," I'd probably go with _Nefertiti_.


----------



## JACE

SimonNZ said:


> I think a local secondhand store has that one. I'll grab it on your recommendation.


That's one of the few Woody records that I don't have. Snatch it up while you can!!!


----------



## tortkis

SimonNZ said:


> I think a local secondhand store has that one. I'll grab it on your recommendation.


I realized that there is a bonus track (Joshua C.) which was not on vinyl I had. I need to get it.
Today I listened to some tracks on amazon prime. They still sounded fresh.


----------



## starthrower

Disc 6 
Black Comedy
Stuff
Petits Machins
Tout De Suite
Filles De Kilimanjaro


----------



## starthrower

BTW, if anyone is considering the 1965-68 Miles Quintet box, it's selling for only 19 dollars at Grooves Inc.
http://www.grooves-inc.com/advanced_search_result.php?keywords=miles+davis+quintet+1965-68


----------



## aajj

Another fave from the '60s quintet.


----------



## starthrower

My first PB CD that I bought about 15 years ago.


----------



## elgar's ghost

Enjoying this right now. By the way, has anyone got any Ornette Coleman recommendations for his post-Atlantic output, please?


----------



## tortkis

_Dancing in Your Head_ (1977, A&M) is my favorite.


----------



## SimonNZ

playing now:










Woody Shaw - In My Own Sweet Way


----------



## SimonNZ

aajj said:


> Another fave from the '60s quintet.
> 
> View attachment 62452


Filles de Kilimanjaro was the first Miles album I owned, and it remains a sentimental favorite.

I'll try and give that a play later today


----------



## JACE

Now listening to Art Pepper's _One September Afternoon_:










Lovely.

With Stanley Cowell (p); Cecil McBee (b); Howard Roberts (g, on 2 tracks); Carl Burnett (d)


----------



## starthrower




----------



## tortkis

Room - Nels Cline & Julian Lage (Mack Avenue)










Very cool.


----------



## aajj

SimonNZ said:


> Filles de Kilimanjaro was the first Miles album I owned, and it remains a sentimental favorite.
> 
> I'll try and give that a play later today


I think this is the first album where the band used electric piano. I generally dislike electric piano but on this album it's used tastefully.

When Ornette released _Sound Grammar_ in 2006 i regarded it as a major event. He was in his 70s but played with the vigor of half his age. The lineup with two basses roams in a continual state of exploration and freedom.


----------



## aajj

starthrower said:


>


Mal Waldron is popular on this thread. He even wrote the liner notes on this album.


----------



## starthrower

aajj said:


> Mal Waldron is popular on this thread. He even wrote the liner notes on this album.


I'm a huge admirer of a Waldron. His playing is simpler and more repetitive than many jazz piano players, but for some reason, he never bores me.


----------



## JACE

starthrower said:


> I'm a huge admirer of a Waldron. His playing is simpler and more repetitive than many jazz piano players, but for some reason, he never bores me.


That's because he's a SHAMAN!


----------



## JACE

Now listening to some of my all-time favorite music:










*Duke Ellington - The Essential Collection: 1927-62*
Disc 2: Selected tracks by the 1947-52 Ellington band

I have 6-LP box set on French CBS that collects the 1947-52 band's entire output. But this single CD (in the 3-CD "Essential" set) does a great job of skimming the cream of the cream from those years.


----------



## aajj

starthrower said:


> I'm a huge admirer of a Waldron. His playing is simpler and more repetitive than many jazz piano players, but for some reason, he never bores me.


I think, particularly starting with Mingus, Waldron moved away from elaborate runs and went to block chords, giving that feel of economy and simplicity. I love his way on Mingus' "E's Flat Ah's Flat Too" from _Blues & Roots_, as well as the entire _Pithecanthropus Erectus _album.


----------



## aajj

JACE said:


> Now listening to some of my all-time favorite music:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *Duke Ellington - The Essential Collection: 1927-62*
> Disc 2: Selected tracks by _the 1947-52 Ellington ban_d
> 
> I have 6-LP box set on French CBS that collects the 1947-52 band's entire output. But this single CD (in the 3-CD "Essential" set) does a great job of skimming the cream of the cream from those years.


I am guessing this includes the recordings from _Ellington Uptown_? I love that album's Betty Roche vocal and Gonsalves solo on "A Train" as well as "A Tone Parallel to Harlem," one of Ellington's greatest large-scale works.


----------



## JACE

aajj said:


> I am guessing this includes the recordings from _Ellington Uptown_? I love that album's Betty Roche vocal and Gonsalves solo on "A Train" as well as "A Tone Parallel to Harlem," one of Ellington's greatest large-scale works.


Yep, that's the band. The compilation has the Roche/Gonsalves "A Train" -- but no "Harlem." Instead, it has "The Tattooed Bride," another fantastic long-form piece from the _Masterpieces by Ellington_ album.

The disc also has "Brown Betty" (not to be confused with "Brown Penny"), which gets my vote as one the most under-appreciated-but-wonderful Ellington performances. It's a terrific Ellington/Strayhorn composition, featuring obscure trumpeter Nelson Williams and Harry Carney.

EDIT:
Here's the complete tracklist for Disc 2:

1 Hy'a Sue 
2 Lady of the Lavender Mist 
3 Antidisestablishmentarianismist 
4 Golden Cress 
5 Sultry Serenade 
6 Change My Ways	
7 Stomp, Look and Listen 
8 On a Turquoise Cloud 
9 Three Cent Stamp	
10 Don't Get Around Much Anymore	
11 Progressive Gavotte	
12 I Can't Believe That You're in Love With Me	
13 I Like the Sunrise	
14 Snibor	
15 Creole Love Call 
16 The Tattooed Bride 
17 Brown Betty 
18 Primpin' at the Prom	
19 Monologue (Pretty and the Wolf)	
20 Take the "A" Train


----------



## JACE

aajj said:


> I think, particularly starting with Mingus, Waldron moved away from elaborate runs and went to block chords, giving that feel of economy and simplicity. I love his way on Mingus' "E's Flat Ah's Flat Too" from _Blues & Roots_, as well as the entire _Pithecanthropus Erectus _album.


Waldron was great in the 50's and 60's -- but I think he was at his VERY BEST after his move to Europe. The Enja and Soul Note records are his highest peaks, imho -- along with the duos with Steve Lacy on HatArt and other labels.


----------



## JACE

Now playing more *Duke Ellington*:










_*In the Uncommon Market*_
Live tracks from European tours in the 60s.


----------



## JACE

NP:










*Donald Byrd - Off to the Races*


----------



## aajj

JACE said:


> Yep, that's the band. The compilation has the Roche/Gonsalves "A Train" -- but no "Harlem." Instead, it has "The Tattooed Bride," another fantastic long-form piece from the _Masterpieces by Ellington_ album.
> 
> The disc also has "Brown Betty" (not to be confused with "Brown Penny"), which gets my vote as one the most under-appreciated-but-wonderful Ellington performances. It's a terrific Ellington/Strayhorn composition, featuring obscure trumpeter Nelson Williams and Harry Carney.
> 
> EDIT:
> Here's the complete tracklist for Disc 2:
> 
> 1 Hy'a Sue
> 2 Lady of the Lavender Mist
> 3 Antidisestablishmentarianismist
> 4 Golden Cress
> 5 Sultry Serenade
> 6 Change My Ways
> 7 Stomp, Look and Listen
> 8 On a Turquoise Cloud
> 9 Three Cent Stamp
> 10 Don't Get Around Much Anymore
> 11 Progressive Gavotte
> 12 I Can't Believe That You're in Love With Me
> 13 I Like the Sunrise
> 14 Snibor
> 15 Creole Love Call
> 16 The Tattooed Bride
> 17 Brown Betty
> 18 Primpin' at the Prom
> 19 Monologue (Pretty and the Wolf)
> 20 Take the "A" Train


Disappointed that "Harlem" is excluded but i agree about "The Tattooed Bride," a large-scale, complex and completely successful piece. Possibly not as well known as it should be because they did not often record it.

"Brown Betty" is a good one but mention of "Brown Penny" brought a smile; on the _Blues in Orbit_ album, Hodges is at his sumptuous best.

Not terribly familiar with Waldron during his European years but yes to his wonderful duos with Lacy. Also want to mention his excellence with vocalists, prior to Europe, including Abbey Lincoln and Billie Holiday during the final years of her life. No doubt those singers appreciated his ability to tastefully support them.


----------



## JACE

I've been listening to solo piano by *Richie Beirach*.

On the way home from work:








*Common Heart*

Right now:








*Breathing of Statues*

If Bill Evans, McCoy Tyner AND Alexander Scriabin had a baby, he'd be Richie Beirach.

Richie is a Zen Master. And the fact that he's not more well-known is a stinkin' crime.


----------



## JACE

Shifting gears a bit.

Now listening to...










*Henry "Red" Allen - Giants of Jazz (Time-Life)*
LP 2 of 3


----------



## aajj

^^^ Is that vinyl? Red Allen is the man! I go crazy when i hear "The Crawl."


----------



## tortkis

Ornette Coleman - Prime Design / Time Design (1985) for string quartet and percussion






I don't know if this is jazz or contemporary classical. The youtube comment says it is a _"harmolodic composition for four string instruments and percussion in honor of Buckminster Fuller."_ (This is not a recommendation for elgars ghost. I am listening to it for the first time. I may eventually recommend it. )


----------



## Kevin Pearson

Jace, Your Donald Byrd post reminded me that I haven't listened to him in quite a while. This is one of my favorites. Hard Bop at it's best!










Kevin


----------



## JACE

aajj said:


> ^^^ Is that vinyl?


Yes indeed, sir!

In the 70s, Time-Life issued the _Giants of Jazz_ series. Each release was a 3-LP set dedicated to a single artist. Here's a discography: http://www.bsnpubs.com/warner/time-life/07giantsofjazz/07giantsofjazz.html



aajj said:


> I go crazy when i hear "The Crawl."


Thanks for sharing that!


----------



## SimonNZ

Chick Corea - Tones For Joan's Bones


----------



## JACE

On the way into work this AM:










*Brazilian Trio - Constelação*
With pianist Helio Alves, bassist Nilson Matta and drummer Duduka Da Fonseca

This is superb!!!


----------



## aajj

JACE said:


> Yes indeed, sir!
> 
> In the 70s, Time-Life issued the _Giants of Jazz_ series. Each release was a 3-LP set dedicated to a single artist. Here's a discography: http://www.bsnpubs.com/warner/time-life/07giantsofjazz/07giantsofjazz.html


I remember those Time-Life collections. One glance at the Armstrong and Ellington collections brought back memories. These were important sets in those days, valuable introductions to these artists. What surprised me is that someone - namely, you - is listening to one of these sets on vinyl in 2015. Kickin' it old school! :tiphat:


----------



## aajj

tortkis said:


> Ornette Coleman - Prime Design / Time Design (1985) for string quartet and percussion
> 
> 
> 
> 
> 
> 
> I don't know if this is jazz or contemporary classical. The youtube comment says it is a _"harmolodic composition for four string instruments and percussion in honor of Buckminster Fuller."_ (This is not a recommendation for elgars ghost. I am listening to it for the first time. I may eventually recommend it. )


You may also be interested in Ornette's _Skies Of America_, recorded in the early '70s He originally intended it for his group with an orchestra, but some kind of union issue in England prevented from his band from performing on the album and only his alto sax appears. Whatever the case, i think it's highly successful.









Also, his _Forms & Sounds,_ for wind quintet.


----------



## tortkis

aajj said:


> You may also be interested in Ornette's _Skies Of America_, recorded in the early '70s He originally intended it for his group with an orchestra, but some kind of union issue in England prevented from his band from performing on the album and only his alto sax appears. Whatever the case, i think it's highly successful.
> 
> View attachment 62656
> 
> 
> Also, his _Forms & Sounds,_ for wind quintet.


That is very nice, thank you. It sounds more traditional modernism. I wonder how much is notated in the string quartet + percussion piece, which sounds quite free.

I have _Skies Of America_ but it's been a while since I listened to it last time. I'll listen to it later today. I think the theme was used in _Dancing in Your Head_. (_Theme from a Symphony_)

It is unfortunate that many of his albums are OOP now. Even _Sound Grammar_ is hard to find. Have you listened to the 2014 album _New Vocabulary_? It is available from System Dialing Records but very expensive.


----------



## aajj

^^^ Yep, "The Good Life" theme from _Skies _was used for _Dancing's _"Theme from a Symphony." He also used the theme on "School Work" from the _Broken Shadows_ album.

I have not heard _New Vocabulary_ but it appears plenty worthwhile. Ornette is in his 80s and I wish he would record as much as possible, while he is still able.

You got me curious about _Sound Grammar's_ availability and on Amazon it's "temporarily" out of stock. My favorite of his Prime Time albums is _Of Human Feelings_. I snatched up the CD years ago, fortunately, because it's always been difficult to find. Same for _In All Languages_, which is half his "classic" quartet and half Prime Time.


----------



## SimonNZ

Miles Davis - Amandla (1989)

...or "TutuTwo"


----------



## starthrower

I've been an E/O fan for about 15 years now. All of their albums feature high quality compositions and great playing.


----------



## tortkis

Listened to _Skies of America_ yesterday after a long time, and now I believe it is a great work.

Today, I listened to _New Vocabulary_ (System Dialing Records). It indeed sounded "new."









Ornette Coleman - Alto Saxophone
Jordan McLean - Trumpet & Electronics
Amir Ziv - Drums
Adam Holzman - Piano

Jordan McLean's trumpet/electronics set up the atmosphere, and Coleman plays freely over it. Coleman's sax sounds out of place and perfectly fitting at the same time. In a sense, Coleman's playing is always the same, but I feel it is becoming lighter and lighter, and freer and freer.

Now listening to _Virgin Beauty_. I love Prime Time, but I don't even have _In All Languages_ or _Of Human Feelings_...


----------



## JACE

Now spinning some more vinyl:










*Sidney Bechet - Bechet of New Orleans*

I love these RCA "Vintage Series" LPs from the 60s. Even though they're mono, the sound quality is surprisingly good.

And it goes without saying that the music is CLASSIC.


----------



## SimonNZ

^ I had a Bebop compilation in that series that I thought was a particularly well chosen selection.


----------



## aajj

tortkis said:


> Listened to _Skies of America_ yesterday after a long time, and now I believe it is a great work.
> 
> Today, I listened to _New Vocabulary_ (System Dialing Records). It indeed sounded "new."
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Ornette Coleman - Alto Saxophone
> Jordan McLean - Trumpet & Electronics
> Amir Ziv - Drums
> Adam Holzman - Piano
> 
> Jordan McLean's trumpet/electronics set up the atmosphere, and Coleman plays freely over it. Coleman's sax sounds out of place and perfectly fitting at the same time. In a sense, Coleman's playing is always the same, but I feel it is becoming lighter and lighter, and freer and freer.
> 
> Now listening to _Virgin Beauty_. I love Prime Time, but I don't even have _In All Languages_ or _Of Human Feelings_...


So glad you enjoyed Skies of America! Ornette sounds plenty inspired when he plays and the orchestra pulled it off. The members of the London Symphony supposedly gave him a standing ovation when they finished recording.

As for _New Vocabulary_, I suspect he is still finding inspiration and that is great news. I agree that he generally sounds the same regardless of setting. I think the same is true of Miles.

I think _Virgin Beauty_ is one of his lighter albums but plenty enjoyable. The only Prime Time album I don't think much of is _Tone Dialing _but even that one had its moments.

Another favorite is _Sound Museum_. When it was released in the '90s I treated it as I treated _Sound Grammar_ in the '00s: as an event. Geri Allen fits in perfectly and it's the first album where I felt his son Denardo was a truly exceptional drummer. I have the 'Hidden Man' version.


----------



## aajj

JACE said:


> Now spinning some more vinyl:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *Sidney Bechet - Bechet of New Orleans*
> 
> I love these RCA "Vintage Series" LPs from the 60s. Even though they're mono, the sound quality is surprisingly good.
> 
> And it goes without saying that the music is CLASSIC.


I'm not aware of this RCA series but i have this RCA/Bluebird collection on a CD.


----------



## JACE

Now listening to:










*Eastern Rebellion - Just One of Those... Nights at the Village Vanguard*


----------



## tortkis

aajj said:


> So glad you enjoyed Skies of America! Ornette sounds plenty inspired when he plays and the orchestra pulled it off. The members of the London Symphony supposedly gave him a standing ovation when they finished recording.
> 
> As for _New Vocabulary_, I suspect he is still finding inspiration and that is great news. I agree that he generally sounds the same regardless of setting. I think the same is true of Miles.
> 
> I think _Virgin Beauty_ is one of his lighter albums but plenty enjoyable. The only Prime Time album I don't think much of is _Tone Dialing _but even that one had its moments.
> 
> Another favorite is _Sound Museum_. When it was released in the '90s I treated it as I treated _Sound Grammar_ in the '00s: as an event. Geri Allen fits in perfectly and it's the first album where I felt his son Denardo was a truly exceptional drummer. I have the 'Hidden Man' version.
> 
> View attachment 62792


I was very impressed with Denardo on _Prime Design / Time Design_. Excellent.
I too prefer _Virgin Beauty_ to _Tone Dialing_ but both are good. I really like the lightness of the band. The band no more exists? I have not been following Ornette Coleman's activities recently. I was surprised that _New Vocabulary_, recorded in 2009, was the first studio recording since 1996 (_Sound Museum: Three Women_). As you wrote, I wish his performance would be recorded as much as possible. He looks fine in this picture from June 2014 concert. (Photo: Al Pereira/Getty Images)


----------



## starthrower

I suppose these Ken Burns compilations were intended for novices, but I own a few of them, and they did a good job of selecting the material. I only listen to Lady Day once in a great while, so this set fits the bill.


----------



## JACE

Some jazz that I listened to today:









*Helio Alves - Música*









*Bill Carrothers - Castaways*


----------



## tortkis

Maria Schneider: Choro Dançado from Concert in the Garden








My favorite Schneider album.


----------



## aajj

tortkis said:


> I was very impressed with Denardo on _Prime Design / Time Design_. Excellent.
> I too prefer _Virgin Beauty_ to _Tone Dialing_ but both are good. I really like the lightness of the band. The band no more exists? I have not been following Ornette Coleman's activities recently. I was surprised that _New Vocabulary_, recorded in 2009, was the first studio recording since 1996 (_Sound Museum: Three Women_). As you wrote, I wish his performance would be recorded as much as possible. He looks fine in this picture from June 2014 concert. (Photo: Al Pereira/Getty Images)


He's sitting in that picture and i'm sure giving his all. Ben Webster is usually sitting in films of his performances in Europe during the '60s and he sounded as beautiful as ever.

I don't think Ornette has done anything with Prime Time since the '90s. I personally don't care if his releases are live or studio, so long as we the public get more & more! His late '90s live set with Joachim Kühn, _Colors_, is full of invention. I guess those couple of years with _Colors _and _Sound Museum_ constitute his "piano" period. He also recorded a couple of duets with Geri Allen on her album _Eyes in the Back of Your Head_.

_Song X _came up on this thread recently and i gave it another listen. These guys were completely in step with each other. The variety of moods is remarkable and always successful. I listened three times to the exquisite "Kathelin Gray." (Joe Lovano/Gunther Schuller covered it beautifully on _Rush Hour_.)

I also got into a hard boppin' mood with Brown, Roach & Rollins: _At Basin Street_, my favorite album by this legendary band. They were plenty fine with Harold Land as well, before Rollins stepped in.


----------



## aajj

starthrower said:


> I suppose these Ken Burns compilations were intended for novices, but I own a few of them, and they did a good job of selecting the material. I only listen to Lady Day once in a great while, so this set fits the bill.


These "Ken Burns" collections served a similar function to those of the Time-Life albums of the '70s that Jace brought up previously. I don't own any but i've seen them around. They're usually lengthy enough to be the equivalent of two vinyl lp's. Mingus' collection as i recall was well selected.


----------



## tortkis

I love hard bop trumpeters. Brown, Byrd, Dorham, Mitchell, Morgan, Farmer, Curson, ... Every one of them had a distinctive timbre and style.

Blue Mitchell - Blue's Moods








I listened to this countless times.


----------



## tortkis

Max Roach Double Quartet was a really interesting group: tp/sax/bass/drums + string quartet. _Live at Vielharmonie_ is an exciting album, containing two long pieces: A Little Booker & Bird Says, apparently dedicated to Booker Little and Charlie Parker, respectively. (The chord progression of the second tune is that of Confirmation.)


















Drums - Max Roach
Electric Bass - Phil Bowler
Trumpet - Cecil Bridgewater
Tenor Saxophone - Dayne Armstrong
The Swedenborg String Quartet:
Violin - Lars Holm & Ulrica Jannson
Viola - Anders Lindgren
Cello - Kerstin Elmquist


----------



## aajj

^^^ I've never heard that one but it must be plenty fine if it's of the same quality as _To the Max_, which i have in my collection. A full range of boppish free jazz, vocals, strings and M'Boom. "A Little Booker" is on this one. Cecil Bridgewater is featured as on your album but Odean Pope (who i never otherwise heard of) is on tenor sax. Love this album.


----------



## aajj

tortkis said:


> I love hard bop trumpeters. Brown, Byrd, Dorham, Mitchell, Morgan, Farmer, Curson, ... Every one of them had a distinctive timbre and style.
> 
> Blue Mitchell - Blue's Moods
> 
> 
> 
> 
> 
> 
> 
> 
> I listened to this countless times.


Great list! My favorite Ted Curson is with Mingus on the incredible _Mingus at Antibes _and _Mingus Presents Mingus_.

View attachment 63001
View attachment 63002


----------



## SimonNZ

Coleman Hawkins 1929-1934

I don't think I've ever heard the solo on "I've Got To Sing A Torch Song" before

wow...


----------



## aajj

Blakey live, 1954. Both volumes feature high octane classics, such as Wee Dot and Split Kick. Plus, the Clifford Brown feature, Once in a While. Priceless.


----------



## tortkis

aajj said:


> Great list! My favorite Ted Curson is with Mingus on the incredible _Mingus at Antibes _and _Mingus Presents Mingus_.


I think Curson said in an interview that Mingus disliked trumpet and harassed Curson.  Anyway, Antibes is a great album.
_Plenty of Horn_ was the first Curson's album I purchased and it's still my favorite.











aajj said:


> Blakey live, 1954. Both volumes feature high octane classics, such as Wee Dot and Split Kick. Plus, the Clifford Brown feature, Once in a While. Priceless.


Yes, and, timeless.


----------



## aajj

tortkis said:


> I think Curson said in an interview that Mingus disliked trumpet and harassed Curson.  Anyway, Antibes is a great album.
> _Plenty of Horn_ was the first Curson's album I purchased and it's still my favorite.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Ha, i don't doubt Curson but Mingus was an equal opportunity harasser of his musicians. He punched the trombonist Jimmy Knepper and knocked out his tooth. Musicians often complained about Mingus' treatment of them, though he unquestionably brought out the best in his guys.
> 
> Mingus seemed big on trumpeters Thad Jones in the '50s and Jack Walrath in the '70s, though i don't know how much he hassled them.  On _Tijuana Moods_, Clarence Shaw played a prominent role and Mingus went out of his way to praise him in the liner notes.
> 
> It somehow seems symptomatic of the jazz world that a classic on the level of _Tijuana Moods_ was not released until five years after it was recorded. In the liner notes, Mingus said he had no idea why.
Click to expand...


----------



## SimonNZ

Sonny Stitt - New York Jazz


----------



## starthrower

SimonNZ said:


> Coleman Hawkins 1929-1934
> 
> I don't think I've ever heard the solo on "I've Got To Sing A Torch Song" before
> 
> wow...


Chronogical [sic] I get a kick out of that!


----------



## aajj

I can't get "Doodlin' " out of my head.


----------



## Vaneyes

35 years on...a *Bill Evans* article.

http://www.wsj.com/articles/the-bill-evans-legacy-1423008187


----------



## aajj

As a leader, I love Evans' famous Village Vanguard trio recordings as well as Conversations with Myself. Also, his album with Tony Bennett was extremely tasteful. 

He was also a terrific sideman. Aside from his famous time with Miles, his appearance with Mingus on East Coasting before Evans was well known. Also, with Oliver Nelson on Blues & the Abstract Truth, with Art Farmer on Modern Art and with George Russell on Jazz in the Space Age are standouts for me.


----------



## echo




----------



## Vronsky

John Coltrane -- Meditations


----------



## aajj

^^^ Woah, _Meditations_! A landmark in my love of jazz. One of those pieces that sounded like a mess initially but the shape and form soon revealed itself. So many amazing sequences. For example, Jimmy Garrison's beautiful solo that begins "Love" and Coltrane's ethereal entry in joining him. Tyner's two shimmering solos. The relentless thunder of Elvin Jones and Rashied Ali. Coltrane and Sanders exploring the outer ranges of sound during "Compassion" and "Consequences."


----------



## aajj

Along with Peterson on drums, the "fo'tet" includes Don Byron on clarinet & bass clarinet, Melissa Slocum on bass and Bryan Carrott on vibes. David Murray and Frank Lacy appear on a few tracks.


----------



## tortkis

I remember I really enjoyed this album of OTB (Out of The Blue) on Blue Note around the end of 1980s. The concept was a bit conservative, but the band had young musicians with great talent: Peterson, Garrett, Rosnes, Hurst, ...


----------



## starthrower

Early Weather Report w/ John Surman
Pretty intense!


----------



## SimonNZ

Sandy Brown - McJazz


----------



## JACE

aajj said:


> Along with Peterson on drums, the "fo'tet" includes Don Byron on clarinet & bass clarinet, Melissa Slocum on bass and Bryan Carrott on vibes. David Murray and Frank Lacy appear on a few tracks.
> 
> View attachment 63224


Love that record. :cheers:


----------



## JACE

Now playing:










*Thomas Marriott - Urban Folklore (Origin, 2014)*

I'm really enjoying this one. Along with Marriott's trumpet, it features a _killer _rhythm section: Orrin Evans (p); Eric Revis (b); and Donald Edwards (d).


----------



## aajj

starthrower said:


> Early Weather Report w/ John Surman
> Pretty intense!


Thank you for providing the first Weather Report performance i have enjoyed. Their slick studio recordings send me to the reject button. But this is something else entirely. The opening section reminds me of Miles around 1968-ish as he was transitioning toward fusion but that free-blowing middle section takes it to another dimension. At around the 10:30 mark the percussionist begins banging together a pair of woman's shoes; how resourceful!


----------



## aajj

JACE said:


> Love that record. :cheers:


Mostly original compositions, plus a cracklin' cover of Strayhorn's "Johnny Come Lately."


----------



## Chrythes

The Seatbelts - NY Rush, a version of Cowboy Bebop


----------



## norman bates

aajj said:


> Thank you for providing the first Weather Report performance i have enjoyed. Their slick studio recordings send me to the reject button. But this is something else entirely. The opening section reminds me of Miles around 1968-ish as he was transitioning toward fusion but that free-blowing middle section takes it to another dimension. At around the 10:30 mark the percussionist begins banging together a pair of woman's shoes; how resourceful!


I would say it sounds like something taken from Bitches brew or Live evil.


----------



## Bluecrab

aajj said:


> As a leader, I love Evans' famous Village Vanguard trio recordings...


A beautiful recording-the jazz trio at its absolute finest. How tragic that Scott LaFaro was killed about two weeks later in a car accident. Apparently his death had a great impact on Bill Evans.


----------



## Bluecrab

Not for the meek. 

Just listened to my favorite cut on this album, _Out of This World_ (even though after all these years I still usually fast-forward through parts of Pharaoh's tenor solo). Coltrane sounds simply bigger than life on both horns.

Can anybody explain in technical terms what McCoy Tyner is doing in his solo? It sounds like he's changing keys (modulating?) pretty frequently and playing arpeggiated fragments of scales, but I can't be sure (don't know enough theory to say). I do know that I've always thought that it's one of the finest solos he recorded with that group.


----------



## Jos

"Groovin High"
Dizzy Gillespie and Charlie Parker.

Recorded probably in mid-forties. Great playing, but the musicians not in the lead are very soft and pushed backwards.
Could this be a bootleg compilation, made legit by Savoy-Musidisc ?


----------



## cwarchc

A recomendation from another forum, I'm enjoying it


----------



## tortkis

norman bates said:


> I would say it sounds like something taken from Bitches brew or Live evil.


Yes, I think it's like 1969~1970 Miles band. The first half is Zawinul's Directions, the regular opening theme of Miles band around that period. I was surprised that John Surman played with Weather Report. Very interesting & nice video. Thanks to starthrower.


----------



## tortkis

cwarchc said:


> A recomendation from another forum, I'm enjoying it
> View attachment 63293


How many times I listen to it, it always sounds fresh and exciting. Many "jazz-rock" albums were recorded, but this is special.


----------



## tortkis

Wadada Leo Smith & Bill Laswell - The Stone (Akashic Meditiation) (M.O.D. Technologies)








21st c. In a Silent Way? Laswell creates a deep, meditative and groovy mood, on which Leo Smith's brilliant and warm trumpet floats and blasts, at times quite freely. Very good.


----------



## starthrower

aajj said:


> Thank you for providing the first Weather Report performance i have enjoyed. Their slick studio recordings send me to the reject button. But this is something else entirely. The opening section reminds me of Miles around 1968-ish as he was transitioning toward fusion but that free-blowing middle section takes it to another dimension. At around the 10:30 mark the percussionist begins banging together a pair of woman's shoes; how resourceful!


If you want something on CD, get the Live In Tokyo 2 disc set. After 1972 they were never the same, but the early band was more improvisational and freewheeling.


----------



## aajj

tortkis said:


> Yes, I think it's like 1969~1970 Miles band. The first half is Zawinul's Directions, the regular opening theme of Miles band around that period. I was surprised that John Surman played with Weather Report. Very interesting & nice video. Thanks to starthrower.


Thanks for this info, didn't know it was Zawinul's theme.

An old favorite. Great compositions and arrangements and oh what a lineup. I smile that the cover lists the band as "starring."


----------



## aajj

cwarchc said:


> A recomendation from another forum, I'm enjoying it
> View attachment 63293


So funky, so good!


----------



## Vronsky

John Zorn -- Film works XII


----------



## JACE

Now listening to:










*Cannonball Adderley - Sophisticated Swing: The EmArcy Small-Group Sessions*


----------



## tortkis

Charlie Parker - Complete Dean Benedetti Recordings (Mosaic)








The audio qualities of some tracks are not good, almost everything is cut except Parker's solos, but I keep returning to this recording. I think Parker was really relaxed in these live sessions. If you just want to listen to Parker without hearing the same themes again and again, this is an ideal set. I wish at least Miles's solos were preserved.


----------



## starthrower

Ordered Oliver Lake's Black Saint/Soul Note box.










I would like to pick up the Julius Hemphill, Anthony Braxton, and second Steve Lacy set
eventually.

Also got this one out of the B&N bargain bin. These guys swing their butts off on
a nice selection of material.


----------



## elgar's ghost

I can feel a Miles binge coming on. I haven't any of the Prestige output so I will be going from this










to this


----------



## SimonNZ

Anouar Brahem - The Astonishing Eyes Of Rita

unrelated: how do people feel about Stan Kenton? Any favorite albums? I've heard a few, but can't get the measure of the massive discography, and there is, for once, absolutely no consensus of critical opinion of which are best or as to just how important a figure he is.


----------



## JACE

Last night, I listened to:









*Bill Evans - You Must Believe in Spring*









*Dave Liebman, Richie Beirach, George Mraz, Al Foster - Quest*









*Richie Beirach, George Mraz, Al Foster - Elegy for Bill Evans*


----------



## JACE

SimonNZ said:


> how do people feel about Stan Kenton? Any favorite albums? I've heard a few, but can't get the measure of the massive discography, and there is, for once, absolutely no consensus of critical opinion of which are best or as to just how important a figure he is.


I have a few of Kenton's albums: _Adventures in Jazz_, _City of Glass_, _Cuban Fire!_, and _New Concepts of Artistry in Rhythm_. I probably like _New Concepts_ best.

I've never had my mind blown by Kenton. But I've enjoyed what I heard.

I understand that some of his music was overblown and pretentious. And I know that he said some bone-headed, silly stuff about his place in the history of jazz. But he always had some really hard-core fans. ...I guess I've never been bitten by that bug.


----------



## elgar's ghost

SimonNZ;816270unrelated: how do people feel about Stan Kenton? Any favorite albums? I've heard a few said:


> I think I asked a similar question somewhere but I can't recall for certain if it was in this thread or not. The only thing I remember is being told that his killer band and best material were from the 1950s and to look out for certain albums from then (which, of course, I can't remember) - sorry, not much help, but maybe others will follow your question up as I didn't see my initial interest through.


----------



## SimonNZ

Thanks, this is sort of the impression I've been getting: either you catch the bug and become a fanatic, or its take it or leave it indifference.

playing now:










Gigi Gryce And The Jazz Lab Quintet (1957)


----------



## tortkis

elgars ghost said:


>


That is my favorite performance of _'Round Midnight_. The next is this. (Now listening.)

Thelonious Monk - The Complete Blue Note Recordings


----------



## SimonNZ

tortkis said:


> That is my favorite performance of _'Round Midnight_. The next is this. (Now listening.)
> 
> Thelonious Monk - The Complete Blue Note Recordings


Because I watched the film hundreds of times during my teens and twenties, my favorite version is the one by Bobby McFerrin and Herbie Hancock that opened Bertrand Tavernier's film Round Midnight


----------



## tortkis

SimonNZ said:


> Because I watched the film hundreds of times during my teens and twenties, my favorite version is the one by Bobby McFerrin and Herbie Hancock that opened Bertrand Tavernier's film Round Midnight


I watched the movie when I was a university student, but now I don't recall the details at all. Very nice, thanks.


----------



## JACE

SimonNZ said:


> playing now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Gigi Gryce And The Jazz Lab Quintet (1957)


I really like that record and that band. Good stuff! :cheers:


----------



## aajj

starthrower said:


> Ordered Oliver Lake's Black Saint/Soul Note box.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> I would like to pick up the Julius Hemphill, Anthony Braxton, and second Steve Lacy set
> eventually.


Oliver Lake has lately been part of Trio 3 with Reggie Workman and Andrew Cyrille. Free, exploratory music as you'd imagine, these guys bring it.


----------



## aajj

tortkis said:


> That is my favorite performance of _'Round Midnight_. The next is this. (Now listening.)
> 
> Thelonious Monk - The Complete Blue Note Recordings


If ever there is desert island music, it's Monk on Blue Note. My favorite of 'Round Midnight is either that one or his solo on _Thelonious Himself_. Also, hell yeah, Miles w/Trane.


----------



## JACE

Now listening to *Jerry Gonzalez & the Fort Apache Band*:










*Fire Dance*


----------



## starthrower

Great concert from an out of print DVD.


----------



## Albert7

aajj said:


> If ever there is desert island music, it's Monk on Blue Note. My favorite of 'Round Midnight is either that one or his solo on _Thelonious Himself_. Also, hell yeah, Miles w/Trane.


I prefer the complete Monk on Prestige and Columbia years instead to be honest.


----------



## SimonNZ

Cliff Jordan / John Gilmore - Blowing In From Chicago


----------



## JACE

SimonNZ said:


> Cliff Jordan / John Gilmore - Blowing In From Chicago


I think Clifford Jordan was one of the unsung heroes of jazz. Just a great, great musician. :cheers:


----------



## aajj

albertfallickwang said:


> I prefer the complete Monk on Prestige and Columbia years instead to be honest.


Monk's Prestige recordings tend to be over-looked next to the Blue Note and Riverside work, particularly his trios. This trio album features premiere recordings of brilliant compositions. They were re-recorded many times over the years, as you know from the Columbia recordings, but were rarely topped for quality. Originals such as Little Rootie Tootie, Bye-Ya, Monk's Dream, Trinkle Tinkle, Blue Monk, Bemsha Swing and Reflections.


----------



## Albert7

aajj said:


> Monk's Prestige recordings tend to be over-looked next to the Blue Note and Riverside work, particularly his trios. This trio album features premiere recordings of brilliant compositions. They were re-recorded many times over the years, as you know from the Columbia recordings, but were rarely topped for quality. Originals such as Little Rootie Tootie, Bye-Ya, Monk's Dream, Trinkle Tinkle, Blue Monk, Bemsha Swing and Reflections.
> 
> View attachment 63726


I have the complete Riverside box set but haven't heard the 15 discs yet. Someday when I get to those.


----------



## JACE

Now listening to Art Pepper's _Straight Life_:










The rhythm sections is Tommy Flanagan (p), Red Mitchell (b), and the inimitable Billy Higgins (d), who swings like a man possessed.


----------



## aajj

^^^ I originally knew HIggins through Ornette and only later realized how versatile he is. He fits in with almost any setting. Jackie McLean, Dexter Gordon, Cecil Taylor, Monk, Rollins, Lee Morgan, David Murray, on and on.

Here's a fine one.


----------



## Albert7

My dream box set that I'm saving up pennies for:









All the Verve stuff from the Glenn Gould of jazz piano.


----------



## Albert7

My favorite Art Pepper box set that I lost as a kid 









Somewhere in my biological parent's house  out in Kentucky.



JACE said:


> Now listening to Art Pepper's _Straight Life_:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> The rhythm sections is Tommy Flanagan (p), Red Mitchell (b), and the inimitable Billy Higgins (d), who swings like a man possessed.


----------



## JACE

aajj said:


> ^^^ I originally knew HIggins through Ornette and only later realized how versatile he is. He fits in with almost any setting. Jackie McLean, Dexter Gordon, Cecil Taylor, Monk, Rollins, Lee Morgan, David Murray, on and on.
> 
> Here's a fine one.
> 
> View attachment 63775


On the All About Jazz Forum, my handle is *HutchFan* and *Stick Up!* is my avatar image. 

Yes, you're right about Higgins. He can play anything. He's probably my all-time favorite drummer.


----------



## Albert7

I just looked at used copies on Amazon for the box set and they are running at least $250!

I only paid $125 for it back when I was at Vanderbilt in my undergraduate.



albertfallickwang said:


> My favorite Art Pepper box set that I lost as a kid
> 
> View attachment 63783
> 
> 
> Somewhere in my biological parent's house  out in Kentucky.


----------



## JACE

albertfallickwang said:


> My dream box set that I'm saving up pennies for:
> 
> View attachment 63782
> 
> 
> All the Verve stuff from the Glenn Gould of jazz piano.


Aw, I dunno. I like Bill Evans MUCH more than GG.

I'm just joshing you.


----------



## Albert7

Thanks for the link. I just joined up finally so that I can chat about jazz music . Merci beaucoup.



JACE said:


> On the All About Jazz Forum, my handle is *HutchFan* and *Stick Up!* is my avatar image.
> 
> Yes, you're right about Higgins. He can play anything. He's probably my all-time favorite drummer.


----------



## Albert7

JACE said:


> Aw, I dunno. I like Bill Evans MUCH more than GG.
> 
> I'm just joshing you.


Awwww ... I love both honestly. And I got into Glenn Gould as a kid by way of Bill Evans actually.


----------



## JACE

albertfallickwang said:


> I just looked at used copies on Amazon for the box set and they are running at least $250!
> 
> I only paid $125 for it back when I was at Vanderbilt in my undergraduate.


I hate it when that happens. Argh!


----------



## JACE

Now listening to *Passion Flower: Fred Hersch Plays Billy Strayhorn*.


----------



## Kevin Pearson

JACE said:


> On the All About Jazz Forum, my handle is *HutchFan* and *Stick Up!* is my avatar image.
> 
> Yes, you're right about Higgins. He can play anything. He's probably my all-time favorite drummer.


Mine is Ktrek. K for Kevin and Trek because I'm a Trekkie!


----------



## starthrower




----------



## tortkis

Ornette Coleman - Beauty Is a Rare Thing: The Complete Atlantic Recordings








one of the most clear and sober jazz, imo.


----------



## starthrower

Some Nawlin's Jazz!


----------



## aajj

JACE said:


> On the All About Jazz Forum, my handle is *HutchFan* and *Stick Up!* is my avatar image.
> 
> Yes, you're right about Higgins. He can play anything. He's probably my all-time favorite drummer.


Very cool! I am a bit surprised you did not choose an Ellington album. I joined that forum seven or eight years ago but only posted about twenty times and did not return. Don't even recall my username.

_Components _is another Hutcherson album i am very fond of. But my favorite is his first as a leader, _Dialogue_, one of my all-time favorites in fact.

The Sonny Simmons album caught my eye. Have not heard that one but i love this collaboration with Prince Lasha, _Firebirds_. I am not otherwise familiar with Lasha's work, except for his appearance on Dolphy's _Iron Man_.


----------



## starthrower

^^^
They also recorded together on The Cry. Ancient Ritual is a sax trio album recorded in the early 90s. I have one Prince Lasha CD called The Inside Story. It's out of print now.


----------



## SimonNZ

Miles Davis - The Musings Of Miles (1955) and Miles (1956)


----------



## starthrower

'78 release w/ Hutcherson, Hubbard, Hubert Laws, Stanley Clarke, Bill Summers










'75 British Jazz release featuring John Surman, among many others.


----------



## tortkis

Masabumi Kikuchi - Susto








I love hypnotic _Circle/Line_. For me, it's very difficult to beat time.


----------



## Vronsky

Miles Davis, Gil Evans -- Sketches of Spain


----------



## aajj

^^^ Sketches of Spain is my favorite of the Miles/Evans collaborations.

_The Jaki Byard Experience_ w/Roland Kirk, Richard Davis & Alan Dawson. Same lineup as on Kirk's _Rip, Rig & Panic_, except none other than Elvin Jones was the drummer.

On this one, they bring it hard on "Parisian Thoroughfare" and a stunning Byard/Kirk (on tenor) duet on "Memories of You."

Jackie McLean - _One Step Beyond_
A stellar lineup of Moncur III, Hutcherson, Eddie Khan and pre-Miles Tony Williams.


----------



## SimonNZ

Phil Woods / Gene Quill - Phil And Quill


----------



## tortkis

Kenny Dorham - Jazz Contemporary








Kenny Dorham - trumpet
Charles Davis - baritone saxophone
Steve Kuhn - piano
Jimmy Garrison, Butch Warren - bass
Buddy Enlow - drums

Excellent hardbop. I like the sound of trumpet - baritone sax combination. Byrd/Adams and Baker/Mulligan are very nice.


----------



## Albert7

Just got this from iTunes along with two Diana Krall albums:


----------



## starthrower




----------



## starthrower




----------



## aajj

^^^ I have heard the Braxton-Roach collaboration, a good one, but I have often been left cold by Braxton's work. However, he shines, as does everyone, on Dave Holland's _Conference of the Birds_.

As a leader, I absolutely do take to these '70s live recordings. When I first heard them I was surprised that a few of the compositions harkened to the '20s, simultaneously old-timey and modern, even humorous. Holland and Barry Altschul are amazing, as are Kenny Wheeler and George Lewis when taking their turns.









I listened to another long-time favorite Jackie McLean album, _Let Freedom Ring_. Where _Destination Out_, a year later, featured Hutcherson, this one features a pianist in Walter Davis Jr. Also featured is JACE's buddy Billy Higgins. McLean's unique tone is extraordinary on this album.


----------



## Albert7

Can we say Bobby again and again?

I love the complex groove of this track:


----------



## tortkis

aajj said:


> I listened to another long-time favorite Jackie McLean album, _Let Freedom Ring_. Where _Destination Out_, a year later, featured Hutcherson, this one features a pianist in Walter Davis Jr. Also featured is JACE's buddy Billy Higgins. McLean's unique tone is extraordinary on this album.
> 
> View attachment 64226


When I started listening to jazz, I was not much attracted by his "unique tone," but he became one of my favorite hardbop saxophonists, especially in his 1950s recordings (his solos in Miles's Dig are fantastic!) I have not heard much of his recordings in 1960s and later, but I liked Demon's Dance (1967) very much. Woddy Shaw's Sweet Love of Mine is a masterpiece.









Jackie McLean - alto saxophone
Woody Shaw - trumpet, flugelhorn
LaMont Johnson - piano
Scott Holt - bass
Jack DeJohnette - drums


----------



## aajj

I have not heard _Demon's Dance_ but the lineup is plenty interesting (and the album cover is wild). I am familiar with another 1967 album of McLean's, _New and Old Gospel_. Johnson and Holt again appear, with Higgins and Ornette on trumpet, the type of trumpet playing that pissed off other players such as Miles. "Old Gospel" is especially good.


----------



## tortkis

I like Ornette Coleman's trumpet (and violin too!) I need to listen to New and Old Gospel.
I have Mosaic's Grachan Moncur III set but haven't listened to it often, and noticed that it contains four of Jackie McLean's leader albums: One Step Beyond, Destination Out, Hipnosis, and 'Bout Soul. There are only two Moncur albums. I don't know why it is Moncur's set.  Now listening to One Step Beyond.


----------



## Vronsky

Herbie Hancock -- _Thurst_


----------



## aajj

tortkis said:


> I like Ornette Coleman's trumpet (and violin too!) I need to listen to New and Old Gospel.
> I have Mosaic's Grachan Moncur III set but haven't listened to it often, and noticed that it contains four of Jackie McLean's leader albums: One Step Beyond, Destination Out, Hipnosis, and 'Bout Soul. There are only two Moncur albums. I don't know why it is Moncur's set.  Now listening to One Step Beyond.


What did you think of _One Step Beyond_? Moncur wrote two of the compositions, so i suppose he's _almost _a co-leader.

I'm assuming the Mosaic set includes his first album as a leader, _Evolution_. McLean, L. Morgan, Hutcherson, Cranshaw & T. Williams, these guys were back & forth on each other's albums and thankfully so. I think his second as a leader, _Some Other Stuff_, is almost as good but distinct from the first with Shorter, Hancock, McBee & T. Williams.


----------



## tortkis

aajj said:


> What did you think of _One Step Beyond_? Moncur wrote two of the compositions, so i suppose he's _almost _a co-leader.


Frankly speaking, the tunes themselves are not much memorable (some are even a bit dull), but their improvisations are superb. Especially, once McLean starts his solo, everything is livened up.



> I'm assuming the Mosaic set includes his first album as a leader, _Evolution_. McLean, L. Morgan, Hutcherson, Cranshaw & T. Williams, these guys were back & forth on each other's albums and thankfully so. I think his second as a leader, _Some Other Stuff_, is almost as good but distinct from the first with Shorter, Hancock, McBee & T. Williams.
> 
> View attachment 64286
> View attachment 64287


That's right, Evolution and Some Other Stuff are included. I purchased the set mainly because of the side members. (McLean, Morgan, Shorter, Hutcherson, ... typical Blue Note all stars.) I still don't have a certain opinion about Moncur III ...


----------



## aajj

^^^ I guess you have not decided if the Mosaic set was worth the cost.

A good collection of Mulligan's Concert Jazz Band.


----------



## Bluecrab

(Anthony Braxton - Four Compositions (Quartet) 1983

Another gem from Anthony Braxton:









Hard to pigeonhole this guy. Obvious roots in bebop and post-bop, but he transcends jazz. One of my favorite pieces that he ever recorded is the one called "Duet" that he does with Chick Corea on the "Circle - Paris Concert" album. Not jazz at all to my ear-pure modern or post-modern music. The two of them are very attuned to each other. Braxton said more than once that he was sorry that Corea broke up that band.

I've always been glad that Anthony Braxton finally got his due (tenured professor and all). It was a shame that, for a time, he had to pawn his horns now and then and hustle chess in NYC.


----------



## JACE

Now listening to an outstanding Art Pepper & George Cables duet record, _Tête-à-Tête_ (Galaxy, 1982):


----------



## JACE

More Art Pepper. This time, it's _Friday Night at the Village Vanguard_.










Check out this line-up: Art (alto and tenor sax); George Cables (piano); George Mraz (bass); Elvin Jones (drums). Hell yeah!!!!


----------



## starthrower




----------



## JACE

That's ^^^ such an AWESOME record!!!


----------



## starthrower

JACE said:


> That's ^^^ such an AWESOME record!!!


Yeah! It has the magic. A great vibe! I found it in an old music store in my town about 32 years ago.
I bought Consciousness on the same day. Now I have them on a 32Jazz CD.


----------



## tortkis

George Russell - Live in an American Time Spiral (1982)


----------



## tortkis

I just downloaded this Elvin Jones set and started listening to it. I am already sure that this is a great set. Thanks again to JACE for the information of Capitol Vaults Jazz Series. Without that post, I would have missed this.










The original album titles:
_Puttin' It Together_
_The Ultimate Elvin Jones_
_The Prime Element_
_Poly-Currents_
_Coalition_
_Genesis_
_Merry-Go-Round_
_Mr. Jones_
_Live at the Lighthouse_
_At This Point in Time_


----------



## starthrower

I'm digging this one. Modern chamber jazz with an element of improv and interplay.


----------



## aajj

Coltrane - Live at the Village Vanguard, Master Takes









Dave Holland Quintet - Jumpin' In
All around excellence but Kenny Wheeler's lyricism is a standout.


----------



## starthrower

This one sounds fantastic. Love this orchestra!


----------



## aajj

^^^ That one i've heard. Wildly adventurous and, yeah, creative.

Ellington & Armstrong on a Sunday morning. Barney Bigard is a strong contributor.


----------



## tortkis

Braxton: Composition No. 94 for Three Instrumentalists (1980)








I wonder how much is 'composed.' It sounds totally improvised.


----------



## norman bates

tortkis said:


> I like Ornette Coleman's trumpet (and violin too!) I need to listen to New and Old Gospel.
> I have Mosaic's Grachan Moncur III set but haven't listened to it often, and noticed that it contains four of Jackie McLean's leader albums: One Step Beyond, Destination Out, Hipnosis, and 'Bout Soul. There are only two Moncur albums. I don't know why it is Moncur's set.  Now listening to One Step Beyond.


The fact is that more than a great improviser Moncur was one of the most interesting and original postbop composers (I'd reccommend his pieces to anyone who's looking for dark and mysterious stuff), even in that bunch of talented musicians of the sixties. And he composed some of his best tunes for Mclean like Love and hate, Frankenstein and Ghost town, that are some of the best examples in the whole genre. That's the reason.


----------



## tortkis

norman bates said:


> The fact is that more than a great improviser Moncur was one of the most interesting and original postbop composers (I'd reccommend his pieces to anyone who's looking for dark and mysterious stuff), even in that bunch of talented musicians of the sixties. And he composed some of his best tunes for Mclean like Love and hate, Frankenstein and Ghost town, that are some of the best examples in the whole genre. That's the reason.


What are great and original in his compositions? I would like to listen to them more carefully. (It happened often that I first didn't get certain musicians/composers and then became to like them later, so I usually don't trust my early impressions.)


----------



## norman bates

tortkis said:


> What are great and original in his compositions? I would like to listen to them more carefully. (It happened often that I first didn't get certain musicians/composers and then became to like them later, so I usually don't trust my early impressions.)


My knowledge of theory is very limited so I can't talk about those piece from a technical point of view, but his best pieces are quite peculiar: dark, often slow, eerie, with a cinematic quality, very atmospheric music (after all with titles like "ghost town" it's easy to see that he wanted to go in a certain direction).
Love and hate seems something taken from a gloomy noir (and in my opinion is one of the greatest jazz tracks of the sixties, I'm glad that Gary Giddins included it as his favorite track of the 1963)





I don't know if Blue Free is included in the Mosaic selection, not one of his best known tracks because is from a compilation called "the new wave in jazz", it sounds as the best track never recorded by Eric Dolphy on Out to lunch (maybe it's just the similar instrumentation that gives me this impression, but I can't help but think of that album listening to it, and I love Out to lunch)





Some of his eerie pieces


----------



## JACE

I think Mosaic released the set in Moncur's name because he's the only musician to perform on ALL of the selections.

Not any more complicated than that.

Although I do agree with Norman: I find his compositions fascinating.


----------



## starthrower

I like Moncur's Blue Notes. And I have an Actuel CD called New Africa. His Exploration CD is excellent too.


----------



## Badinerie

I went in one of my sheds for a light bulb and found an old Tape of Sonny Stitt which reminded me I had some of his LP's so im up to some Late night listening with Sonny.
Cant remember where I picked this up. A white label promo copy!?










Followed by another white label which some considerate soul has written the track listings!


----------



## starthrower

I've been looking for this album, and I just found out it's on the new Ed Blackwell Black Saint/Soul Note box.


----------



## SimonNZ

playing now:










Paul Gonsalves - Gettin Together


----------



## tortkis

norman bates said:


> My knowledge of theory is very limited so I can't talk about those piece from a technical point of view, but his best pieces are quite peculiar: dark, often slow, eerie, with a cinematic quality, very atmospheric music (after all with titles like "ghost town" it's easy to see that he wanted to go in a certain direction).
> Love and hate seems something taken from a gloomy noir (and in my opinion is one of the greatest jazz tracks of the sixties, I'm glad that Gary Giddins included it as his favorite track of the 1963)
> 
> 
> 
> 
> 
> I don't know if Blue Free is included in the Mosaic selection, not one of his best known tracks because is from a compilation called "the new wave in jazz", it sounds as the best track never recorded by Eric Dolphy on Out to lunch (maybe it's just the similar instrumentation that gives me this impression, but I can't help but think of that album listening to it, and I love Out to lunch)
> 
> 
> 
> 
> 
> Some of his eerie pieces


Thank you very much. Only Blue Free is not included in the Mosaic set. These pieces remind me of Hutcherson's leader albums in 1960s, not only because Hutcherson joined many of these sessions but also due to the abstract feels of their works. (Though Hutcherson composed some lyrical pieces.) I like Dolphy's Out to Lunch. It was a real shock when I first listened to it a long time ago.


----------



## aajj

World Saxophone Quartet - Revue









David Murray Octet - Ming


----------



## JACE

SimonNZ said:


> playing now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Paul Gonsalves - Gettin Together


Gonsalves is MY MAN!!!

Love that tone. Like wispy cirrus clouds floating across the sky.


----------



## JACE

aajj said:


> David Murray Octet - Ming
> 
> View attachment 64622


Murray's Octet was such a great band. So many great musicians.

I really, really like _Ming_. But I think my favorite is _New Life_.


----------



## aajj

^^^
The cream of the NYC crop appeared in those octets.
_New Life _is another damn good album. _Ming _ is my favorite, along with _Home_.


----------



## tortkis

Ming is so sweet! I need to check out _New Life_.
Another Murray's album I have is _Ballads for Bass Clarinet_, which I like very much.


----------



## SimonNZ

Paul Chambers - Bass On Top


----------



## starthrower

I'm currently listening to this set. It's actually more straight sounding than I expected.


----------



## aajj

Betty Carter - Feed the Fire
I love Betty and here she is, live, at peak form with a great trio.


----------



## Badinerie

Just finished listening to this great Coleman Hawkins _Very_ StereoLP










Now Im listening to The Hawk and Earl Knight Tearing it up on Running Wild...


----------



## SimonNZ

Frank Rosolino - Free For All


----------



## Badinerie

More Hawk...checking out a lot of jazz lps I havnt played for a while.


----------



## tortkis

Donald Byrd / Pepper Adams Quintet With Herbie Hancock ‎- Touchstone








Donald Byrd, Pepper Adams, Herbie Hancock, Teddy Charles, Jimmy Cobb

Listening to Donald Byrd's last album. After releasing fusion/R&B albums, he returned to straight-ahead hardbop. His trumpet playing was still quite lyrical.


----------



## Bluecrab

aajj said:


> Betty Carter - Feed the Fire
> I love Betty and here she is, live, at peak form with a great trio.


Oh yeah. That is one fine album. How can you go wrong with Dave Holland in your band?

Here's the one that came just before it. Listen to cut 2, _Stay as Sweet as You Are_. Mulgrew Miller's playing us just the epitome of understatement. One of my favorite songs.


----------



## aajj

Bluecrab said:


> Oh yeah. That is one fine album. How can you go wrong with Dave Holland in your band?
> 
> Here's the one that came just before it. Listen to cut 2, _Stay as Sweet as You Are_. Mulgrew Miller's playing us just the epitome of understatement. One of my favorite songs.
> 
> View attachment 64822


Tremendous song on a very fine album indeed. My favorite from that one is probably "Dip Bag," where she scats for almost nine minutes. I also love her "I Should Care" on that album.

I think Betty was at her best live but another studio album I love is _The Betty Carter Album_, from the '70s. This contains what I'm pretty sure is the original recording of "Sounds"; superb, but a mere 7 minutes compared to the thrill ride over 20 minutes on _The Audience with Betty Carter_.


----------



## aajj

Lester Young - The President Plays
w/Oscar P.'s group, incl Barney Kessel


----------



## tortkis

Mean What You Say - Thad Jones & Pepper Adams Quintet








One of my favorite jazz tunes. The version by Thad Jones - Mel Lewis orchestra was wonderful, but the album is hard to find.
Mingus described Thad Jones as "Bartok with valves for a pencil guided by God."

[EDIT] I just found this, available for download on Google Play and Amazon. Listened to _Mean What You Say_. Fantastic.









[EDIT2] This digital album seems comprised of _Presenting Thad Jones/Mel Lewis and the Jazz Orchestra_ and _Gerry Mulligan & Jimmy Witherspoon_. I don't know why but the tracks are totally mixed. Jimmy Witherspoon is good, but it's worth obtaining even just for the 7 tracks of Thad/Mel orchestra album, which are superb.


----------



## tortkis

Carla Bley Big Band Goes To Church (1996)












Wonderful, as always. I love Carl Bley's compositions.


----------



## Badinerie

Resuming the Hawk sessions with another listen to the Beanstalkin lp a great live album. 
But now im onto..


----------



## Badinerie

The CD set just arrived through the post. OMG! Im as far in as Solitude and Im filling up already.
breathtaking!


----------



## aajj

Badinerie said:


> The CD set just arrived through the post. OMG! Im as far in as Solitude and Im filling up already.
> breathtaking!


Yeah, Billie in her prime! She's my woman. 

I had eight of the nine volumes in Columbia's "Quintessential" series (all except number seven). But when they came out with the box set, the sound was noticeably improved: much brighter and the rhythm sections came through much clearer. So, i dug into my pockets and splurged. As her song says, no regrets. 

Lady Day: The Complete Billie Holiday on Columbia 1933-1944


----------



## aajj

tortkis said:


> Carla Bley Big Band Goes To Church (1996)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Wonderful, as always. I love Carl Bley's compositions.


I don't know this album, but i love her work with Charlie Haden's Liberation Music Orchestra. My favorite in that series is _The Ballad of the Fallen_. On her own, i like Bley's _Social Studies_ and _European Tour 1977_.


----------



## starthrower

The 24 minute Setting Clavin's Waltz, is a great opener on the Carla Bley CD.


----------



## SimonNZ

Thelonius Monk - It's Monk's Time (1964)


----------



## tortkis

Monk: Reflections - Steve Khan & Donald Fagen





This is the LP I most regretted losing. A lot of wonderful performances by notable musicians. My favorites were this one, Zorn, and Carla Bley's Mysterioso (the most beautiful rendition of the piece, IMO.)


----------



## aajj

SimonNZ said:


> Thelonius Monk - It's Monk's Time (1964)


_Anytime _is Monk time, sez i.


----------



## starthrower

Playing these tonight.


----------



## norman bates

Moacir Santos - Coisas









I really like this album, there are a lot of beautiful airy and sunny melodies like this Coisa 10 (considering the number of versions of it on youtube I suspect it's a Brazilian standard, and deservedly so)


----------



## starthrower

Happy 75th birthday to Ralph Towner!


----------



## JACE

*Alexis Cuadrado - A Lorca Soundscape (Sunnyside, 2013)*

This is a great record. Spanish bassist Cuadrado's compositions are settings of poetry by Lorca. Claudia Acuña (vo) and Miguel Zenón (as) are especially impressive.


----------



## JACE

starthrower said:


>


Magnificent!

The tune "Azalea" off this record _slays_ me.

:cheers:


----------



## JACE

aajj said:


> But when they came out with the box set, the sound was noticeably improved: much brighter and the rhythm sections came through much clearer. So, i dug into my pockets and splurged. As her song says, no regrets.
> 
> Lady Day: The Complete Billie Holiday on Columbia 1933-1944
> 
> View attachment 65037


I plopped for the box set too. Worth every penny and then some!


----------



## JACE

SimonNZ said:


> Thelonius Monk - It's Monk's Time (1964)


I think Monk's Columbia recordings are under-appreciated, compared to the Blue Note and Riverside records.

I love Monk's Columbia records!


----------



## starthrower

I haven't listened to this one in ages. An interesting selection of material including arrangements of several of Bartok's pieces from Mikrokosmos.


----------



## Albert7

JACE said:


> I think Monk's Columbia recordings are under-appreciated, compared to the Blue Note and Riverside records.
> 
> I love Monk's Columbia records!


Me too. I wish that Columbia get their act together to come out with a complete Monk on Columbia box set.


----------



## Badinerie

Digging deep into my old lp's found some Gems...


----------



## starthrower

Great set here by Sco & co.


----------



## JACE

starthrower said:


> Great set here by Sco & co.


Damn, that band is so GREAT.


----------



## JACE

Now playing:










*George Shearing Trio - Windows (MPS, 1977)*
with Louis Stewart (g) and Niels Henning Ørsted-Pedersen (b)


----------



## SimonNZ

Cannonball Adderley - Portrait Of Cannonball (1958) and Sharpshooters (1958)


----------



## JACE

Hooray for Cannonball!!!!


----------



## SimonNZ

Badinerie said:


>


Haven't heard that in a while. I'll give it a spin later.

Which I've got with this cover in this box:


----------



## JACE

More *George Shearing* on the MPS label. This time it's solo piano. The album is *My Ship*:


----------



## starthrower

JACE said:


> Damn, that band is so GREAT.


Yeah! That was a killer gig! Bill Stewart's solo on the last tune is great! Now I have to dig out my En Route CD and give it a listen.


----------



## JACE

*Art Blakey & the Jazz Messengers - Coast to Coast*
Disc 2 - Originally released as _Live at Kimball's_ (1986)

Along with Blakey, the band features Terence Blanchard on trumpet, Donald Harrison on alto saxophone, Mulgrew Miller on piano, Lonnie Plaxico on bass, and Jean Toussaint on tenor saxophone. Excellent late-period Blakey.


----------



## SimonNZ

Don Cherry - Complete Communion (1965)


----------



## JACE

*The Dave Brubeck Quartet - Jazz at Oberlin*










Along with _Jazz Goes to College_, this is my fave DBQ.


----------



## aajj

SimonNZ said:


> Don Cherry - Complete Communion (1965)


I love this album, with Barbieri in a fever.


----------



## JACE

Now listening to Commodore sides from Coleman Hawkins and Chu Berry.

It's appropriately titled _Tenor Giants_:










The tracks also include trumpet work from three all-time greats: Roy Eldridge, Cootie Williams, and Hot Lips Page.

Oh yeah.


----------



## JACE

aajj said:


> I love this album, with Barbieri in a fever.


:cheers:

Barbieri's Flying Dutchman and Impulse records are tremendous. He was one helluva tenor player.


----------



## Albert7

Listening to this on TinyChat with a few guys:


----------



## Albert7

Now on TinyChat with a few guys digging this track:


----------



## Albert7

On TinyChat listening to Soul Station by Hank Mobley in full:


----------



## Albert7

On TinyChat presenting this track from Cannonball!


----------



## Albert7

Now on TinyChat presenting this track from The Three Sounds.


----------



## Albert7

Another lovely Hank Mobley piece on TinyChat... So nice!


----------



## SimonNZ

Speaking only for myself...I'm utterly sick of hearing about TinyChatTinyChatTinyChatTinyChatTinyChat

and of the twelve-post serial-spams around TC


----------



## DiesIraeCX

Albert, don't you all get on tinychat daily? Are you going to post every video that you listen to on the chat to the Jazz Hole, Current Listening, and your diary/musings thread?


----------



## DiesIraeCX

albertfallickwang said:


> And the diary/musings thread is separate because it includes listening notes for each piece. But no one really reads that since it is semi-private so it is good to share up in the current listening accordingly.


May I ask in what way is it semi-private? I thought it was an open thread.


----------



## Albert7

DiesIraeVIX said:


> May I ask in what way is it semi-private? I thought it was an open thread.


It is semi-private because it is geared for my daughter's future reading. Yes, it is open for anyone to read but the tone is written in a less academic way and most focused on personal feelings here. Someday I hope that she will appreciate the legacy.

And now to another lovely clip I shared on TinyChat with Eliane Elias (who has a classical album on EMI).






Great chops on the keyboard.


----------



## Blake

Al, all is well around here... but I can see where the contempt is coming from. There's not the need to turn every thread into a personal sentiment about your life. Have enough humility to leave other people the room to post, read, and listen. Everyone else has a life too. 

:tiphat:


----------



## Albert7

Watching Miles Davis doing a beautiful Cyndi Lauper cover from his later years.






A quite awesome and fierce rendition.


----------



## Albert7

Blake said:


> Al, all is well around here... but I can see where the contempt is coming from. There's not the need to turn every thread into a personal sentiment about your life. Have enough humility to leave other people the room to post, read, and listen. Everyone else has a life too.
> 
> :tiphat:


Indeed, I agree. But others brought it up again and again. Anyways I'm going to remain silent about the issue and get back to my jazz listening for the evening.


----------



## SimonNZ

Albert7 said:


> It is semi-private because it is geared for my daughter's future reading. Yes, it is open for anyone to read but the tone is written in a less academic way and most focused on personal feelings here. Someday I hope that she will appreciate the legacy.


I've been biting my tongue for a while, but:

How old is your daughter now? And how many years will it be until she's ready for Morton Feldman? (assuming she doesn't rebel against her parents taste, and isn't overwhelmed by this massive homework project of listening)

How many of these links will work after that number of years? Will YT still exist? Will TC?

I actually wouldn't care or mind, if you would only please shut up about TinyChatTinyChatTinyChat


----------



## Albert7

SimonNZ said:


> I've been biting my tongue for a while, but:
> 
> How old is your daughter now? And how many years will it be until she's ready for Morton Feldman? (assuming she doesn't rebel against her parents taste, and isn't overwhelmed by this massive homework project of listening)
> 
> How many of these links will work after that number of years? Will YT still exist? Will TC?
> 
> I actually wouldn't care or mind, if you would only please shut up about TinyChatTinyChatTinyChat


Okay, I was trying to avoid discussing anymore of my personal stuff but...

My daughter turns 2 in 3 weeks. And who knows when she will be ready for Morton Feldman if she will ever be.

I am looking to create a legacy for her in about 10-20 years ahead here. And YouTube will be here still for sure.

Okay, listening to Dave Brubeck right now and making everyone guess the time signature on this piece.






And total silence in the room... btw, it's not a usual time signature for anything here.


----------



## Blake

Haha, Al, you're a nut. Nobody cares about each others kids. Most people are looking for a break from their own... let alone hearing about others.... 

But yea, Brubeck is good digs. So again, all's well. Hoho


----------



## Albert7

Final jazz track before I hit the sack:






Very underrated master of the piano. And people still dislike him .


----------



## starthrower

My only Clark Terry CD. RIP


----------



## JACE

Gato Barbieri - _Bolivia/Under Fire_


----------



## starthrower

^^^
I have that one, but I haven't played it much. His raspy tone is not really my cuppa tea. I also have some of the mid 60s stuff with Don Cherry on those live volumes that were released several years back.


----------



## aajj

starthrower said:


> My only Clark Terry CD. RIP


Clark Terry, great ambassador for the music. Lester Bowie was a fan. I wish Terry was given more to do during his Ellington years. One favorite from those years featuring Terry was "Up and Down, Up and Down" from _Such Sweet Thunder_. I greatly admire his albums _Serenade to a Bus Seat, Oscar Peterson + One Duke with a Difference_ and - my favorite - _In Orbit_, with Monk.


----------



## aajj

JACE said:


> Gato Barbieri - _Bolivia/Under Fire_


Of those two I am more familiar with _Under Fire_, which I enjoy for the combination of his very modern sax (and Abercrombie's guitar) set against relentless percussion and rhythm.

Much differently, i am also fond of _The Third World_, a kind of post-Coltrane free-for-all with Roswell Rudd, Lonnie Liston Smith, Charlie Haden and Beaver Harris.


----------



## tortkis

The only Barbieri's album I have is _Last Tango In Paris_, which I like very much. Also, his playing on Carla Bley's _Escalator Over the Hill_ (a masterpiece!) is quite impressive.


----------



## aajj

^^^ 
The mention of Bley reminded me that Barbieri also appeared on the first Liberation Music Orchestra album.


----------



## JACE

aajj said:


> Of those two I am more familiar with _Under Fire_, which I enjoy for the combination of his very modern sax (and Abercrombie's guitar) set against relentless percussion and rhythm.
> 
> Much differently, i am also fond of _The Third World_, a kind of post-Coltrane free-for-all with Roswell Rudd, Lonnie Liston Smith, Charlie Haden and Beaver Harris.


I think ALL of Barbieri's Flying Dutchman & Impulse albums are stellar.


----------



## JACE

I'm now listening to Duke Ellington's _Newport 1958_:










This is a beautiful record, an under-appreciated gem in Duke's discography, IMHO.

My CD is the Mosaic version, which removes the dubbed-in crowd noise from the tracks that were actually recorded in the studio after the event.


----------



## starthrower

Picked up these today at a local store.


----------



## tortkis

starthrower said:


> Picked up these today at a local store.


That is one of the best jazz albums I purchased last year. I listened to some tracks more than 10 times. Beautiful compositions and excellent performances. I always liked Holland, but I had not realized that Kenny Barron is so great. My impression is that Barron plays each note very long, but it never sounds dull.


----------



## starthrower

tortkis said:


> I always liked Holland, but I had not realized that Kenny Barron is so great.


Yeah! Kenny Barron may not get talked about as much as Hancock, Tyner, Jarrett, and Corea, but he's a great artist. He was working with Yusef Lateef when he was just a teenager.


----------



## tortkis

Clark Terry - Mixed & Remixed








Really enjoyable album. Like Barron, I found that I knew very little about this great musician. His discography is astonishing.

_"The discography includes 902 recording sessions from February 1947 to July 2008. It includes 788 sessions with Clark Terry as a sideman and 114 sessions with him as a leader. Included are 2584 unique musicians (total 12,604 entries) and 3403 unique tunes (total 7735 entries). "_


----------



## SimonNZ

Duke Ellington

Blue Rose (featuring Rosemary Clooney), 1958
Black, Brown and Beige (featuring Mahalia Jackson), 1958


----------



## Badinerie

Love the 'Come Sunday' on the black brown and Beige lp!

Dig Hank Mobley Clark Terry and The Adderly's Too!


----------



## norman bates

tortkis said:


> That is one of the best jazz albums I purchased last year. I listened to some tracks more than 10 times. Beautiful compositions and excellent performances. I always liked Holland, but I had not realized that Kenny Barron is so great. My impression is that Barron plays each note very long, but it never sounds dull.


Barron deserves a lot of credit as a composer. Maybe he's not the most innovative one, but for those who like the tradition of Horace Silver, Benny Golson or Cedar Walton he's truly a gifted writer of interesting tunes.


----------



## Blake

Jamming some Rollins. So very nice.


----------



## starthrower

Great one from the Art Ensemble cats.


----------



## Bluecrab

tortkis said:


> ...I had not realized that Kenny Barron is so great.


Don't worry, you're not alone. 

He did some really nice stuff with Sonny Fortune in the late 70s, and his own albums from the 80s and 90s are exellent. Check out _Wanton Spirit_ and _What If_, for example.

He's a really underappreciated pianist IMO.


----------



## tortkis

Bluecrab said:


> Don't worry, you're not alone.
> 
> He did some really nice stuff with Sonny Fortune in the late 70s, and his own albums from the 80s and 90s are exellent. Check out _Wanton Spirit_ and _What If_, for example.
> 
> He's a really underappreciated pianist IMO.


Thanks for your recommendation. On that duo album, besides the two favorite bop standards (Segment and In Walked Bud), the original compositions of Barron and Holland were what greatly impressed me.
Now listening to What If. Very nice.


----------



## starthrower

Trumpeter Lew Soloff died of a heart attack yesterday.
http://jazztimes.com/sections/news/articles/156952-trumpeter-lew-soloff-dies-at-71

NP:










Jace has good taste, so I figured I'd give this one another go.


----------



## Albert7

Late night, courtesy of schoenbergiantea, this beautiful track of Bill Evans with orchestra:


----------



## Albert7

Another rather exquisite Bill Evans track with orchestra.


----------



## JACE

starthrower said:


> NP:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Jace has good taste, so I figured I'd give this one another go.








Thanks, ST!

I grew up listening to Barbieri. My dad loved him too. So I'm not exactly objective.


----------



## JACE

I agree with everyone's comments about Kenny Barron.

His duets with Stan Getz on the CD set _People Time_ are amazing. Desert island music.


----------



## norman bates

JACE said:


> Thanks, ST!
> 
> I grew up listening to Barbieri. My dad loved him too. So I'm not exactly objective.


I don't know a lot if his work (especially after the seventies) but there's been a period when I was listening obsessively to his Latin America album. Especially to the track Encuentros (it reminds me a lot of Jim Pepper on Witchi tai to) 





Simple stuff harmonically but truly visceral and full of joy the vivre and melancholy at the same time.


----------



## starthrower

JACE said:


> Thanks, ST!
> 
> I grew up listening to Barbieri. My dad loved him too. So I'm not exactly objective.


I'm still not crazy about his sound, but I enjoyed the music.


----------



## Bluecrab

JACE said:


> I grew up listening to Barbieri...


I kinda did too... got into him when I was in high school, got _Under Fire_ when it came out. Saw him in 1973 at the Kennedy Center, the Impulse Artists on Tour show. Keith Jarrett and Sam Rivers were on the same bill. That was a great show.

I saw him about 4-5 years later in a big bar in Virginia Beach, and the band was so loud that the drink glasses were vibrating on the tables. You could feel the (electric) bass notes throughout your body. I couldn't hear right for about 2 days. That was somewhat disappointing. The only concert I can remember that came even close to that in volume was the Mahavishnu Orchestra, with King Crimson as the warmup band.

All in all, though, I like his playing.


----------



## jim prideaux

Bobo Stenson-returned to a number of his albums after a break, Cantando and Goodbye in particular.....tomorrow will be Serenity and Indicum!


----------



## aajj

While I won't be bringing Kenny Barron to a desert island, I enjoy his live duet album with Charlie Haden, _Night and the City_. Mostly standards but it opens with "Twilight Song," an exquisite Barron composition.

Also, i used to date a woman with the last name Barron. She was thrilled when i told her about Kenny and it paid dividends for me - for a little while, anyway.


----------



## aajj

Further to Charlie Haden, this album of duets with Ornette.









I also came across this photo of Ornette and Cecil Taylor, taken recently at Ornette's 85th birthday party. Taylor is 86.


----------



## Badinerie

Feeling lucky tonight...


----------



## JACE

jim prideaux said:


> Bobo Stenson-returned to a number of his albums after a break, Cantando and Goodbye in particular.....tomorrow will be Serenity and Indicum!


Oh yes. Such wonderful music.

I also love Bobo's work with Charles Lloyd -- _The Call_ and _All My Relations_. That was such a great band with Anders Jormin on bass and Billy Hart on drums. Phew! Good stuff.


----------



## Albert7

dedalus and I are chilling together and listening to some Oscar Peterson:


----------



## jim prideaux

JACE said:


> Oh yes. Such wonderful music.
> 
> I also love Bobo's work with Charles Lloyd -- _The Call_ and _All My Relations_. That was such a great band with Anders Jormin on bass and Billy Hart on drums. Phew! Good stuff.


funnily enough last night I progressed,not to more Bobo but to some of his albums with Charles Lloyd-Canto for one and you are spot on-'great band'!


----------



## starthrower

Fantastic archival release on ECM. Manfred Eicher remixed the tapes, and it sounds great!


----------



## jim prideaux

starthrower said:


> Fantastic archival release on ECM. Manfred Eicher remixed the tapes, and it sounds great!


my son bought me this 'album' at Christsmas-it is amazing how one has developed an almost nostalgic attachment to the sound of early to mid 70's Jarrett!


----------



## JACE

jim prideaux said:


> my son bought me this 'album' at Christsmas-it is amazing how one has developed an almost nostalgic attachment to the sound of early to mid 70's Jarrett!


I think this band -- augmented with Dewey Redman -- was Jarrett's very best.

I prefer the "American Quartet's" music to Jarrett's solo work (except _Facing You_), the Standards Trio, and the "European Quartet."


----------



## jim prideaux

JACE said:


> I think this band -- augmented with Dewey Redman -- was Jarrett's very best.
> 
> I prefer the "American Quartet's" music to Jarrett's solo work (except _Facing You_), the Standards Trio, and the "European Quartet."


radical.......noteworthy and unorthodox opinion there JACE!


----------



## tortkis

aajj said:


> Further to Charlie Haden, this album of duets with Ornette.
> 
> View attachment 65964
> 
> 
> I also came across this photo of Ornette and Cecil Taylor, taken recently at Ornette's 85th birthday party. Taylor is 86.
> 
> View attachment 65965


It's a lovely picture! I didn't know of that album. I have Haden's _Closeness_, which contains one track of duet with Coleman. All the duets are very good (with Alice Coltrane, with Motian), and particularly the one with Jarrett is quite beautiful.


----------



## aajj

^^^ _Closeness _is another fine duet album. The standouts for me are the duets with Ornette and Jarrett.


----------



## starthrower

I don't have any nostalgic attachment. I never heard that group in the 70s. I just love the way they sound and play together.


----------



## Vronsky

*Sun Ra -- Atlantis*









Sun Ra -- Atlantis (1969)


----------



## starthrower




----------



## JACE

jim prideaux said:


> radical.......noteworthy and unorthodox opinion there JACE!


I guess I'm a maverick! 

For me, _Shades_, _Treasure Island_, and _Death & the Flower_ -- along with _Facing You_ -- are the pinnacle of Jarrett's artistry.

Purely subjective thing, of course. They're just the ones that KILL me every time I listen.


----------



## Bluecrab

JACE said:


> For me, _Shades_, _Treasure Island_, and _Death & the Flower_ -- along with _Facing You_ -- are the pinnacle of Jarrett's artistry.


I listened to _Facing You_ on a Saturday night a while back for the first time in a while. To me, it still sounds as if it could have been recorded last week. The technical quality of that recording is as good as it gets. _Lalene _is such a beautiful song.

I know that _The Koln Concert_ is his most popular solo recording, but I've always liked the Bremen-Lausanne solo recordings better.

Completely agree with you about _Death and the Flower_. That was just an excellent band.


----------



## aajj

After all the recent chatter on this thread about Kenny Barron, I now see he is on the cover of the latest Downbeat.


----------



## Schubussy

Some ambient/dark jazz for you all


----------



## aajj

Jack DeJohnette - Album Album (1984)


----------



## tortkis

Schubussy said:


> Some ambient/dark jazz for you all


I like Bohren & Der Club Of Gore. My favorite is Kleinerfinger on Geisterfaust. Gloomy but beautiful. Dolores and Sunset Mission are also very nice.


----------



## aajj

Brown-Roach Quintet - _Study in Brown_
I needed a hard bop fix.


----------



## aajj

Henry Threadgill & Zooid - Up Popped the Two Lips (2001)









Henry Threadgill - alto saxophone, flute
Liberty Ellman - acoustic guitar
Tarik Benbrahim - oud
José Davila - tuba
Dana Leong - cello
Dafnis Prieto - drums


----------



## Albert7

Tenor Conclave with Hank Mobley, Al Cohn, John Coltrane, Zoot Sims.


----------



## tortkis

She Was Too Good To Me - Chet Baker








This is my favorite Chet Baker album. His trumpet improvisation does not seem to be doing very complicated things, but it is always tuneful and well structured.


----------



## Albert7

Ana Caram's "Blue Bossa"


----------



## Albert7

A dynamic trio tonight which is so good!


----------



## Albert7

This is a lovely track I heard tonight:


----------



## tortkis

starthrower said:


> Trumpeter Lew Soloff died of a heart attack yesterday.
> http://jazztimes.com/sections/news/articles/156952-trumpeter-lew-soloff-dies-at-71


RIP Lew Soloff.
Listening to Friday The 13th (Monk).
Live At Sweet Basil Vol. 2, Gil Evans & The Monday Night Orchestra


----------



## Kevin Pearson

Much thanks to Albert for his Jazz selections last night! One artist he played was Ingrid Jensen. This album is excellent. Women in Jazz are usually confined to vocals and piano but Ingrid blows those stereotypes away (no pun intended). She is one of the finest trumpeters you will hear in today's Jazz scene. This album in particular is just some of the best Jazz I have heard in recent years by a contemporary artist. If you don't know Ingrid Jensen then do yourself a favor and check her out. There's quite a bit of her music on Yahoo and Spotify has several of her albums to stream. I'll be purchasing all her albums from now on.










Kevin


----------



## tortkis

Ingrid Jensen is a member of Maria Schneider Orchestra, my favorite contemporary large jazz ensemble.
I have not heard her solo album yet. I'll check it out.


----------



## Kevin Pearson

In memory of Lew Soloff I'm listening to one of the Manhattan Jazz Quintet albums called Blue Bossa. You would think that with almost 30 albums under their belt these guys would be more well known but apparently they were mostly known in Japan and most of their albums are available as imports. Strange but true.










Kevin


----------



## elgar's ghost

Kevin Pearson said:


> In memory of Lew Soloff I'm listening to one of the Manhattan Jazz Quintet albums called Blue Bossa. You would think that with almost 30 albums under their belt these guys would be more well known but apparently they were mostly known in Japan and most of their albums are available as imports. Strange but true.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Kevin


Hi KP - was that the guy who used to be in Blood, Sweat & Tears?


----------



## Kevin Pearson

elgars ghost said:


> Hi KP - was that the guy who used to be in Blood, Sweat & Tears?


Yes it was. Probably what he was most known for. However, he did way more Jazz work then he did pop.

Kevin


----------



## elgar's ghost

Kevin Pearson said:


> Yes it was. Probably what he was most known for. However, he did way more Jazz work then he did pop.
> 
> Kevin


That's too bad - talented man.


----------



## millionrainbows

That second Blood Sweat and Tears CD sounds great remastered. Those horn pop right out of the speakers. Powerful stuff. Anybody like Don Ellis?


----------



## millionrainbows




----------



## Blake

Some Tommy Flanagan. Tastefully.


----------



## starthrower

millionrainbows said:


>


I love listening to Don Ellis. A great musician and trumpeter. I've been meaning to pick up these titles, as I have the Essence CD.


----------



## SimonNZ

Joseph Jarman - Song For


----------



## tortkis

Following Jensen's version (very good), I'm listening to _The Time of the Barracudas_ played by Gil Evans, with and without Miles. A great composition.


----------



## starthrower

Ornette's Atlantic box is being re-issued on March 31st. Happy 85th birthday, Mr. Coleman!


----------



## aajj

tortkis said:


> Following Jensen's version (very good), I'm listening to _The Time of the Barracudas_ played by Gil Evans, with and without Miles. A great composition.


Wayne Shorter and Elvin Jones shine on "Barracudas."


----------



## aajj

SimonNZ said:


> Joseph Jarman - Song For


Love that album, as well as _As If It Were The Seasons._


----------



## Vronsky

*Stan Getz & João Gilberto -- Getz/Gilberto*









Stan Getz & João Gilberto -- Getz/Gilberto (1964)


----------



## millionrainbows

starthrower said:


> Ornette's Atlantic box is being re-issued on March 31st. Happy 85th birthday, Mr. Coleman!


In reference to Ornette Coleman, the main reason I bought this set (I have the old one) was to get this title, which was later released as a John Lewis title:








Some great work by Jim Hall and Eric Dolphy on here as well.







This is a newer Japanese release. I bet the mastering is good on this, and the price is reasonable. I'd like to have this one.


----------



## starthrower

^^^
I don't have that Lewis 2-fer, but a number of others I have on that label sound kinda crappy. Especially the older issues.


----------



## Kevin Pearson

The latest issue of Downbeat had a pretty good article on Kenny Barron, which set me in the mood to listen to a couple of his latest albums. Both of these albums are duos and intimate. One with George Robert (alto sax) and the other with the infamous Dave Holland (double bass). Barron has worked with Robert several times before and their album Peace is worth checking out. And anyone who listen to Jazz knows the talent of Dave Holland. The guy is one of the greatest bass men of all time, and I don't think there's hardly a person of importance in Jazz he has not played with. Two fine albums that compliment each other very nicely.


----------



## Albert7

starthrower said:


> Ornette's Atlantic box is being re-issued on March 31st. Happy 85th birthday, Mr. Coleman!


I am looking forward to this re-issue and it is on iTunes at least. Happy birthday Ornette too!


----------



## aajj

The Duke of Ellington - Blues in Orbit


----------



## Kevin Pearson

Still stuck in my Jazz groove! My Sennheiser HD800 headphones just make Jazz so much fun to listen to again. I stepped back to the 70s with the classic funky white jazz of the, now classic, first Brecker Brothers album.

Next I leapt to 2002 with Chris Potter's Traveling Mercies. This album is just really so amazing. The rhythms and harmonies he finds with this set of of musicians is kind of magical and maybe even spiritual. It's a sonic journey that at times reminds me of Weather Report and a little Frank Zappa thrown into the mix. Certainly you will hear musical colors you have never heard before as well.

I really like both of these albums a lot.



















Kevin


----------



## Albert7

Kevin Pearson said:


> Still stuck in my Jazz groove! My Sennheiser HD800 headphones just make Jazz so much fun to listen to again. I stepped back to the 70s with the classic funky white jazz of the, now classic, first Brecker Brothers album.
> 
> Next I leapt to 2002 with Chris Potter's Traveling Mercies. This album is just really so amazing. The rhythms and harmonies he finds with this set of of musicians is kind of magical and maybe even spiritual. It's a sonic journey that at times reminds me of Weather Report and a little Frank Zappa thrown into the mix. Certainly you will hear musical colors you have never heard before as well.
> 
> I really like both of these albums a lot.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Kevin


Oooo... those look like really awesome albums... I will have to add those to my playlist.


----------



## tortkis

Moonbird - Larry Goldings Trio (1999, Palmetto)








Larry Goldings - Hammond Organ
Peter Bernstein - Guitar
Bill Steward - Drums, Cymbals, Gongs

As suggested in the liner notes, Larry Young's influence (particularly, The Moontrane and Zoltan on Unity, with Woody Shaw) can be heard. I liked this album very much, but the next album Voodoo Dogs was not so impressive. I may try it again.


----------



## Kevin Pearson

Trying now to unwind and get my head and heart ready for bed. This album by the superb guitarist Russell Malone called Heartstrings is the perfect late night remedy. Even though this album is slower than most of Malone's recordings his playing is outstanding. I just love listening to his licks. Slow or fast he's one of the best out there.










Kevin


----------



## JACE

Kevin Pearson said:


> Next I leapt to 2002 with Chris Potter's Traveling Mercies. This album is just really so amazing. The rhythms and harmonies he finds with this set of of musicians is kind of magical and maybe even spiritual. It's a sonic journey that at times reminds me of Weather Report and a little Frank Zappa thrown into the mix. Certainly you will hear musical colors you have never heard before as well.


My son and I saw Chris Potter's Underground this past weekend. The band consisted of Potter (on tenor, clarinet, and piano), Adam Rogers (on guitar), Fima Ephron (on electric bass guitar), and Nate Smith (on drums).

They were SMOKING HOT. :cheers:

Potter has a new record coming out soon, his second on ECM. I'll be getting it.


----------



## JACE

tortkis said:


> Moonbird - Larry Goldings Trio (1999, Palmetto)
> 
> 
> 
> 
> 
> 
> 
> 
> Larry Goldings - Hammond Organ
> Peter Bernstein - Guitar
> Bill Steward - Drums, Cymbals, Gongs
> 
> As suggested in the liner notes, Larry Young's influence (particularly, The Moontrane and Zoltan on Unity, with Woody Shaw) can be heard. I liked this album very much, but the next album Voodoo Dogs was not so impressive. I may try it again.


I really dig this band. I think _Sweet Science_ is their best.

Larry Goldings' _Quartet_ (Palmetto, 2006) is also superb. (It's not with this trio though.)


----------



## JACE

I'm now listening to Hubert Laws' _Wild Flower_:


----------



## Albert7

Awesome song tonight.


----------



## Kevin Pearson

JACE said:


> My son and I saw Chris Potter's Underground this past weekend. The band consisted of Potter (on tenor, clarinet, and piano), Adam Rogers (on guitar), Fima Ephron (on electric bass guitar), and Nate Smith (on drums).
> 
> They were SMOKING HOT. :cheers:
> 
> Potter has a new record coming out soon, his second on ECM. I'll be getting it.


Wow! I'd love to hear Potter live. I should make a suggestion to the board for the Denton Jazz Fest. Maybe they could bring him in next year?

Kevin


----------



## Albert7

Tonight I heard this lovely song:


----------



## Albert7

Another great jam that I heard tonight:


----------



## JACE

I'm now listening to *Mark Weinstein's Latin Jazz Underground*:










Afro-Cuban jazz with an avant-garde flavor. (Sort of like the 60's Blue Note avant-vibe _à la_ Grachan Moncur or Andrew Hill or Bobby Hutcherson.) Along with Weinstein's flute, the music features the playing & compositions of Aruán Ortiz, a young pianist from Cuba worth keeping an eye out for.


----------



## TurnaboutVox

*Miles Davis
Kind of Blue *(Colombia, 1959)

To be honest, I had come to the end of my tolerance for an exclusive diet of string quartets, and this was my (very welcome) escape route


----------



## starthrower

JACE said:


> I'm now listening to *Mark Weinstein's Latin Jazz Underground*:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Afro-Cuban jazz with an avant-garde flavor. (Sort of like the 60's Blue Note avant-vibe _à la_ Grachan Moncur or Andrew Hill or Bobby Hutcherson.) Along with Weinstein's flute, the music features the playing & compositions of Aruán Ortiz, a young pianist from Cuba worth keeping an eye out for.


Sounds interesting! I have another album on that label by Cuban drummer/composer Dafnis Prieto called Absolute Quintet. Recommended to fans of modern composition and progressive jazz.


----------



## JACE

starthrower said:


> Sounds interesting! I have another album on that label by Cuban drummer/composer Dafnis Prieto called Absolute Quintet. Recommended to fans of modern composition and progressive jazz.


Cool. I've read good things about Prieto -- but I don't think I've heard any of his music. Thanks for the heads-up.

Zoho is a cool label. :cheers:


----------



## starthrower

The Absolute Quintet CD is different than most of his other albums, as it doesn't have the typical Afro-Cuban sound. Prieto is a very talented composer, and a great drummer. Other musicians on the record include violinist Christian Howes, pianist Jason Lindner, and Henry Threadgill questing on alto on one track.


----------



## aajj

Bird's Savoy recordings


----------



## norman bates

JACE said:


> I'm now listening to *Mark Weinstein's Latin Jazz Underground*:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Afro-Cuban jazz with an avant-garde flavor. (*Sort of like the 60's Blue Note avant-vibe à la Grachan Moncur or Andrew Hill or Bobby Hutcherson*.) Along with Weinstein's flute, the music features the playing & compositions of Aruán Ortiz, a young pianist from Cuba worth keeping an eye out for.


Then it sounds like something I have to heard. I remember his Cuban roots (an album that seems to have a legendary status) was more a cross of cuban rhythms and free jazz with a primitivist side, an interesting album, besides the Beatles's cover.


----------



## tortkis

Giovanni di Domenico & Alexandra Grimal - Chergui (ayler records)








Alexandra Grimal, tenor and soprano saxophones
Giovanni di Domenico, piano

I finally received this 2-CD set. (It took 6 weeks since I ordered it!) Quiet, sensitive, and contemplative. (Some pieces are named as _Koan_.)

I really love their previous album _Ghibli_ (Sans Bruit). The download is easily available.


----------



## aajj

Wayne Shorter - Footprints Live (2002)
Familiar titles but they feel entirely fresh with his freewheelin' band. Includes an arrangement of Valse Triste.

Shorter, tenor and soprano saxophone. 
Danilo Perez, piano. J
ohn Patitucci, bass. 
Brian Blade, drums.


----------



## Albert7

Page One by Joe Henderson while kicking it late with pals.


----------



## Albert7

In 'N Out with Joe Henderson...


----------



## SimonNZ

Denny Zeitlin - Cathexis










Denny Zeitlin - Slick Rock


----------



## JACE

aajj said:


> Wayne Shorter - Footprints Live (2002)





SimonNZ said:


> Denny Zeitlin - Slick Rock


Two GREAT CDs! :cheers:

I'm listening to one of Trane's classics:










_*Coltrane's Sound*_


----------



## aajj

JACE said:


> Two GREAT CDs! :cheers:
> 
> I'm listening to one of Trane's classics:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _*Coltrane's Sound*_


"Equinox" was among the first Trane recordings i went crazy over, as a teenager. A great album and the material on _Coltrane Plays the Blues_, another great one, was recorded alongside it.


----------



## Bluecrab

aajj said:


> Wayne Shorter - Footprints Live (2002)


That is an excellent album. I really like Danilo Perez's playing on it. Of course, it's really hard to go wrong with pretty much any album by Wayne Shorter.


----------



## SimonNZ

aajj said:


> *"Equinox" was among the first Trane recordings i went crazy over, as a teenager.* A great album and the material on _Coltrane Plays the Blues_, another great one, was recorded alongside it.


Exactly my experience, also. Must play it again tonight

The My Favorite Things album was also from the same sessions as the two other albums, wasn't it?


----------



## Badinerie

I've swore off the Classical this week for Bluegrass, but mostly Jazz
Two of my fave cool jazz lp's. Re-issues of course...

The originals are in a steel vault guarded by Ninja Leopards surrounded by a moat infested by Ill tempered mutated sea bass.


----------



## DiesIraeCX

Well guys and gals, I listened to my first ever jazz album.

*Miles Davis*: Kind of Blue

Heard it at my friends house, on vinyl.


----------



## JACE

DiesIraeVIX said:


> Well guys and gals, I listened to my first ever jazz album.
> 
> *Miles Davis*: Kind of Blue


The album that's made jazz converts out of THOUSANDS -- including me! 

What did you think of it, DI?

I listened to _KoB_ dozens of times, and I _liked_ it. And then... one day I was listening to "Flamenco Sketches." It was during Coltrane's solo. The world cracked open. I suddenly HEARD the music. My Saul-on-the-Road-to-Damascus moment!!! (And not just for jazz. MUCH more than that. The light bulb went on for MUSIC.)


----------



## aajj

SimonNZ said:


> Exactly my experience, also. Must play it again tonight
> 
> The My Favorite Things album was also from the same sessions as the two other albums, wasn't it?


According to jazzdisco.org, yes.
Also, "Village Blues," which wound up on the _Coltrane Jazz _album. He must not have gotten much sleep that week!


----------



## aajj

Badinerie said:


> I've swore off the Classical this week for Bluegrass, but mostly Jazz
> Two of my fave cool jazz lp's. Re-issues of course...
> 
> The originals are in a steel vault guarded by Ninja Leopards surrounded by a moat infested by Ill tempered mutated sea bass.


Sophisticated Swing? Sophistication is not the first word that comes to mind when I look at that woman. :tiphat:


----------



## DiesIraeCX

JACE said:


> The album that's made jazz converts out of THOUSANDS -- including me!
> 
> What did you think of it, DI?
> 
> I listened to _KoB_ dozens of times, and I _liked_ it. And then... one day I was listening to "Flamenco Sketches." It was during Coltrane's solo. The world cracked open. I suddenly HEARD the music. My Saul-on-the-Road-to-Damascus moment!!! (And not just for jazz. MUCH more than that. The light bulb went on for MUSIC.)


I greatly enjoyed it, but it certainly wasn't a revelatory experience and I know why, I heard it with a few other pals, people were talking. Not exactly the optimal listening experience, but even through all of that, I enjoyed it quite a bit and I'm very intrigued. I downloaded it on Spotify, I'll listen to it again alone very soon!


----------



## tortkis

Kind of Blue is truly great. I have been listening to it for a long time, but I still don't get it enough.

Now listening to Eivind Opsvik's Overseas IV (Loyal Label, 2012). Malaby is very good, and harpsichord creates an interesting atmosphere.








Eivind Opsvik: bass; Tony Malaby: tenor saxophone; Brandon Seabrook: electric guitar, mandolin; Jacob Sacks: harpsichord, farfisa organ, piano; Kenny Wollesen: drums, cymbals, timpani, vibraphone, marching machine


----------



## aajj

Gerry Hemingway Quintet ‎- Waltzes, Two-Steps & Other Matters Of The Heart
Live in Berlin, 1999.

I came across this disc at the library several years ago and fell for it big time. The instrumentation combines reeds, trombone, cello, bass and percussion. Some formalistic "European" tendencies with swinging modern jazz and hardlly a dull moment. I'm also fond of a studio album from 1993 by this group called _Demon Chasers_.


----------



## starthrower




----------



## Albert7

With my daughter Izzy and listening to this album:


----------



## starthrower

A couple of early 60s dates by the great altoist.


----------



## tortkis

Left Alone - Mal Waldron









Left Alone, with Jackie McLean, is very moving, but my favorite is Cat Walk (trio).


----------



## Badinerie

Chillin out with some smoothies...


----------



## starthrower

This one is pure gold. An intimate recording of some great material.


----------



## tortkis

Reincarnation of a Love Bird - Paul Motian








Paul Motian - drums
Chris Potter - alto saxophone
Chris Cheek - tenor saxophone
Wolfgang Muthspiel - electric guitar
Kurt Rosenwinkel - electric guitar
Steve Swallow - electric bass
Don Alias - percussion

My favorite disc of Motian, and one of the most beautiful jazz albums.


----------



## SimonNZ

Niels-Henning Ørsted Pedersen - This Is All I Ask


----------



## Badinerie

Some Ellingtonia....and Benny Carter now to chill out.


----------



## JACE

I've been listening to Duke Ellington this afternoon:









_The Private Collection, Vol. 5: The Suites: New York 1968 & 1970_









_Soul Call_









_The Far East Suite_


----------



## Badinerie

Love Duke Ellington. Seen them a few times and have quite a few recordings


----------



## JACE

Badinerie said:


> Love Duke Ellington. Seen them a few times and have quite a few recordings


I'm jealous. I never got to see Duke in person. He passed when I was only six years old.

But I love his music, and I've collected MANY of his recordings. In fact, I have more CDs & LPs by Ellington than anyone else -- except Charles Ives. :cheers:


----------



## starthrower

A night in Wayne's World. Shorter, that is!
http://www.freep.com/story/entertai...er/2015/03/21/wayne-shorter-quartet/25143431/


----------



## Badinerie

Some more Duke to help ease away the monday morning blues.










And an all time favourite


----------



## SimonNZ

Hugh Masekela - The Lasting Impressions Of Ooga Booga










Carla Bley - Escalator Over The Hill


----------



## JACE

NP:








*Duke Ellington: The Great Paris Concert (Atlantic)*
The title tells the truth. Recorded in Paris in 1963, it is indeed a "great" performance. Cootie Williams had just rejoined the band, and he sounds particularly inspired.


----------



## hpowders

JACE said:


> I'm jealous. I never got to see Duke in person. He passed when I was only six years old.
> 
> But I love his music, and I've collected MANY of his recordings. In fact, I have more CDs & LPs by Ellington than anyone else -- except Charles Ives. :cheers:


Awww! One day you'll see him. The same A Train he took will provide the rendevous!


----------



## JACE

hpowders said:


> Awww! One day you'll see him. The same A Train he took will provide the rendevous!


Heh, heh. That works for me.

...as long as it isn't too soon.


----------



## padraic

One of my favorites from Miles


----------



## hpowders

JACE said:


> Heh, heh. That works for me.
> 
> ...as long as it isn't too soon.


He'll wait. He has a condo at Eternal Lakes.


----------



## aajj

JACE said:


> I've been listening to Duke Ellington this afternoon:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _The Private Collection, Vol. 5: The Suites: New York 1968 & 1970_


I have Vol. 1 of 'The Private Collection,' 1956 recordings. Gonsalves receives ample space and the liner notes speculate it's connected to the raging reception at the Newport Festival. But there is variety in the selections and not many others could leave this level of artisanship to a posthumous release.


----------



## JACE

aajj said:


> I have Vol. 1 of 'The Private Collection,' 1956 recordings. Gonsalves receives ample space and the liner notes speculate it's connected to the raging reception at the Newport Festival. But there is variety in the selections and not many others could leave this level of artisanship to a posthumous release.


I agree, aajj.

I have all 10 volumes in the series, and every one of them is worth hearing. Gonsalves is featured throughout, and that makes me happy because I'm a big fan of his playing. I'd especially recommend Volume 5. Some mind-blowingly good stuff.


----------



## aajj

^^^
When i posted i almost asked if you had volume 1 but - silly me - i knew you had them all, c'mon! :tiphat:

Two of my favorite moments on Vol 1 are Jump for Joy featuring Jimmy Hamilton in all his swinging glory and Short Sweet Cluster featuring Clark Terry in all his bubbling glory. But even basic blues pieces such as March 19th Blues, Discontented and Long Time Blues are elevated by that intangible Ellington magic. They make it seem so easy.


----------



## Badinerie

Deep cool...Miles Mingus and Trane. 
180 gram virgin reissue versions though. cant find all the right pictures.
Nice......


----------



## aajj

^^^ Three all-timers.

Andrew Hill - _Andrew!!!_ (1964) and _A Beautiful Day_ (live, 2002)


----------



## SimonNZ

Had to go and listen to "Teo" from Someday My Prince Will Come again. One of my favorite Miles tracks, and one of my favorite Trane solos.


----------



## aajj

^^^
And one of the last, if not the last, Miles recording with Trane. Went out with a bang.


----------



## Albert7

I am officially announcing that I will be giving up all classical music listening for May to July 2015 (w/ classical music only on Fridays.)

My plans are to listen to all of Bill Evans, as many of the Blue Note RVG's, and possibly random jazz stuff including the complete Ella Fitzgerald hopefully on Verve. This will be the first time that I will try this out.


----------



## Morimur

Albert7 said:


> I am officially announcing that I will be giving up all classical music listening for May to July 2015 (w/ classical music only on Fridays.)
> 
> My plans are to listen to all of Bill Evans, as many of the Blue Note RVG's, and possibly random jazz stuff including the complete Ella Fitzgerald hopefully on Verve. This will be the first time that I will try this out.


Don't forget to wear protection!


----------



## Kevin Pearson

I've returned again to Jazz to try and lift my spirit a little. I really love this album Drummer Man (1956) by Gene Krupa. It features Anita Day on vocals and Roy Eldridge on trumpet. Eldridge was really exceptional and although Krupa's drumming is fun it's Eldridge who steals the show on most of these tunes.

Also, I moved on to listen to some Satch playing Fats Waller (1955). What a fun album! You can hardly beat Louis's singing and playing. He was born to entertain.



















Kevin


----------



## Kevin Pearson

Now listening to what has to be one the greatest Jazz albums of all time! Mingus Ah Um by Charles Mingus.










Kevin


----------



## Albert7

Kevin Pearson said:


> Now listening to what has to be one the greatest Jazz albums of all time! Mingus Ah Um by Charles Mingus.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Kevin


oooo I love that album quite a bit. Sadly enough I lost that album on CD during my move from Philly to SLC.


----------



## SimonNZ

Woody Shaw - Song Of Songs


----------



## JACE

*George Shearing Trio - Getting in the Swing of Things (MPS, 1979)*
with Louis Stewart (g) and Niels-Henning Ørsted Pedersen (b)










*Ron Carter & Jim Hall - Telepathy (Concord)*
Originally released as two LPs: _Live at Village West_ (1982) and _Telephone_ (1984).


----------



## Badinerie

Albert7 said:


> I am officially announcing that I will be giving up all classical music listening for May to July 2015 (w/ classical music only on Fridays.)
> 
> My plans are to listen to all of Bill Evans, as many of the Blue Note RVG's, and possibly random jazz stuff including the complete Ella Fitzgerald hopefully on Verve. This will be the first time that I will try this out.


The Cole porter Songbook is pretty wonderful and Ella with Duke of course.

That Coltrane solo in Teo is amazing!


----------



## JACE

Now listening to *The Essential Airto*:










This CD is a compilation of Moreira's first two LPs: _Natural Feelings_ (1970) and _Seeds On The Ground_ (1971).


----------



## padraic

Badinerie said:


> Deep cool...Miles Mingus and Trane.
> 180 gram virgin reissue versions though. cant find all the right pictures.
> Nice......


So much win here.


----------



## Albert7

This morning John Coltrane's Giant Steps


----------



## aajj

Lady Day: The Complete Billie Holiday on Columbia
Disc 3, covering a large chunk of 1937. One classic after another.


----------



## JACE

Now listening to *Jim Hall: Live!*










This would make my short-list of all-time great jazz recordings.


----------



## JACE

*The Bill Evans Trio - Since We Met*
w/ Eddie Gomez & Marty Morrell. Recorded at the Village Vanguard.


----------



## aajj

Herbie Nichols - _The Art of..._
A collection of 14 of his Blue Note recordings, all unique and appealing original compositions, all trios featuring either Blakey or Roach.


----------



## JACE

More *Bill Evans*:










*Consecration I*
w/ Marc Johnson & Joe LaBarbera. Recorded at the Keystone Korner a week or so before Evans' death.


----------



## Pazuzu

Bobby Timmons - This Here is Bobby Timmons

A top notch piano trio, Timmons authored the famous "Moanin'" for Art Blakey (and was part of his super band with Morgan and Shorter) and was absolutely a melodic maverick at the keyboard. Love the funky feel of some of his compositions. On the bass we have Sam Jones (a total hero, bassist and cellist as well and author of a bunch of amazing lps) and Jimmy Cobb on drums.


----------



## JACE

Pazuzu said:


> View attachment 67035
> 
> 
> Bobby Timmons - This Here is Bobby Timmons
> 
> A top notch piano trio, Timmons authored the famous "Moanin'" for Art Blakey (and was part of his super band with Morgan and Shorter) and was absolutely a melodic maverick at the keyboard. Love the funky feel of some of his compositions. *On the bass we have Sam Jones (a total hero, bassist and cellist as well and author of a bunch of amazing lps)* and Jimmy Cobb on drums.


Yeah!!! Let's hear it for Sam Jones! :cheers:

I especially love Jones' _Something in Common_:










Plus there's all those great records he made with Cedar Walton & Clifford Jordan.


----------



## Pazuzu

The man realised just a bunch of album as frontman but all of them are mandatory. The Soul Society and Double Bass (with	Niels-Henning Ørsted Pedersen) are my favourites


----------



## Albert7

Just procured the Complete Bill Evans on Verve box set and it looks to be rather awesome!  Planned for this summer.


----------



## aajj

Andrew Hill - Smokestack (1963)

On this one, Hill is joined by Roy Haynes and two bassists, Richard Davis and Eddie Kahn.










Billie Holiday - Lady Day: The Complete Billie Holiday on Columbia 
Disc Two, 1936 - 1937


----------



## Badinerie

This is a great lp....Tracks Boxer's Blues and Blues in bloom are my faves along with the great Title Track.










This classic, nay epic album...on pre recorded mini disc though. Sounds totally fabulous! Deep deep Bass...


----------



## JACE

*Johnny Griffin - The Return of the Griffin*
with pianist Ronnie Mathews, bassist Ray Drummond, and drummer Keith Copeland

I think JG's records improved dramatically after he started living as an ex-pat in Europe*. This record is tremendous, a stone-cold classic. _Downbeat_ gave it five stars back in the day -- but it seems to have fallen off most jazz fans' radar. (Sadly, it now appears to be out of print.)

*except for the records Griffin made with "Lockjaw" Davis. They're ALL wonderful.


----------



## tortkis

At the Blue Note: The Complete Recordings (June 3rd, 4th & 5th, 1994) - Keith Jarrett, Gary Peacock, Jack DeJohnette (ECM)








There are so many recordings of standards by the trio, but it doesn't feel excessive. I think they started playing jazz originals (Parker, Monk, Rollins) around this time.


----------



## Badinerie

Ross and Ganley in glorious mono. Real Funky Blues is a walking jazz blues piece that often gets stuck in my head.










Another giant classic, mine is the mono one though. Lovely!


----------



## JACE

Now listening to:










*The Art Farmer Quartet featuring Jim Hall - "Live" At The Half-Note*
This was a superb group. I wish they made more than three records.


----------



## JACE

Charles Lloyd Quartet - _Rabo de Nube_


----------



## SimonNZ

Chico Freeman - Destiny's Dance










Harry Beckett - Flare Up










karin Krog and Dexter Gordon - Some Other Spring


----------



## JACE

SimonNZ said:


> Chico Freeman - Destiny's Dance


GREAT record! Freeman is a wonderful tenor player. I wish he was still on the scene.


----------



## JACE

I'm now listening to Sonny Fortune's superb LP _Waves of Dreams_ (A&M Horizon, 1976):


----------



## JACE

Prompted by SimonNZ, I'm spinning this LP:










Chico Freeman - _Peaceful Heart, Gentle Spirit_ (Contemporary, 1981)

RIDICULOUSLY GOOD line-up of sidemen on this record:
- James Newton (fl)
- Jay Hoggard (vibes)
- Kenny Kirkland (p)
- Buster Williams (b)
- Billy Hart (d)


----------



## tortkis

Art Blakey and Jazz Messengers

1958 Paris Olympia








Art Blakey, Benny Golson, Lee Morgan, Bobby Timmons, Jimmy Merritt (one of the greatest bands!)

Buttercorn Lady








Art Blakey, Chuck Mangione, Frank Mitchell, Keith Jarrett, Reggie Johnson (very interesting lineup)


----------



## JACE

I suppose I could post this under _jazz _or under _classical_, but -- since these works are performed by the jazz pianist Dick Hyman -- I'm going to post it here:










*Scott Joplin: 16 Classic Rags / Dick Hyman (RCA)*

This is my favorite ragtime album.


----------



## JACE

NP:










*Joe Henderson - Canyon Lady*


----------



## Bluecrab

Yeah... that's one fantastic lineup. I wish James Newton recorded more frequently. I had an old LP by Anthony Davis that he was on... beautiful flute playing. Chico Freeman did some really nice stuff in the late 70s-early 80s.

Also really like that Sonny Fortune album you posted. That was a really good period for him, just after he left McCoy Tyner's band. Fortunately for us, they finally released _Serengeti Minstrel_ on CD a few years ago.



JACE said:


> Prompted by SimonNZ, I'm spinning this LP: Chico Freeman - _Peaceful Heart, Gentle Spirit_ (Contemporary, 1981)
> 
> RIDICULOUSLY GOOD line-up of sidemen on this record:
> - James Newton (fl)
> - Jay Hoggard (vibes)
> - Kenny Kirkland (p)
> - Buster Williams (b)
> - Billy Hart (d)


----------



## tortkis

JACE said:


> I'm now listening to Sonny Fortune's superb LP _Waves of Dreams_ (A&M Horizon, 1976):[/IMG]


I only heard Fortune in Miles band. I found this album (recorded in 1974, around the time he was a member of Miles band) on amazon prime and am listening to it now. Really nice, groovy music.

Sonny Fortune - Long Before Our Mothers Cried (1974, Strata-East)








Sonny Fortune, Charles Sullivan, Stanley Cowell, Wayne Dockery, Chip Lyle, Mario Muñoz, Angel Allende, Richie Pablo Landrum


----------



## JACE

Now listening:










*Duduka Da Fonseca Trio - Jive Samba (Zoho, 2015)*
This was released earlier this month. Da Fonseca is fantastic drummer, great musician. This trio is his Rio-based band.


----------



## JACE

Bluecrab said:


> Yeah... that's one fantastic lineup. *I wish James Newton recorded more frequently. *I had an old LP by Anthony Davis that he was on... beautiful flute playing.


Yes, I agree. Newton's Blue Note and Gramavision albums from the 1980s are _excellent_.


----------



## JACE

I enjoyed Dick Hyman's recordings of Scott Joplin rags so much last night that I decided to play some more tonight:










This 5-LP set is really wonderful. Sony should reissue it.


----------



## JACE

Just finished listening to this delightfully strange, compelling and unique collaboration between *Stan Getz* and *Michel Legrand*:










*Communications '72*
This music is equal parts jazz, classical, and "easy listening." But, oddly enough, it really works well! (Plus, the cover art by Raymond Moretti is fantastic, one of my all-time favorites.)

Now listening to Disc 1 in this set:










*Thelonious Monk - The Complete London Collection*
Some of Monk's final recordings.


----------



## Bluecrab

tortkis said:


> I only heard Fortune in Miles band. I found this album (recorded in 1974, around the time he was a member of Miles band) on amazon prime and am listening to it now. Really nice, groovy music.
> 
> Sonny Fortune - Long Before Our Mothers Cried (1974, Strata-East)


Yeah, that's a good one... I still have it on vinyl. I think it was his first solo album. You can really hear the Latin influence on the title cut. Probably from the time he spent playing with Mongo Santamaria. Those percussionists are on the money-fine Afro-Cuban stuff.

If you're interested in some of his later stuff, check out _A Better Understanding_ or _From Now On_, and an earlier gem called _Serengeti Minstrel_ (featuring Woody Shaw).


----------



## JACE

I'm sucker for sax/bass/drums trios:










*Archie Shepp - Steam*
with Cameron Brown & Beaver Harris


----------



## aajj

JACE said:


> I suppose I could post this under _jazz _or under _classical_, but -- since these works are performed by the jazz pianist Dick Hyman -- I'm going to post it here:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *Scott Joplin: 16 Classic Rags / Dick Hyman (RCA)*
> 
> This is my favorite ragtime album.


The collection is have is by Joshua Rifkin. I suppose Hyman and Logan are two of the best for Joplin.










Been enjoying these two discs.

Sonny Rollins - Vol. 2










Sarah Vaughan with Clifford Brown


----------



## tortkis

Bluecrab said:


> Yeah, that's a good one... I still have it on vinyl. I think it was his first solo album. You can really hear the Latin influence on the title cut. Probably from the time he spent playing with Mongo Santamaria. Those percussionists are on the money-fine Afro-Cuban stuff.
> 
> If you're interested in some of his later stuff, check out _A Better Understanding_ or _From Now On_, and an earlier gem called _Serengeti Minstrel_ (featuring Woody Shaw).


Thanks, I found this set (_Four In One_, _Better Understanding_, _From Now On_) and started listening to _Better Understanding_. Intriguing from the beginning. The one with Shaw looks interesting, too.


----------



## SimonNZ

Emily Remler - Transitions


----------



## JACE

*Phil Woods & His European Rhythm Machine at the Frankfurt Jazz Festival*
Scalding (in the best sense of the word).










*Air - Air Time*
Some of this is fascinating, and some of it is tough sledding. Free-improv isn't my thing, I guess.










*Albert Mangelsdorff - The Wide Point*
with Palle Danielsson (b) and Elvin Jones (d)
Spurred by the presence of Elvin, this has a Coltrane-ish, exploratory vibe. Compelling.


----------



## brotagonist

Starting off the morning with a little Monk:










Thelonious Brilliant Corners

This remains one of my favourites of his.


----------



## tortkis

Contemporary Quartet Plays music of Bacewicz, Kisielewski, Komsta, Lutoslawski, Penderecki









Krzysztof Penderecki: Prelude From Prelude For Clarinet Solo
Krzysztof Penderecki: Per Slava From Per Slava For Cello Solo
Krzysztof Penderecki: Sonata I-III From Sonata For Violin & Piano
Stefan Kisielewski: Duet From Suita For Oboe & Piano
Marzena Komsta: Langueur From Langueur For Piano
Grazyna Bacewicz: Foggy From Sonatina For Oboe & Piano
Witold Lutoslawski: Bucolique No. IV From Bucoliques For Piano
Bartłomiej Brat Oleś: April, Seven Hands For Contemporary Quartet

Bass - Marcin Oleś
Bass Clarinet - Rudi Mahall
Drums - Bartlomiej "Brat" Oleś
Piano - Mircea Tiberian


----------



## starthrower

JACE said:


> *Phil Woods & His European Rhythm Machine at the Frankfurt Jazz Festival*
> Scalding (in the best sense of the word).
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *Air - Air Time*
> Some of this is fascinating, and some of it is tough sledding. Free-improv isn't my thing, I guess.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> *Albert Mangelsdorff - The Wide Point*
> with Palle Danielsson (b) and Elvin Jones (d)
> Spurred by the presence of Elvin, this has a Coltrane-ish, exploratory vibe. Compelling.


Some great stuff there. I found the Phil Woods album on cassette many years ago. I have quite a few Air albums, and I have that Mangelsdorff CD, along with his album w/Jaco. A few years back, Grooves Inc. was selling all of the MPS titles very cheap, and I bought a bunch.


----------



## JACE

Been focused on jazz for the last few days...

Now this:










*The Toshiko Akiyoshi-Lew Tabackin Big Band - Tales of a Courtesan (Oirantan)*

Prompted by starthrower's mention of Tabackin on another thread.


----------



## tortkis

^ I have not seen that album. It seems difficult to get.
I would include _Kogun_ or _Long Yellow Road_ in my favorite jazz albums.


----------



## Bluecrab

tortkis said:


> Thanks, I found this set (_Four In One_, _Better Understanding_, _From Now On_) and started listening to _Better Understanding_. Intriguing from the beginning. The one with Shaw looks interesting, too.


Whoa... that's a steal. Congrats. 

Just a couple of suggestions for you... On _From Now On_, check out the wicked tempo shifts on _Glue Fingers_ (and just listen to how tight that band is). And on _A Better Understanding_, just listen to every bit of _It Ain't What It Was_. A fne alto solo, a fine piano solo, and a great tag near the end between Sonny Fortune and Billy Hart. I haven't listened to _Four in One_ in a while, but it's an excellent album. I just refreshed my memory of the personnel on all three of these albums... Sonny Fortune always had the cream of the crop in his groups.

A couple of the cuts on Serengeti Minstrel are Latin jazz-influenced, but most of the album is just straight-ahead contemporary jazz (well, contemporary for the late 70s )

Happy listening.


----------



## starthrower

Some Duke from paltry collection. I only have about five albums.


----------



## starthrower

Finally received this great set after 5 weeks. With 10 CDs, this is the ultimate Lacy box!
Now listening to the quartet album Trickles w/ Roswell Rudd. It sounds great, and I'm
looking forward to getting into all of these albums from quartets to octets. This set is
quite a bit more expensive than the first volume, but at 10 discs it's still a bargain.


----------



## JACE

starthrower said:


> Finally received this great set after 5 weeks. With 10 CDs, this is the ultimate Lacy box!
> Now listening to the quartet album Trickles w/ Roswell Rudd. It sounds great, and I'm
> looking forward to getting into all of these albums from quartets to octets. This set is
> quite a bit more expensive than the first volume, but at 10 discs it's still a bargain.


Looks like a great set! :cheers:

I remember reading about the Lacy/Rudd "Regeneration" album when I was first getting into jazz, back in the early-80s. IIRC, it won some "Album of the Year" awards. ...But I've still never heard it.


----------



## starthrower

Then you'll have to get this box!  Normally I wait things out for a year or two on these sets until the prices comes down, but being a huge Lacy fan, I couldn't hold out.

I'll let you know how I like Regeneration. Honestly, I wasn't even aware of it on this set until you mentioned it. But it sounds like a great album of material and musicians. For a number of years, all I had by Lacy was his now deleted American releases on Novus. I really like The Door, and Momentum, which made me a big fan. He has a very honest and humble approach to playing with no pretense or ego, which I find very attractive and inspiring. Rest in peace, Mr. Lacy. A hard working, free spirited musician, if there ever was one.


----------



## aajj

Lacy & Rudd made for a highly adventurous pairing. Almost two decades after Regeneration they came out with the superb _Monk's Dream_ in 2000.

Lacy was briefly in Monk's band, around 1960, and it's a shame they never went into the recording studio together.


----------



## JACE

aajj said:


> Lacy & Rudd made for a highly adventurous pairing. Almost two decades after Regeneration they came out with the superb _Monk's Dream_ in 2000.


I saw this quartet in concert here in Atlanta about ten years ago. (Maybe more?) The venue was nearly empty, with maybe 25 people in the audience. But their performance was *outstanding*.


----------



## Vronsky

*Jackie McLean -- A Fickle Sonance*









Jackie McLean -- A Fickle Sonance


----------



## aajj

JACE said:


> I saw this quartet in concert here in Atlanta about ten years ago. (Maybe more?) The venue was nearly empty, with maybe 25 people in the audience. But their performance was *outstanding*.


My tongue hung out at the first sentence, you lucky one! But the thought of such a small crowd is disheartening, though not surprising.


----------



## SimonNZ

Mal Waldron - Impressions


----------



## JACE

*Terje Rypdal - Odyssey*

I hadn't listened to this one in a LONG time. I'd forgotten how good it is.


----------



## tortkis

We Insist! Max Roach's Freedom Now Suite (1960)








First time listen. Booker Little's trumpet is amazing.


----------



## starthrower

JACE said:


> *Terje Rypdal - Odyssey*
> 
> I hadn't listened to this one in a LONG time. I'd forgotten how good it is.


The bonus live disc that comes with the re-issue is really good!


----------



## JACE

starthrower said:


> The bonus live disc that comes with the re-issue is really good!


Heh, heh. I was eyeing that reissue last night on Amazon. I should spring for it. I probably will eventually. 

It's been a *Martial Solal* morning for me.










*Movability (MPS, 1976)*
with Niels-Henning Ørsted Pedersen










*Suite for Trio (MPS, 1978)*
with Niels-Henning Ørsted Pedersen & Daniel Humair

Both of these are BRILLIANT 5-star records in my book.

I wish Mosaic (or somebody!) would reissue all of Solal's MPS records in a set. It's an amazing body of work that deserves wider exposure.


----------



## starthrower

Nice to hear Lacy in a band context with piano.


----------



## JACE

I've decided I'm going to do some sort of a project on *Jazz in 1970s*. Maybe do some blogging about it.

I want to limit my exploration to music that's already in my collection; no new stuff. (Part of the fun will be re-visiting music that I've already acquired but haven't invested enough time in yet.) So I'm putting together a list of 1970s jazz favorites on LP and CD -- as well as downloads -- in my collection. Right now, my list has nearly 200 recordings on it. I'd like to cull that down significantly. Maybe get to half as many as that. I might reduce the list size by limiting myself to just one record per artist.

Along with the mini-reviews/ruminations about each album, I'm planning to write up some sort of over-arching essay about jazz in the 1970s. I think that there are many misconceptions about the era -- and lots of great music that's often overlooked.

Anyhow. Thought I'd share that. It goes a long way toward explaining why I've been listening to so much 1970s jazz lately. 

Right now, I'm listening to the *John Carter/Bobby Bradford Quartet* play _*Self Determination Music*_ (Flying Dutchman, 1970):


----------



## JACE

Now listening to *Elvin Jones' Genesis* (Blue Note, 1971):










with:
- Joe Farrell & Dave Liebman - tenor saxophone, soprano saxophone
- Frank Foster - tenor saxophone, alto flute, alto clarinet
- Gene Perla - bass, electric bass


----------



## Kevin Pearson

I've been on vacation this week but it hasn't seemed like much of a vacation. I have listened to some music but not as much as I was hoping for. Tonight I'm back in my Jazz groove and listening to the great drummer Elvin Jones. This album really has a cool vibe to it. Check this album out if you can!










Kevin


----------



## starthrower

Found this searching for some Ellington tracks.


----------



## Kevin Pearson

A really great line up here and a great album!










After the Bobby Hutcherson album I moved on to this really outstanding album of Freddie Hubbard. I really enjoy every track on here but I especially enjoy James Spaulding's sax and flute playing. The harmonies arrived at by Hubbard, Spaulding and Joe Henderson are really awesome.










Kevin


----------



## JACE

Kevin Pearson said:


> I've been on vacation this week but it hasn't seemed like much of a vacation. I have listened to some music but not as much as I was hoping for. Tonight I'm back in my Jazz groove and listening to the great drummer Elvin Jones. This album really has a cool vibe to it. Check this album out if you can!


Yeah! That record is terrific! :cheers:

The next LP with the same lineup, _The Ultimate Elvin Jones_, is awesome too. 

On the way into work, I listened to:










*Bennie Maupin - The Jewel in the Lotus*

Now I'm listening to:










*Miles Davis - Live at the Fillmore East (March 7, 1970): It's About That Time*
This was the final concert with Wayne in the band.


----------



## Kevin Pearson

More Hard Bop today with the Miles Davis All Stars. Really great sound for 1954 recording.


----------



## JACE

NP:










*The Jan Garbarek - Bobo Stenson Quartet - Witchi-Tai-To*
with Palle Danielsson and Jon Christensen


----------



## Kevin Pearson

Moving on to some 70s funky groove with Herbie Hancock! I can almost hear the beginnings of disco here. 










Kevin


----------



## JACE

More from the *Garbarek - Stenson Quartet*:










*Dansere (ECM, 1975)*


----------



## cwarchc

Preceded by


----------



## Kevin Pearson

Back to some hard bop with Hank Mobley.


----------



## SimonNZ

Barney Kessel - Feeling Free


----------



## JACE

I think that's ^^^ Barney Kessel's best record. :cheers:

I've been listening to Gary Burton tonight:









_Dreams So Real: Music of Carla Bley_









_Passengers_


----------



## tortkis

Art Ensemble Of Chicago with Cecil Taylor - Thelonious Sphere Monk: Dreaming of the Masters, Vol.2 (DIW)


----------



## Kevin Pearson

Back in the early 70s, when I was teenager, one of my customers was the manager for Columbia Records in downtown Madison, WI. He also happened to be the producer for The Art Ensemble Of Chicago for several of their albums (Chuck Nessa). He had the most awesome record collection and stereo I had ever seen and he would invite me in to listen to music and he always wanted to play me their records. I didn't get them then, nor like them, and I still don't to this day. Several years back I had found his email address somehow and contacted him and he remembered me. The scrawny little kid who loved the band Chicago. He would always give me any of the Chicago promotional stuff the store received. Good memories!

Kevin


----------



## JACE

*Derek Smith Trio - Love for Sale*


----------



## SimonNZ

(now I want to hear "The Art Ensemble _Plays_ Chicago")










Bobby Hutcherson - Total Eclipse


----------



## Kevin Pearson

Still diggin the hard bop with Nat Adderley's Work Song. Really is a great album.










Then I followed that up with some of the brothers Adderley, Nat and Cannonball. This album is supposed to be the first album in what would be known as Soul Jazz. That is Jazz that would be more accessible with blues and church soul background. There's still some really good improv but the melodies are perhaps easier to follow. This album sold 50,000 copies in 1960 which was huge for any jazz record. It was a hit!










Kevin


----------



## Kevin Pearson

Changing directions pretty drastically here with some Gypsy Swing by the Gipsy Diamonds. These guys are exceptionally talented and fun to listen to. I've been a long time fan of the Gypsy Jazz genre.


----------



## Kevin Pearson

Continuing with the Gypsy Swing theme this morning. This is such happy music for the most part that it makes really good morning mood music.



















Kevin


----------



## starthrower

Duke's monologue at the intro is priceless!


----------



## starthrower

There are two different CDs with this title, but this double set is the one to get.
Under 8 dollars at Importcds.









Track Listing
Track # Title
1. 1 Tin Tin Deo
1. 2 Star Dust
1. 3 Caravan (Master Take)
1. 4 Salt Peanuts
1. 5 The the Champ, Pt. 1 & 2
1. 6 All the Things You Are
1. 7 Dizzy Atmosphere
1. 8 Hot House
1. 9 Lover Man
1. 10 Groovin' High
1. 11 Oop- Bop-Sh'Bam
1. 12 Birk's Works
1. 13 I Found a Million Dollar Baby
1. 14 Swing Low, Sweet Chariot
1. 15 Things to Come
2. 1 Manteca Theme
2. 2 Contraste
2. 3 Jungla
2. 4 Rhumba Finale
2. 5 A Night in Tunisia
2. 6 Con Alma
2. 7 Caravan
2. 8 Dizzy's Business
2. 9 A Night in Tunisia
2. 10 Jessica's Day
2. 11 Tour De Force
2. 12 I Can't Get Started
2. 13 Stella by Starlight
2. 14 Doodlin'
2. 15 The Champ
2. 16 My Reverie
2. 17 Dizzy's Blues


----------



## tortkis

Ensemble of Irreproducible Outcomes

Memory and Weather








http://recordings.irritablehedgehog.com/album/memory-and-weather

Foggy, Foggy Dew








http://recordings.irritablehedgehog.com/album/foggy-foggy-dew

I am not sure where this music belongs to, but I guessed jazz may be the closest. Ensemble of Irreproducible Outcomes is a group of David D. McIntire (clarinet, tenor saxophone, ocarina, electronics), Ryan Oldham (trumpet, flugelhorn, objects, whistling) and Brian Padavic (double bass, whistling); basically clarinet-trumpet-bass trio. _Foggy, Foggy Dew_ is a collection of different takes improvised on the tune of the same title included in the first album (a nice, melancholic melody).

The highlights to me are two long pieces, which are not jazzy: _In Search of a Basillica_ and _Trio and Sine Waves (with Wind, Snow, and Birds)_. If you like the drones of La Monte Young, Palestine, or Fullman, you may enjoy these works.


----------



## SimonNZ

Duke Ellington - Jazz Violin Sessions (1963)


----------



## PeteW

Cry Me A River - sung by Julie London 

Suits me at present.


----------



## starthrower

I haven't listened to this in ages, but it's a great album!


----------



## Vronsky

*Frank Zappa -- Jazz from Hell (1986)*









Frank Zappa -- Jazz from Hell (1986)


----------



## starthrower

Shepard Fairey said:


> View attachment 67812
> 
> 
> Frank Zappa -- Jazz from Hell (1986)


I bought Jazz From Hell 28 years ago when it was first released. Of course it's not jazz, but some great compositions played by the synclavier digital synthesizer. And the guitar solo, St. Etienne, is one of my all time favorites!


----------



## SimonNZ

David Murray - Ming


----------



## tortkis

Heavy Weather - Weather Report 








Birdland is my favorite WR tune.


----------



## SimonNZ

tortkis said:


> Birdland is my favorite WR tune.


Have you heard the Quincy Jones version?






playing now:










Andrew Cyrille - The Navigator


----------



## tortkis

SimonNZ said:


> Have you heard the Quincy Jones version?


Yes, I have that album and love it! I played a big band version when I was a student. It was one of the most exciting tune to play.


----------



## starthrower

My only Buddy Collette CD.


----------



## tortkis

Alma Adentro: The Puerto Rican Songbook - Miguel Zenón (Marsalis Music, 2011)








Miguel Zenón - Alto Saxophone
Luis Perdomo - Piano
Hans Glawischnig - Bass
Henry Cole - Drums
Guillermo Klein - Conductor
Nathalie Joachin - Flute
Domenica Fossati - Flute
Julietta Curenton - Flute
Romie de Guise-Langlois - Clarinet
Carol McGonnell - Clarinet
James Austin Smith - Oboe
Brad Balliet - Basson
Keve Wilson - English Horn
Jennifer Kessler - French Horn
David Byrd-Marrow - French Horn

Sweet.


----------



## JACE

*Richard Beirach - Elm (ECM, 1979)*
with George Mraz & Jack DeJohnette










Richie Beirach is one of my all-time favorite musicians, and I think this record is one of his very best. For me, it's desert-island music.


----------



## JACE

tortkis said:


> Alma Adentro: The Puerto Rican Songbook - Miguel Zenón (Marsalis Music, 2011)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Sweet.


Yeah! Great record!


----------



## JACE

Another overlooked LP from the late-70s featuring Richie Beirach:










*John Abercrombie Quartet - Arcade (ECM, 1978)*
with Richie Beirach (p); George Mraz (b); and Peter Donald (d)


----------



## starthrower

One album a piece by Webster, Harry Edison, and Johnny Hodges, all featuring Ben.










This one is pretty disappointing as far as the material. Too much blues riffing.










I spent all weekend trying to locate my copy and finally found it. Reading about the 
recording, and this performance, it was a bit of a disaster, but you'd never know it
listening to Phil Schapp's miraculous restoration. This record sounds fantastic! And 
unlike a lot old jazz albums, it has a hefty bottom end that really packs a punch! 
Makes you feel like you're sitting on the lawn right there in front of the stage.


----------



## starthrower

Another one I dug out this past weekend. I bet a lot of jazz fans have never heard it. It's a one of a kind recording in Brubeck's discography, and a beautiful piece of work that Dave Brubeck and his wife wrote for Louis Armstrong to express their/his views on race inequality, and the positive impact American jazz musicians have had around the world. With Carmen McRae, and Lambert, Hendricks & Ross on board, it's a jazz vocal and instrumental tour de force! King for A Day featuring Satchmo and Trummy Young is probably one of my favorite performances ever! So much love there. This album is an obscure classic that deserves more attention, imo.


----------



## JACE

*Joanne Brackeen with Eddie Gomez - Prism (Choice)*









*Al Cohn - Play It Now (Xanadu)*
with Barry Harris, Larry Ridley, and Alan Dawson


----------



## tortkis

JACE said:


> I really dig this band. I think _Sweet Science_ is their best.
> 
> Larry Goldings' _Quartet_ (Palmetto, 2006) is also superb. (It's not with this trio though.)


Thanks for your recommendation. I'm now listening to _Sweet Science_ by Larry Goldings Trio (Palmetto Records, 2002).








Very nice. The tunes are modal, bluesy, funky, relaxed 4-beat, ... all good.


----------



## starthrower

Tasty soprano from Zoot Sims. Ray Bryant on piano, George Mraz on bass
Grady Tate on drums.


----------



## jim prideaux

anyone needing a little lift this fine morning would do worse than listen to the opening track 'Olivia' from Bobo Stenson's album Cantando-I go for weeks without listening to the man,return to one of the albums and he simply knocks my block off!


----------



## JACE

jim prideaux said:


> anyone needing a little lift this fine morning would do worse than listen to the opening track 'Olivia' from Bobo Stenson's album Cantando-I go for weeks without listening to the man,return to one of the albums and he simply knocks my block off!


You're so right, jim! Stenson is a tremendous pianist.

Coincidentally, on Friday afternoon I picked up the Garbarek/Stenson Quartet LP _Dansere_ at a local record shop. I've enjoyed _Witchi-Tai-To_ (by the same group) for a long time. It was fun hearing _Dansere_ for the first time.


----------



## JACE

On the way into work today:










*Buster Williams - Pinnacle (Muse, 1975)*
featuring Woody Shaw & Sonny Fortune

More of the Herbie/Mwandishi vibe.


----------



## GreenMamba

Milt Jackson. The second half of this is a fascinating session with Monk in '48, albeit with sub par sound.


----------



## tortkis

Paul Motian & EBBB (Electric Be Bop Band) Play Monk & Powell








Bebop tunes sound so smooth and beautiful.


----------



## JACE

*Woody Shaw - The Moontrane (Muse, 1975; reissued by 32 Jazz)*
Terrific.


----------



## JACE

*Barney Kessel - Yesterday (Black Lion)*










*Tommy Flanagan - Eclypso (Enja)*
with George Mraz & Elvin Jones


----------



## tortkis

Sam Rivers

Vista (Meta, 2004)








Sam Rivers (tenor and soprano saxophones, flute), Adam Rudolph (hand drums, percussion) and Harris Eisenstadt (drumset)
Powerful free jazz. Excellent.

Celebration (Positone, 2004)








Sam Rivers (soprano & tenor saxophone, flute & piano), Doug Mathews (bass violin, bass guitar & bass clarinet), Anthony Cole (drums, tenor saxophone & piano)
This is interesting. They played as not only sax-bass-drum trio but also wind trio, piano solo, and piano trio, ... from typical free jazz to lyrical tunes. Very enjoyable.


----------



## starthrower

^^^
I've had that Celebration CD on my to get list for a few years now.

NP: This cheapo public domain collection.


----------



## SimonNZ

starthrower said:


> NP: *This cheapo public domain collection.*


I have an unapologetic love for the Real Gone sets, especially the way the keep the albums as albums, and of course that they make available a great many albums that Blue Note and Prestige etc have shamefully left out of print for years or decades.

Superior to similar budget labels, and as far as I can tell the sound quality matches the original cd issues, if not subsequient remasters.


----------



## JACE

*Louis Hayes, Junior Cook - Ichi-Ban (Timeless)*


----------



## tortkis

JACE said:


> *Louis Hayes, Junior Cook - Ichi-Ban (Timeless)*


I believe I had that album on LP, which looked like this. Fortunately, it is available for download, which I want to check out. It also contains _Moontrane_, a masterpiece by Shaw. (I love the version on Larry Young's Unity.)


----------



## starthrower




----------



## PeteW

The track "Rebecca" is great fun! and I think includes Humphrey Littleton on trumpet in the line-up.


----------



## JACE

_*Paul Gonsalves Meets Earl Hines*_


----------



## tortkis

David Murray - Recording N.Y.C. 1986 (DIW)








David Murray (tenor saxophone), James Blood Ulmer (guitar), Fred Hopkins (bass) Sunny Murray (drums)

I like this earthy feeling.


----------



## SimonNZ

Harold Land - West Coast Blues










Joe Henderson - Black Miracle


----------



## bharbeke

I'm really enjoying Buddy Rich's Mercy Mercy Live at Caesar's Palace, probably a little more than Big Swing Face or The New One! Besides more Buddy Rich music, what are some CDs or artists that I should check out for that kind of big band music? I also like Maynard Ferguson's recordings.


----------



## starthrower

Just got this one today. I love it right off! Damn, that Louie Bellson solo on Skin Deep sounds awesome. I've never heard anything so modern and rock oriented from as far back as '52.


----------



## JACE

bharbeke said:


> I'm really enjoying Buddy Rich's Mercy Mercy Live at Caesar's Palace, probably a little more than Big Swing Face or The New One! Besides more Buddy Rich music, what are some CDs or artists that I should check out for that kind of big band music? I also like Maynard Ferguson's recordings.


Here are some more excellent big band CDs from (roughly) the same time period in a style (roughly) comparable to Buddy Rich's:









*Gerald Wilson - The Artist Selects*
Compiles some of Wilson's best recordings from the 1960s. Mosaic has reissued all of this music, and the complete set is fantastic. This sampler skims the cream of the cream.









*Gil Fuller and the Monterey Jazz Festival Orchestra Featuring Dizzy Gillespie & James Moody*









*Don Ellis Orchestra - Live at Monterey*

Incidentally, all of the above discs were originally released on the Pacific Jazz label, just like the Buddy Rich Big Band recs that you mentioned above.

One more. This was originally released on Solid State. Now it's been reissued on Blue Note.









*Thad Jones-Mel Lewis Orchestra - Central Park North*
Mosaic collected all of this band's Solid State output in a box set too. It's no longer availablle, but I think all of the individual LPs have been reissued on CD.

Of course, Duke Ellington was still making tremendous records at this time. But his was a different sort of band.


----------



## JACE

I just thought of another mid- to late-60s big band CD that I'd wholeheartedly recommend:










*Oliver Nelson - Jazz Masters 48*
This is a superb compilation of tracks from Nelson's big band recordings for Argo, Verve & Impulse. (This music was also given the Mosaic box-set treatment.)


----------



## JACE

NP:










*The Jim Hall Quartet - All Across the City*


----------



## starthrower

^^^
I'm a big fan of Oliver Nelson and Jim Hall. I'm gonna pick up the live set Telepathy, w/ Hall & Ron Carter.


----------



## JACE

starthrower said:


> I'm gonna pick up the live set *Telepathy, w/ Hall & Ron Carter*.


_Telepathy_ is stinkin' FANTASTIC. 

I just got it last year, and I play it all the time. Really, really, really great music.


----------



## starthrower

JACE said:


> _Telepathy_ is stinkin' FANTASTIC.
> 
> I just got it last year, and I play it all the time. Really, really, really great music.


Cool! I've been meaning to pick it up for several years. Last year I bought the 1975 live trio CD, and recently I picked up the live set with Charlie Haden.

NP:










The Duke really played some beautiful music when he sat down at the piano.


----------



## JACE

I need to get that Jim Hall duo record with Charlie Haden. It's on my list. 

I'm glad you like _Piano in the Foreground_. People always talk about _Money Jungle_, and it's an excellent record. But I think _Piano in the Foreground_ and _Piano Reflections_ are more accurate portraits of Duke's piano playing -- since they're not "summit meetings" like _Money Jungle_.


----------



## starthrower

With the exception of McCoy Tyner, I never cared for busy piano players, so Duke's playing is my cuppa tea. He has a unique sound, and knows how to use space and just the right notes to make great music. And like all great artists, he has that feel and soulfulness that makes it special.


----------



## JACE

I'm now listening to *Dave Liebman's Lookout Farm* (ECM, 1974):


----------



## tortkis

Branford Marsalis

Eternal (Marsalis Music, 2004)









Braggtown (Marsalis Music, 2006)









Metamorphosen (Marsalis Music, 2009)









Four MFs Playin' Tunes (Marsalis Music, 2012)









I have been listening to Branford Marsalis Quartet these days. All excellent, Braggtown is my favorite so far. I'm also interested in his latest solo saxophone album.


----------



## starthrower

Carlos Ward-Set For Two Don's

In memory of Don Cherry and Don Pullen.

I couldn't find an image for this obscure independent release, but it's available from CD Baby.
http://www.cdbaby.com/cd/carlosward3


----------



## Easy Goer

Louis Armstrong Volume 7 - You're Drivin' Me Crazy


----------



## starthrower

Beautiful music accompanied by tape hiss of the gods, courtesy of Columbia Records.


----------



## Easy Goer

Cannonball Adderley - Somethin' Else


----------



## starthrower

Found this at the library. The only way to get this music inexpensively is to buy the Membran 10 CD set, but who knows what sources they used? Amazon wants a fortune for the Japanese issue of Never No Lament, and the domestic version is out of print and selling for over 50 dollars.


----------



## Easy Goer

Blossom Dearie - Give Him the Ooh La La


----------



## JACE

Now listening to *Gary Burton's Like Minds*:










with Chick Corea, Pat Metheny, Dave Holland, and Roy Haynes


----------



## SimonNZ

Anthony Braxton - Creative Orchestra Music 1976










Sheila Jordan - Portrait Of Sheila


----------



## starthrower

This was my first Ellington CD purchased back in the 80s. Prelude To A Kiss 
featuring Norris Turney on alto still knocks me out.


----------



## starthrower

Picked up this one recently. It's just right since I'm on a 
classic jazz kick.


----------



## tortkis

Made in Chicago - Jack DeJohnette








Henry Threadgill: alto saxophone, bass flute
Roscoe Mitchell: alto, soprano and sopranino saxophones, bass recorder, baroque flute
Muhal Richard Abrams: piano
Larry Gray: double bass, cello
Jack DeJohnette: drums

at Chicago's Millenium Park in August 2013


----------



## JACE

tortkis said:


> Made in Chicago - Jack DeJohnette


What do you think of this, tortkis?


----------



## tortkis

JACE said:


> What do you think of this, tortkis?


I think this is a great recording. The performance is powerful and spontaneous, and the compositions are strong: Dejohnette's beautiful _Museum of Time_ that reminded me of _Lonely Woman_, free improvisations following minimalistic themes (Mitchell's _Chant_ and a collective composition _Ten Minutes_), Threadgill's unpredictable _Leave Don't Go Away_ (very unique), ... Dejohnette's drums are always delicate and complex, and Muhal Richard Abrams's piano is modern and fresh. Highly recommended.


----------



## Easy Goer

Ahmad Jamal - Complete Live at the Pershing Lounge 1958


----------



## AnotherSpin

SimonNZ said:


> Anthony Braxton - Creative Orchestra Music 1976


Wow! Than was my very first Anthony Braxton album, purchased back in 1977, I guess. Loved this music, CD transfer doesn't sound so good as original vinyl.


----------



## JACE

This morning, I'm listening to one of my desert-island discs:










*The Essence of Duke Ellington*

This is a budget compilation with a very brief running time (36 minutes), but every song is a three-minute masterpiece and the programming is perfect. I never tire of this music.

1. Drop Me off in Harlem
2. Sophisticated Lady
3. Azure
4. Caravan
5. Dusk in the Desert
6. Solitude
7. Diminuendo in Blue
8. Crescendo in Blue
9. Mood Indigo
10. Do Nothin' Till You Hear from Me
11. Creole Love Call
12. Don't Get Around Much Anymore


----------



## Easy Goer

Sidney Bechet - The Legendary Sidney Bechet


----------



## starthrower

I just picked up this 2 disc set. Ella's voice and diction is unparalleled, but ultimately it comes off as a tad too polite and clean. I guess I'm used to Satchmo singing some of this material. But In A Mellow Tone w/ Ben Webster is a stone cold classic!


----------



## Bluecrab

I've always thought that this album and its companion, _Changes Two_, are among the best that Mingus ever recorded. The band was totally locked in. These are among his last recordings (ALS rendered him incapable of playing not long after these albums were released). Sadly, all of the band members are gone now except for Jack Walrath. _Duke Ellington's Sound of Love_ has to be one of the most beautiful jazz ballads ever composed.


----------



## norman bates

Bluecrab said:


> _Duke Ellington's Sound of Love_ has to be one of the most beautiful jazz ballads ever composed.
> 
> View attachment 68312


I've listened the album many years ago, so I didn't remember it well, and listening the piece on youtube I was wondering why it's called Duke Ellington's Sound of love and thene there's a quote in the melody from the end of Strayhorn's Lush life (the line "Of those whose lives are lonely too")


----------



## The nose

The Montreux jazz festival's programm 2015 came out yesterday.
http://www.montreuxjazzfestival.com/fr#top
There's not much jazz though.


----------



## JACE

The nose said:


> The Montreux jazz festival's programm 2015 came out yesterday.
> http://www.montreuxjazzfestival.com/fr#top
> *There's not much jazz though.*


Wow. You're right.

They should call it the Montreux "Jazz" Festival.


----------



## starthrower

Listening to my homey, Mark Murphy. Kerouac Then And Now.


----------



## jim prideaux

I know I have frequently mentioned the man but on a sunny early evening Bobo Stenson and his album Goodbye is just spot on-until recently I had always favoured Indicum,Serenity and Cantando but....well things are changing and I think I will have to revisit War Orphans and Reflections as well!


----------



## PeteW

This is really good fun!
Nikolai Kapustin - Sonatina Op 100


----------



## Easy Goer

starthrower said:


> Listening to my homey, Mark Murphy. Kerouac Then And Now.


I have never heard of this singer along with your previous play Henry Butler. Something new for a future buy list. Thanks


----------



## starthrower

Easy Goer said:


> I have never heard of this singer along with your previous play Henry Butler. Something new for a future buy list. Thanks


Mark Murphy is now in his 80s, and he's been making records since the 50s. He's from my hometown of Syracuse, NY. He's definitely an eccentric with wide ranging tastes from bebop, post-bop, Brazilian, American Songbook, and has sung lyrics by the beat poets and writers. He's a great singer with a lot of personality, and I really enjoy listening to him sing everything from The Bad And The Beautiful, to compositions by McCoy Tyner, Wayne Shorter, Freddie Hubbard (his 1975 recording of Red Clay is a classic!) and Brazilian tunes by Milton Mascimento and Jobim.

In my opinion, his prime years were with the Muse label from the mid 70s to mid 90s. Look for used copies of the excellent 2 disc compilations Stolen And Other Moments, and Mark Murphy Songbook. These are both great! The individual albums including the one I posted above are all out of print.


----------



## SimonNZ

Is anyone here in contact with or recently herad from/of Alypius?

Someone on an Area 51 thread has just reported the upsetting news that he died some months back, but I question the reliability of that source and the information.

http://www.talkclassical.com/36957-leave-absence-6.html#post862513


----------



## Albert7

SimonNZ said:


> Is anyone here in contact with or recently herad from/of Alypius?
> 
> Someone on an Area 51 thread has just reported the upsetting news that he died some months back, but I question the reliability of that source and the information.
> 
> http://www.talkclassical.com/36957-leave-absence-6.html#post862513


I can second my information that I provided in that thread. However, I know of this only from an outside source.


----------



## SimonNZ

.................................


----------



## SimonNZ

Well...as its been confirmed by one of the mods that Alypius has sadly passed away, over the next while I'll be rereading his insightful comments on this thread (and elsewhere), and playing some of his favorite ECMs in memory:



Alypius said:


> A few classics:
> 
> 1. Ralph Towner - Solo Concert (1980)
> 2. Keith Jarrett - Köln Concert (1975)
> 3. John Abercrombie - Timeless (1975)
> 4. Pat Metheny - Bright Size Life (1976)
> 5. Steve Tibbett - Yr (1980)
> 6. Kenny Wheeler - Deer Wan (1978)
> 7. Dave Holland - Conference of the Birds (1972)
> 8. Enrico Rava - The Pilgrim and the Stars (1975)
> 9. Marc Johnson - Bass Desires (1987)
> 10. Bill Frisell - Lookout for Hope (1988)
> 
> A few recent ones:
> 
> 1. Marcin Wasilewski Trio - January (2008)
> 2. Tomasz Stanko - Lontano (2006)
> 3. Anouar Brahem - Le voyage de Sahar (2007)
> 4. Marc Johnson / Eliane Elias - Swept Away (2012)
> 5. Chris Potter - The Sirens (2013)
> 6. Wolfert Brederode - Post Scriptum (2011)
> 7. Aaron Parks - Arborescence (2013)
> 8. Craig Taborn Trio - Chants (2013)
> 9. Colin Vallon - Rruga (2011)
> 10. Manu Katche - Manu Katche (2012)
> 
> A few others (several of these I've discussed in various posts on this thread):
> 
> 1. Dave Holland Quintet - Prime Directive (1999) -- I love almost everything Dave Holland did on ECM. This, for me, is his best.
> 2. Dave Holland Quintet - Points of View (1998) -- This is 2nd best.
> 3. Marcin Wasilewski Trio - Faithful (2011)
> 4. John Abercrombie - Open Land (1999) (discussion & video above)
> 5. John Abercrombie - While We're Young (1993)
> 6. John Abercrombie & Ralph Towner - Sargasso Sea (1976)
> 7. Ralph Towner - Travel Guide (2013)
> 8. Jon Hassell - Last night the moon came dropping (2009)
> 9. Carla Bley - Trios (2013)
> 10. Tomasz Stanko - Soul of things (2002)


I've also ordered two of the four books it transpires that he wrote, the last two, both published by Oxford University Press:










http://www.amazon.com/Desert-Christ...Monasticism/dp/0195162234/ref=asap_bc?ie=UTF8










http://www.amazon.com/Mystics-William-Harmless/dp/0195300394

playing now:










Dave Holland - Prime Directive


----------



## tortkis

I am sorry to hear that. I didn't know him personally, but his posts on jazz and Takemitsu are very informative and impressive.

Now listening to Ralph Towner's Solo Concert.


----------



## Vaneyes

I'll dedicate this to *Alypius*, also. Although he might wonder what the hell I'm doin'.

I've often thought 60's pop sweetie *Joanie "Pepsi Girl" Sommers* could've/should've pursued the jazz vein in a prominent manner. I think this YT of a 1962 album (w. Bobby Troup and Shelly Manne) attests to that.


----------



## starthrower

Milt Jackson sounds so good with Ray Brown underneath on the bass. And Clark Terry? He was a bad cat! I was listening to his masterful playing last night on the Oscar Peterson Trio + One album.


----------



## Easy Goer

Sarah Vaughan And Her Trio - At Mister Kelly's


----------



## Albert7

This live concert is A1 sauce to me.


----------



## Albert7

JACE said:


> Wow. You're right.
> 
> They should call it the Montreux "Jazz" Festival.


Hurrah, D'Angelo and Portishead are there this year! Woot woot.


----------



## starthrower




----------



## starthrower

More Milt Jackson. A 1980 Pablo release featuring Sweets Edison, Lockjaw Davis, Cleanhead Vinson, Ray Brown, Art Hillary, Lawrence Marable.


----------



## sadams

A new song by Emily Bear "Je Ne Sais Pas" Performed by her trio Peter Slavov (bass) Mark McLean (drums) recorded at the Dakota Jazz Club Minneapolis, Minnesota April 19, 2015


----------



## Easy Goer

Kenny Dorham - Round About Midnight At The Cafe Bohemia


----------



## tortkis

Jazz Advance - Cecil Taylor








Cecil Taylor, Buell Neidlinger, Denis Charles, Steve Lacy

Great album. Three live tracks are added. I hear a strong influence of Monk.


----------



## SimonNZ

John Abercrombie and Ralph Towner - Sargasso Sea


----------



## SimonNZ

Oregon ‎- 45th Parallel










Paul Motian - I Have The Room Above Her










Stan Getz - The Steamer










Egberto Gismonti - Dança Dos Escravos


----------



## SimonNZ

Azimuth - Azimuth '85










Lyle Mays - s/t










Naná Vasconcelos - Saudades


----------



## starthrower

Milt Plays Monk


----------



## norman bates

I'm listening to the duets of Don Byas with Slam Stewart they recorded in 1945, this sounds a lot like Coltrane's sheets of sounds, great and fun music. And very modern for the period.

I got rhythm





Indiana


----------



## starthrower

A great release I just picked up. Mary Lou in '74 performing a thoroughly modern set of music with Bob Cranshaw on electric bass, and Mickey Roker on drums. No stride piano here. This has more in common with Herbie Hancock or Kenny Barron.


----------



## SimonNZ

John Coltrane - Crescent

The favorite album of a much-admired invisible friend from a previous forum, who last I heard was living in Kathmandu. Hoping she's safe.


----------



## starthrower

Finally picked up the first volume of Kenny's tribute to Duke.
It's been on my list for several years now. Vol 2 on order.


----------



## tortkis

Jon Hassell: Last Night the Moon Came Dropping Its Clothes in the Street








Feels like In a Silent Way or ambient. Really nice, atmospheric music.


----------



## starthrower

From the Lacy Black Saint/Soul Note vol 2 box. I don't regret shelling out the 50 dollars
for this set. It's really great music!


----------



## starthrower

I bought this kind of impulsively at a local store last week. The music is enjoyable enough, even if it's not the greatest Basie performance. What ruins it for me is the inclusion of John Hammond's overly long introduction, and his refusal to leave the stage once the music has started. He keeps butting in for comment between the tunes. He's a very non eloquent speaker with a heavy New York accent sounding like one of the Dead End Kids. And I'm just turned off by these record company guys hogging the limelight. Give me another Basie number, and nix the 5 minute intro. And let the Count introduce his own numbers. He was a very eloquent speaker, which Hammond was not.


----------



## SimonNZ

Egberto Gismonti / Nana Vasconcelos - Duas Vozes


----------



## SimonNZ

Niels-Henning Ørsted Pedersen and Palle Mikkelborg ‎- Hommage (Once Upon A Time)


----------



## starthrower

Listening to these Peter Erskine albums.


----------



## SimonNZ

Kenny Drew - Morning


----------



## Hagrid

This came as a bonus track for my version of Monk's Music. The thing about Jazz is, is that you can take just one good take of a well-written composition and listen to it over and over and hear things that you thought you'd never heard before. At least for me anyway!


----------



## SimonNZ

Dick Wellstood - A Night In Dublin

the first absolute dud recommendation from the otherwise trustworthy Penguin 1001 Best Jazz Albums book


----------



## starthrower

^^^
You trust those Penguin guys? I go with my own ears and intuition.


----------



## Easy Goer

Dinah Washington - After Hours With Miss D


----------



## Belowpar

starthrower said:


> I bought this kind of impulsively at a local store last week. The music is enjoyable enough, even if it's not the greatest Basie performance. What ruins it for me is the inclusion of John Hammond's overly long introduction, and his refusal to leave the stage once the music has started. He keeps butting in for comment between the tunes. He's a very non eloquent speaker with a heavy New York accent sounding like one of the Dead End Kids. And I'm just turned off by these record company guys hogging the limelight. Give me another Basie number, and nix the 5 minute intro. And let the Count introduce his own numbers. He was a very eloquent speaker, which Hammond was not.


Ok so I haven't heard this and yes I believe you that it kills the record BUT to describe John Hammond as just some record co guy! Some kudos is due to one of the great A&R men.

http://en.wikipedia.org/wiki/John_Hammond_(producer)

So who wants to start a thread the worst intro's of all time?

My vote (goes to show Becker and Fagens odd sense of humour that they actually released this!)


----------



## Easy Goer

Ahmad Jamal - Ahmad's Blues: Live At The Spotlight


----------



## SimonNZ

starthrower said:


> ^^^
> You trust those Penguin guys? I go with my own ears and intuition.


Heh. Well sure, of course, I do that too.

And its been a couple of decades since i've really needed the guidebooks to get a sense of the terrain, or of which of the major albums I might have overlooked. And, I need hardly add, even then I wasn't following them blindly (though I usually found Penguin more "in the ballpark" than many others, if too often damning with faint praise many not great but fascinating albums).

But as I said upthread I found to my surprise that the Penguin 1001 book isn't merely a Best Of the main guide, or just the same-old recieved wisdom, but draws attention to lots of rare/deleted stuff they couldn't previously include because they weren't available for purchase, and many other unexpected treats besides - and these are what I've been going through looking for.

Plus for once the chronology is more evenly represented, so it has a more usefull survey of the best of the too seldom discussed recent material.

Really, have a look, you'll be pleasantly surprised, even if you already know the more obscure stuff better than I.

playing now:










Niels-Henning Ørsted Pedersen and Joe pass - Chops


----------



## starthrower

^^^
I bought that duo album recently. It was in the bargain bin at Barnes & Noble. I like the way NHOP plays the melody on the first tune.


----------



## starthrower

Joey DeFrancesco/Jimmy Smith - Legacy


----------



## tortkis

I used to listen to Basie Big Band, but mostly recordings in later years. _Warm Breeze_ (1981) is one of my favorites. _Flight to Nassau_ is a masterpiece, imo. I really like Sammy Nestico's modern and warm compositions/arrangements. I had not listened to this for a long time, and I purchased download yesterday, listened to it twice. It's so good.


----------



## tortkis

SimonNZ said:


> Heh. Well sure, of course, I do that too.
> 
> And its been a couple of decades since i've really needed the guidebooks to get a sense of the terrain, or of which of the major albums I might have overlooked. And, I need hardly add, even then I wasn't following them blindly (though I usually found Penguin more "in the ballpark" than many others, if too often damning with faint praise many not great but fascinating albums).
> 
> But as I said upthread I found to my surprise that the Penguin 1001 book isn't merely a Best Of the main guide, or just the same-old recieved wisdom, but draws attention to lots of rare/deleted stuff they couldn't previously include because they weren't available for purchase, and many other unexpected treats besides - and these are what I've been going through looking for.
> 
> Plus for once the chronology is more evenly represented, so it has a more usefull survey of the best of the too seldom discussed recent material.
> 
> Really, have a look, you'll be pleasantly surprised, even if you already know the more obscure stuff better than I.


I have the penguin guide to jazz on cd, seventh edition (2004). I think the series had been discontinued, and the 1001 seems the (final?) replacement. So many names/recordings I have never heard of are included. I don't use it much, but it's fun to skim through the guide book. I just got curious about Wellstood, and checked out his recordings included in the seventh edition. There are 4 albums: one 4 stars, one 3.5 stars (A Night In Dublin), two three stars; relatively high ratings! However, the audio samples I heard were not so exciting...


----------



## Easy Goer

The Oscar Peterson Trio +1 Clark Terry


----------



## PeteW

Got this in Manchester today. 
They were playing it in the shop, and I had to have it - really good! 
The copy playing in their CD player was the only one they had. 
I mooched around the shop for ages pretending to look at stuff just so I could listen to more of it.









...Oh, and this an elderly lady of great distinction, who also has a taste for jazz (and classical).


----------



## PeteW

...and no amount of fiddling is getting that photo the right way round, sorry. 
It's Django Reinhardt and Stephan Grappelli - Best of Hot Club de France.


----------



## SimonNZ

^but more importantly: what is the cat's name?

now:










Alain Jean-Marie and Niels-Henning Ørsted Pedersen - Latin Alley


----------



## Easy Goer

Charles Mingus - Mingus Dynasty


----------



## PeteW

SimonNZ said:


> ^but more importantly: what is the cat's name?
> 
> now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Alain Jean-Marie and Niels-Henning Ørsted Pedersen - Latin Alley


She is called Alyst - the grand matriach of the household (age 19), not in the best of health these days, gets papmered extensively.


----------



## SimonNZ

PeteW said:


> She is called Alyst - the grand matriach of the household (age 19), not in the best of health these days, gets papmered extensively.


19!! Well done Alyst!

More photographs welcomed. Or on the pets thread, if you'd prefer, which could use a bump:

http://www.talkclassical.com/36845-do-you-have-pets.html


----------



## tortkis

Trance - Steve Kuhn (ECM, 1975)








Steve Kuhn - piano, electric piano, voice
Steve Swallow - electric bass
Jack DeJohnette - drums
Sue Evans - timpani, tambourine, maracas, conga, percussion

I found this in a guide book of ambient music some time ago, but I think it is not ambient music. In any case, this is very good.


----------



## starthrower

^^^
Yes! It is very good. I bought it last year, along with a bunch of other Japanese editions of several jazz albums.


----------



## starthrower

Superb documentary with commentary by Lee Konitz, Warne Marsh, Sheila Jordan, and Lennie T.


----------



## Simon Moon

A recent discovery of mine.

Michael Formanek - Small Places

On ECM.

Bass - Michael Formanek
Sax - Tim Berne
Piano - Craig Taborn
Drums - Gerald Cleaver


----------



## SimonNZ

Keith Jarrett - Staircase

for Jarrett's 70th birthday relistening to one of my favorites


----------



## AnotherSpin

SimonNZ said:


> Keith Jarrett - Staircase
> 
> for Jarrett's 70th birthday relistening to one of my favorites


 One of my too!...)


----------



## tortkis

Miles Davis in France, Juan-Les Pins 1963








http://www.amazon.com/dp/B00SJ88XOU
Miles Davis, George Coleman, Herbie Hancock, Ron Carter, Tony Williams
recorded on 7/26 & 7/28, 1963
So What
Stella by Starlight
Seven Steps to Heaven ~ Walkin'
If I Were a Bell
So What

Superb performance. The sound quality is not perfect, but very good. This was available as a bootleg album called _Côte Blues_.


----------



## SimonNZ

Carmen McRae - For Lady Day Vol.1


----------



## starthrower

Don't be scared off by the LaserLight label. This is a great album!
No sappy strings or pop arrangements. All jazz cats backing up Ms.
McRae.


----------



## SimonNZ

Ella Fitzgerald - Like Someone In Love (1957)


----------



## starthrower

This one's out of print, or I'd buy it right now.


----------



## SimonNZ

Modern Jazz Quartet - Fontessa (1956) and Third Stream Music (1957)


----------



## Albert7

Dippin' by Hank Mobley tonight.






I hope to get this on iTunes soon.


----------



## Albert7

The Clown by Charles Mingus tonight.






Flawless! Making my day for sure.


----------



## starthrower

I miss Joe Henderson.


----------



## Vaneyes

#1, May 12, 1934.


----------



## SimonNZ

Speaking of Ellington...I'm trying to find the original/first recording of "Diminuendo And Crecendo In Blue", and am once again overwhelmed by the vastness of the Ellington discography and the multiple recordings of the same work.

It may be on a compilation, but I'd like to find it on something that keeps it in context of the sessions surrounding it and/or with the same lineup.

As best as I can make out it would have been on lp as part of Columbia's "The Complete Ellington in Chronological Order Vol.9 - 1937", but can't even swear to that.

Any ideas?

(Wikipedia says the first was May 1937, but I can't find any agreement for that)


----------



## starthrower

^^^
There's a very inexpensive 3 CD compilation on Columbia that includes the original 1930s recordings, according to the first review at Amazon UK. http://www.amazon.co.uk/Real-Duke-E...431489846&sr=1-1&keywords=real+duke+ellington


----------



## SimonNZ

Ah, thanks for that. Without the review comments saying "drawn exclusively from the years 1932 to 1939" I would have assumed from the cover that it covered all of the Columbia work.


----------



## Kevin Pearson

Chilled out this evening listening to this wonderful recording Miles Espanol-New Sketches of Spain. I caught one piece on the local jazz station and new I had to hear the whole thing. Look at this lineup!

Chick Corea, Jack DeJohnette, John Scofield, Ron Carter, Sammy Figueroa, Sonny Fortune, Alex Acuña, Gonzalo Rubalcaba, Rabih Abu-Khalil, Chano Domínguez, Jorge Pardo, Carles Benavent, Eddie Gomez, Jerry Gonzalez, Cristina Pato, Jaco Abe, Edsel Gomez, Adam Rudolph, Brahim Fribgane, Edmar Castañeda, Niño Josele, Antonio Sanchez, John Benitez. 










Kevin


----------



## tortkis

^ I must hear this. I didn't know about it, thank you. I really enjoyed _Miles from India_, similar concept I guess?


----------



## tortkis

SimonNZ said:


> Modern Jazz Quartet - Fontessa (1956) and Third Stream Music (1957)


I am listening to Joe Zawinul's The Rise & Fall of the Third Steam (1968). Quite different from the style of MJQ (John Lewis).








Joe Zawinul - Piano and electric piano
William Fischer - Tenor Saxophone and arrangements
Jimmy Owens - Trumpet
Alfred Brown - Viola
Selwart Clarke - Viola
Theodore Israel - Viola
Kermit Moore - Cello
Richard Davis - Bass
Roy McCurdy - Drums
Freddie Waits - Drums
Warren Smith - Percussion


----------



## norman bates

starthrower said:


> Don't be scared off by the LaserLight label. This is a great album!
> No sappy strings or pop arrangements. All jazz cats backing up Ms.
> McRae.


She's one of those singers I have to listen better, but she has a great voice. The album where she sang the pieces of Monk is great, especially her rendition of Ruby my dear is a gem.


----------



## norman bates

Anyway, have you guys heard of Joey Alexander? This child has an incredible talent.


----------



## Belowpar

starthrower said:


> ^^^
> There's a very inexpensive 3 CD compilation on Columbia that includes the original 1930s recordings, according to the first review at Amazon UK. http://www.amazon.co.uk/Real-Duke-E...431489846&sr=1-1&keywords=real+duke+ellington


You have my thanks. Great collection. Like the early days of pop, most tracks are under 3 mins and pack more punch because of it.

I put this on my Jazz top 10 list but couldn't find the CD! If I don't' find it this weekend I'm off to Amazon. Essential listening.


----------



## Kevin Pearson

tortkis said:


> ^ I must hear this. I didn't know about it, thank you. I really enjoyed _Miles from India_, similar concept I guess?


Yes it is but I think I like Miles Espanol more.

Kevin


----------



## SimonNZ

Sam Rivers - Fuchsia Swing Song


----------



## Albert7

The way the Beatles should have sounded honestly.






John Lennon couldn't touch this cover.


----------



## starthrower

norman bates said:


> She's one of those singers I have to listen better, but she has a great voice. The album where she sang the pieces of Monk is great, especially her rendition of Ruby my dear is a gem.


Yeah! I'm gonna pick up the Monk CD. It sells for 4 dollars at Importcds. And I want to get the American Songbook CDs. There's also an inexpensive 3 CD set of her 50s recordings for Decca. 75 tracks for around 10 dollars. And I recommend Brubeck's The Real Ambassadors, if you haven't heard it. It's a terrific album featuring Louis Armstrong, Carmen McRae, and Lambert, Hendricks & Ross.


----------



## SimonNZ

Curtis Fuller - Bone And Bari


----------



## mellame

Albert7 said:


> The way the Beatles should have sounded honestly.
> 
> 
> 
> 
> 
> 
> John Lennon couldn't touch this cover.


Truthfully, I prefer the original over this! Although I am biased because I love the Beatles, and Julia is one of my favorite songs.


----------



## Heliogabo

tortkis said:


> Trance - Steve Kuhn (ECM, 1975)
> 
> 
> 
> 
> 
> 
> 
> 
> Steve Kuhn - piano, electric piano, voice
> Steve Swallow - electric bass
> Jack DeJohnette - drums
> Sue Evans - timpani, tambourine, maracas, conga, percussion
> 
> I found this in a guide book of ambient music some time ago, but I think it is not ambient music. In any case, this is very good.


I really like Kuhn's playing. This is one of his greatest achievements I think. Great jazz music, for sure not ambient thing.


----------



## Albert7

mellame said:


> Truthfully, I prefer the original over this! Although I am biased because I love the Beatles, and Julia is one of my favorite songs.


Sorry but in terms of the White Album I think that in the boxing match of Lewis versus Lennon that Lennon loses this round. Funky piano and strings win over solo guitar for this one.


----------



## Heliogabo

It must be said that Paul and John were openly jazz haters, even if great Tubby Hayes played the saxophone on the White album.


----------



## brotagonist

I've never been a Van Morrison fan, but this album of songs of Mose Allison is great:










Tell Me Something: The Songs of Mose Allison
Van Morrison and others

Blues is an area that has very limited appeal to me, but this one is pretty good (all the Hooker I'll ever need :devil:










John Lee Hooker That's My Story

This managed to steer clear of the stock blues 'moan and groan' and standard rhythm and is really a very interesting album, within the limitations of the genre.


----------



## SimonNZ

Stanley Turrentine - Hustlin'


----------



## SONNET CLV

I just picked up this CD









after hearing the Encore piece on Sirius Radio.

Even the hardest core jazz lover has gotta like the Encore, an improvisation by Jarrett, certainly one of the most skilled pianists out there.

Too, the Barber and Bartok concertos -- granted, they're "classical" music -- are tremendous works well worth exploring. Neither will be mistaken for Mozart or Beethoven, so don't shy away if you "prefer jazz to classical". Don't be afraid to grow.


----------



## tortkis

Money Jungle - Ellington, Mingus, Roach (1962)








Aggressive, very tense, modern, and swinging. Truly great.


----------



## tuffy

Totally awesome.


----------



## starthrower

I've owned a copy of Lucky Strikes for years, and always enjoyed Thompson's beautiful playing on tenor and soprano. I just picked up these two.










This one includes two albums.


----------



## Jos

Another one from my New York trip.
Stan Getz and Zoot Sims, "the brothers". Prestige, 1952


----------



## tortkis

Zawinul (1971)








Joe Zawinul, Herbie Hancock, George Davis, Hubert Laws, Woody Shaw, Jimmy Owens, Earl Turbinton, Wayne Shorter, Miroslav Vitouš, Walter Booker, Billy Hart, David Lee, Joe Chambers, Jack DeJohnette


----------



## Easy Goer

Lee Morgan - Sidewinder


----------



## Heliogabo

tortkis said:


> Money Jungle - Ellington, Mingus, Roach (1962)
> 
> 
> 
> 
> 
> 
> 
> 
> Aggressive, very tense, modern, and swinging. Truly great.


Without a doubt, one of my favorite jazz piano trio albums. Remastered edition has many intriguing alternate takes. A must for any decent jazz collection.


----------



## Barbebleu

Metheny/Mehldau - Quartet.
Andrew Hill - Pax and Time Lines


----------



## starthrower

Great sound on this dynamic live recording. RIP Sam Rivers


----------



## tortkis

Annette (Hatology)
Paul Bley: piano; Franz Koglmann: flugelhorn, trumpet; Gary Peacock: double bass









All composed by Annette Peacock, except _Annette_. Powerful compositions, from melancholic to avant-garde. The performance is excellent. Recorded 1992.


----------



## Barbebleu

Andrew Hill - Smokestack (IMO one of his best)
Gary Burton - Duster
Charles Lloyd - Dream Weaver
Archie Shepp - Fire Music
Bobby Hutcherson - Components
Roswell Rudd - Everywhere
Cecil Taylor - Nefertiti, The Beautiful One Has Come
Marion Brown - Three for 'Trane


----------



## SimonNZ

Barbebleu said:


> Andrew Hill - Smokestack (IMO one of his best)
> Gary Burton - Duster
> Charles Lloyd - Dream Weaver
> Archie Shepp - Fire Music
> Bobby Hutcherson - Components
> Roswell Rudd - Everywhere
> *Cecil Taylor - Nefertiti, The Beautiful One Has Come*
> Marion Brown - Three for 'Trane


That reminds me that I've been meaning to have another try at clicking with that album.

So here we go...


----------



## starthrower

RIP Bruce Lundvall Long time jazz record executive and Blue Note Records CEO.
https://www.billboard.com/articles/...ds-veteran-beloved-label-executive-dead-at-79


----------



## SimonNZ

Fred Jackson - Hootin' 'An Tootin' (1962)


----------



## starthrower

4 CD Set


----------



## SimonNZ

Dizzy Reece - Star Bright (1959)


----------



## starthrower




----------



## Barbebleu

SimonNZ said:


> That reminds me that I've been meaning to have another try at clicking with that album.
> 
> So here we go...


Enjoy. Btw the above list was a bunch of albums I bought at the same time with the exception of the Cecil Taylor. I got that later.


----------



## Vaneyes




----------



## starthrower

Just got this one. Another great sounding live set in addition to the Sam Rivers I picked up.
It's a 2 CD set, but only about 90 minutes total time.


----------



## Vaneyes




----------



## starthrower

^^^
His guitar tone and playing is superb!


----------



## norman bates

starthrower said:


> ^^^
> His guitar tone and playing is superb!


and a beautiful guitar too, do you know what model is that?


----------



## SimonNZ

Horace Parlan - On The Spur Of The Moment (1961)


----------



## starthrower

norman bates said:


> and a beautiful guitar too, do you know what model is that?


Looks like a Godin guitar.


----------



## tortkis

Horace Tapscott: The Dark Tree (hatOLOGY)








Horace Tapscott (piano)
Cecil McBee (bass)
Andrew Cyrille (drums)
John Carter (clarinet)
Recorded on December 14-17, 1989

Excellent live recording.


----------



## Barbebleu

tortkis said:


> Horace Tapscott: The Dark Tree (hatOLOGY)
> 
> 
> 
> 
> 
> 
> 
> 
> Horace Tapscott (piano)
> Cecil McBee (bass)
> Andrew Cyrille (drums)
> John Carter (clarinet)
> Recorded on December 14-17, 1989
> 
> Excellent live recording.


The great Cecil McBee, part of the classic Charles Lloyd quartet of the mid to late sixties that had Keith Jarrett and Jack DeJohnette. What a band that was.


----------



## starthrower

The cats woke me up early this morning for a tin, so I decided to open this one for myself.

Charlie Parker-Verve Master Takes 3 CD Set.


----------



## Heliogabo

What a thundering pianist and amazing improviser Jarrett was in the 70 's









About his solo recordings I prefer this decade.


----------



## SimonNZ

Lou Donaldson - Midnight Creeper (1968)


----------



## Heliogabo

i love this 1979 obscure session.









Chet Baker meets this swiss vibes player, Lackerschmid, whom I never heard before. The result is mesmerizing.


----------



## SimonNZ

Cliff Jordan - Cliff Craft (1959)


----------



## tortkis

David Liebman: Distance Runner (Hatology)









Superb solo sax album. His playing is so imaginative that there is no dull moment. This is the first live recording of his solo performance. Recorded 2004.


----------



## starthrower

I don't know how I missed this 1999 posthumous release, but I spotted it in a local store earlier today.
All I can say is "wow" this is a great one! I almost didn't buy it because I have a bunch of Art Blakey 
CDs, and I figured this would be a boring drum soloing fest. But since it included the best drummers
and percussionist of the 1950s, plus Lee Morgan and Bobby Timmons, I decided to give it a shot. A
hunch that paid off. The sound is great too! And on the Rogers & Hart tune Lover, Lee Morgan plays one of the most amazingly fast and agile trumpet solos I've ever heard!


----------



## Vaneyes




----------



## starthrower

This is the other CD I picked up yesterday. I had read good things about it but never heard it.
Plus it's got so many great players, I couldn't pass it up. Recorded in 1967. All original material
by Lee Morgan or Wayne Shorter. Lee's title track is a great tune, as is Shorter's beautiful ballad
Dear Sir. And the sound is a lot better than his more famous Sidewinder.


----------



## norman bates

starthrower said:


> This is the other CD I picked up yesterday. I had read good things about it but never heard it.
> Plus it's got so many great players, I couldn't pass it up. Recorded in 1967. All original material
> by Lee Morgan or Wayne Shorter. Lee's title track is a great tune, as is Shorter's beautiful ballad
> Dear Sir. And the sound is a lot better than his more famous Sidewinder.


Rio and Dear sir are two of the best compositions ever written by Shorter, and it says a lot. Dear sir in particular is one of my favorite pieces ever, it's perfect from the first to the last note. It's curious as those two pieces sounds exactly like something taken from Miles Davis's Nefertiti.


----------



## tortkis

The Long March - Max Roach & Archie Shepp (hatOLOGY)









This is a great collaboration. Roach's drums improvisation is very melodic, and Shepp's sax is so powerful.


----------



## starthrower

^^^
Would like to hear that one. I'm a big fan of both.

Listened to this one twice today. Those turds in the Penguin guide panned this album
but they are wrong. The tunes are great, and so are Lee, Jackie Mclean, Curtis
Fuller, and McCoy Tyner.


----------



## SimonNZ

Terry Gibbs - One More Time (1959)


----------



## Bluecrab

tortkis said:


> The Long March - Max Roach & Archie Shepp (hatOLOGY)
> 
> This is a great collaboration. Roach's drums improvisation is very melodic, and Shepp's sax is so powerful.


I absolutely agree with you: a great collaboration.

I've searched in vain for this album for years now. The only places I've found it have been highly suspicious bit torrent websites. I actually looked into getting it from one, but my security software jumped all over the website and told me to get out of there quick.

I can only hope that some day it will be reissued as a CD. After all, we got lucky like that with several gems by Woody Shaw and Sonny Fortune.


----------



## starthrower

Bluecrab said:


> I can only hope that some day it will be reissued as a CD. After all, we got lucky like that with several gems by Woody Shaw and Sonny Fortune.


It's already been re-issued on CD. hatOLOGY is the reissue moniker for Hat Hut Records. Many of the titles were selling pretty cheap a few years ago, but are now sold out.


----------



## tortkis

Bluecrab said:


> I absolutely agree with you: a great collaboration.
> 
> I've searched in vain for this album for years now. The only places I've found it have been highly suspicious bit torrent websites. I actually looked into getting it from one, but my security software jumped all over the website and told me to get out of there quick.
> 
> I can only hope that some day it will be reissued as a CD. After all, we got lucky like that with several gems by Woody Shaw and Sonny Fortune.


If you don't mind digital album, it is available for download on amazon or google play.
amazon: http://www.amazon.com/Long-March-Roach-Archie-Shepp/dp/B00VJSPLSS/
google: https://play.google.com/store/music/album/Max_Roach_The_Long_March?id=Bctn5ac5zacxbj4j5ojaulftm7u

I recently found that many releases of hatOLOGY and hat[now]art had become available for download. I am now checking out some of the albums which were difficult to find.



starthrower said:


> It's already been re-issued on CD. hatOLOGY is the reissue moniker for Hat Hut Records. Many of the titles were selling pretty cheap a few years ago, but are now sold out.


I remember that sale on some online store. Now many albums are listed as "SOLD OUT" on the hathut website. I hope they will reissue all the titles as digital albums.


----------



## Belowpar

The only problem with Count Basie records is he don't play enough! He has to do more work in a smaller group.


----------



## starthrower

tortkis said:


> I remember that sale on some online store. Now many albums are listed as "SOLD OUT" on the hathut website. I hope they will reissue all the titles as digital albums.


The Jazz Loft used have many titles at discount prices, and I also got some very cheap from Grooves-Inc. But Jazz loft is gone, and Grooves no longer discounts Hat Hut titles. I only have three of their titles by Steve Lacy, Ray Anderson, and Vienna Art Orchestra, and they are all very high quality recordings.


----------



## Sonata

I had almost given up jazz for a list cause (alas, like Tristan und Isolde I am afraid!) but I've finally come around to jazz as a niche genre for some iPod variety. I listened to some Oscar Peterson from his Dimensions compilation today. And I recently found Claude Bolling who has instrumental suites interspersing classical with jazz.


----------



## SimonNZ

Donald Byrd - Mustang (1966)

Also: gotta say I was particularly impressed with that Terry Gibbs album I played yesterday, and can't see now how I haven't heard his name before, but will be checking out more.

Does anybody know his work or have any recommendations?


----------



## Bluecrab

To starthrower and tortkis: many thanks for the tips about where to find The Long March. I'll definitely check them out.

Update: just downloaded the albums from google play. Several of the selections are not available in MP3 format on Amazon. Getting ready to burn it to a CD now.

Once again, many thanks to both of you. I owe you guys a turn.


----------



## TYang

this is amazing 
thanks for posting


----------



## starthrower

NP:Steve Lacy Blinks Live 1983










This is the single disc hatology re-issue. The original Hat Hut release was a 2 CD set with more material. Still, I can recommend this reissue because it is a smoking hot live set in great sound featuring Lacy's greatest band.


----------



## SimonNZ

Paul Bley - Ramblin'

rescued from the two dollar bin in the Rock section at the secondhand store


----------



## tortkis

starthrower said:


> The Jazz Loft used have many titles at discount prices, and I also got some very cheap from Grooves-Inc. But Jazz loft is gone, and Grooves no longer discounts Hat Hut titles. I only have three of their titles by Steve Lacy, Ray Anderson, and Vienna Art Orchestra, and they are all very high quality recordings.


The Jazz Loft had interesting albums in stock which were difficult to find even at amazon, although my first order (Feldman's String Quartet II, Schaeffer, Ferrari) had never arrived. However, I purchased some good stuff from them like AMM, Satoko Fujii, Peter Evans, Melford (hatOLOGY), etc.

Now listening to Bill Evans - You Must Believe in Spring (Rhino), recorded 1977.








Bill Evans - piano
Eddie Gómez - bass
Eliot Zigmund - drums


----------



## starthrower

Some great footage and beautiful playing!


----------



## EDaddy

Blake said:


> I'm going to test this out here. I see quite a few members have been posting a solid bit of great Jazz listenings… So, I figured it'd be pretty cool if we could have a thread entirely dedicated to all things Jazz. And I mean anything - From the early beginnings of the late 19th century, to Bebop/Hard-Bop, to Avant-Garde, and on to the Moon.
> 
> Post whatever you want... videos, pictures, news… This is a free-range.
> 
> I've been in a Bebop/Hard-Bop dig lately, so I'll impart this cool little documentary where Bob Cranshaw talks about his time with Lee Morgan.


LOVE THIS IDEA! Frankly, I know far more about Jazz than classical as I was deeeeeeep into all things Jazz from the ealy 90's up until about 2011, when I needed something new and fresh and started my journey deeper into the realm of classical. I have a wall full of old Blue Note, OJC Classics... you name it.

A few of my not-so-obvious "desert island" discs from what I (and many) consider to be the Golden Era (mid to late 50's until mid 60's are):

































I could go on and on and on...


----------



## starthrower

This thread IS dedicated to all things jazz.

NP:










I bought this several years ago for 5 bucks. Some really great music! It's in mono
but the sound is great. There's also a matching sextette CD. The CDs are all black
mini LP replicas.


----------



## EDaddy

starthrower said:


> This is the other CD I picked up yesterday. I had read good things about it but never heard it.
> Plus it's got so many great players, I couldn't pass it up. Recorded in 1967. All original material
> by Lee Morgan or Wayne Shorter. Lee's title track is a great tune, as is Shorter's beautiful ballad
> Dear Sir. And the sound is a lot better than his more famous Sidewinder.


One of my absolute faves! Desert island caliber.


----------



## starthrower

I probably have at least 100 Blue Note titles. And I don't even like the sound on a lot of them. Many of the RVG Editions are bass heavy and boomy. I just picked up Horace Parlan-Up & Down, and Lee Morgan's Lee-Way. The Parlan album features Booker Ervin, and the Morgan, Jackie McLean. Two of my favorite sax players to listen to wailing away.

Here's something I listened to yesterday for the first time in years, and it really knocked me out! The interpretations are very interesting, and Coleman Hawkins and Hank Jones play some great stuff. And there's two tracks with Eddie Costa. Shelly Manne always hits the spot!


----------



## EDaddy

The title track on this album is one of my favorites. Couldn't be in less of a rush.


----------



## EDaddy

starthrower said:


> I probably have at least 100 Blue Note titles. And I don't even like the sound on a lot of them. Many of the RVG Editions are bass heavy and boomy. I just picked up Horace Parlan-Up & Down, and Lee Morgan's Lee-Way. The Parlan album features Booker Ervin, and the Morgan, Jackie McLean. Two of my favorite sax players to listen to wailing away.
> 
> Here's something I listened to yesterday for the first time in years, and it really knocked me out! The interpretations are very interesting, and Coleman Hawkins and Hank Jones play some great stuff. And there's two tracks with Eddie Costa. Shelly Manne always hits the spot!


Funny. I find the RVGs to be too top heavy. I think Rudy Van is losing the "high end" of his hearing in his old age. I usually have to take the treble knob and dial it back considerably or the cymbals will take my head off.

I personally like the additional bottom end. While it might make things a bit boomy sometimes, it does at least help the upright bass fight its way through a lot of the recordings. Since they cut it all live in a room at the same time, the upright bass often seems to struggle to be heard.

Some of the best-sounding Jazz records were the ones cut for Columbia back in the day. Better studios. Better gear. World-class engineers.


----------



## starthrower

As far as the smaller labels back in the day, Contemporary made the best sounding records for my ears. They blow Blue Note away. Stuff like Hampton Hawes, Shelly Manne, Barney Kessel, and Curtis Counce were recorded really well with full-bodied non-boomy bass, and good sounding piano. And the drums don't have miles of reverb. Columbia recordings weren't always top notch. Some have an awful lot of tape hiss. Even in the 70s. Jeff Beck's Wired has a ridiculous amount of tape hiss.


----------



## EDaddy

starthrower said:


> As far as the smaller labels back in the day, Contemporary made the best sounding records for my ears. They blow Blue Note away. Stuff like Hampton Hawes, Shelly Manne, Barney Kessel, and Curtis Counce were recorded really well with full-bodied non-boomy bass, and good sounding piano. And the drums don't have miles of reverb. Columbia recordings weren't always top notch. Some have an awful lot of tape hiss. Even in the 70s. Jeff Beck's Wired has a ridiculous amount of tape hiss.


I think there are good and not-so-good sounding recordings on any label. I like a lot of those older OJCs too (Hampton Hawes "For Real" is an example of an great-sounding OJC record), but some of their off-the-cuff jam sessions sounded pretty rough sometimes. My experience of Columbia in the 60s was their Jazz records were more often than not state-of-the-art, i.e. most of the late 50's and 60's Miles Davis sessions sound incredible, as does Monk, Dave Brubeck and a whole slew of others, especially now that they've been remastered for CD. But I agree that there were some pretty rough-sounding, "hissy" records Columbia cut, but much more so in the 70s than in the 60s. Frankly, I'm not a big fan of how a lot of engineers/studios were recording Jazz in the 70's. Too dry and grainy; largely because they recorded them the way they were recording Pop records at the time, with the drums close-mic'd in a dry booth or drum room, etc. Blue Note generally had inferior-sounding piano to be sure (and too often way too soft in the mix), and the bass was almost always poorly recorded. But their horn sounds were hard to beat and definitely their trademark; No one else got "that sound" at the time, not OJC, Columbia or any of them. And no one knew how to record a B3 better than Rudy Van Gelder who I'm guessing you well know was the house engineer for Blue Note at the time, and who did a lot of the OJC recordings as well.


----------



## starthrower

OJC is not a label. Fantasy put that (Original Jazz Classics) on CD reissues of all the old labels under their umbrella.


----------



## TYang

Duke & John - what a great album!


----------



## EDaddy

You are correct, sir. I'm just used to referring to the series/albums themselves.


----------



## jim prideaux

first listen to Keith Jarrett's 'Creation'.....mmmmm!


----------



## starthrower




----------



## millionrainbows

starthrower said:


> As far as the smaller labels back in the day, Contemporary made the best sounding records for my ears. They blow Blue Note away. Stuff like Hampton Hawes, Shelly Manne, Barney Kessel, and Curtis Counce were recorded really well with full-bodied non-boomy bass, and good sounding piano. And the drums don't have miles of reverb. Columbia recordings weren't always top notch. Some have an awful lot of tape hiss. Even in the 70s. Jeff Beck's Wired has a ridiculous amount of tape hiss.


I like the stuff on the Candid label, and the Clifford Brown EmArCee (Mercury).


----------



## millionrainbows

I've been listening to early _*Jimmy Giuffre*_, his first 4 on a two-fer. Second disc has *Jim Hall* on guitar. All of it has Jack Sheldon on trumpet, he is a fantastic soloist. Remember him appearing regularly on the* Merv Griffin Show?*










It's interesting stuff, because the drums are underplayed, and have a more musical, accenting role, and not just playing a background pulse. This proves to me how musical Shelly Manne was as a drummer. This makes it into a sort of "chamber jazz," and it's good. I had no idea Giuffre was this good on tenor & baritone saxes, I thought he was just a clarinetist.


----------



## millionrainbows

starthrower said:


> I probably have at least 100 Blue Note titles. And I don't even like the sound on a lot of them. Many of the RVG Editions are bass heavy and boomy.


I never understood why the RVG reissue of Eric Dolphy's "Out to Lunch" was in mono, not stereo. I think it really suffers not being in stereo. So I still have my regular stereo issue as well.


----------



## millionrainbows

starthrower said:


> Here's something I listened to yesterday for the first time in years, and it really knocked me out! The interpretations are very interesting, and Coleman Hawkins and Hank Jones play some great stuff. And there's two tracks with Eddie Costa. Shelly Manne always hits the spot!


Yeah, I agree. I first heard him on those Barney Kessell trio recordings. I love those!


----------



## millionrainbows

Coleman Hawkins' solo on Queer Notions by Fletcher Henderson Orchestra:


----------



## norman bates

millionrainbows said:


> I've been listening to early _*Jimmy Giuffre*_, his first 4 on a two-fer. Second disc has *Jim Hall* on guitar. All of it has Jack Sheldon on trumpet, he is a fantastic soloist. Remember him appearing regularly on the* Merv Griffin Show?*
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> It's interesting stuff, because the drums are underplayed, and have a more musical, accenting role, and not just playing a background pulse. This proves to me how musical Shelly Manne was as a drummer. This makes it into a sort of "chamber jazz," and it's good. I had no idea Giuffre was this good on tenor & baritone saxes, I thought he was just a clarinetist.


Beautiful music. Hall and Giuffre together are pure class.


----------



## starthrower

^^^
I bought one of those Avid CDs recently. The sound is pretty lousy. I guess they're okay as a last resort for unavailable titles?

NP:










The first Lacy album I bought about 20 years ago. Still a favorite.


----------



## tortkis

I have not heard Lacy and want to check out his music. That Momentum album seems OOP. I just picked this.

Steve Lacy - Axieme (Solo Saxophone Album) (Red records)









Mostly very melodious, and the sound of his soprano sax is great. I enjoyed this throughout.


----------



## starthrower

Yeah, Lacy had a great sound. His discography is huge going back to the 1950s. I don't listen to much of the early stuff. I have the two Soul Note box sets which total 15 albums. You might want try the first one. It includes two duo albums with Mal Waldron, and they're both great. There's also a great trio album in that box called The Window. And some solo soprano sax albums. The second box features larger ensembles.

The out of print Novus albums including Momentum, Anthem, Live At Sweet Basil, and The Door feature his long running sextet with alto player Steve Potts, and the great French bassist Jean-Jaques Avenel. They're worth picking up if you can find inexpensive copies. The first tune on Momentum called The Bath is one of my favorites. Give it a listen if you can find it online.

One other album I'll mention is the beautiful duo album Paris Blues, with Gil Evans. Here's the opening number which is a Mingus tune.






And here's a documentary on the man.


----------



## tortkis

Thanks for the documentary. Though I could find only up to part 3, it was very interesting to know the influences on him (Bechet, Taylor, Gil Evans, Monk) and the history of his playing. And the music with Gil Evans is wonderful. I really like that Mingus tune played by Motian, which has the similar feeling of the Lacy/Evans version. I ordered the box set.


----------



## starthrower

I picked up these two CDs at a local store last Sunday. I'm happy to say that they are both excellent, and the sound is great as well. Bass On Top was recorded in '57 and it's in stereo. It features some great sounding bowed bass, and Kenny Burrell is on guitar, and Hank Jones on piano. Art Taylor is the drummer.

The quintet album I bought used and it's the old Connoisseur Edition which sounds really good. I'm not sure how the current RVG edition sounds. There's also a low priced Japanese edition being released on July 1st that can be found at CD Japan. In fact, that's the place to buy jazz CDs that are not available domestically. Don't get ripped off at Amazon paying 25-30 dollars.


----------



## Musicophile

I'm about to write a little series on my blog about the Jazz Messengers and their spin-offs, and am starting with this great album:









http://musicophilesblog.com/2015/06...essengers-1-song-for-my-father-horace-silver/


----------



## starthrower

The great Ornette Coleman is gone at 85. 
http://www.nytimes.com/2015/06/12/a...azz-saxophonist-dies-at-85-obituary.html?_r=2


----------



## Crudblud

Just heard the sad news about Ornette Coleman, one of my favourite saxophonists along with Albert Ayler and Eric Dolphy. Currently listening to one of his many great records, 1960's _Free Jazz._


----------



## Mahlerian

Crudblud said:


> Just heard the sad news about Ornette Coleman, one of my favourite saxophonists along with Albert Ayler and Eric Dolphy. Currently listening to one of his many great records, 1960's _Free Jazz._


I'm joining you. R.I.P.


----------



## elgar's ghost

RIP Ornette. Love his Atlantic output and I'll play the lot this weekend in tribute (apart from the one album I don't have - Ornette!). 

I'd listened to precious little jazz apart from hard bop before being introduced to Coleman's This Is Our Music and I was immediately hooked by the material's slithery qualities - the absence of piano to anchor things really allowed the music to breathe.


----------



## tortkis

It's sad news. He was a truly original musician who had one of the most beautiful saxophone tones.


----------



## GodNickSatan

Listening to Free Jazz now.


----------



## starthrower

Will play some of my favorite Ornette albums over the weekend. 

This Is Our Music
At The Golden Circle
New York Is Now
Friends & Neighbors
Science Fiction Sessions
Song X


----------



## hombre777

Rest in Peace, Ornette Coleman
" Lonely Woman "


----------



## GodNickSatan

How do people on here view his venture into classical music? Here's what I'm talking about:


----------



## Barbebleu

GodNickSatan said:


> How do people on here view his venture into classical music? Here's what I'm talking about:


Ornette was a true original who gave his all regardless of what genre he embraced. His classical stuff was no different. Forms and Sounds is particularly good and so Ornettian, if that is a word! But all fans will know what I mean.


----------



## Barbebleu

GodNickSatan said:


> How do people on here view his venture into classical music? Here's what I'm talking about:


Ornette was a true original who gave his all regardless of what genre he embraced. His classical stuff was no different. Forms and Sounds is particularly good and so Ornettian, if that is a word! But all fans will know what I mean. To me his classical stuff sounded very Ivesian with hints of Copland here and there.

I seem to have posted the edited version separately. Sorry folks.


----------



## tortkis

I have been listening to New Vocabulary, Sound Grammar, Beauty Is a Rare Thing (Atlantic set including The Shape of Jazz to Come, Change of the Century, This Is Our Music, Free Jazz, etc.) Hoping more recordings of his late years will be released.

Also listening to Steve Lacy's solos/duos/trios Soul Note box set I received recently. Every disc is wonderful: intimate and thrilling solos on Monk's tunes; modern / avant garde trios; beautiful duos with Waldron on excellent compositions by Ellington, Strayhorn, Mingus, Monk, Hope, and Lacy.


----------



## hombre777

Today listening

Mose Allison "New Ground " Album: Back Country Suite - 1957


----------



## hombre777

I enjoy Jazz Third Stream but I dont know to much, The Modern Jazz Quartet: Third Stream Music 1959 and The Birth of Third Stream there are my basics Third Stream audios . Any recommendations about Third Stream albums ?

The Birth of Third Stream






The Modern Jazz Quarter & Guest " The Third Stream "


----------



## starthrower

Just got a Japanese edition of this album and it sounds great!


----------



## GodNickSatan

homebre777, check out Let My Children Hear Music from Charles Mingus. Incredible album.


----------



## Albert7

GodNickSatan said:


> homebre777, check out Let My Children Hear Music from Charles Mingus. Incredible album.


I can second that rather quickly in fact.


----------



## tortkis

What's It All About - Pat Metheny (Nonesuch)








1. The Sound of Silence (Paul Simon)
2. Cherish (Terry Kirkman)
3. Alfie (Burt Bacharach & Hal David)
4. Pipeline (Bob Spickard & Brian Carman)
5. Garota de Ipanema (Antonio Carlos Jobim & Vinicius de Moraes)
6. Rainy Days and Mondays (Roger S. Nichols & Paul H. Williams)
7. That's the Way I've Always Heard It Should Be (Carly Simon & Jacob Brackman)
8. Slow Hot Wind (Henry Mancini & Normal Gimbel)
9. Betcha by Golly, Wow (Thomas Bell & Linda Creed)
10. And I Love Her (John Lennon & Paul McCartney)
11. 'Round Midnight (Thelonious Monk)

Metheny's solo acoustic album. Very nice.


----------



## norman bates

I'm listening a lot to the only two jazz albums made by Linc Chamberland, A place within (1976) with Dave Liebman and Yet to come (1981) with David Friesen. Unbelievable guitarist, one of the greatest I've ever listened and another proof of the fact that often the best musicians are not the most famous ones. If you like post-bop guitar with a very advanced harmonic sense he truly deserves to be heard.


----------



## Easy Goer

Thelonious Monk - Monk


----------



## tortkis

Emphasis & Flight, 1961 (hatOLOGY)
Jimmy Giuffre (clarinet), Paul Bley (piano), Steve Swallow (bass)









Very good clarinet playing on both melodic and experimental tunes, and the interplay with Bley and Swallow is wonderful.


----------



## tortkis

Kenny Wheeler: What Now? (Cam Jazz, 2005)








Kenny Wheeler (flugelhorn), Chris Potter (tenor saxophone), John Taylor (piano), Dave Holland (double-bass)

Superb.


----------



## Heliogabo

tortkis said:


> Emphasis & Flight, 1961 (hatOLOGY)
> Jimmy Giuffre (clarinet), Paul Bley (piano), Steve Swallow (bass)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Very good clarinet playing on both melodic and experimental tunes, and the interplay with Bley and Swallow is wonderful.


This trio is truly amazing. It's such a pitty that didn't lived more than a few years. They were really ahead of their time. Giuffre is one of my favorite jazzman.


----------



## Easy Goer

Art Blakey & The Jazz Messengers


----------



## Barbebleu

norman bates said:


> I'm listening a lot to the only two jazz albums made by Linc Chamberland, A place within (1976) with Dave Liebman and Yet to come (1981) with David Friesen. Unbelievable guitarist, one of the greatest I've ever listened and another proof of the fact that often the best musicians are not the most famous ones. If you like post-bop guitar with a very advanced harmonic sense he truly deserves to be heard.


Check out Dawn Dance by Steve Eliovson on ECM. His only album for the label and an absolute beauty. He opted out of music basically after recording this and I believe died in South Africa in relative obscurity. He was an exceptional musician and on this album he is working with Oregon stalwart, Collin Walcott.


----------



## SONNET CLV

tortkis said:


> I have been listening to New Vocabulary, Sound Grammar, Beauty Is a Rare Thing (Atlantic set including The Shape of Jazz to Come, Change of the Century, This Is Our Music, Free Jazz, etc.) Hoping more recordings of his late years will be released.
> 
> Also listening to Steve Lacy's solos/duos/trios Soul Note box set I received recently. Every disc is wonderful: intimate and thrilling solos on Monk's tunes; modern / avant garde trios; beautiful duos with Waldron on excellent compositions by Ellington, Strayhorn, Mingus, Monk, Hope, and Lacy.


This box set _is_ splendid. It's one of the releases in the Remastered Black Saint/Soul Note catalog releases. I've managed to pick up 30 of the sets thus far. In fact, the only one that I still need of the so-far released boxes, I believe, is the new Steve Lacy volume 2 set:










I look forward to getting that one, too.

I've found the set overall compelling. Much of the music leans towards the avant-garde and free jazz, but there is still a lot of straight ahead "traditional" jazz in the sets, especially in the Art Farmer set which I just recently surveyed.










You can catch a glimpse of the collection here: http://www.forcedexposure.com/Labels/black.saint.soul.note.italy.html

Way recommended!


----------



## tortkis

That Art Farmer set looks very nice. And thanks for the link, I didn't know that there are so many sets. The only box I have other than the Lacy box is the Bill Dixon 9-CD set.

One of the good things about the Black Saint & Soul Note box series is that each disc/sleeve keep the tracks & cover of the original album. As a result, the total time of each disc is sometimes short, but I don't mind much about it.


----------



## Kevin Pearson

SONNET CLV said:


> This box set _is_ splendid. It's one of the releases in the Remastered Black Saint/Soul Note catalog releases. I've managed to pick up 30 of the sets thus far. In fact, the only one that I still need of the so-far released boxes, I believe, is the new Steve Lacy volume 2 set:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> I look forward to getting that one, too.
> 
> I've found the set overall compelling. Much of the music leans towards the avant-garde and free jazz, but there is still a lot of straight ahead "traditional" jazz in the sets, especially in the Art Farmer set which I just recently surveyed.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> You can catch a glimpse of the collection here: http://www.forcedexposure.com/Labels/black.saint.soul.note.italy.html
> 
> Way recommended!


Way overpriced there though. You can far better deals on these sets at Amazon.

Kevin


----------



## starthrower

I have the second Lacy box, and it's very good. The only album I really didn't get into is The Cry. But that one has a lot of poetry, and I'd rather just hear the band play. But the Lacy, and Abrams sets are my favorites. I have about ten boxes so far. The Bill Dixon is my least favorite. The music is extremely sparse, free, and mostly sluggish tempos throughout the set.


----------



## tortkis

Jim Hall: The Complete Jazz Guitar (Essential Jazz Classics)








Track 1-11: with Red Mitchell (bass) & Carl Perkins (piano)
Track 12-16: duo, trio & quartet with John Lewis (piano), George Duvivier / Percy Heath (bass) and Connie Kay (drums)

The trio of the original album is very good, but I particularly like the tracks with John Lewis. Once Lewis joins, the mood totally alters. I love Lewis's lyrical piano playing.


----------



## Albert7

I just picked a bunch of jazz albums off iTunes. Let's see how it goes later on this year when I hear them.


----------



## starthrower

Ordered these from Importcds 10% off sale thru June 30th.

Andrew Cyrille Black Saint/Soul Note Box
8052405141026
CD

Etcetera
Wayne Shorter
724383358120
CD

Our Thing [Import]
Joe Henderson
724352564729
CD

Urge [Import]
Ted Curson
7451107770175
CD

Doin It Right Now
Von Freeman
099923853626
CD

This Here Is Bobby Timmons
Bobby Timmons
025218610421
CD

Blue Spring
Kenny Dorham
025218613422
CD

Meet Oliver Nelson
Oliver Nelson
025218622721
CD

Living Legend
Art Pepper
025218640824
CD

Blue Soul
Blue Mitchell
888072305083
CD

Mantra Mode
Abdullah Ibrahim
063757781028
CD


----------



## tortkis

Muhal Richard Abrams: One Line Two Views (New Worlds Records)








Muhal Richard Abrams, piano, synthesizer, rain stick, percussion, voice
Mark Feldman, violin, percussion, voice
Tony Cedras, accordion, percussion, voice
Marty Ehrlich, alto saxophone, bass clarinet, percussion, voice
Patience Higgins, tenor saxophone, bass clarinet, percussion, voice
Anne LeBaron, harp, percussion, voice
Eddie Allen, trumpet, percussion, voice
Lindsey Horner, bass, percussion, voice
Bryan Carrott, vibraphone, percussion, voice
Reggie Nicholson, drums, percussion, voice

Adventurous compositions and excellent performance. I want to check out the Black Saint recordings too.


----------



## SimonNZ

Harold Land - The Peace-Maker (1968)

I've recently started a project of listening to an exhaustive cross-section of jazz albums from 1968 and 1969

Also a project of becoming much more familiar with the core Free(-ish) albums - not that this is one of those, but the two projects often overlap


----------



## 38157

Re-discovered Dolphy's "Out to Lunch!", which I think is my favourite jazz album. Excited to have learnt of a Japanese CD with alternate takes of "Hat and Beard" (my absolute favourite tune from the album, I could listen to it all day) and "Something Sweet, Something Tender". Can't wait for that CD to arrive within the next few days. I actually much prefer listening to Dolphy than even Bird or Trane, perhaps even Mingus.


----------



## Heliogabo

I started my week with this. Many time since I´ve heard it for the last time. What a powerful group:

Bill Hardman - trumpet
Johnny Griffin - tenor saxophone
Thelonious Monk - piano
Spanky DeBrest - bass
Art Blakey - drums

playing Monk compositions and one tune by Griffin. Great great album!


----------



## norman bates

****** said:


> Re-discovered Dolphy's "Out to Lunch!", which I think is my favourite jazz album. Excited to have learnt of a Japanese CD with alternate takes of "Hat and Beard" (my absolute favourite tune from the album, I could listen to it all day) and "Something Sweet, Something Tender". Can't wait for that CD to arrive within the next few days. I actually much prefer listening to Dolphy than even Bird or Trane, perhaps even Mingus.


Hat and beard is probably my favorite piece of him too with Burning spear as a possible contender.


----------



## 38157

norman bates said:


> Hat and beard is probably my favorite piece of him too with Burning spear as a possible contender.


I struggle slightly with some of Iron Man. "Come Sunday" and "Ode to Charlie Parker" are great, and I do like the rest of the music on there, but so far I haven't warmed to it in quite the same way I warmed to Out to Lunch. Still a great album that gets played quite often, though


----------



## GodNickSatan

Out to Lunch is possibly my favourite jazz album as well! I'd say Iron Man is Dolphy's next best effort.


----------



## elgar's ghost

Hope I'm not asking anything out of turn but what's happened to JACE?


----------



## starthrower




----------



## Easy Goer

Charlie Haden - Etudes with Geri Allen on piano & Paul Motian percussion.


----------



## SimonNZ

Bill Evans - At the Montreux Jazz Festival (1968)


----------



## tortkis

Paul Bley Play Blue - Oslo Concert (ECM, recorded 2008)








Paul Bley: piano solo

Sankt Gerold (ECM, recorded 1996)








Paul Bley: piano
Evan Parker: tenor saxophone, soprano saxophone
Barre Phillips: bass

Both are excellent. I'm getting to love Bley's solid lyricism. On the trio album, the interplay between the three musicians is great.



elgars ghost said:


> Hope I'm not asking anything out of turn but what's happened to JACE?


I recently saw his posts on other jazz forums. (See this post.)


----------



## tortkis

Ballads - Derek Bailey (Tzadik, 2002)


----------



## Musicophile

Bill Evans: Moon Beams


----------



## Jay




----------



## Heliogabo

This recent recording is a treasure. The more I listen to it the more I love it. With releases like this jazz is so alive in 21th century!









From allabout jazz review:

There is not a wasted note to be found on Now This where the compositions-some re-worked, others, new-strongly suggest a portentous air. Peacock, Copland and Baron expertly develop the pieces in that light so that, despite the overriding thoughtfulness, it is never certain in which direction the journey is moving. Now This is an thought-provoking collection rendered by brilliant performers.


----------



## Easy Goer

Rich Perry Quartet - E. Motion


----------



## tortkis

I've been listening to Muhal Richard Abrams, purchasing these Black Saint albums separately, not the box set. The earlier albums are much more experimental, reminiscent of avant-garde modernist music. The 1990s albums sound jazzier and more sophisticated. So far, what I heard are all great.

Spihumonesty (1979)








Mama And Daddy (1980)








Blu Blu Blu (1991)


----------



## Albert7

That's right.










Ya heard her!


----------



## Sonata

I downloaded Bitches Brew by Miles David from Amazon Prime last week, I need to queue it up this week


----------



## hombre777

Bill Evans - Sometime Ago


----------



## Easy Goer

Stan Getz - Captain Marvel


----------



## hombre777

Today ... John Lewis Session


----------



## Barbebleu

Listening to Homage to Africa by Sunny Murray - on vinyl!! So good. Hard to beat the sixties avant-garde. This was on the BYG label. They released some great stuff. Sunny Murray, Grachan Moncur, Archie Shepp, Sonny Sharrock to name but a few.


----------



## tortkis

First Meeting - Tethered Moon (Winter & Winter, 1997)








Masabumi Kikuchi - piano
Gary Peacock - bass
Paul Motian - drums
recorded 1990-91


----------



## Easy Goer

Oscar Peterson - Song Is You Best Of The Verve


----------



## Musicophile

Enrico Pieranunzi - Current Conditions









Very appropriate for a hot summer afternoon. Even the cover is matching.


----------



## Dr Johnson

Another Enrico with some jazz apt for a hot afternoon:

Enrico Rava - Quotation Marks


----------



## Musicophile

Wayne Shorter: Adam's Apple.









I've just written about it on my blog:

http://musicophilesblog.com/2015/07...-jazz-messengers-5-wayne-shorter-adams-apple/


----------



## norman bates

Musicophile said:


> Wayne Shorter: Adam's Apple.
> 
> View attachment 72249
> 
> 
> I've just written about it on my blog:
> 
> http://musicophilesblog.com/2015/07...-jazz-messengers-5-wayne-shorter-adams-apple/


Footprints is great but I vastly prefer two other versions: the one on Miles Smiles and the live version made by Von Freeman, both versions are desert island music for me. Anyway you haven't mentioned Teru, my favorite track from the album and one of the most beautiful slow pieces written by Shorter (right there with Dear Sir on Lee Morgan's The procrastinator and Sanctuary from Bitches brew for me). And El Gaucho too is a classic.


----------



## Musicophile

norman bates said:


> Footprints is great but I vastly prefer two other versions: the one on Miles Smiles and the live version made by Von Freeman, both versions are desert island music for me. Anyway you haven't mentioned Teru, my favorite track from the album and one of the most beautiful slow pieces written by Shorter (right there with Dear Sir on Lee Morgan's The procrastinator and Sanctuary from Bitches brew for me). And El Gaucho too is a classic.


I like Miles Smiles, but personally Tony Williams is a bit too ADHD for me on Footprints, especially with the cymbals ;-).

Don't have the Von Freeman version, do you have a link?

By the way, do you know the Corea Clark & White live version of Footprints?


__
https://soundcloud.com/chickcorea%2Fsets

El Gaucho and Teru are both very good, but Footprints will always have a special place in my heart as I used to play it with my little jazz group some years ago.


----------



## norman bates

Musicophile said:


> I like Miles Smiles, but personally Tony Williams is a bit too ADHD for me on Footprints, especially with the cymbals ;-).


Really? I think it's one of his classics, I remember that I didn't really know about him when I discovered Miles Smiles, and that single tune made me realize two things: that I loved the compositions of Wayne Shorter and that I loved the style of Tony Williams (and his use of the cymbal). You are probably more aligned with Doug Hammond who thinks that Williams has ruined a generation of drummers and that cymbals are chinese instruments 



Musicophile said:


> Don't have the Von Freeman version, do you have a link?


sure




actually I find the piano solo a bit anticlimatic, but for me the part when Von Freeman is playing is terrific. It's hard to believe that he was a 73-year-old man born in 1923.



Musicophile said:


> By the way, do you know the Corea Clark & White live version of Footprints?
> 
> 
> __
> https://soundcloud.com/chickcorea%2Fsets


no, but I will listen to it now, thank you.
By the way, I'm reading your blog and I really like it.


----------



## Musicophile

norman bates said:


> Really? I think it's one of his classics, I remember that I didn't really know about him when I discovered Miles Smiles, and that single tune made me realize two things: that I loved the compositions of Wayne Shorter and that I loved the style of Tony Williams (and his use of the cymbal). You are probably more aligned with Doug Hammond who thinks that Williams has ruined a generation of drummers and that cymbals are chinese instruments


Tony seems to be love him or hate him, at least he doesn't leave anybody indifferent. I'm not fully hate, but probably more on the negative side towards him.

And I do like cymbals, but to quote Paracelsus, sola dosis facit venenum. There can be too much of a good thing.



norman bates said:


> sure
> 
> 
> 
> 
> actually I find the piano solo a bit anticlimatic, but for me the part when Von Freeman is playing is terrific. It's hard to believe that he was a 73-year-old man born in 1923.


Pretty cool. Although I'd be surprised if the guys weren't on some kind of mind altering substance while producing it.

Any idea what the clip with the blond chick and the cool convertible is about? Is this 1966's anticipation of MTV? Or just Italian state television on dope?



norman bates said:


> By the way, I'm reading your blog and I really like it.


Thanks! Appreciated!


----------



## norman bates

Musicophile said:


> Any idea what the clip with the blond chick and the cool convertible is about? Is this 1966's anticipation of MTV? Or just Italian state television on dope?


it's an extract from Dead of summer, a great but very little known italian movie directed by a very underrated director called Nelo Risi (who was also a poet and the brother of the more famous Dino Risi) with Jean Seberg. It's one of my favorite movies, with a hypnotic and suffocating atmosphere, so I thought that it was a good background for the slow trance-inducing tune.


----------



## Musicophile

norman bates said:


> it's an extract from Dead of summer, a great but very little known italian movie directed by a very underrated director called Nelo Risi (who was also a poet and the brother of the more famous Dino Risi) with Jean Seberg. It's one of my favorite movies, with a hypnotic and suffocating atmosphere, so I thought that it was a good background for the slow trance-inducing tune.


Interesting. Hadn't seen Seberg in any other move except for the obvious _A bout de souffle_, but she looked familiar. Maybe I'll find the movie somewhere on the internet. My Italian is only so-so, but could be worth a try.


----------



## Musicophile

And to bring this thread a bit back on topic, here's the currently played album:









Michael Wollny Live.


----------



## hombre777

Sonny Clark - Softly as in A Morning Sunrise


----------



## Easy Goer

Coleman Hawkins - Hollywood Stampede


----------



## tortkis

Evening Falls - Jacob Young (ECM, 2004)








Jacob Young - guitar
Mathias Eick - trumpet
Vidar Johansen - bass clarinet, tenor saxophone
Mats Eilertsen - bass
Jon Christensen - drums
recorded 2002

All compositions by Young. Beautiful album.


----------



## Easy Goer

tortkis said:


> Evening Falls - Jacob Young (ECM, 2004)
> 
> 
> 
> 
> 
> 
> 
> 
> Jacob Young - guitar
> Mathias Eick - trumpet
> Vidar Johansen - bass clarinet, tenor saxophone
> Mats Eilertsen - bass
> Jon Christensen - drums
> recorded 2002
> 
> All compositions by Young. Beautiful album.


I'm not familiar with Jacob Young. Added to my wish list. Thanks


----------



## Easy Goer

Freddie Hubbard - Open Sesame


----------



## sadams

Emily Bear, Stuttgart Jazz Open 2015, "Tiger Lily"


----------



## sadams

Emily Bear, Jazz Open Stuttgart, Germany, 07.07.2015, "Old Office"


----------



## sadams

Emily Bear Trio - Fly Me To The Moon


----------



## tortkis

Easy Goer said:


> I'm not familiar with Jacob Young. Added to my wish list. Thanks


Evenig Falls reminded me of Kenny Wheeler's music, but I think Young has great originality. Sideways (2008) was not so impressive, but it was probably because Evening Falls was so good.

Now listening:

Monk's Dream (Columbia, 1963)








Thelonious Monk - piano
Charlie Rouse - tenor sax
John Ore - bass
Frankie Dunlop - drums


----------



## hombre777

This Here - Bobby Timmons Trio


----------



## starthrower

British pianist John Taylor has died at age 72.


----------



## tortkis

I don't know much about him, but the only album of John Taylor I have, _Nightfall_ (Naim Label, 2004), duo with Charlie Haden (who passed away last year), is really lyrical and beautiful.


----------



## Heliogabo

More sad news in jazz. His album with Haden is beautiful. He made fine piano trio sessions too. A pitty. RIP.


----------



## Musicophile

I strongly advise against purchasing this album. See my review here:

http://musicophilesblog.com/2015/07...e-thought-id-ever-mention-usher-on-this-blog/


----------



## JACE

It's been a long while since I checked in. Thought I'd drop by and see what's up. 

I'm now listening to this:










Superb.


----------



## starthrower

You must be having a more interesting summer than the rest of us. No?

I'm strolling down memory lane with this mix of Pat Metheny tunes.
The first composition here is so cool! I had forgetten about, since
I haven't listened to Letter From Home for years.


----------



## GreenMamba

MTKJ Quartet: Day Of The Race. From 2006. Really like this one.


----------



## tortkis

^ I don't have that album but I like Kris Tiner's trumpet playing: warm and beautiful tones, always melodic phrasing. I especially like TIN/BAG, a duo group with the guitarist Mike Baggetta. The trio with Nakatani and Drake is more adventurous.

Bridges - TIN/BAG (MabnotesMusic, 2011)


----------



## millionrainbows

SimonNZ said:


> Harold Land - The Peace-Maker (1968)
> 
> I've recently started a project of listening to an exhaustive cross-section of jazz albums from 1968 and 1969
> 
> Also a project of becoming much more familiar with the core Free(-ish) albums - not that this is one of those, but the two projects often overlap


I liked him in Clifford Brown's groups. I'll have to try this one.


----------



## Albert7

Yesterday morning I heard this kickbutt album from Miles and his guys in high resolution format on my PonoPlayer. Awesome line of guys!

So classic. Title has internal rhyme which I dig.


----------



## GreenMamba

Miles Smiles is perhaps my single favorite jazz album. As Miles himself said, that band was a ************ (his favorite word).


----------



## Easy Goer

Lester Young Trio (1946)


----------



## Barbebleu

Africa/Brass - Coltrane
Empty Foxhole - Ornette.


----------



## EDaddy

http://postimage.org/app.php

Finally found a copy of this killer OOP session recently: Eric Kloss - About Time
Hard to find a good copy without paying a fortune these days. Two sessions; great lineup!
Don Patterson & Groove Holmes both swing their a$$es off. And Kloss was only 16 when he
cut these sessions. Top-notch organ combo album.


----------



## Albert7

Tonight's jazz selection:


----------



## Avey

Um, am I late to this jazz party? Can I get on the train? Because, well, *I AM BRANCHING*...


----------



## Blake

Avey said:


> Um, am I late to this jazz party? Can I get on the train? Because, well, *I AM BRANCHING*...


No time-cards for this party, my friend. Whenever you arrive is the right time. 

I haven't posted in some time, but as you can see, we have quite a few jazz aficionados around here.


----------



## Albert7

Late night jamming.


----------



## Barbebleu

Listening to a lot of Bud Powell. 
Bud!!, Bouncing with Bud, Bud Powell in Paris, A Portrait of Thelonious, Pianology, A Tribute to Cannonball Adderley, 'Round About Midnight and Time Waits. 
He was so good Thank goodness he spent his latter and most productive years in Europe where he was, rightly, highly regarded.


----------



## Musicophile

Shai Maestro Trio, just wrote about them on my blog: http://musicophilesblog.com/2015/07/28/shai-maestro-this-avishai-cohen-alumni-will-go-places/


----------



## Easy Goer

Serge Chaloff - Blue Serge (1956)


----------



## tortkis

Holiday for Strings - Paul Motian and the Electric Bebop Band (Winter & Winter, 2002)








Paul Motian - drums
Pietro Tonolo - alto saxophone
Chris Cheek - tenor saxophone
Steve Cardenas - electric guitar
Ben Monder - electric guitar
Anders Christensen - electric bass

oh, what a beautiful album...


----------



## Musicophile

Cassandra Wilson: Coming Forth By Day.

I just reviewed it on my blog:

http://musicophilesblog.com/2015/08...coming-forth-by-day-lady-day-meets-nick-cave/


----------



## Easy Goer

Ballads: Dexter Gordon


----------



## 38157

Been listening to a bunch of Dolphy and Mingus. Found a Japanese release of "Out to Lunch!" with alternate takes of "Hat and Beard" and "Something Sweet, Something Tender", which was thrilling to hear, as they're two of my favourite tracks (especially "Hat and Beard").
Visited Oxford and got a Mingus CD featuring Dolphy, "Cornell, 1964" and found what is currently my favourite Mingus track, "Meditations". What a monster of a piece.


----------



## tortkis

Into The Woodwork - The Swallow Quintet (ECM, 2013)








Steve Swallow: bass; Chris Cheek: tenor saxophone; Steve Cardenas: guitar; Carla Bley: organ; Jorge Rossy: drums

Carla - Steve Swallow (ECM, 1987)








Steve Swallow: Bass, Keyboards; Carla Bley: Organ, Keyboards; Larry Willis: Piano; Hiram Bullock: Guitar; Victor Lewis: Drums; Don Alias: Percussion; Fred Sherry: Cello; Ikwhan Bae: Viola; Ida Kavafian: Violin

I love most of the albums by Carla Bley and Steve Swallow I heard: duo albums are wonderful; _Night-Glo_ (1985) and _Sextet_ (1986) are my favorites, which are similar to _Carla_. The quintet is much jazzier. Carla Bley's organ is really nice.


----------



## GodNickSatan

****** said:


> Been listening to a bunch of Dolphy and Mingus. Found a Japanese release of "Out to Lunch!" with alternate takes of "Hat and Beard" and "Something Sweet, Something Tender", which was thrilling to hear, as they're two of my favourite tracks (especially "Hat and Beard").
> Visited Oxford and got a Mingus CD featuring Dolphy, "Cornell, 1964" and found what is currently my favourite Mingus track, "Meditations". What a monster of a piece.


Meditations is my favourite Mingus track as well. I'm most familiar with it from The Town Hall Concert. It was recorded a lot so I'd be interested in knowing what everyone's favourite version is!


----------



## 38157

GodNickSatan said:


> Meditations is my favourite Mingus track as well. I'm most familiar with it from The Town Hall Concert. It was recorded a lot so I'd be interested in knowing what everyone's favourite version is!


I only just listened to the Town Hall Concert version. I've heard a few versions now, watched a few live videos on Youtube, and no version is quite as good (in my opinion) as the Cornell '64 version (I think the Town Hall Concert one comes second). Maybe it's because it's the one I heard first, maybe it's because I think it flows the best, maybe a combination of both. But I haven't heard a version in which the reprise of the little piano line (that gets played over the dissonant horn stabs) is so well set up as it is in the Cornell '64 version (see 25.40 in the video I posted - the little bluesy piano improv that Byard performs before busting into the line alone sets this version above the others). I think there's so much drama in this version that wasn't quite captured in the others I've heard, although I've never heard a bad version of the piece (no surprise, considering the personnel).


----------



## GodNickSatan

There's a version recorded I think live in Belgium that's a lot shorter than Town Hall or Cornell, but there's a great moment where Mingus starts throwing objects into the piano. I really could listen to Mingus and Dolphy play together all day.


----------



## EDaddy

http://postimage.org/

Been diggin' this.


----------



## Heliogabo

EDaddy said:


> http://postimage.org/
> 
> Been diggin' this.


Lovely album. I guess it was my first encounter with Stanko.


----------



## Dr Johnson

I have this. Really ought to check out some more.


----------



## starthrower

Stanko's Leosia is a great album!


----------



## Dr Johnson

starthrower said:


> Stanko's Leosia is a great album!


I'll check that out too.

I tremble for my credit card....


----------



## tortkis

Barbebleu said:


> Listening to a lot of Bud Powell.
> Bud!!, Bouncing with Bud, Bud Powell in Paris, A Portrait of Thelonious, Pianology, A Tribute to Cannonball Adderley, 'Round About Midnight and Time Waits.
> He was so good Thank goodness he spent his latter and most productive years in Europe where he was, rightly, highly regarded.


The Amazing Bud Powell Volume 1 was my favorite. (Besides Powell, Fats Navarro's playing is so brilliant!) I really love Blue Pearl but have not heard Volume 3 until now. (I first listened to the piece included in the other side of Blue Note, a 3-LP box set of alternate takes from 1500 series.)

The Amazing Bud Powell Volume 3 - Bud! (Blue Note, 1957)








Bud Powell - piano
Paul Chambers - bass
Art Taylor - drums
Curtis Fuller - trombone (3 tracks)


----------



## hombre777

Quincy Jones - Dead End


----------



## Morimur

I wonder why Mingus isn't as revered as Miles. The former is a much better musician and composer if you ask me.


----------



## norman bates

Morimur said:


> I wonder why Mingus isn't as revered as Miles. The former is a much better musician and composer if you ask me.


I don't know, both are two of the most respected jazz musicians ever. 
I agree that Mingus was definitely a superior composer compared to Davis, but it must be said that the discography or Davis is so respected because it's a parade of great personalities, composers, arrangers and musicians. The albums of Mingus are first of all works where he's the composer, the arranger, the conductor etc. The albums of Davis are collective works with his name on the cover, but the merits of his collaborators are often superiors than his. That's why when someone says things like "Miles Davis has revolutioned the genre like no one else" my face is like 
Birth of the cool, Kind of blue, Flamenco Sketches, the albums with the second quintet, Bitches brew would had not being possible without his collaborators. With Mingus for all the talent of the other musicians they were always replaceable because he was the guy who shaped the conception and the music of those groups.


----------



## Musicophile

Aaron Diehl: Space, Time, Continuum. Reviewed on my blog here: http://musicophilesblog.com/2015/08...uum-another-young-piano-grandmaster-to-watch/


----------



## Morimur

norman bates said:


> With Mingus for all the talent of the other musicians they were always replaceable because he was the guy who shaped the conception and the music of those groups.


This is one of the reasons why I revere Mingus-he was _solely_ responsible for the work he put out; there was no collective authorship involved.


----------



## tortkis

norman bates said:


> I don't know, both are two of the most respected jazz musicians ever.
> I agree that Mingus was definitely a superior composer compared to Davis, but it must be said that the discography or Davis is so respected because it's a parade of great personalities, composers, arrangers and musicians. The albums of Mingus are first of all works where he's the composer, the arranger, the conductor etc. The albums of Davis are collective works with his name on the cover, but the merits of his collaborators are often superiors than his. That's why when someone says things like "Miles Davis has revolutioned the genre like no one else" my face is like
> Birth of the cool, Kind of blue, Flamenco Sketches, the albums with the second quintet, Bitches brew would had not being possible without his collaborators. With Mingus for all the talent of the other musicians they were always replaceable because he was the guy who shaped the conception and the music of those groups.


Jazz played by replaceable musicians seems unattractive. Were Dolphy, Waldron, McLean replaceable? Did Mingus say so?


----------



## starthrower

Miles was more like an actor/director. He didn't necessarily write the script, but he cast the players and shaped the outcome. And he was more successful because he wasn't resistant to change like Mingus. And Mingus's music is probably too hardcore jazz and intense for the casual or crossover listener.


----------



## norman bates

tortkis said:


> Jazz played by replaceable musicians seems unattractive. Were Dolphy, Waldron, McLean replaceable? Did Mingus say so?


Those were seriously great musicians (my intention was not to deny their importance), but still one can hear that Mingus was the creator of the music.
With Davis you had this situation:





This is Nefertiti, from his album





And this is Dear sir from a Lee Morgan's album. The same atmosphere. What's the similarity? Shorter composed both tunes. Davis was in a position of power in the jazz world and he literally stole Shorter to Art Blakey, and magically we have the celebrated music of the second quintet. Whitouth Shorter, the music would had been completely different. Without Dolphy, the albums of Mingus still sounded like Mingus.


----------



## norman bates

starthrower said:


> Miles was more like an actor/director. He didn't necessarily write the script, but he cast the players and shaped the outcome.


He cast the players because he was had the power to do it. He was a Kip Hanrahan of his time. Sure he had a lot of good taste.



starthrower said:


> And he was more successful because he wasn't resistant to change like Mingus. And Mingus's music is probably too hardcore jazz and intense for the casual or crossover listener.


It depends what kind of change you're considering. Miles Davis notoriously said the most nasty things about free jazz musicians. Ornette Coleman, Eric Dolphy, Don Cherry, Sun Ra, Cecil Taylor, Archie Shepp... he didn't like any of their music (ironically he produced albums like Bitches brew that to me sounds a lot free).
And Mingus (who in the late forties/early fifties was playing cool chamber jazz with white musicians) was producing too electric music and he had that project of the album with Joni Mitchell before he died.


----------



## Morimur

I recognize Miles' talent in recognizing talent (heh) but Mingus had chops the former couldn't even dream of.


----------



## Belowpar

Nice to see a good discussion and some thing more than the "I've just bought/love..." posts.


Mingus was a name before Miles and lived nearly as long, but did he ever have a hit? Being a musician's, musician will only get you so far.


I've also wondered if Miles would have been quite so famous if he hadn't been such a good looking, cool mother? That said, I have about 5 times as many MD recordings as I do CM's.


----------



## Morimur

Belowpar said:


> Nice to see a good discussion and some thing more than the "I've just bought/love..." posts.
> 
> Mingus was a name before Miles and lived nearly as long, but did he ever have a hit? Being a musician's, musician will only get you so far.
> 
> I've also wondered if Miles would have been quite so famous if he hadn't been such a good looking, cool mother? That said, I have about 5 times as many MD recordings as I do CM's.


'Hits'? Who cares about hits when the music is so good? Mingus wasn't a pop musician-unlike Miles who would later court mass appeal with diluted, half assed material.


----------



## Belowpar

There have always been Jazz charts and I believe it's fine to use it as a signifier for an album that reached a large no and therefore had greater influence.

But then you already knew that ....

People talk of Verdi having hits and we know what they mean.


----------



## norman bates

Belowpar said:


> There have always been Jazz charts and I believe it's fine to use it as a signifier for an album that reached a large no and therefore had greater influence.
> 
> But then you already knew that ....
> 
> People talk of Verdi having hits and we know what they mean.


Do you mean standards with that "hits"? I'm not sure if it's his only standard but I think without many doubts that his most famous tune is Goodbye pork pie hat. My impression is that besides that (and occasionally some other tunes like Boogie stop shuffle, Better git it in your soul or Weird nightmare) his music is not played very often by other musicians. 
I'm not sure what's the reason for that.


----------



## Morimur

Belowpar said:


> There have always been Jazz charts and I believe it's fine to use it as a signifier for an album that reached a large no and therefore had greater influence.
> 
> But then you already knew that ....
> 
> People talk of Verdi having hits and we know what they mean.


****Hogwash****


----------



## Belowpar

norman bates said:


> Do you mean standards with that "hits"? I'm not sure if it's his only standard but I think without many doubts that his most famous tune is Goodbye pork pie hat. My impression is that besides that (and occasionally some other tunes like Boogie stop shuffle, Better git it in your soul or Weird nightmare) his music is not played very often by other musicians.
> I'm not sure what's the reason for that.


Could do, but I didn't think of that really. I would certainly put Mingus as the better Composer but that doesn't help explain the difference in acclaim one little bit.

I do believe that at a few points in his career Davis broke out of Jazz in popularity terms whilst playing Jazz of the highest standards. E>G Lift to the Scaffold, Kind of Blue, Birth of the Cool, Bitches Brew all were controversial AND big sellers. Thus he was both cool to the cognoscenti and instrumental (sic) in expanding the reach of the music. I don't believe Mingus ever achieved this?


----------



## Belowpar

Morimur said:


> ****Hogwash****


Oxford an august enough reference for you?

https://books.google.co.uk/books?id... and la donna e mobile organ grinders&f=false

PS you'll have to try harder to upset me. "Mr. Sunshine"


----------



## starthrower

norman bates said:


> He cast the players because he was had the power to do it. He was a Kip Hanrahan of his time. Sure he had a lot of good taste.
> 
> It depends what kind of change you're considering. Miles Davis notoriously said the most nasty things about free jazz musicians. Ornette Coleman, Eric Dolphy, Don Cherry, Sun Ra, Cecil Taylor, Archie Shepp... he didn't like any of their music (ironically he produced albums like Bitches brew that to me sounds a lot free).
> And Mingus (who in the late forties/early fifties was playing cool chamber jazz with white musicians) was producing too electric music and he had that project of the album with Joni Mitchell before he died.


That was Joni's project. I was referring to Mingus's resistance to electricity. And Mitchell has stated in interviews that Mingus was against her using Jaco on the album. He wanted acoustic bass. As for Miles's negative comments on free jazz? Miles was never too positive and forthright with compliments about musicians he was competeing with, so I take it with a grain of salt.


----------



## tortkis

norman bates said:


> Those were seriously great musicians (my intention was not to deny their importance), but still one can hear that Mingus was the creator of the music.
> With Davis you had this situation:
> 
> 
> 
> 
> 
> This is Nefertiti, from his album
> 
> 
> 
> 
> 
> And this is Dear sir from a Lee Morgan's album. The same atmosphere. What's the similarity? Shorter composed both tunes.


They have very different atmosphere. The Miles Davis band's performance is more tense and aggressive, while Lee Morgan's is more relaxed. Not saying either is better. That is why I found jazz interesting. Two bands, including the same members, playing works of the same composer, sound very different and unique.



> Davis was in a position of power in the jazz world and he literally stole Shorter to Art Blakey, and magically we have the celebrated music of the second quintet.


If Shorter stayed with Blakey, the Jazz Messengers would have created music similar to the Nefertiti recorded by the Miles Quintet? And, when they played Shorter's compositions, the Jazz Messengers' members were replaceable, including Blakey? I don't think so.



> Whitouth Shorter, the music would had been completely different. Without Dolphy, the albums of Mingus still sounded like Mingus.


Yes, and the albums with Dolphy would have been completely different without Dolphy.


----------



## cwarchc

.....................


----------



## norman bates

tortkis said:


> They have very different atmosphere. The Miles Davis band's performance is more tense and aggressive, while Lee Morgan's is more relaxed.


Those are very minor differences for me. I've always considered Nefertiti and Procastinator like twin albums (considering the pieces written by Shorter).
But my point is that if the discography of Davis is full of changes and revolutionary albums is because he had the power to take any hip musician he wanted. Without that possibility, without Gil Evans, Teo Macero, Shorter, Tony Williams, Bill Evans, Joe Zawinul etc his music would have been certainly completely different not just in the solos, but in the overall conception because he didn't choose just soloists but also arrangers (like Gil Evans or John Lewis), composers (like Shorter) and producers (like Macero).
An album like Birth of the cool has his name over but he had persons like Gil Evans, John Lewis, Johnny Carisi and Gerry Mulligan arranging and composing. But for some reason (marketing I guess, after all he was a fascinating handsome man) for the world is first of all the work of Miles Davis.


----------



## starthrower

cwarchc said:


> View attachment 73557
> .....................


Yusef was one of the masters that never got much press or accolades.


----------



## Vaneyes

*Nancy Wilson* doesn't get enough mention, so I'm doing that now. :tiphat:

The Very Thought Of You (1964)


----------



## starthrower

^^^
She's a classy lady! I really dig Carmen McRae as well.


----------



## starthrower

Here's one of the greatest big bands you never heard!


----------



## Vaneyes

The Nearness Of You - *Frank Morgan* (1955)


----------



## Vaneyes

starthrower said:


> Here's one of the greatest big bands you never heard!


Liked the cello at 8:30 - 12:00.


----------



## Easy Goer

Billie Holiday - Lady In Satin


----------



## starthrower

Vaneyes said:


> Liked the cello at 8:30 - 12:00.


Did you notice the price tag hanging from the cello headstock? Maybe a rental?


----------



## cwarchc

starthrower said:


> Yusef was one of the masters that never got much press or accolades.


I have to agree a fantastic muscian


----------



## tortkis

Billy Harper: If Our Hearts Could Only See (DIW, 1998)









Billy Harper (tenor saxophone, vocals), Eddie Henderson (trumpet), Francesca Tanksley (piano), Clarence Seay (bass), Newman Taylor Baker (drums)

Harper's playing is always soulful. His wonderful deep voice can be heard on _My One and Only Love_ and other tracks.

Billy Harper in Concert: Live From Poland (Arkadia DVD, 2007)









Harper, Francesca Tanksley (piano), Clarence Seay (bass), Newman Taylor Baker (drums), Piotr Wojitasik (trumpet), the 60-piece Szczecin Technical University Choir (conducted by Szymon Wyrzykowski), Maciej Sikala (tenor saxophone), Grzegorz Nagorski (trombone) and Borys Janczarski (alto saxophone).

Recorded at the Metropolitan Basilica Cathedral of St. Jacob.

To me, this is the most moving performance of _Cry of Hunger_.


----------



## norman bates

tortkis said:


> His wonderful deep voice can be heard on _My One and Only Love_ and other tracks.


I've always appreciated his music but I didn't know he was able to sing like that!


----------



## tortkis

^ His _Amazing Grace_ on Blueprints of Jazz Vol. 2 is also very nice.


----------



## Musicophile

I've just reviewed Triosence's 2013 album Turning Points on my blog (5 stars):

http://musicophilesblog.com/2015/08...lightful-contemporary-trio-jazz-from-germany/


----------



## tortkis

Today I was listening to Ornette Coleman's 1976-82 albums. _Body Meta_ (1976) was released in the same year as _Dancing in Your Head_. Similarly hypnotic. _Of Human Feelings_ (1982) is much funkier. _Soapsuds, Soapsuds_ is an intimate duo with Haden. An beautiful album. It's a shame that these wonderful albums are not easily available.

Body Meta (Artists House, 1976)








Ornette Coleman (Alto Saxophone); Charlie Ellerbie (Guitar); Bern Nix (Guitar); Jamaaladeen Tacuma (Bass); Ronald Shannon Jackson (Drums);





Soapsuds, Soapsuds (Artists House, 1977)








Ornette Coleman (Tenor Saxophone, Trumpet); Charlie Haden (Bass)





Of Human Feelings (Antilles, 1982)








Ornette Coleman (alto saxophone); Charlie Ellerbee (guitar); Bern Nix (guitar); Jamaaladeen Tacuma (bass guitar); Denardo Coleman (drums); Calvin Weston (drums)


----------



## Heliogabo

tortkis said:


> Today I was listening to Ornette Coleman's 1976-82 albums. _Body Meta_ (1976) was released in the same year as _Dancing in Your Head_. Similarly hypnotic. _Of Human Feelings_ (1982) is much funkier. _Soapsuds, Soapsuds_ is an intimate duo with Haden. An beautiful album. It's a shame that these wonderful albums are not easily available.
> 
> Body Meta (Artists House, 1976)
> 
> 
> 
> 
> 
> 
> 
> 
> Ornette Coleman (Alto Saxophone); Charlie Ellerbie (Guitar); Bern Nix (Guitar); Jamaaladeen Tacuma (Bass); Ronald Shannon Jackson (Drums);
> 
> 
> 
> 
> 
> Soapsuds, Soapsuds (Artists House, 1977)
> https://upload.wikimedia.org/wikipedia/en/thumb/f/f0/Soapsuds%2C_Soapsuds.jpg/220px-
> 
> Soapsuds%2C_Soapsuds.jpg
> Ornette Coleman (Tenor Saxophone, Trumpet); Charlie Haden (Bass)
> 
> 
> 
> 
> 
> Of Human Feelings (Antilles, 1982)
> 
> 
> 
> 
> 
> 
> 
> 
> Ornette Coleman (alto saxophone); Charlie Ellerbee (guitar); Bern Nix (guitar); Jamaaladeen Tacuma (bass guitar); Denardo Coleman (drums); Calvin Weston (drums)


Great albums indeed. But I haven't heard an Ornette's album that I dislike.


----------



## starthrower

Anybody into the Either/Orchestra?


----------



## GreenMamba

Joe McPhee's first album, Underground Railroad


----------



## starthrower

I'm enjoying this on YouTube, but I'll have to pick up the CD.
This is the first disc of a 2 CD set.






BTW, CamJazz has 7 new Black Saint/Soul Note boxes coming out
and there's a Kenny Wheeler set.


----------



## starthrower

CamJazz link for new box sets.
http://us2.campaign-archive2.com/?u=17ca3e6096b64e064c71901b3&id=05e57464c7&e=954917fd38


----------



## Dr Johnson

Anyone else into this? I first heard it in 1974.


----------



## starthrower

^^^
I bought the deluxe edition a few years ago. I have to admit that I haven't listened to it in quite a while. I really loved the documentary film that came with it.


----------



## Dr Johnson

starthrower said:


> ^^^
> I bought the deluxe edition a few years ago. I have to admit that I haven't listened to it in quite a while. *I really loved the documentary film that came with it*.


That sounds interesting.

I wonder if the deluxe edition is still available at a sane price.


----------



## starthrower

Dr Johnson said:


> That sounds interesting.
> 
> I wonder if the deluxe edition is still available at a sane price.


You can find it at Amazon. Here's one of my favorite segments from the film.
Jobim coaching Gerry on playing the One Note Samba.


----------



## Dr Johnson

starthrower said:


> You can find it at Amazon. Here's one of my favorite segments from the film.
> Jobim coaching Gerry on playing the One Note Samba.


Thanks for posting that. I'm a bit surprised that Mulligan was having any difficulty, it didn't sound like he was.


----------



## GreenMamba

Albert Ayler, Love Cry.


----------



## Musicophile

Helge Lien Trio: Badgers And Other Beings. Excellent Norvegian Trio jazz. I've reviewed it on my blog: http://musicophilesblog.com/2015/08...nd-other-beings-a-scandinavian-trio-to-watch/


----------



## Dr Johnson

Arrived in the post today:










Includes 6 bonus tracks not on the vinyl.


----------



## Dr Johnson

The postman, impressively late again, has just left this:


----------



## starthrower

There's an 8 CD box set of Cobham's Atlantic albums being released this fall.
http://jazztimes.com/articles/166252-rhino-to-release-billy-cobham-box-set


----------



## brotagonist

I haven't followed Khalil's subsequent albums  but I like his early ones .I just listened to:


----------



## Musicophile

Cécile McLorin Salvant's outstanding new release.

Just reviewed it on my blog: http://musicophilesblog.com/2015/09...r-of-our-century-a-review-of-for-one-to-love/


----------



## hombre777

Bill Evans - Conversations With Myself


----------



## starthrower

Very interesting documentary.


----------



## Morimur

Listening to...


----------



## Vronsky

*The Bad Plus -- The Rite of Spring*









The Bad Plus -- The Rite of Spring


----------



## Bluecrab

Morimur said:


> Listening to... (The Inner Mounting Flame)


Haven't heard that one in a while, but I enjoy it to this day. A dear old friend gave it to me for xmas when it came out (vinyl, obviously). Such a stark contrast to _My Goals Beyond_, which I believe immediately preceded it in McLaughlin's catalog.

Saw that band around 1973... King Crimson warmed up. I couldn't hear much for about three days afterward.


----------



## Morimur

Bluecrab said:


> Haven't heard that one in a while, but I enjoy it to this day. A dear old friend gave it to me for xmas when it came out (vinyl, obviously). Such a stark contrast to _My Goals Beyond_, which I believe immediately preceded it in McLaughlin's catalog.
> 
> Saw that band around 1973... King Crimson warmed up. I couldn't hear much for about three days afterward.


I bet Crimson paled in comparison.


----------



## Morimur




----------



## Morimur

Dang, no fire in the hole today.


----------



## Vaneyes

*Billie Holiday* comeback.

http://artsbeat.blogs.nytimes.com/2...y-hologram-to-debut-at-apollo-this-year/?_r=0


----------



## starthrower

Nice set here by Kenny Wheeler and co.


----------



## cwarchc

One cd for today's commute, one for tomorrows


----------



## jim prideaux

a few birthdays ago my son gave me Keith Jarrett's Sleeper as a present-the most aptly titled album-have listened to it repeatedly over the last few days and while it had originally impressed me I was not aware really of just how good it is-big, big 'wow'!


----------



## tortkis

Inspired by Barbebleu, I've been listening to Bud Powell albums these days. Some old favorites, some first listen: Jazz Giant, The Genius of Bud Powell, The Amazing Bud Powell Vol. 2, Strictly Powell, Swingin' with Bud, Time Waits, The Scene Changes... His interpretation of standards and jazz originals is great, but I also really like his compositions.

Bud Powell In Copenhagen (Storyville Records)








Bud Powell (piano), Niels-Henning Orsted Pedersen (bass), William Schiopffe (drums)
recorded in 1962 (Powell's playing is very good here. Pedersen & Schiopffe are excellent, too.)


----------



## Vronsky

*John Coltrane -- Blue Train (1957)*










John Coltrane -- Blue Train (1957)


----------



## Vronsky

*Andrew Hill - Blue Black (1975)*










Andrew Hill -- Blue Black (1975)


----------



## millionrainbows

tortkis said:


> Inspired by Barbebleu, I've been listening to Bud Powell albums these days. Some old favorites, some first listen: Jazz Giant, The Genius of Bud Powell, The Amazing Bud Powell Vol. 2, Strictly Powell, Swingin' with Bud, Time Waits, The Scene Changes... His interpretation of standards and jazz originals is great, but I also really like his compositions.
> 
> Bud Powell In Copenhagen (Storyville Records)
> 
> 
> 
> 
> 
> 
> 
> 
> Bud Powell (piano), Niels-Henning Orsted Pedersen (bass), William Schiopffe (drums)
> recorded in 1962 (Powell's playing is very good here. Pedersen & Schiopffe are excellent, too.)


I love Bud Powell. The Complete Verve has some stuff that's hard to find, with real weird cadenzas and missed note clusters; really strange stuff. There's Moonlight in Vermont, and It Never Entered my Mind...if you get a chance to hear this stuff, do.

LATER EDIT: I found some on YouTube.
~




~




~


----------



## millionrainbows

brotagonist said:


> I haven't followed Khalil's subsequent albums  but I like his early ones .I just listened to:


Yeah, I like him, too. There is some amazing harmonica playing by Howard Levy on the CD Sultan's Picnic.


----------



## millionrainbows

I think those 'weird' cuts are available on this, which is apparently out of print. 
 

_   _

[HR][/HR]
 

_ 


  
 


 
_

[HR][/HR]


----------



## Barbebleu

millionrainbows said:


> Yeah, I like him, too. There is some amazing harmonica playing by Howard Levy on the CD Sultan's Picnic.


This looks interesting. I will be hunting this down!


----------



## Barbebleu

Morimur said:


> Listening to...


Oh yes indeed!!


----------



## helenora

Buddy Rich!!! .....thanks to Whiplash, my new discovery, haha, short break from classical music


----------



## hombre777

Happy Birthday Master Coltrane


----------



## haydnfan

hombre777 said:


> Happy Birthday Master Coltrane


Perfect day for me to listen to Blue Train then.


----------



## Vronsky

*Duke Ellington & John Coltrane*










Duke Ellington & John Coltrane


----------



## norman bates

Does anybody know something similar to this?





I don't mean necessarily gipsy jazz, what I really like is the mysterious atmosphere of the tune. For some reason it makes me think of certain tunes of Herbie Nichols. Any idea?


----------



## hombre777

norman bates said:


> Does anybody know something similar to this?
> 
> 
> 
> 
> 
> I don't mean necessarily gipsy jazz, what I really like is the mysterious atmosphere of the tune. For some reason it makes me think of certain tunes of Herbie Nichols. Any idea?


Mysterious Atmospheres .... Check something by Quincy Jones and Henry Mancini music in Movies Soundtracks .... If I remember more I show you


----------



## norman bates

hombre777 said:


> Mysterious Atmospheres .... Check something by Quincy Jones and Henry Mancini music in Movies Soundtracks .... If I remember more I show you


thanks, it's the most vague suggestion I've ever received :lol:


----------



## Heliogabo

*Charles Lloyd*, such a great artist



















He walks in Coltrane´s path... dancing.


----------



## jim prideaux

1. With reference to the previous post-the ECM albums that Charles LLoyd has made are all worth a listen-particularly when they involve the great Bobo Stenson!

2. Prism and Innocence from Keith Jarrett's 'Sleeper'-outstanding examples of how jazz can be quite simply 'good for the soul'!

3.Jan Garbarek-'Dresden'


----------



## jim prideaux

........and now Pete Erskine's 'classic' album Sweet Soul-great line up including on certain tracks John Sco' at his best!


----------



## Barbebleu

Listening to a posthumous Charlie Haden release. Tokyo Adagio with Charlie and Gonzalo Rubacalba, piano. Just lovely with lots of beautiful bass solos.


----------



## Heliogabo

jim prideaux said:


> 1. With reference to the previous post-the ECM albums that Charles LLoyd has made are all worth a listen-particularly when they involve the great Bobo Stenson!


Absolutely! On notes from Big Sur the interplay between Lloyd and Stenson is amazing.


----------



## starthrower

jim prideaux said:


> 1. With reference to the previous post-the ECM albums that Charles LLoyd has made are all worth a listen-particularly when they involve the great Bobo Stenson!


I've thought about picking up the Quartets box set. Bobo Stenson is on all of those albums.


----------



## starthrower

jim prideaux said:


> ........and now Pete Erskine's 'classic' album Sweet Soul-great line up including on certain tracks John Sco' at his best!


Great album! I bought it a long time ago when it was released. I'm a huge Scofield fan as well.


----------



## jim prideaux

and as I read your post Mr 'thrower I am listening to the John Sco' album 'Works for me'......what do you make of that ?


----------



## starthrower

I never really listened to Works For Me all that much. It's a solid album, but not a favorite. I'll have to revisit. The last album I really enjoyed was This Meets That. And there are four albums from the early 90s that I love. And the trio with Bill Stewart and Steve Swallow is great. There's a great live set from the Blue Note on YouTube that really knocks me out. When people mention great drummers, Bill Stewart's name doesn't usually come up, but I think he's phenomenal.


----------



## jim prideaux

Time Being-from a sequence of ECM albums recorded by a trio led by Pete Erskine.....but the pianist John Taylor really does make such a remarkable contribution to what is atmospheric and evocative music!


----------



## tortkis

norman bates said:


> Does anybody know something similar to this?
> 
> 
> 
> 
> 
> I don't mean necessarily gipsy jazz, what I really like is the mysterious atmosphere of the tune. For some reason it makes me think of certain tunes of Herbie Nichols. Any idea?


It's strange and very nice. Not similar, but I was reminded of Mary Halvorson.


----------



## starthrower

Good overview of Smith's Blue Note years.


----------



## Heliogabo

One of my desert island discs:



















This trio was so unique, sadly shortlived...


----------



## norman bates

tortkis said:


> It's strange and very nice. Not similar, but I was reminded of Mary Halvorson.


yes, that's the kind of stuff I'm looking for, thank you!


----------



## norman bates

Heliogabo said:


> One of my desert island discs:


one of my favorite albums (well, two of my favorite albums) too.


----------



## hombre777

Milestones


----------



## hombre777

Keith Jarrett - It's Easy To Remember -


----------



## starthrower

Phil Woods dead at 83.
http://www.chicagotribune.com/entertainment/music/ct-phil-woods-saxophonist-dead-20150930-story.html


----------



## tortkis

RIP Phil Woods

Musique Du Bois (Muse, 1974)








Phil Woods, Jaki Byard, Richard Davis, Alan Dawson

A fantastic album.


----------



## jim prideaux

Angel Song-Kenny Wheeler, Lee Konitz, Bill Frisell and Dave Holland.


----------



## starthrower

I bought this album a couple of months ago, but never listened to it. 
I heard a great track from it on the radio Friday night, and now I've
opened the CD and put it on the stereo. D'oh!


----------



## jim prideaux

as a result of listening to John Scofield recently I have found myself rediscovering some Vince Mendoza albums I had not listened to for a while and Epiphany in particular is proving to be really enjoyable-mind,with John Taylor, John Abercrombie and Kenny Wheeler (among others!)making significant contributions how could it not be!

The John Scofield//Metropole Orkest album '54' has also found it's way back into my heart,and to cap it all off watched the Mendoza/Metropole Orkest concert from a few years ago which features pieces by Joe Zawinul

if you have not heard the version of 'Honest I do' from 54 prepare to be disconcerted by a remarkably emotive piece of music-Scofield surpasses himself!!!


----------



## starthrower

^^^
Gotta get that Scofield 54 CD. I've been meaning to pick up a copy for several years. I have most of his other albums, minus a few very early ones, and the tribute albums.

The Mendoza CD sounds like it's right up my alley. I'm big fan of Kenny Wheeler and Abercrombie.


----------



## SalieriIsInnocent

Nat King Cole with Stan Kenton...need I say more?


----------



## Barbebleu

After watching the wonderful documentary on Charles Lloyd - Arrows into Infinity - I'm now on an odyssey listening to his albums in chronological order One down, thirty one to go! I first heard him in 1965 and I have just loved him ever since. Probably one of the last of the giants.


----------



## starthrower

Barbebleu said:


> After watching the wonderful documentary on Charles Lloyd - Arrows into Infinity - I'm now on an odyssey listening to his albums in chronological order One down, thirty one to go! I first heard him in 1965 and I have just loved him ever since. Probably one of the last of the giants.


Have you seen the Michel Petrucciani documentary? Charles Lloyd is in that.


----------



## jim prideaux

Grace under Pressure-John Scofield (with Frisell and Haden)-features original of 'Honest I do'.........and can only agree with any focus (couple of previous posts)on Charles Lloyd!

'Pat me' from Grace under Pressure-now that'll make you feel good!


----------



## Barbebleu

starthrower said:


> Have you seen the Michel Petrucciani documentary? Charles Lloyd is in that.


Thanks for the tip. Found it on YouTube. Very good and he is a wonderful artist as well.


----------



## TurnaboutVox

*Bill Evans Trio
Waltz for Debby*
[Fantasy, 1980]

Whilst I cook...


----------



## tortkis

Somewhere - Keith Jarrett / Gary Peacock / Jack DeJohnette (ECM, 2013)









Recorded live in Lucerne, 2009. The last album of the trio I heard was _Tokyo '96_, and I wanted to check out the recent trio recording. This is wonderful as ever, especially I liked Solar and the tunes from Bernstein's West Side Story.


----------



## starthrower

Some beautiful playing here!


----------



## starthrower

Released 50 years ago today.


----------



## Bluecrab

starthrower said:


> Some beautiful playing here!


Indeed. I practically wore that album out when it came out.

Here's another gem from Stanley Cowell, with Cecil McBee and Roy Haynes. I actually like this one even better than _Illusion Suite_. I've thought for ages that Stanley Cowell is a very underappreciated pianist.


----------



## starthrower




----------



## starthrower

jim prideaux said:


> Grace under Pressure-John Scofield (with Frisell and Haden)-features original of 'Honest I do'.........and can only agree with any focus (couple of previous posts)on Charles Lloyd!
> 
> 'Pat me' from Grace under Pressure-now that'll make you feel good!


Grace Under Pressure is in my top 5 Scofield albums. Always loved that one!


----------



## jim prideaux

John Scofield-Slo Sco

Joni Mitchell-Travelogue (jazz?-I don't know but Vince Mendoza's arrangements are 'bang on')

hey!-Mr 'Thrower'-any opinions about 54?

it does need to be said-Honest I do from 54 and Best Western from Slo Sco must be two of my 'favouritest' pieces of music!


----------



## starthrower

jim prideaux said:


> John Scofield-Slo Sco
> 
> Joni Mitchell-Travelogue (jazz?-I don't know but Vince Mendoza's arrangements are 'bang on')
> 
> hey!-Mr 'Thrower'-any opinions about 54?
> 
> it does need to be said-Honest I do from 54 and Best Western from Slo Sco must be two of my 'favouritest' pieces of music!


I've only listened to it once. It's an interesting alternative to his small combos, but I wouldn't want to be without the original albums. But the Metropole Orkest does have a great sound. I'll be listening again. I haven't heard Best Western in ages. I don't have the Slo Sco compilation, and like a fool, I got rid of a couple of old Scofield albums years ago. I'm thinking Best Western is from Electric Outlet.

I got into Scofield when he was recording those albums with electric bass and keyboards during the mid to late 80s. Still Warm is the album I listened to most often.


----------



## starthrower

4 disc set to be released on Nov. 30th.










Disc: 1
1. 8:30
2. Sightseeing
3. Brown Street
4. The Orphan
5. Forlorn
6. Three Views of a Secret
7. Badia/Boogie Woogie Waltz
8. Wayne Solo
9. Jaco Solo (Osaka 1980)
Disc: 2
1. Joe and Wayne Duet (Tokyo 1978)
2. Birdland
3. Peter's Solo ( Drum Solo )
4. A Remark You Made
5. Continuum/River People
6. Gibraltar
Disc: 3
1. Fast City
2. Madagascar
3. Night Passage
4. Dream Clock
5. Rockin' In Rhythm
6. Port of Entry
Disc: 4
1. Elegant People
2. Scarlet Woman
3. Black Market
4. Jaco Solo (Osaka 1978)
5. Teen Town
6. Peter's Drum Solo
7. Directions


----------



## starthrower

Recorded by Radio Bremen. There's a few others in this series by Larry Coryell & Eleventh House, Jazz Passengers, etc.


----------



## Musicophile

Freddie Hubbard: Hub Tones









http://musicophilesblog.com/2015/10/21/freddie-hubbards-hub-tones/


----------



## tortkis

Nothing to Declare - Paul Bley (Justin Time, 2004)









A wonderful solo piano album. All tunes are composed by Paul Bley.


----------



## starthrower

RIP Mark Murphy 1932-2015










Legendary jazz vocalist Mark Murphy has died in New Jersey after a lengthy illness that kept him from performing since 2012, according to the Associated Press. He was 83.

Manager Jean-Pierre Leduc says Murphy died Thursday at the Lillian Booth Actors Home in Englewood, New Jersey.

Murphy was raised in Syracuse, New York, and graduated from Syracuse University, majoring in Music and Drama. He was discovered at a jam session in Syracuse by Sammy Davis Jr. in 1953.

He was a six-time Grammy Award nominee who sang with a wide range of techniques, from scatting and vocalese to spoken word. He released more than 40 recordings since making his debut with the 1956 album "Meet Mark Murphy."

He was the recipient of the 1996, 1997, 2000, and 2001 Down Beat magazine readers jazz poll for Best Male Vocalist of the Year.

He worked as an actor in London in the 1960s before returning to the U.S., where he recorded highly acclaimed albums for the Muse label including tributes to Jack Kerouac and Nat King Cole.

Murphy continued to tour internationally into his 80s, appearing at festivals, concerts, in jazz clubs and on television programs, throughout the U.S., Europe, Australia and Japan. - See more at: http://www.legacy.com/ns/mark-murphy-obituary/176195638#sthash.CwwOpIKg.dpuf


----------



## jim prideaux

As it is-an ECM by the apparently underestimated trio of John Taylor, Palle Danielsson and Pete Erskine


----------



## jim prideaux

.....and following the above a rather obscure release from ECM-'Molde Concert' featuring Arild Andersen, John Taylor,Bill Frisell and Alphonse Mouzon-recorded in 1982 and to my ears a 'fusion wig out' there is a remarkable amount of musicianship flying around but none appear as distinctive as they were to become-Frisell giving it 'large' at the first opportunity and John Taylor having little space to exhibit his amazing lyricism.....


----------



## starthrower

Shepp talks about his life and career.

Jazz Portraits Archie Shepp
http://www.wgbh.org/programs/Jazz-Portraits-674?episode=9541


----------



## cwarchc

On Spotify


----------



## starthrower

Finally snagged an affordable used copy of this great album!


----------



## JACE

tortkis said:


> Nothing to Declare - Paul Bley (Justin Time, 2004)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> A wonderful solo piano album. All tunes are composed by Paul Bley.


I agree. Excellent.


----------



## tortkis

JACE said:


> I agree. Excellent.


I like Paul Bley's lyrical playing and firm touch on the piano. This album reminded me of Michel Pettruciani but I don't know if there was any influence between them. I have not listened to many of Bley's recordings. I also liked his freer and more experimental playing with Giuffre or Evan Parker. Now listening to Oslo Concert.


----------



## Badinerie

Just finished a Heavy rock session and am winding down with Cannonball...


----------



## JACE

Listening to this just now:


----------



## starthrower

Blast from the past!


----------



## jim prideaux

starting the day with Michael Brecker album 'Tales from the Hudson' which features a distinctive contribution from Pat Metheny....


----------



## jim prideaux

.....and todays listening begins with 'Grace under Pressure'-John Scofield


----------



## tortkis

Things Are Getting Better (Riverside)








Cannonball Adderley (alto saxophone), Milt Jackson (vibes), Wynton Kelly (piano), Percy Heath (bass), Art Blakey (drums)
Recorded October 28, 1958

This is really good. Bluesy, and very solid.


----------



## SalieriIsInnocent

That brass!!


----------



## jim prideaux

for those out there with an interest in Pat Metheny Group have just listened for the first time to newly delivered recording of a radio concert from 1987 'Live in Chicago' and it is even better than I could have imagined!


----------



## Dr Johnson

Just bought this:


----------



## Blake

Tommy Flanagan - _Velvet Moon_. An incredibly tasteful player. A real master.


----------



## tortkis

Blake said:


> Tommy Flanagan - _Velvet Moon_. An incredibly tasteful player. A real master.


Yes, indeed. His improvisation is so well crafted that it won't tire even after repeated listen. This is one of the first CDs I purchased in 80s, which I occasionally listen to and still sounds fresh.

The Standard - The Super Jazz Trio (Baystate)








Tommy Flanagan (piano), Reggie Workman (bass), Joe Chambers (drums)


----------



## starthrower

Very cool album!


----------



## Barbebleu

I am presently working my way through the works of the great Andrew Hill. Just finished Eternal Spirit. Superb album, now onto Dusk.


----------



## tortkis

Recently, I've been listening to jazz guitar albums and greatly enjoying them.

Wes Montogomery - Boss guitar (1963, with Melvin Rhyne, Jimmy Cobb)
Grant Green - Idle Moments (1964, with Joe Henderson, Duke Pearson, Bobby Hutcherson, Bob Cranshaw, Al Harewood)
Pat Martino - El Hombre (1967, with Danny Turner, Trudy Pitts, Mitch Fine, Vance Anderson, Abdu Johnson)
Joe Pass - Virtuoso (1973)
John Scofield - A Go Go (1997, with John Medeski, Chris Wood, Billy Martin)
Mary Halvorson - Meltframe (2015)

These albums of Montogomery, Pass, and Martino are really great. This was the first time I heard Green, but I think Idle Moments could be one of the finest hard-bop albums. I had only heard Scofield's playing in Miles Davis group. Halvorson is truly original, I haven't heard anything similar to her music.


----------



## Barbebleu

tortkis said:


> Recently, I've been listening to jazz guitar albums and greatly enjoying them.
> 
> Wes Montogomery - Boss guitar (1963, with Melvin Rhyne, Jimmy Cobb)
> Grant Green - Idle Moments (1964, with Joe Henderson, Duke Pearson, Bobby Hutcherson, Bob Cranshaw, Al Harewood)
> Pat Martino - El Hombre (1967, with Danny Turner, Trudy Pitts, Mitch Fine, Vance Anderson, Abdu Johnson)
> Joe Pass - Virtuoso (1973)
> John Scofield - A Go Go (1997, with John Medeski, Chris Wood, Billy Martin)
> Mary Halvorson - Meltframe (2015)
> 
> These albums of Montogomery, Pass, and Martino are really great. This was the first time I heard Green, but I think Idle Moments could be one of the finest hard-bop albums. I had only heard Scofield's playing in Miles Davis group. Halvorson is truly original, I haven't heard anything similar to her music.


Just ordered Grant Green:Retrospective (4 cd box from Blue Note) and the 1964 album, Solid. Thanks for the Grant Green reminder!


----------



## Easy Goer

Hank Mobley - Soul Station


----------



## tortkis

^ My favorite Mobley album. It's beautiful.

Listening to more Green on Blue Note, with great Larry Young, Elvin Jones and Sam Rivers. Terrific.

Talkin' About!
Grant Green (guitar), Larry Young (organ), Elvin Jones (drums)
Recorded September 11, 1964









Into Somethin'
Larry Young (organ), Sam Rivers (tenor saxophone), Grant Green (guitar), Elvin Jones (drums)
Recorded November 12, 1964


----------



## jim prideaux

'Lausanne' from Keith Jarrett's 'Bremen Lausanne Concerts'-from the early 70's and a reminder just how great his solo improvisations were.....


----------



## starthrower

Some fine trio playing w/ Garbarek on tenor.


----------



## jim prideaux

Keith Jarrett-'Bregenz/Munchen'


----------



## tortkis

Young Guns - Gene Ludwig - Pat Martino Trio (HighNote)









Pat Martino (guitar), Gene Ludwig (Hammond B-3 organ), Randy Gelispie (drums)

Recorded 1968-69. Extremely swinging.


----------



## starthrower

Conversation and music w/ legendary drummer/pianist, Jack DeJohnette.


----------



## Easy Goer

Hank Mobley - No Room For Squares


----------



## Easy Goer

Duke Jordan - Flight to Denmark


----------



## Biwa

I've been enjoying Heinrich von Kalnein recently.

His CD/Bluray set is great stuff and it includes a wonderfully immersive 5.0 DTS HD MA mix. 
Here is some more info on it... http://thevinylanachronist.blogspot.jp/2014/05/katzenberger-music-productions-03-on-cd.html


----------



## EDaddy

http://postimage.org/app.php

Been enjoying this wonderful box set from Mosaic Records. Quincy back in his youthful prime doing what he did best. Outstanding performances and top-notch remastering, as usual from Mosaic.


----------



## sadams

Emily Bear @ the Schlossplatz in Stuttgart


----------



## Morimur




----------



## elgar's ghost

I've been neglecting my jazz albums recently. Time to put that right starting with electric Miles tonight and tomorrow.


----------



## Barbebleu

Morimur said:


>


Ooh. Didn't know about this. I'm now about to hunt this down. Thanks for the heads up. :tiphat:


----------



## Barbebleu

Morimur said:


>


Got it. Aah, this is the avant-garde we all know and love. Sonny was immense on Tauhid too. The sixties gave us so much good stuff. I am so glad to have been in my teens and twenties in this, the most fertile of periods for the evolution of jazz.


----------



## Barbebleu

Jj


tortkis said:


> ^ My favorite Mobley album. It's beautiful.
> 
> Listening to more Green on Blue Note, with great Larry Young, Elvin Jones and Sam Rivers. Terrific.
> 
> Talkin' About!
> Grant Green (guitar), Larry Young (organ), Elvin Jones (drums)
> Recorded September 11, 1964
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Into Somethin'
> Larry Young (organ), Sam Rivers (tenor saxophone), Grant Green (guitar), Elvin Jones (drums)
> Recorded November 12, 1964


Again, thanks for the heads up. Got these two now. Wonderful stuff.


----------



## Barbebleu

Looking at what everyone has posted on this thread has convinced me that there is no such thing as bad jazz. If I had the money there is not an album that has been posted that I would not have in my collection. And I do have a lot of it!! 3k albums and not a single one I would part with. Sad I know but I don't care.

Can I also say that this is one of the few threads where we all seem to be singing from the same hymn sheet in as much as we all like jazz and are happy that although we don't all share the same genres, we are happy to let everyone like what they like without giving them a hard time if it's not to our taste. 
Jazz - music for the soul that reaches the parts that other music rarely does!:tiphat:


----------



## PeteW

Found this by accident - was browsing, one thing led to another and there it was. Great drum solo. 
Hank's Symphony on this album:


----------



## starthrower

Listening to this set over the weekend. Two albums in, and so far, so good! Welcome features a great sounding pianoless quartet with some inspired playing from all. Butterfly is more familiar sounding Wheeler with piano, and as always, beautiiful compositions and lyrical and soulful playing.


----------



## Easy Goer

Nat King Cole Trio - After Midnight.


----------



## elgar's ghost

More Miles tonight.


----------



## sadams

Emily Bear Trio @ the SpardaWelt Event Center
JazzOpen Stuttgart


----------



## Vaneyes




----------



## starthrower




----------



## norman bates

starthrower said:


>


the title track is a classic


----------



## starthrower

^^^
Yeah! Nice album. Ricky Ford plays some great stuff. I'm working my way through the box. Now listening to the duo album with Jaki Byard.


----------



## EDaddy

http://postimage.org/

My favorite Sun Ra album. By far.


----------



## elgar's ghost

I played this live album from Miles this morning, released in 1973 but recorded in April '70. I love the dense, percolating textures of his 70s live albums. My only misgiving on this one (and the near-contemporary 'Live at Fillmore [East]' album which I played the other day) is Airto Moreira's excessive use of the cuíca - I'm afraid I'm not a fan of the "chamois leather on window" effect in this context, and much prefer Miles's later utilisation of Badal Roy's tabla and James Mtume's congas.


----------



## tortkis

Out Of Nowhere - The James Carter Organ Trio (Half Note Records)









James Carter (sax), Gerard Gibbs (organ), Leonard King (drums), James Blood Ulmer (guitar), Hamiett Bluiett (sax)

recorded in 2004 at the Blue Note in New York.

From straight ahead jazz to free to blues to pop tune, this album is enjoyable throughout. Carter's sax playing is warm and soulful.


----------



## Easy Goer

Grant Green - Matador


----------



## tortkis

Yusef Lateef: The African-American Epic Suite for quintet and oechestra (Act Music)








recorded 1993

Yusef Lateef's Little Symphony (Rhino Atlantic)








Yusef Lateef (tenor saxophone, soprano saxophone, C-flute, alto flute, soprano bamboo flute, tenor bamboo flute, pneumatic bamboo flute, shannie, gourdophone, kalangu (Hausa talking drum), water drum, percussive sitar, Casio 500 and ensoniq mariage)
recorded 1987


----------



## tortkis

Vista - Marion Brown (Impulse!)









Marion Brown, Stanley Cowell, Anthony Davis, Bill Braynon, Reggie Workman, Jimmy Hopps, Ed Blackwell, Jose Goico, Allen Murphy, Harold Budd

Recorded 1975. A longer version of the Budd's beautiful piece _Bismillahi 'Rrahmani 'Rrahim_ is included in _The Pavilion of Dreams_, recorded in the following year.


----------



## Simon Moon

The new(ish) Steve Coleman and the Council of Balance CD, "Synovial Joints" is scary good!









His stuff tends to be pretty complex, but still remains pretty accessible. It is modern, but not free-jazz. And somehow, despite the complex rhythms and time signatures, it is funky!


----------



## tortkis

*The 2015 NPR Music Jazz Critics Poll*









I think the albums of Schneider, DeJohnette, Halvorson, and Lloyd are very good. I liked Mahanthappa's _The Beautiful Enabler_ a lot, but I haven't heard _Bird Calls_ yet. The others also look interesting. The Steve Coleman's album mentioned above is no. 8.


----------



## julianoq

I am starting to dig Jazz more these days. I listened to Miles Davis a lot in the past, but never adventured myself on other stuff. This week I am listening to John Coltrane and enjoying it a lot.


----------



## starthrower

Simon Moon said:


> The new(ish) Steve Coleman and the Council of Balance CD, "Synovial Joints" is scary good!
> 
> View attachment 79335
> 
> 
> His stuff tends to be pretty complex, but still remains pretty accessible. It is modern, but not free-jazz. And somehow, despite the complex rhythms and time signatures, it is funky!


Great stuff. Will have to pick up the CD. I used to listen to Steve Coleman a lot in the 80s w/ the Dave Holland quintet, and some of his early 90s Five Elements albums.

This 1999 concert is fantastic! And the last part has some Sam Rivers Big Band stuff.


----------



## Heliogabo

tortkis said:


> *The 2015 NPR Music Jazz Critics Poll*
> 
> 
> 
> 
> 
> 
> 
> 
> 
> I think the albums of Schneider, DeJohnette, Halvorson, and Lloyd are very good. I liked Mahanthappa's _The Beautiful Enabler_ a lot, but I haven't heard _Bird Calls_ yet. The others also look interesting. The Steve Coleman's album mentioned above is no. 8.


I can't beleive that Gary Peacock's Now this was not considered. It is a terrific album. Kamasi Washington's debut recording is very impressive too.


----------



## Eramirez156

*Miles Davis & John Coltrane *
_21 mars 1960 (Olympia, Paris)_

♦ All Of You (Cole Porter)
♦ So What (Miles Davis)
♦ On Green Dolphin Street (Bronislaw Kaper)
♦ Walkin' (Richard Carpenter)
♦ Bye Bye Blackbird (Ray Henderson)
♦ 'Round Midnight (Thelonious Monk, Cootie Williams)
♦ Oleo (Sonny Rollins)
♦ The Theme (Miles Davis)

_Miles Davis (trompette)
John Coltrane (saxophone ténor)
Wynton Kelly (piano)
Paul Chambers (contrebasse)
Jimmy Cobb (batterie)_

*Miles Davis & Sonny Stitt* 
_11 octobre 1960 (Olympia, Paris)_

♦ Walkin' (Richard Carpenter)
♦ Autumn Leaves (Joseph Kosma)
♦ Four (Miles Davis)
♦ Unidentified (Sonny Stitt)
♦ 'Round Midnight (Thelonious Monk, Cootie Williams) 
♦ No Blues (Miles Davis)

_Miles Davis (trompette)
Sonny Stitt (saxophone alto et ténor)
Wynton Kelly (piano)
Paul Chambers (contrebasse)
Jimmy Cobb (batterie)_

http://www.francemusique.fr/emission/les-mercredis-du-jazz/2015-2016/live-paris-Miles-Davis-john-coltrane-12-16-2015-20-00


----------



## tortkis

Trails Of Tears - Jacques Coursil (Sunny Side Records, 2011)









Jacques Coursil (trumpet), Mark Whitecage (alto saxophone), Perry Robinson (clarinet), Jeff Baillard (keyboards and Fender Rhodes), Bobby Few (piano), Alex Bernard (double bass), Alan Silva (double bass), José Zébina (drums), Sunny Murray (drums)

The cental piece _The Removal_ is a contemplative free improvisation, put between sorrowful, moving tunes. Coursil's trumpet sound is husky and soft. I first heard Coursil's music and found it wonderful.


----------



## tortkis

Seaven Teares ~ A Tribute to John Dowland - Christian Muthspiel 4 (ACT, 2013)









Christian Muthspiel (trombone, piano, e-piano, recorder), Matthieu Michel (trumpet, flugelhorn), Franck Tortiller (vibraphone), Steve Swallow (electric bass)

Compositions based on Dowland's Lachrimae, or Seaven Teares. Very good. Muthspiel recorded another Dowland album Dancing Dowland (2009).


----------



## starthrower




----------



## Biwa

Hazeltine~Mraz Trio - Manhattan


----------



## Biwa




----------



## starthrower

One off trio w/ Jaco, Alphonse Mouzon, and the great German trombonist, Albert Mangelsdorff.


----------



## tortkis

Pomegranate - Stephen Haynes (New Atlantis Records)









Stephen Haynes (cornets), Joe Morris (guitar), Ben Stapp (tuba), William Parker (contrabass violin, sintir, bass shakuhachi), Warren Smith (drums & percussion, marimba)

A tribute to Haynes's mentor, Bill Dixon, who said: "If you want to pay tribute to me, you should (be) do (ing) your own work." I think it's done excellently. William Parker's solid bass made a great contribution.


----------



## tortkis

I got this mainly for Wheeler and found Jürgen Friedrich's music very impressive.

Summerflood (1998)








Kenny Wheeler (flugelhorn), Claudius Valk (tenor sax, soprano sax), Jürgen Friedrich (piano), Volker Heinze (bass), Darren Beckett (drums)

All tunes are composed by Friedrich. The atmosphere is reminiscent of Wheeler's music. Beautiful.

Reboot (2015)








Jürgen Friedrich (piano), David Helm (bass), Fabian Arends (drums)

compositions of Friedrich, Arends, Lutoslawski, Schönberg (op. 11/1), Kenny Wheeler, and a jazz standardIt´s You Or No One. The performance is freer and more abstract. Very good.


----------



## starthrower

Paul Bley 1932-2016 http://jazztimes.com/articles/171450-pianist-paul-bley-dies-at-83


----------



## tortkis

RIP Paul Bley. He created beautiful and adventurous music. Now listening to Open, to love.


----------



## Barbebleu

Sad to hear of the death of another great. Must go and listen to some of Paul Bley's wonderful piano playing.


----------



## starthrower

Uncut Downbeat Blindfold Test w/ Paul Bley

https://tedpanken.wordpress.com/2013/04/01/an-uncut-blindfold-test-with-paul-bley-around-2002/


----------



## Easy Goer

Hot House - Mal Waldron & Steve Lacy.


----------



## tortkis

starthrower said:


> Uncut Downbeat Blindfold Test w/ Paul Bley
> 
> https://tedpanken.wordpress.com/2013/04/01/an-uncut-blindfold-test-with-paul-bley-around-2002/


This is a very interesting and fun (often hilarious) read. Thank you. It made me want to hear some recordings mentioned in the interview.


----------



## Barbebleu

starthrower said:


> Uncut Downbeat Blindfold Test w/ Paul Bley
> 
> https://tedpanken.wordpress.com/2013/04/01/an-uncut-blindfold-test-with-paul-bley-around-2002/


I have the feeling that Paul was winding Ted up just a bit!


----------



## starthrower

tortkis said:


> This is a very interesting and fun (often hilarious) read. Thank you.


Better than anything I've ever read in Downbeat magazine! "I had my own label. But I couldn't afford myself."


----------



## tortkis

Katzenvilla - Joe Haider Trio (1971)









Joe Haider (piano), Isla Eckinger (bass), Pierre Favre (drums)

thrilling interplay of imaginative musicians.


----------



## starthrower

Herbie in '69 w/ Joe Henderson, Johnny Coles, Buster Williams, Tootie Heath, Jerome Richarson, Garnet Brown, among others.


----------



## starthrower

Interesting interview here. I didn't realize jazz heavyweights Maria Schneider, Ben Monder, Tin Lefebvre, and Donny McCaslin were involved with Bowies last album. http://www.premierguitar.com/articl...d-tim-lefebvre-just-like-that-bluebird?page=1


----------



## tortkis

The Bill Evans Album (Columbia, 1971)









Bill Evans (piano, fender rhodes), Eddie Gómez (bass), Marty Morell (drums)

Bill Evans used fender rhodes for the first time in this recording. It's still the same lyrical Evans, no ordinary funky / jazz-rock tunes that were in fashion around that time. The change of tone color between acoustic piano and fender rhodes is refreshing and quite effective. It won 2 Grammy awards of 1972.


----------



## Iean

Legendary (final) performance of Eric Dolphy:angel:


----------



## Barbebleu

starthrower said:


> Interesting interview here. I didn't realize jazz heavyweights Maria Schneider, Ben Monder, Tin Lefebvre, and Donny McCaslin were involved with Bowies last album. http://www.premierguitar.com/articl...d-tim-lefebvre-just-like-that-bluebird?page=1


It's probably one of Bowies best.


----------



## tortkis

Heliogabo said:


> I can't beleive that Gary Peacock's Now this was not considered. It is a terrific album. Kamasi Washington's debut recording is very impressive too.


Thanks for your recommendation, _Now This_ is indeed great. Marc Copland was new to me. I'm listening to _Haunted Heart_ (hatOLOGY, 2001) by his trio with Drew Gress (bass) and Jochen Rueckert (drums). Not as advanced as the trio with Peacock, but it's a very nice ballads album.


----------



## Vaneyes




----------



## Vaneyes




----------



## aleazk




----------



## Easy Goer

Miles Davis - Quiet Nights (1964)


----------



## GodNickSatan

John Coltrane - Om

Probably the most out there Coltrane ever went. He wasn't satisfied with it though, and it only ended up being released after his death. It's a great album to get lost to.


----------



## Kevin Pearson

I have to say I really like this period of Herbie Hancock's music. I can feel the groove baby!


----------



## tortkis

Two by 2 - Steve Kuhn & Steve Swallow (Owl)









Recorded 1995. An excellent duo album. All the tunes were composed by Kuhn or Swallow, except for one. They are very lyrical and beautiful. Some of the Swallow's tunes were recorded by Swallow and Carla Bley duo.

Wisteria - Steve Kuhn, Steve Swallow & Joey Baron (ECM)









Recorded 2011. The word "perfect" comes to my mind when I hear Kuhn's playing.

A new recording _At This Time..._ by the trio will be released on March 18.


----------



## SONNET CLV

By the way, jazz fans ... I recently had opportunity to sample a number of the "Live at Smalls" jazz CDs.

https://www.smallslive.com/store/catalogue/category/music/smallslive-catalog_7/

The several I listened to were great -- interesting music selections (with plenty of originals), atmospheric, masterfully played and recorded, vibrant and alive. I plan to seek out additional offerings from the label and add them to my jazz collection.

Two of my favorites, both piano trio discs, are shown below.







and








If you shop around the web you can find better prices than are listed at the record label's homepage. But this music is certainly worth every penny they're asking.

Don't be afraid to support active, living jazz musicians. With purchases of "Live at Smalls" discs, you'll be doing your ears a service, too.


----------



## Easy Goer

Two of a Mind - Paul Desmond & Gerry Mulligan.


----------



## Easy Goer

Duke Ellington - Such Sweet Thunder


----------



## tortkis

2 Ts for a Lovely T - Cecil Taylor Feel Trio (Codanza Records)








Cecil Taylo (piano), William Parker (bass), Tony Oxley (percussion)

MP3 of this incredible 10-cd set (7 hours) is available for $11.88 at amazon and google play.


----------



## Barbebleu

tortkis said:


> 2 Ts for a Lovely T - Cecil Taylor Feel Trio (Codanza Records)
> 
> 
> 
> 
> 
> 
> 
> 
> Cecil Taylo (piano), William Parker (bass), Tony Oxley (percussion)
> 
> MP3 of this incredible 10-cd set (7 hours) is available for $11.88 at amazon and google play.


It's £50 on Amazon UK unfortunately. But I got it for £8.49 on 7Digital. Yay.


----------



## SONNET CLV

For those of you who enjoy flute centered jazz, or wish to explore some of the best ever recorded, take a listen to the disc titled _Flute Fever _from Jeremy Steig.



















This is great stuff!


----------



## starthrower

Plus Sonny Simmons & Prince Lasha.



















Nice Dolphy tribute, recorded live.


----------



## tortkis

Consecration I & II - Bill Evans (Timeless)








Bill Evans (piano), Marc Johnson (bass), Joe LaBarbera (drums)
recorded August 31 & September 1-7, 1980

The last recording of Bill Evans. I read that his health was really bad, but I was surprised by how powerful his playing was.


----------



## starthrower




----------



## starthrower




----------



## AnthonyCornicello

Really great music. My only problem with some of the late recordings is that there are long passages where Bill isn't playing - most likely due to health reasons. But he was doing some truly innovative things with tempo-shifts and modulations with these players.


----------



## starthrower




----------



## starthrower




----------



## starthrower

Being released this week! All previously unreleased performances.


----------



## tortkis

Symphonies in My Head - Håkon Kornstad (Jazzland Recordings, 2011)








Håkon Kornstad: tenor and bass saxophones, flute, flutonette, voice and live looping





I first heard Kornstad on this beautiful duo album with Ingebrigt Håker Flaten (bass). The music is based on old Norwegian hymns.

Elise - Ingebrigt Håker Flaten & Håkon Kornstad (Compunctio)


----------



## elgar's ghost

Winding down with a few albums after a day of Verdi.


----------



## starthrower




----------



## tortkis

A Guitar Named Carla - Rüdiger Krause (Jazzwerkstatt, 2015)









Carla Bley's compositions played by Rüdiger Krause on guitar. Carla Bley and Steve Swallow join Krause for _Lawns_, a very beautiful tune.


----------



## starthrower




----------



## Robert Eckert

tortkis said:


> Consecration I & II - Bill Evans (Timeless)
> 
> 
> 
> 
> 
> 
> 
> 
> Bill Evans (piano), Marc Johnson (bass), Joe LaBarbera (drums)
> recorded August 31 & September 1-7, 1980
> 
> The last recording of Bill Evans. I read that his health was really bad, but I was surprised by how powerful his playing was.


I think that Bill was probably the greatest improvisational musician of the 20th century. I was able to meet him in November of 1979 in Chicago, to show him some transcripts for guitar that I had done for some of his original tunes. We talked for about 45 minutes. Great guy, very warm person as you may gather from his playing.


----------



## starthrower




----------



## tortkis

starthrower said:


> Being released this week! All previously unreleased performances.


This is great. I just downloaded the album today and am now listening to it. I am particularly glad to hear another recordings of Young with Woody Shaw. Interestingly, piano join in some tracks.

Discogs seems to have the most detailed info online.
https://www.discogs.com/Larry-Young-In-Paris-The-ORTF-Recordings/release/8138527


----------



## starthrower

Percussion heavy ensemble on Khan's latest CD. Plus some great renditions of Ornette, Monk, and Freddie Hubbard tunes among the originals.


----------



## GodNickSatan

I've been having so much fun listening to Roland Kirk and I don't want to stop.


----------



## Pugg

*Vinyl*

Thanks to pmsummer.
Bought this on vinyl


----------



## SONNET CLV

Spun this one yesterday -- the CD, not the LP this time:










It didn't take me long to be reminded why this Ricky Ford vehicle has been one of my favorite jazz discs for a long time. (I picked up the New World LP back in the late 1970's.) If there is a more heartfelt and moving version of "My Romance" on record, I've yet to hear it. And that's one song that I seek out to listen to, as it remains a fave among the standards I love.

By the way, the term "Loxodonta Africana", the title of Ford's 1977 album, is the scientific taxonomic name for the African Savanna Elephant. The record, a big beast itself, is certainly well named. You gotta hear this one!


----------



## norman bates

I don't know why Joe Diorio isn't well known. One of my favorite guitarists ever.


----------



## starthrower




----------



## starthrower

I just finished listening to this set and reading the booklet. A great archival release! There's an interesting story about a Hungarian music teacher from New Jersey who taught both Larry Young and Bill Evans. As a college student she had gone back to the motherland to study at the Liszt Academy where she was under the influence of Bartok and Kodaly. When she returned to New Jersey, the harmonic concepts she absorbed were imparted to her students. Young and Evans really picked up on this.


----------



## Robert Eckert

Wes Montgomery. Watch the joy that he exudes playing jazz.
A really wonderful person.


----------



## starthrower

This show kicks ****! In great sound to boot!


----------



## Conglomerate

Tristano's pupils made some really good stuff.


----------



## tortkis

I'm listening to Steve Kuhn's At This Time (Sunnyside Records), a new trio recording with Steve Swallow (bass) and Joey Baron (drums). Very good.

Recently I also listened to this reissue of ECSTASY (ECM 1058 recorded 1974), Motility (ECM 1094, recorded 1977), and Playground (ECM 1159, recorded 1979). The quartet is grand and powerful. Sheila Jordan's fragile vocal is touching, and Kuhn's piano is just beautiful.









Steve Kuhn (piano), Sheila Jordan (voice), Steve Slagle (soprano and alto saxophones, flute), Harvie Swartz (double-bass), Michael Smith (drums), Bob Moses (drums)


----------



## Casebearer

Alypius said:


> Anyone else a fan of ECM's jazz catalog? What are your favorite ECM jazz recordings?
> 
> I'll skip Dave Holland's recent catalog since I listed him above:
> 
> A few classics:
> 
> 1. Ralph Towner - Solo Concert (1980)
> 2. Keith Jarrett - Köln Concert (1975)
> 3. John Abercrombie - Timeless (1975)
> 4. Pat Metheny - Bright Size Life (1976)
> 5. Steve Tibbett - Yr (1980)
> 6. Kenny Wheeler - Deer Wan (1978)
> 7. Dave Holland - Conference of the Birds (1972)
> 8. Enrico Rava - The Pilgrim and the Stars (1975)
> 9. Marc Johnson - Bass Desires (1987)
> 10. Bill Frisell - (1988)
> 
> A few recent ones:
> 
> 1. Marcin Wasilewski Trio - January (2008)
> 2. Tomasz Stanko - Lontano (2006)
> 3. Anouar Brahem - Le voyage de Sahar (2007)
> 4. Marc Johnson / Eliane Elias - Swept Away (2012)
> 5. Chris Potter - The Sirens (2013)
> 6. Wolfert Brederode - Post Scriptum (2011)
> 7. Aaron Parks - Arborescence (2013)
> 8. Craig Taborn Trio - Chants (2013)
> 9. Colin Vallon - Rruga (2011)
> 10. Manu Katche - Manu Katche (2012)


I just started reading this thread from the start. Thanks for your fine contributions, Alypius. And also for your efforts to introduce students to great jazz! I'm quite familiar with a lot of that jazz but there's always more stuff to discover. At first I got the impression you only listen to Anglo-Saxon jazz but, looking at this later list, I'm glad your perspective is broader. In my opinion jazz is a global thing for three or four decades now and the development of jazz takes place all over the world. So all you Americans: look across borders and use media outside of your usual scope to stay connected with all the jazz! You'll be surprised.


----------



## Casebearer

I'm listening now to a cd made by CNIRBS, a modern jazz trio based in Hamburg (Germany). CNIRBS is German slang for 9 year old kids with ADHD. I attended a concert of them in Nijmegen (Netherlands) yesterday at the Brebl-jazzfactory. About 20 people (shame on those of us that weren't there) enjoyed their great music.

The trio is comprised of Matthäus Winnitzki (keyboards), Stephan Meinberg (trumpet, euphonium) and Konrad Ullrich (drums). Enjoyable and interesting modern jazz with polyrhythms, electronics and humor. Sometimes Zappa-esk but in their own way.









Nice guys also. Here's Stephan Meinberg on Euphonium:


----------



## norman bates

Casebearer said:


> I just started reading this thread from the start. Thanks for your fine contributions, Alypius. And also for your efforts to introduce students to great jazz! I'm quite familiar with a lot of that jazz but there's always more stuff to discover. At first I got the impression you only listen to Anglo-Saxon jazz but, looking at this later list, I'm glad your perspective is broader. In my opinion jazz is a global thing for three or four decades now and the development of jazz takes place all over the world. So all you Americans: look across borders and use media outside of your usual scope to stay connected with all the jazz! You'll be surprised.


sadly Alypius can't answer anymore. He was clearly a person with a great knowledge and passion for music.


----------



## Casebearer

norman bates said:


> sadly Alypius can't answer anymore. He was clearly a person with a great knowledge and passion for music.


I'm very sorry to read that. Thanks Norman for informing me.


----------



## SONNET CLV

I've been working my way through the eight CD box set _BILLY COBHAM: THE ATLANTIC YEARS 1973-1978_.










I picked up the box used from F.Y.E. a couple of days ago. Currently I'm listening to _Total Eclipse_, disc 3 in the set. I haven't heard a weak number yet in the collection. In fact, this is music of pure energy and spirit. Great stuff. I'm glad I invested in the box set, even if I did get it for substantially lower than full price (since it was in the "used" bin at F.Y.E.)!

There's some good info about the box set at: http://www.rhino.com/article/now-available-billy-cobham-the-atlantic-years-1973-1978

Enjoy your jazz listening, guys. And gals, too.


----------



## severance68

I've been listening to some of Donald Byrd's material from right before he moved entirely into fusion:

*Kofi *(recorded 1969-70, Blue Note) -- love the title track
and* Fancy Free *(1969, Blue Note); again, the title track is the big standout for me, though I like the entire album. I also like the version of "Fancy Free" that's heard on *Grant Green's "Live At The Lighthouse" *(1972, Blue Note).


----------



## Robert Eckert

Check out Thana Alexa a very talented, female vocalist. Her ideas with loops are outstanding. She works often with the great jazz drummer Antonio Sanchez


----------



## Conglomerate




----------



## PenaColada

Machine Gun by Peter Brötzmann is crazy, utterly intense and nihilistic.


----------



## starthrower

Bassist/Composer/Bandleader Graham Collier's 60s & 70s recordings. This is really good stuff. It's not hard bop, and it's not typical post-bop or free music. It has the best elements of all modern jazz styles, and there is a lot of depth and soulful playing with no shallowness or flashy displays of technique for its own sake. Most of the bands feature trumpet, sax, trombone, guitar, acoustic and or electric piano, along with the rhythm section.

Visit the BGO site for all of their re-issued titles. http://www.bgo-records.com/


----------



## GodNickSatan

PenaColada said:


> Machine Gun by Peter Brötzmann is crazy, utterly intense and nihilistic.
> 
> View attachment 82811


I love this. I suspect a lot of people probably wouldn't, though...


----------



## Niels

Casebearer said:


> I'm listening now to a cd made by CNIRBS, a modern jazz trio based in Hamburg (Germany). CNIRBS is German slang for 9 year old kids with ADHD. I attended a concert of them in Nijmegen (Netherlands) yesterday at the Brebl-jazzfactory. About 20 people (shame on those of us that weren't there) enjoyed their great music.
> 
> The trio is comprised of Matthäus Winnitzki (keyboards), Stephan Meinberg (trumpet, euphonium) and Konrad Ullrich (drums). Enjoyable and interesting modern jazz with polyrhythms, electronics and humor. Sometimes Zappa-esk but in their own way.
> 
> View attachment 82643
> 
> 
> Nice guys also. Here's Stephan Meinberg on Euphonium:
> 
> View attachment 82644


It crossed my mind to go to that concert, but didn't in the end. Too bad there were only around 20 visitors. In my experience it's mostly a little hit and miss visitor wise at Brebl. A few weeks ago I went to see Han Bennink/ Ernst Glerum/ Michael Moore there, which was quite well attended (and a really great/fun concert), but last year when I went to hear the beautiful Ab Baars / Ig Henneman duo I think there were like 5 visitors. That being said, I really love the place for listening to Jazz.


----------



## Niels

And as for what is on heavy rotation here in the past weeks:

_Léandre / Delbecq / Houle ‎- 14 Rue Paul Fort, Paris [2015, Leo Records]_








_Sant'Anna Arresi Quintet By Evan Parker ‎- Filu 'E Ferru [2015, Evan Parker private label]_








_Hera With Special Guest Hamid Drake ‎- Seven Lines [2013, Multikulti]_


----------



## tortkis

A Cosmic Rhythm With Each Stroke - Vijay Iyer and Wadada Leo Smith (ECM)








Vijay Iyer (Piano, Fender Rhodes, Electronics), Wadada Leo Smith (Trumpet)

Very intimate, contemplative duet by two excellent musicians.


----------



## starthrower

Both albums include Shorter's Capricorn, Sweet-Pea, and Water Babies. It's interesting to hear how different they sound.


----------



## Casebearer

Kamasi Washington's "The Epic" in Concert.

Hyped to the max this one. I listened to the first cd of the 3 cd-set 6 months ago but I couldn't get past the first number because I was disgusted by the use of the violins. Now I'm trying "The Epic" in concert on Youtube and I'm already listening to this for more than an hour. It has some nice parts and some nice elements or aspects but as a whole I feel exactly the same about it. Strange to say maybe but this music is wrong in my opinion. I can't understand the hype, even in serious jazz magazines. It must be me...


----------



## starthrower

^^^
He must have an aggressive management team? I didn't care for the overdone arrangements. And the music is a pastiche of 1970 era "spiritual" jazz schtick.


----------



## Casebearer

To calm myself down I'm listening to Joshua Redman Trio Live. Saw them 6 months ago. Although I like a lot of jazz and experimental music you immediately experience they make music of the highest level and you're listening to a trio and front man that is in the Champions League of jazz. I have no words for it.


----------



## Casebearer

starthrower said:


> ^^^
> He must have an aggressive management team? I didn't care for the overdone arrangements. And the music is a pastiche of 1970 era "spiritual" jazz schtick.


I suppose he has also. I'm annoyed it works even with some friends of mine that generally have good taste.

The arrangements are a big part of the problem. Besides that most compositions build up from overdrive to overdrive, only broken up (or accompanied) by these terrible 70's strings and choir vocals or sometimes solo's that put me in Broadway years back. What annoys me the most however is that he suggests spirituality by lending heavily on Coltrane-type playing. But with Kamasi that doesn't feel quite genuine. Spirituality all on speed...


----------



## severance68

My favorite jazz musician is Oliver Nelson. Something about his work just speaks to me in a way nobody else's does. I've recently been enjoying once again the Mosaic box set *"Oliver Nelson - The Oliver Nelson Verve/Impulse Big Band Studio Sessions." *

It's great to have excellently remastered recordings of albums such as *"Full Nelson" (Verve, 1963)*, *"Fantabulous" (Argo, 1964)*, (much of) *"Sound Pieces" (Impulse, 1966)*, *"Jazz Interactions Orchestra: The Jazzhattan Suite" (Verve, 1967)* and *"The Kennedy Dream" (Impulse, 1967)*.


----------



## starthrower

Casebearer said:


> I suppose he has also. I'm annoyed it works even with some friends of mine that generally have good taste.
> 
> The arrangements are a big part of the problem. Besides that most compositions build up from overdrive to overdrive, only broken up (or accompanied) by these terrible 70's strings and choir vocals or sometimes solo's that put me in Broadway years back. What annoys me the most however is that he suggests spirituality by lending heavily on Coltrane-type playing. But with Kamasi that doesn't feel quite genuine. Spirituality all on speed...


Weaknesses aside, it's always a positive thing for a jazz record to get some publicity. There is a new audience waiting to be tapped into, and this record might lead some young listeners into other things.

NP:

Going through this box for the first time in a while. Some great notes and essays on the band's musical develpment and evolution. I still feel like the level of musicianship, compositions, and group interplay among these five artists has never been surpassed.


----------



## Easy Goer

Aki Takase - Close Up On Japan


----------



## Casebearer

severance68 said:


> My favorite jazz musician is Oliver Nelson. Something about his work just speaks to me in a way nobody else's does. I've recently been enjoying once again the Mosaic box set *"Oliver Nelson - The Oliver Nelson Verve/Impulse Big Band Studio Sessions." *
> 
> It's great to have excellently remastered recordings of albums such as *"Full Nelson" (Verve, 1963)*, *"Fantabulous" (Argo, 1964)*, (much of) *"Sound Pieces" (Impulse, 1966)*, *"Jazz Interactions Orchestra: The Jazzhattan Suite" (Verve, 1967)* and *"The Kennedy Dream" (Impulse, 1967)*.


I must admit I never heard of Oliver Nelson before, but as it's my birthday soon, your post inspired me to order one of his cd's "The Blues and the Abstract Truth". What a wonderful title! It makes me very curious.

I also ordered for future listening:









Wayne Shorter - Speak no Evil









John Coltrane - Ascension (also: Duke Ellington & John Coltrane)









Christian Scott - Rewind that









Jasper van 't Hof - Face to Face









Jesse van Ruller - The Ninth Planet

The last two are Dutchmen. Van 't Hof is an excellent jazz pianist that has produced 70 albums by now and played with Keith Jarrett and Archie Shepp. Jesse van Ruller is a wonderful jazz guitarist. He won the Thelonious Monk Award in 1995 and plays with the likes of Joe Lovano, Pat Metheny and Roy Hargrove.


----------



## starthrower

The Blues And The Abstract Truth is one of the great albums of the 60s. The opener Stolen Moments, is a stone cold classic. Also recommended are the other two albums with Eric Dolphy. Straight Ahead, and Screamin' The Blues.


----------



## severance68

starthrower said:


> The Blues And The Abstract Truth is one of the great albums of the 60s. The opener Stolen Moments, is a stone cold classic. Also recommended are the other two albums with Eric Dolphy. Straight Ahead, and Screamin' The Blues.


Yes, a hearty recommendation for each of these. More Blues and the Abstract Truth, from 1964, is far less regarded than the original, but is still a very good album, in my view. Another small-group album worth hearing is "Nocturne" (Prestige, 1960) with vibist Lem Winchester.

Another great way to get a sense of Nelson's skills is to hear albums for which he was the arranger, doing some of his very best big-band charts -- Stanley Turrentine's "Joyride" (Blue Note, 1965) is a stellar example, as is the Jimmy Smith-Wes Montgomery title "The Dynamic Duo" (Verve, 1966). Another favorite of mine, fairly new to CD, is The Three Sounds' "Coldwater Flat" (Blue Note, 1968).


----------



## starthrower

Haven't listened to this one in years. I remember buying it in a little
store in Orlando, Florida about 14 years ago. Nelson plays soprano
sax exclusively on this album. Half big band, and half small group.


----------



## Niels

Listening to one of my favorites from last year. Not really Jazz, but also not really Classical (is Free Chamber music a term?). In the end who cares, this is just extremely beautiful!

_Chamber 4 - s/t [2015, FMR]_
Marcello dos Reis - Accoustic Guitar, Prepared Guitar, Voice
Valentin Ceccaldi - Cello, Voice
Théo Ceccaldi - Violin, Viola
Luis Vicente - Trumpet


----------



## Easy Goer

Gerry Mulligan Quartet - Dream a Little Dream (1994).


----------



## tortkis

Canada Day IV - Harris Eisenstadt (Songlines Recordings)








Nate Wooley (trumpet), Matt Bauder (tenor saxophone), Chris Dingman (vibraphone), Pascal Niggenkemper (bass), Harris Eisenstadt (drums, compositions)

The compositions are solid and lyrical, and the performers' creativity is superb. I really like Eisenstadt's Canada Day I-III and the exceptional Woodblock Prints.


----------



## starthrower




----------



## severance68

*Milt Jackson: Statements/Jazz 'n Samba
Impulse 1962/1964
(2011 compilation)*



















Main attraction here from Impulse's series of two-fer reissues from a few years ago is *Statements*, a solid quartet album. Standout tracks include Milt Jackson's "Put Off," Duke Ellington's "Paris Blues" and David Raksin's "The Bad and The Beautiful."


----------



## severance68

*Walter Bishop Jr.: Coral Keys
Black Jazz, 1972*


----------



## starthrower




----------



## Casebearer

Well, it arrived and I've just finished listening to Oliver Nelson's Blues and the Abstract Truth. Very nice. Like a lot of other Jazz from that period it has that unique feel. Maybe Paul Chambers' drumming is responsible. In retrospect I know Stolen Moments of course.









Which of his big band productions would the most worthwhile? I've read (on RYM) they've been produced by Creed Taylor and can be too _schmalzy_.


----------



## Casebearer

Starthrower, that profile picture of yours, is that Klaus Kinski?

Completely offtopic but could you (or someone else) tell me how I can get my profile picture visible when I post? 
I managed to add a picture to my personal page and expected it to be visible in posts also but it isn't.


----------



## elgar's ghost

I'm not ready for my pit just yet, and this is totally hitting the spot...


----------



## severance68

*Re: Recommended Oliver Nelson big band recordings*



Casebearer said:


> Well, it arrived and I've just finished listening to Oliver Nelson's Blues and the Abstract Truth. Very nice. Like a lot of other Jazz from that period it has that unique feel. Maybe Paul Chambers' drumming is responsible. In retrospect I know Stolen Moments of course.
> 
> View attachment 83155
> 
> 
> Which of his big band productions would the most worthwhile? I've read (on RYM) they've been produced by Creed Taylor and can be too _schmalzy_.


Glad you're enjoying the album!

As for Nelson's big band recordings, I tend to love most of them; one man's schmaltz is another man's mastery, I suppose.

I would most recommend:

*Afro-American Sketches
Prestige, 1962*

Recorded the same year as Blues and the Abstract Truth, with solid charts all the way. Starts off with a bang with "Message" and "Jungleaire," and maintains its momentum.










*Fantabulous 
Argo, 1964*

Several memorable tunes here, including a definitive big-band version of Billy Taylor's "A Bientot" and Nelson's own "Daylie's Double."










Lastly, for now, I'd recommend:

*Stanley Turrentine: Joyride
Arranged and Conducted by Oliver Nelson
Blue Note, 1965*

One of the very best examples of one of Nelson's primary activities -- doing big band arrangements for other artists. Turrentine is on fire throughout, with standout selections including the opener, "River's Invitation," Turrentine's "Little Sheri" and "Mattie T.,"
and '60s pop hit "A Taste of Honey," from the film of the same name.


----------



## Casebearer

Thanks a lot severance68! Turrentine is great, I know.

By the way I like schmalz, in my food at least, especially when we're doing Hungarian dishes


----------



## Guest

Casebearer said:


> Starthrower, that profile picture of yours, is that Klaus Kinski?
> 
> Completely offtopic but could you (or someone else) tell me how I can get my profile picture visible when I post?
> I managed to add a picture to my personal page and expected it to be visible in posts also but it isn't.


Settings>My Profile>Edit Avatar


----------



## Casebearer

dogen said:


> Settings>My Profile>Edit Avatar


Many thanks, Dogen. I succeeded. Lovely avatar yourself! A slightly younger version of mine...


----------



## Casebearer

James Blood Ulmer - Are you glad to be in America?

Powerful and uplifting!


----------



## severance68

Casebearer said:


> Thanks a lot severance68! Turrentine is great, I know.
> 
> By the way I like schmalz, in my food at least, especially when we're doing Hungarian dishes


 Ha!

Thanks for the mention of RYM -- I had never heard of it, so I googled it, and it looks like it has an interesting forum.


----------



## severance68

dogen said:


> Settings>My Profile>Edit Avatar


Ahhhh -- so that's why my profile picture wasn't showing up! Problem solved


----------



## starthrower

I bought this one 20 years ago, but never really listened to it much. It's a fine album, if a bit more subdued than some of the more exuberant PMG music.


----------



## Casebearer

severance68 said:


> Ahhhh -- so that's why my profile picture wasn't showing up! Problem solved


Glad I wasn't the only one!


----------



## Casebearer

severance68 said:


> Ha!
> 
> Thanks for the mention of RYM -- I had never heard of it, so I googled it, and it looks like it has an interesting forum.


I haven't visited the forum myself. I use it mainly to get brief introductions to musicians I don't know well (and the bands they're related with), an overview of the 'output' (ugly word) they produced and how that community rates it. Some of the reviews people post are very useful.


----------



## TurnaboutVox

*Sidney Bechet
The Best of Sidney Bechet* 
[Blue Note, 1994]

I'm not that into trad jazz, but was inspired to listen to this after watching the A. N. Wilson documentary on Philip Larkin on the BBC last week. Larkin was very keen on Bechet, though disappointingly maybe not so ethnically enlightened in general.


----------



## Jos

TurnaboutVox said:


> *Sidney Bechet
> The Best of Sidney Bechet*
> [Blue Note, 1994]
> 
> I'm not that into trad jazz, but was inspired to listen to this after watching the A. N. Wilson documentary on Philip Larkin on the BBC last week. Larkin was very keen on Bechet, though disappointingly maybe not so ethnically enlightened in general.


Woody Allen is a fan too. "Wild man blues", "midnight in Paris"
I sometimes play one of his albums, and my wife always looks up from her book: "hey, that's Woody Allen music !"


----------



## tortkis

In Motion (Intakt, 2016)








Richard Poole (drums), Marilyn Crispell (piano), Gary Peacock (bass)
recorded 2014


----------



## Conglomerate




----------



## starthrower

Casebearer said:


> Starthrower, that profile picture of yours, is that Klaus Kinski?


It's Gyorgy Ligeti.


----------



## Heliogabo

tortkis said:


> In Motion (Intakt, 2016)
> 
> 
> 
> 
> 
> 
> 
> 
> Richard Poole (drums), Marilyn Crispell (piano), Gary Peacock (bass)
> recorded 2014


I'll search for this! Thanks for posting.


----------



## tortkis

^ You can listen to streaming of the whole album or purchase flac/mp3 from here:https://intaktrec.bandcamp.com/album/in-motion


----------



## Casebearer

starthrower said:


> It's Gyorgy Ligeti.


Even better! Didn't know they had some resemblance in profile.


----------



## Casebearer

Listening to Chamber Tones Trio: Jesse van Ruller (guitar, ukelele, musicbox), Joris Roelofs (clarinet and bassclarinet), Clemens van der Feen (bass). Album is called The Ninth Planet.

Excellent, balanced and atmospheric Chamber Jazz. We should have more bassclarinet in jazz.


----------



## tortkis

Casebearer said:


> We should have more bassclarinet in jazz.


Yes! I love bass clarinet in jazz. Bennie Maupin's impressive bass clarinet in Pharaoh's Dance came to my mind.

David Murray's Ballads for Bass Clarinet (DIW, 1993) is a very good straight-ahead jazz album.








David Murray (bass clarinet), John Hicks (piano), Ray Drummond (bass), Idris Mohammad (drums)


----------



## Casebearer

Jasper van 't Hof's first US-release as a leader: Face to Face (1995).
The band further consists of Ernie Watts (sax), Bo Stief (bass) and Aldo Romano (drums).

Ernie Watts has a beautiful tone and powerful sound. Jasper is a very virtuose, textural jazz pianist. Nice combination.


----------



## starthrower

Bennie Maupin has a couple of excellent releases on the Cryptogramophone label. I can recommend Penumbra.


----------



## Casebearer

Christian Scott - Rewind That. His debut album dating from 2006.

It was appreciated but also received quite critically: being a bit boring or even background music. I don't see why. I just like it. I suppose it has to fit the mood you're in.


----------



## Barbebleu

Steve Kuhn - Life's Backward Glances. Three cd ECM box.


----------



## starthrower

Antonio has cranked out a bunch of albums in the past 8-9 years, and this one
sounds really good!


----------



## Barbebleu

starthrower said:


> Antonio has cranked out a bunch of albums in the past 8-9 years, and this one
> sounds really good!


I'm not familiar with his work but I see he has some stuff on YouTube so I'll check him out.


----------



## starthrower

Barbebleu said:


> I'm not familiar with his work but I see he has some stuff on YouTube so I'll check him out.


That's where I've been listening. He has a great attitude as well. I enjoy listening to his interviews.





In the studio working on the Meridian Suite. 




His Live In New York CD sounds very good. It features two sax players, no piano.





Short live set with David Binney.


----------



## starthrower

*Okay, this is a long winded post, but I hope some of you will read it and reply. Thanks!*

How do you jazz fans feel about the current state of the music? I'm not referring to popularity or sales, but to the actual music itself, and whether or not there is any significant evolution, new developments, or unique artists among the younger generations?

I've been listening to a bunch of ECM albums I borrowed from the library, and I've also been listening to some of the more hot blooded, high energy New York based musicians. And a lot of this stuff sounds kind of samey to my ears.

The ECM stuff is more low key and lyrical employing space, and a kind of free floating rhythmic approach. But I feel like this concept was developed 45 years ago by musicians like Paul Motian, Jan Garbarek, among others.

Then there's the more muscular post, post bop New York type of jazz being played by musicians like Donny McCaslin, David Binney, Chris Potter, Adam Rogers, etc... And then there's all the Pat Metheny influenced guitarists. But a lot of the compositions sound similar, and most of them I can't remember once the tune is over. But there's a recognizeable characteristic to these compositions. The harmonic content, and the structure and sound of the melodies. And a lot of these melodies are complex, and not the type you can sing unless you're a vocal virtuoso. It's almost like a modern version of bebop. The tunes all have similar characteristics. And they sound too much alike to my ears.

And a lot of these white sax players bug me. They all play with this jocular, athletic approach, playing too many notes, and sounding like Michael Brecker, who was coming out of Coltrane. One of the few guys I like is Michael Blake, because he doesn't play like that. But mainly I prefer the the older black players that came up in the 60s. I'd rather listen to Dewey Redman, or Archie Shepp. I used to listen to Kenny Garrett a lot, but I lost interest. And I haven't followed Joshua Redman.

And then there's the free jazzers. But this stuff has been going on for 55 years now. Maybe that's why I don't purchase too many new releases anymore. But back in the 80s and 90s I was buying a lot more new jazz music. So is there anything new and innovative being done in jazz today, or is it mostly rehash?


----------



## starthrower

After searching around, I found something I like. Everybody sounds great on this record, and drummer Eric Harland is a badass!


----------



## Belowpar

starthrower said:


> *Okay, this is a long winded post, but I hope some of you will read it and reply. Thanks!*
> 
> How do you jazz fans feel about the current state of the music? I'm not referring to popularity or sales, but to the actual music itself, and whether or not there is any significant evolution, new developments, or unique artists among the younger generations?
> 
> I've been listening to a bunch of ECM albums I borrowed from the library, and I've also been listening to some of the more hot blooded, high energy New York based musicians. And a lot of this stuff sounds kind of samey to my ears.
> 
> The ECM stuff is more low key and lyrical employing space, and a kind of free floating rhythmic approach. But I feel like this concept was developed 45 years ago by musicians like Paul Motian, Jan Garbarek, among others.
> 
> Then there's the more muscular post, post bop New York type of jazz being played by musicians like Donny McCaslin, David Binney, Chris Potter, Adam Rogers, etc... And then there's all the Pat Metheny influenced guitarists. But a lot of the compositions sound similar, and most of them I can't remember once the tune is over. But there's a recognizeable characteristic to these compositions. The harmonic content, and the structure and sound of the melodies. And a lot of these melodies are complex, and not the type you can sing unless you're a vocal virtuoso. It's almost like a modern version of bebop. The tunes all have similar characteristics. And they sound too much alike to my ears.
> 
> And a lot of these white sax players bug me. They all play with this jocular, athletic approach, playing too many notes, and sounding like Michael Brecker, who was coming out of Coltrane. One of the few guys I like is Michael Blake, because he doesn't play like that. But mainly I prefer the the older black players that came up in the 60s. I'd rather listen to Dewey Redman, or Archie Shepp. I used to listen to Kenny Garrett a lot, but I lost interest. And I haven't followed Joshua Redman.
> 
> And then there's the free jazzers. But this stuff has been going on for 55 years now. Maybe that's why I don't purchase too many new releases anymore. But back in the 80s and 90s I was buying a lot more new jazz music. So is there anything new and innovative being done in jazz today, or is it mostly rehash?


Ok two thoughts.

I used to make an effort to listen to the Jazz programs on the BBC and based on what I heard would go to a gig once or twice a year. Your post made realise that it's been nearly a decade since I was tempted to do that and I only occasionally hear those programs. Jazz doesn't seem very 'relevant' to me at the moment when there is so much else to go see.

I'm well aware I'm approaching 60, and every time I make a comment like the above one, I wonder if it's a sign I'm getting old? Keep searching, it's the elixir of youth.


----------



## GodNickSatan

I'll be honest and say I really haven't heard much new jazz. I only got heavily into jazz a couple years ago and I'm still playing catch up.


----------



## Barbebleu

starthrower said:


> *Okay, this is a long winded post, but I hope some of you will read it and reply. Thanks!*
> 
> How do you jazz fans feel about the current state of the music? I'm not referring to popularity or sales, but to the actual music itself, and whether or not there is any significant evolution, new developments, or unique artists among the younger generations?
> 
> I've been listening to a bunch of ECM albums I borrowed from the library, and I've also been listening to some of the more hot blooded, high energy New York based musicians. And a lot of this stuff sounds kind of samey to my ears.
> 
> The ECM stuff is more low key and lyrical employing space, and a kind of free floating rhythmic approach. But I feel like this concept was developed 45 years ago by musicians like Paul Motian, Jan Garbarek, among others.
> 
> Then there's the more muscular post, post bop New York type of jazz being played by musicians like Donny McCaslin, David Binney, Chris Potter, Adam Rogers, etc... And then there's all the Pat Metheny influenced guitarists. But a lot of the compositions sound similar, and most of them I can't remember once the tune is over. But there's a recognizeable characteristic to these compositions. The harmonic content, and the structure and sound of the melodies. And a lot of these melodies are complex, and not the type you can sing unless you're a vocal virtuoso. It's almost like a modern version of bebop. The tunes all have similar characteristics. And they sound too much alike to my ears.
> 
> And a lot of these white sax players bug me. They all play with this jocular, athletic approach, playing too many notes, and sounding like Michael Brecker, who was coming out of Coltrane. One of the few guys I like is Michael Blake, because he doesn't play like that. But mainly I prefer the the older black players that came up in the 60s. I'd rather listen to Dewey Redman, or Archie Shepp. I used to listen to Kenny Garrett a lot, but I lost interest. And I haven't followed Joshua Redman.
> 
> And then there's the free jazzers. But this stuff has been going on for 55 years now. Maybe that's why I don't purchase too many new releases anymore. But back in the 80s and 90s I was buying a lot more new jazz music. So is there anything new and innovative being done in jazz today, or is it mostly rehash?


I pretty much agree with you on this. I don't think there has been much movement on either side of the Atlantic for fifty years. In fact I keep going back to the stuff I bought then. Coleman, Coltrane, Shepp, Ayler, Rudd, Tchicai cornered the free market and I haven't heard anything now that is any better than what they were doing. They all pushed the boundaries so far that they made it very difficult to find a new path that would still be listenable! Even Kamasi Washington is not doing anything that the JCOA or Sun Ra or any of Shepp's big ensembles didn't already do in the sixties.


----------



## starthrower

Kasami Washington? He sure gets a lot of press and hype. I suppose the 1960s was the pinnacle for modern jazz with the likes of Coltrane, the Miles Davis Quintet, Ornette, Bobby Hutcherson, and the free jazz movement.

I happen to like a lot of what went on in the 70s as well. I'm a Weather Report fan, and love the the old Keith Jarrett American quartet. And there was a lot of good stuff on the Black Saint/Soul Note labels, and ECM. And I like modern guitar, so I love John Scofield and Pat Metheny, and Bill Frisell. But those guys are already over 60 years old, and I don't hear any unique voices from the younger guys. Same with all the other instrumentalists.

So I keep buying re-issues of older material. I dig a lot of the 70s European jazz. John Surman, Graham Collier, Enrico Rava.


----------



## starthrower

Here's another good one for bass clarinet fans. This album is available on the Enja label.


----------



## Conglomerate




----------



## starthrower

^^^
If only they would have tuned the piano before the gig!


----------



## Conglomerate




----------



## Niels

starthrower said:


> *Okay, this is a long winded post, but I hope some of you will read it and reply. Thanks!*
> 
> How do you jazz fans feel about the current state of the music? I'm not referring to popularity or sales, but to the actual music itself, and whether or not there is any significant evolution, new developments, or unique artists among the younger generations?
> 
> I've been listening to a bunch of ECM albums I borrowed from the library, and I've also been listening to some of the more hot blooded, high energy New York based musicians. And a lot of this stuff sounds kind of samey to my ears.
> 
> The ECM stuff is more low key and lyrical employing space, and a kind of free floating rhythmic approach. But I feel like this concept was developed 45 years ago by musicians like Paul Motian, Jan Garbarek, among others.
> 
> Then there's the more muscular post, post bop New York type of jazz being played by musicians like Donny McCaslin, David Binney, Chris Potter, Adam Rogers, etc... And then there's all the Pat Metheny influenced guitarists. But a lot of the compositions sound similar, and most of them I can't remember once the tune is over. But there's a recognizeable characteristic to these compositions. The harmonic content, and the structure and sound of the melodies. And a lot of these melodies are complex, and not the type you can sing unless you're a vocal virtuoso. It's almost like a modern version of bebop. The tunes all have similar characteristics. And they sound too much alike to my ears.
> 
> And a lot of these white sax players bug me. They all play with this jocular, athletic approach, playing too many notes, and sounding like Michael Brecker, who was coming out of Coltrane. One of the few guys I like is Michael Blake, because he doesn't play like that. But mainly I prefer the the older black players that came up in the 60s. I'd rather listen to Dewey Redman, or Archie Shepp. I used to listen to Kenny Garrett a lot, but I lost interest. And I haven't followed Joshua Redman.
> 
> And then there's the free jazzers. But this stuff has been going on for 55 years now. Maybe that's why I don't purchase too many new releases anymore. But back in the 80s and 90s I was buying a lot more new jazz music. So is there anything new and innovative being done in jazz today, or is it mostly rehash?


Interesting post, as I am someone who buys much much more new stuff than old classics. I don't know if the players I like are really doing stuff that has never been done before, but frankly I don't really care. I think there are still many players out there who have a distinctive and personal voice, and make beautiful music so I much rather support those living musicians than pay for yet again a new reissue from some classic jazz album.

My personal preference lays somewhat more in the free-jazz/avant garde scene, and I tend to focus on European players. At the moment I especially like labels like Clean Feed, Multikulti, NoBusiness, Nottwo, Kilogram, RogueArt, Leo, Dark Tree and Improvising Beings. All labels that just put out much quality stuff with a very broad selection of (for me inovative) music. And people/bands like Rodrigo Amado (especcially with his motion Trio), RED Trio, Waclaw Zimpel's Hera and Undivided bands, Eve Risser, Benjamin Duboc, the Ceccaldi brothers, Marcelo dos Reis, Joe McPhee (still as relevant as in the 60's) and many more really have a distinctive and personal voice that makes them very interesting for me.


----------



## Conglomerate




----------



## starthrower

I'm putting together an order of jazz CDs, and although they're not all brand new releases, all of the musicians are still with us.

I'm familiar with Cleen Feed and Leo, but not those other labels.


----------



## ldiat

if one watches tv one will recognize her voice. new tv ad


----------



## Conglomerate




----------



## Casebearer

starthrower said:


> *Okay, this is a long winded post, but I hope some of you will read it and reply. Thanks!*
> 
> How do you jazz fans feel about the current state of the music? I'm not referring to popularity or sales, but to the actual music itself, and whether or not there is any significant evolution, new developments, or unique artists among the younger generations?
> 
> I've been listening to a bunch of ECM albums I borrowed from the library, and I've also been listening to some of the more hot blooded, high energy New York based musicians. And a lot of this stuff sounds kind of samey to my ears.
> 
> The ECM stuff is more low key and lyrical employing space, and a kind of free floating rhythmic approach. But I feel like this concept was developed 45 years ago by musicians like Paul Motian, Jan Garbarek, among others.
> 
> Then there's the more muscular post, post bop New York type of jazz being played by musicians like Donny McCaslin, David Binney, Chris Potter, Adam Rogers, etc... And then there's all the Pat Metheny influenced guitarists. But a lot of the compositions sound similar, and most of them I can't remember once the tune is over. But there's a recognizeable characteristic to these compositions. The harmonic content, and the structure and sound of the melodies. And a lot of these melodies are complex, and not the type you can sing unless you're a vocal virtuoso. It's almost like a modern version of bebop. The tunes all have similar characteristics. And they sound too much alike to my ears.
> 
> And a lot of these white sax players bug me. They all play with this jocular, athletic approach, playing too many notes, and sounding like Michael Brecker, who was coming out of Coltrane. One of the few guys I like is Michael Blake, because he doesn't play like that. But mainly I prefer the the older black players that came up in the 60s. I'd rather listen to Dewey Redman, or Archie Shepp. I used to listen to Kenny Garrett a lot, but I lost interest. And I haven't followed Joshua Redman.
> 
> And then there's the free jazzers. But this stuff has been going on for 55 years now. Maybe that's why I don't purchase too many new releases anymore. But back in the 80s and 90s I was buying a lot more new jazz music. So is there anything new and innovative being done in jazz today, or is it mostly rehash?


I think your biggest problem - apart from getting older - is you know too much music. The more music you know the more difficult it gets to really have that unique sensation you had when you heard Coltrane or Zappa for the first time etc. It's the same with getting older: the years keep getting shorter and World War I or II starts to seem like yesterday whereas it was impossible to connect with those times when you were young and much closer to them in real time. (I'm speaking about myself of course).

I'm a bit younger than you I suspect but my main 'advantage' is that I recently had a 20 year period being busy with children growing up in which I missed almost everything that's going on. Also I have had a tendency in my life to shift my main focus from (prog)rock to classical to jazz then Zappa etc. So I have missed out on all of them during most of the time. So I have a lot of catching up to do. In that respect I'm somewhere between you and Niels. I go to (small) jazz concerts probably every three or four weeks and enjoy them a lot. I buy both old and new stuff. Nevertheless in general I agree it's mostly rehash.

The only performer in recent periods that gave me the same unique passionate feeling is Mihály Dresch. Probably because he combines Coltrane and Hungarian folk music in his compositions (two of my biggest loves).
I must say I also really love Joshua Redman. Especially when I saw the Joshua Redman Trio perform live. Superb.
And then there's Vijay Iyer. He doesn't touch me in the same way but I'd say he is one of the more innovative jazz composers around.


----------



## Casebearer

Niels said:


> Interesting post, as I am someone who buys much much more new stuff than old classics. I don't know if the players I like are really doing stuff that has never been done before, but frankly I don't really care. I think there are still many players out there who have a distinctive and personal voice, and make beautiful music so I much rather support those living musicians than pay for yet again a new reissue from some classic jazz album.
> 
> My personal preference lays somewhat more in the free-jazz/avant garde scene, and I tend to focus on European players. At the moment I especially like labels like Clean Feed, Multikulti, NoBusiness, Nottwo, Kilogram, RogueArt, Leo, Dark Tree and Improvising Beings. All labels that just put out much quality stuff with a very broad selection of (for me inovative) music. And people/bands like Rodrigo Amado (especcially with his motion Trio), RED Trio, Waclaw Zimpel's Hera and Undivided bands, Eve Risser, Benjamin Duboc, the Ceccaldi brothers, Marcelo dos Reis, Joe McPhee (still as relevant as in the 60's) and many more really have a distinctive and personal voice that makes them very interesting for me.


Niels, I agree completely with you on paying for living musicians and supporting them. It's very important we do that. I therefore hardly ever rip a cd for somebody else or listen to ripped cd's. I also buy cd's at the concerts so there are less middlemen to be payed for.

You mention many interesting small labels. Would you care to post on them in a thread (What are your favorite smaller record labels for jazz & improvisational music?) I started recently?


----------



## starthrower

Casebearer said:


> I think your biggest problem - apart from getting older - is you know too much music. The more music you know the more difficult it gets to really have that unique sensation you had when you heard Coltrane or Zappa for the first time etc. It's the same with getting older: the years keep getting shorter and World War I or II starts to seem like yesterday whereas it was impossible to connect with those times when you were young and much closer to them in real time. (I'm speaking about myself of course).
> 
> I'm a bit younger than you I suspect but my main 'advantage' is that I recently had a 20 year period being busy with children growing up in which I missed almost everything that's going on. Also I have had a tendency in my life to shift my main focus from (prog)rock to classical to jazz then Zappa etc. So I have missed out on all of them during most of the time. So I have a lot of catching up to do. In that respect I'm somewhere between you and Niels. I go to (small) jazz concerts probably every three or four weeks and enjoy them a lot. I buy both old and new stuff. Nevertheless in general I agree it's mostly rehash.
> 
> The only performer in recent periods that gave me the same unique passionate feeling is Mihály Dresch. Probably because he combines Coltrane and Hungarian folk music in his compositions (two of my biggest loves).
> I must say I also really love Joshua Redman. Especially when I saw the Joshua Redman Trio perform live. Superb.
> And then there's Vijay Iyer. He doesn't touch me in the same way but I'd say he is one of the more innovative jazz composers around.


It's true. We do get jaded with age. I had the most fun listening to music from age 19-40. Believe it or not, I had no idea about jazz or classical music until age 19. Here in the states, popular music pretty much drowns out all the other music unless you really make an effort to seek out other stuff. And of course back then there was no internet. But fortunately I discovered the college radio station in my town that was playing modern jazz and fusion. That really opened up a huge world for me. And I also started reading Downbeat, JazzTimes, and Guitar Player Magazines.

But nowadays it is hard to recapture that same sensation and feeling I had as a 20 year old. I have 60 Zappa albums, and I've heard them all too much. The only time I can really get excited is when I have the opportunity to introduce a friend to this music. I mentioned to you my friend in Amsterdam. His son lives here in town, and every so often he comes over and we listen to a bunch of stuff. He's young and hearing all this stuff for the first time, so that gives me a chance to dig through my collection and play stuff.

An other good outlet for us old guys with big music collections is to get involved with radio. I actually did this for seven years (2000-2007). And it was a good way to get listening to all my music again, and to share it with the public. I may get back into it when I figure out my work situation and can fit it in each week.


----------



## Barbebleu

starthrower said:


> It's true. We do get jaded with age. I had the most fun listening to music from age 19-40. Believe it or not, I had no idea about jazz or classical music until age 19. Here in the states, popular music pretty much drowns out all the other music unless you really make an effort to seek out other stuff. And of course back then there was no internet. But fortunately I discovered the college radio station in my town that was playing modern jazz and fusion. That really opened up a huge world for me. And I also started reading Downbeat, JazzTimes, and Guitar Player Magazines.
> 
> But nowadays it is hard to recapture that same sensation and feeling I had as a 20 year old. I have 60 Zappa albums, and I've heard them all too much. The only time I can really get excited is when I have the opportunity to introduce a friend to this music. I mentioned to you my friend in Amsterdam. His son lives here in town, and every so often he comes over and we listen to a bunch of stuff. He's young and hearing all this stuff for the first time, so that gives me a chance to dig through my collection and play stuff.
> 
> An other good outlet for us old guys with big music collections is to get involved with radio. I actually did this for seven years (2000-2007). And it was a good way to get listening to all my music again, and to share it with the public. I may get back into it when I figure out my work situation and can fit it in each week.


When I started buying way back in the sixties I loved the excitement of getting a new lp and taking it home and hearing something for the first time. Those days are long gone now and it takes something exceptional to get me excited now. I still buy CDs and downloads but it's not the same. Don't think there's any solution. It's just life. Perhaps there is a kernel of truth to the expression, familiarity breeds contempt. Some of my very early purchases were played so much that I only need to pick up the relevant cd or lp and I can hear every note in my head and back in the rack it goes. Ah well, there's a lot of stuff I have that is not nearly as familiar so at least I can listen to them but there's no rush any longer. I still enjoy listening out for new stuff that will get me going again, so I live in hope.


----------



## starthrower

Speaking of radio. I'll mention a show that airs every Tuesday night from 9pm-midnight. This will most likely appeal to free jazz/avant garde fans. It's called North Star Sounds. Most jazz stations I've listened to are very conservative, and this is the one show I've heard that plays outside stuff. It's broadcast from Rochester, NY. http://www.jazz901.org/

They now have two hosts that alternate every other week. But if you can catch the original long time host Rick Petrie, this guy is quite a character. I spent six years working in Rochester, and I used to listen to Rick all the time and call him up.

And this station plays jazz around the clock. No NPR news or sports programming. It's all jazz. Also give Jann Nyffeler a listen on Fridays from 6pm-9pm. Jann is a strawberry blonde from Nebraska, but she is the hippest woman with very sexy low voice, and very proffesional delivery. She's just great to listen to on the air.


----------



## starthrower

Listening to these this morning. I really love Sco's playing, and the quirky tunes he writes. His material is always high quality, and he seems to be a bottomless well of creativity.


----------



## Niels

Casebearer said:


> Niels, I agree completely with you on paying for living musicians and supporting them. It's very important we do that. I therefore hardly ever rip a cd for somebody else or listen to ripped cd's. I also buy cd's at the concerts so there are less middlemen to be payed for.
> 
> You mention many interesting small labels. Would you care to post on them in a thread (What are your favorite smaller record labels for jazz & improvisational music?) I started recently?


Of course, I shall post my thoughts/recommendations somewhere in the next coming days!


----------



## starthrower

I just stumbled onto this site. http://destination-out.com/


----------



## Casebearer

starthrower said:


> I just stumbled onto this site. http://destination-out.com/


Yet another very interesting find - listening to it right now. But, dear Starthrower, you are causing big problems. These posts of you are all too interesting but also too much to handle at the rate you're posting them. I find it difficult to attend to my daily obligations this way. Should I hold you responsible?

But serious: posting all this interesting stuff in a general topic will make it difficult to find it back later. I think we should be more concerned with knowledge building and knowledge transfer by organizing our content better. You should start a thread on internet jazz radio stations and post it there!


----------



## starthrower

I don't really have enough to say about internet radio to start a new thread. It's just a one off post. But this thread is about all things jazz, so I mentioned one jazz radio station I've listened to.

I suppose the glut of information must be blamed on the nature of the internet? Isn't that why we enjoy life less these days? More information, and more stuff doesn't make us happier, or necessarily enrich our lives. That's why I limit the number of thread categories I read on this site. It's all too much. And for listening sake, I pretty much limit myself to modern jazz, and 20th century classical music. My life is far too short to try to absorb all things musical from the middle ages to the 21st century.


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## Conglomerate




----------



## starthrower

Tim Berne - Mind Over Friction










A 3 disc set released on Tim's Screwgun Records. Re-issues the albums
Science Fiction, and the double live set, The sublime and

Tim Berne-alto sax
Marc Ducret-guitar
Craig Taborn-keyboards
Tom Rainey-drums


----------



## Casebearer

In The Netherlands programmers of the main jazz clubs each year choose two bands of young musicians that compose their own pieces that can go on a tour and give concerts in several jazzclubs throughout the country. This year they chose the Rogier Telderman Trio (led by pianist Telderman) and VinnieVibes (led by vibrafonist Vincent Houdijk). I visited their joint concert tonight. Very different in style and approach but both very enjoyable (and I bought their cd's at the club).

http://vincenthoudijk.com/PRD/home.php?action=multimedia

[video]http://www.rogiertelderman.com/music[/video]


----------



## starthrower

It's always a good thing to see a young musician playing the vibes. There aren't very many jazz vibraphonists. And I'm always interested to learn about European jazz artists. Living in America, it's difficult to hear about these musicians if they're not signed to a high profile label such as ECM, ACT, Enja. So Casebearer can be our ears to the west! The Telderman Trio sounds good too!


----------



## Jay

starthrower said:


> jazz vibraphonists.


You may want to check out Mike Mainieri, Chris Dingman, Steve Nelson, Joe Locke, Adam Adasiewicz, Kevin Norton, Matt Moran, Mattias Stahl, and Mike Pinto, all currently active.


----------



## Casebearer

starthrower said:


> It's always a good thing to see a young musician playing the vibes. There aren't very many jazz vibraphonists. And I'm always interested to learn about European jazz artists. Living in America, it's difficult to hear about these musicians if they're not signed to a high profile label such as ECM, ACT, Enja. So Casebearer can be our ears to the west! The Telderman Trio sounds good too!


The vibrafonist was one of the reasons I went. I don't see them a lot also. He has a Polish girlfriend and some of his compositions are inspired by Polish nature (e.g. a mountain lake in the High Tatra mountains near Zakopane). I like the mood of these very much.

But I liked Rogier Telderman's trio a lot too. It sounds much more mature than you would expect also considering their age.

Talking about being ears for others. You could do me a personal favor and take a few hours to listen to all you can from Mihaly Dresch, but especially the cd Riding the wind (Mozdulatlan utazas). And then tell me and the rest of us what you think of him. To my ears he is world class and he's in my all time top three of musicians or so. I'm in big need of people I can share with on Mihaly Dresch and haven't found anybody yet on this forum. (Although everyone in my surroundings I've played Riding the wind to liked it immediately. It's also appreciated by people that are not hardcore jazz fans) I would like to make EVERYBODY a fan of Mihály Dresch.


----------



## severance68

I don't have many jazz/classical fusions, but this is one I always enjoyed.

Favorite cuts are the opener, by Granados; Fauré's _Pavane _and Evans' own _Time Remembered_.


----------



## starthrower

Casebearer said:


> Talking about being ears for others. You could do me a personal favor and take a few hours to listen to all you can from Mihaly Dresch, but especially the cd Riding the wind (Mozdulatlan utazas). And then tell me and the rest of us what you think of him. To my ears he is world class and he's in my all time top three of musicians or so. I'm in big need of people I can share with on Mihaly Dresch and haven't found anybody yet on this forum. (Although everyone in my surroundings I've played Riding the wind to liked it immediately. It's also appreciated by people that are not hardcore jazz fans) I would like to make EVERYBODY a fan of Mihály Dresch.


I couldn't find any audio clips from Riding The Wind.


----------



## TurnaboutVox

*Nik Bartsch's Ronin
Llyria *[ECM, 2010]

My son insists that there's no such genre as ECM Euro-jazz. I say there is and this, friends, is ECM Euro-jazz! I could easily be listening to Chick Corea, Arild Andersen, Jan Garbarek and Jack DeJohnette 40 years ago, when I first discovered Manfred Eicher's intriguing record label.


----------



## Barbebleu

TurnaboutVox said:


> *Nik Bartsch's Ronin
> Llyria *[ECM, 2010]
> 
> My son insists that there's no such genre as ECM Euro-jazz. I say there is and this, friends, is ECM Euro-jazz! I could easily be listening to Chick Corea, Arild Andersen, Jan Garbarek and Jack DeJohnette 40 years ago, when I first discovered Manfred Eicher's intriguing record label.


I've got a couple of Nic Bartsch's Ronin albums. Very modern, very European, very jazz, very nice


----------



## Casebearer

starthrower said:


> I couldn't find any audio clips from Riding The Wind.







Yes, I forgot to mention that is a bit of a problem. There is a lot to be found on Mihaly Dresch but very little from the cd Riding the wind. All I have found myself in the past is the video above that is a only fragment from the 11:17 minute and very beautiful 'Great Plains' (the Hungarian puszta). You feel the vastness of the flat plains and the heavens above it throughout the song. This feeling of being in a vast, open space is strengthened by the sound of the sparse shephers communicating amongst eachother across the plains over large distances with their traditional flutes by lenghty repeated tones rising in pitch (Dresch developed his own version of those flutes to use in a jazz setting). The song builds up slowly and reaches an incredible climax after some two minutes that gives me the feeling I'm standing on these plains myself stretching out my arms sideways in full length as if to absorb or unite with the open space which is the closest thing to uniting with the cosmos and stepping out of time-space boundaries I know off. Before you think that I'm 'one of those', this is the only instrumental song I feel about like this and am able to find these kind of words to. The rest of the cd is also of very high class in my opinion. Very important to the sound and feeling of a lot of Hungarian jazz and certainly this cd is the use of the cimbalom, a very well known part of the Gypsy band sound but it has much more to offer than the use that's made of it in that setting. It's incredibly suited to jazz I think. It gives depth of feeling no other percussion instrument can. Also the "Hungarian violin" adds a lot to the music (Ferenc Kovács is wonderful). Another thing I want to mention on Dresch are his incredibly beautiful melodies (e.g. Hajnal/Dawn from the cd Egyenes Zene/Straight Music).

To conclude. The title of the cd is very different in Hungarian from the English translation ('Riding the wind' which is very nice as it refers to the wind blowing over the puszta as well as the wind blowing through the saxophones and flutes or even the vibration of air that brings musical sounds to us). 'Mozdulatlan utazas' - the original title - means 'motionless travel'. Both are beautiful.

Postscript: as I was not satisfied by what I can let you hear I've searched a bit more. I was very happy to find a (different but also beautiful version) of Great Plains. It has only 66 views which is a disgrace.






I also found 'Tedd Rá' and 'Gergely' which are also on the cd but again in a quite different (live) version (I prefer the cd version because the sound of the video is a bit flat and 'distant'). On the cd 'Gergely' is instrumental.






And then I found Békesség - Csofada (which means Serenity - a tree for lovers), again in a different but extremely nice version. Listen how slow, quiet and peaceful they play. It's A Love Supreme: jazz doesn't get any better than this.






So now there's only song I couldn't find any version of. It's called Billegös (See-Saw). You should hear it.


----------



## starthrower

^^^
Thanks! I haven't had a chance to listen to all of these. But I'll get to them. His sound reminds me a bit of Israeli saxophonist, Gilad Atzmon. Atzmon has been living in England for many years now. I have his CD, Exile. He also recorded an album with Robert Wyatt.


----------



## Dr Johnson

Browsing in a record shop (actually, once again an appropriate description, as vinyl now jostles for space alongside the CDs and there were even two record decks on display) I found this which is 3 albums in one box, including Arcade which I used to have on vinyl. Hurrah for shopping in the real world!


----------



## starthrower

^^^
I plan on picking up that set eventually.

NP:










First listen to this one in quite a while. An exotic sound, and really good
group improvisation.


----------



## tortkis

I listened to John Abercrombie for the first time few days ago - Tactics (ECM), a trio with Dan Wall (organ) and Adam Nussbaum (drums). Quite different from typical funky organ trios. Very cool.


----------



## Dr Johnson

^^

Sounds interesting.

I recommend the album Gateway.


----------



## Casebearer

Tineke Postma & Greg Osby - Sonic Halo.

I saw the concert two weeks ago!


----------



## starthrower




----------



## Barbebleu

starthrower said:


>


I love this French label. I bought a lot of stuff in the sixties and seventies on it. They really helped the avant-garde artists that were having problems getting their material released in the U.S.


----------



## starthrower

Barbebleu said:


> I love this French label. I bought a lot of stuff in the sixties and seventies on it. They really helped the avant-garde artists that were having problems getting their material released in the U.S.


From what I've read they didn't help them too much financially. I believe the musicians were paid a flat fee for recording, but they never received any royalties. And the master tapes were not preserved.


----------



## Casebearer

Birthday present from my colleagues (it was on my list): The Cannonball Adderley Quintet in San Francisco. New vinyl pressing. Recorded when I was 5 months old. I must have picked up the vibes!


----------



## starthrower




----------



## starthrower

Nabbed a mint copy of this out of print 2 disc set at my local record store.
It's going for 140 dollars at Amazon.


----------



## Barbebleu

starthrower said:


> From what I've read they didn't help them too much financially. I believe the musicians were paid a flat fee for recording, but they never received any royalties. And the master tapes were not preserved.


Didn't know that. I stand corrected.


----------



## Barbebleu

Casebearer said:


> Birthday present from my colleagues (it was on my list): The Cannonball Adderley Quintet in San Francisco. New vinyl pressing. Recorded when I was 5 months old. I must have picked up the vibes!
> 
> View attachment 83762


This is an absolute gem. Sadly I got my copy on vinyl way back in the day.


----------



## Casebearer

Barbebleu said:


> This is an absolute gem. Sadly I got my copy on vinyl way back in the day.


I agree. I've played it three times now. It has the same 'quality'-feeling you get from the best Coltrane- and Davis-records of the late fifties and early sixties. Sounds fresh as a baby.


----------



## starthrower

Some great footage here from 1975.

Gary Burton band.
https://tv.nrk.no/serie/musikk-midt-i-middagshvilen/FBUA07004074/27-01-1975#t=12m26s

Ralph Towner, Jan Garbarek, Eberhard Weber, John Christensen.
https://tv.nrk.no/serie/jazz-i-munch-museet/FMUS00006074/28-02-1975


----------



## tortkis

Listening to some Charles Gayle. His piano style strongly reminds me of Thelonious Monk.

Precious Soul (FMP) - Charles Gayle (tenor saxophone, piano), Gerald Benson (double bass), Gerald Cleaver (drums)









Jazz Solo Piano (Knitting Factory)


----------



## starthrower

Some beautiful stuff from the late, great Monk Montgomery.


----------



## Casebearer

When you're in the mood for uncomplicated slow jazz:


----------



## starthrower

Trombone, Guitar, Drums


----------



## Casebearer

A young band of Mancunians with some reminiscence to Tigran Hamasyan and Simeon ten Holt. I saw them in Den Bosch last year.
Skip the first song and start listening at 4:15 or 8:10 (even better).


----------



## Morimur




----------



## Casebearer

Plaistow - Titan

A very interesting band from Switzerland playing free, minimalistic jazz. I think Morimur would like it.


----------



## Casebearer

starthrower said:


> Trombone, Guitar, Drums


Han Bennink is maybe the best free jazz drummer from The Netherlands. He's also quite a (funny) character.


----------



## Morimur

Casebearer said:


> Plaistow - Titan
> 
> A very interesting band from Switzerland playing free, minimalistic jazz. I think Morimur would like it.


Sounds like Dawn of Midi.


----------



## starthrower

Casebearer said:


> Han Bennink is maybe the best free jazz drummer from The Netherlands. He's also quite a (funny) character.


Ray Anderson is quite a character too! The music is very free, and I like the sound of these three instruments bouncing off each other.


----------



## starthrower

Thanks for the Plaistow. Good stuff!


----------



## Conglomerate




----------



## Vaneyes




----------



## Conglomerate




----------



## Conglomerate




----------



## Conglomerate




----------



## starthrower

This is some great music. Too bad it's out of print.


----------



## Barbebleu

starthrower said:


> This is some great music. Too bad it's out of print.


Here's a link to a download for the John Abercrombie if you're interested.

http://www.soundike.com/r1243507-john-abercrombie-characters-remastered-2001-mp3-download.html


----------



## starthrower

^^^
Thanks! I need to buy a computer CD burner, so I can make copies for my stereo.


----------



## Casebearer

Barbebleu said:


> Here's a link to a download for the John Abercrombie if you're interested.
> 
> http://www.soundike.com/r1243507-john-abercrombie-characters-remastered-2001-mp3-download.html


Hey, how does that work? Is that a legal way of acquiring the music? I noticed the prices are very very low. I also saw they have a lot that interests me.


----------



## Barbebleu

Casebearer said:


> Hey, how does that work? Is that a legal way of acquiring the music? I noticed the prices are very very low. I also saw they have a lot that interests me.


I think this company is based in Russia and therefore are paying scant attention to copyright and royalties hence the ridiculously low prices. Morally questionable but financially desirable. They have been going for years so I assume the U.S. and U.K. authorities have no power to close this site down. A lot of it seems to be vinyl conversions to digital too.


----------



## starthrower

I'll skip that site if it's a Russian rip off operation.

NP:


----------



## Vaneyes

Buddy Rich's famous last words...

http://www.edgetrends.com/famous-last-words-of-celebrities/24/


----------



## Casebearer

Barbebleu said:


> I think this company is based in Russia and therefore are paying scant attention to copyright and royalties hence the ridiculously low prices. Morally questionable but financially desirable. They have been going for years so I assume the U.S. and U.K. authorities have no power to close this site down. A lot of it seems to be vinyl conversions to digital too.


It's a loss for my ears and a shame for my wallet but I'll stay away from it 
I try to practice fair business.


----------



## starthrower

Just ordered a copy of the 2 disc set re-issued on BGO.
http://www.bgo-records.com/albums/bgocd567-labyrinth-roots

And picked up a used copy of this 2 disc set.


----------



## Casebearer

Roy Hargrove Quintet - Strassbourg Saint Denis


----------



## Casebearer

McCoy Tyner & Ravi Coltrane - Walk Spirit Talk Spirit


----------



## Casebearer

Miles Davis - The Last Performance 1991 (almost 15 years ago!)


----------



## severance68

Ahmad Jamal: Macanudo
Arranged and conducted by Richard Evans
Recorded December 20-21, 1962
Argo Jazz


----------



## Casebearer

Khalil El'Zabar's Ritual Trio - Where do you want to go?


----------



## Casebearer

Mammal Hands - Kandaiki.

Interesting band, a bit in the same vein of GoGo Penguin I posted on earlier (or is it vice versa).


----------



## Barbebleu

Casebearer said:


> It's a loss for my ears and a shame for my wallet but I'll stay away from it
> I try to practice fair business.


On further investigation it would appear to be operating out of Cyprus and not Russia as per my previous intimation.


----------



## tortkis

Andando El Tiempo - Carla Bley, Steve Swallow, Andy Sheppard (ECM)









A superb new recording by the trio. The previous album _Trios_ (Carla Bley's first release on ECM) was excellent too. All tunes are composed by Carla Bley.


----------



## Barbebleu

tortkis said:


> Andando El Tiempo - Carla Bley, Steve Swallow, Andy Sheppard (ECM)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> A superb new recording by the trio. The previous album _Trios_ (Carla Bley's first release on ECM) was excellent too. All tunes are composed by Carla Bley.


Yes indeed. This and the new Jack Dejohnette became available today so I'll be obtaining them in short order.


----------



## CDs

severance68 said:


> I don't have many jazz/classical fusions, but this is one I always enjoyed.
> 
> Favorite cuts are the opener, by Granados; Fauré's _Pavane _and Evans' own _Time Remembered_.


I have a lot of Bill Evans but never heard of this album. Will have to check it out. Thanks!


----------



## Casebearer

Barbebleu said:


> On further investigation it would appear to be operating out of Cyprus and not Russia as per my previous intimation.


There seem to be close ties between Russia and Cyprus and a lot of Russians in Cyprus. Cyprus has played the role of an offshore banking haven for thousands of Russian investors for decades. I wouldn't be surprised if it's a Russian company based in Cyprus. But I don't know of course and it might interesting to find out more about the legitimacy of it. I'll try to find out something via the Dutch BUMA-STEMRA


----------



## Casebearer

Barbebleu said:


> On further investigation it would appear to be operating out of Cyprus and not Russia as per my previous intimation.


I've dug into it a little further myself.

The soundike website claims that it operates from Nicosia in Cyprus but I found information that suggests that the IP-address is located in Russia: 
https://myip.ms/info/whois/217.65.12.70/k/3586412686/website/www.soundike.com

I've also read several reviews of the site. This one is interesting and helps you to decide for yourself if you want to buy digital downloads there:
http://www.therealmusician.com/gear-review-soundike.html

And another one:
http://www.mp3obsession.com/reviews/soundike/

So I won't be buying there. But my interest in digital music downloading sites is now raised and it might be nice to exchange about that subject in a broader way. I'll start a separate thread about that.


----------



## tortkis

Old Locks and Irregular Verbs - Henry Threadgill's Ensemble Double Up (Pi Recordings)









Henry Threadgill (composition), Jason Moran (piano), David Virelles (piano), Roman Filiu (alto saxophone), Curtis Macdonald (alto saxophone), Christopher Hoffman (cello), Jose Davila (tuba), Craig Weinrib (drums)

Poweful, complex, and creative music composed by Threadgill, dedicated to Butch Morris.


----------



## tortkis

Barbebleu said:


> Yes indeed. This and the new Jack Dejohnette became available today so I'll be obtaining them in short order.


I am checking out only few of them, but there have been interesting releases from ECM recently. Iyer/Smith, Cohen (very much like Miles Davis), Ches Smith, etc. I am not a big fan of Ravi Coltrane (not so impressive to me), but I would love to hear your impression about the DeJohnette album. I am looking forward to Masabumi Kikuchi's solo album Black Orpheus (not available here yet).


----------



## severance68

Mosaic Select: Denny Zeitlin
The Columbia Studio Trio Sessions (3 CDs)
Mosaic, 2009 compilation










includes the Columbia albums:

Cathexis (recorded Febuary 19 and March 6, 1964)










Carnival (recorded October 28-29, 1966)










Zeitgeist (recorded April 16-17, 1966 and March 18, 1967)


----------



## Heliogabo

tortkis said:


> Andando El Tiempo - Carla Bley, Steve Swallow, Andy Sheppard (ECM)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> A superb new recording by the trio. The previous album _Trios_ (Carla Bley's first release on ECM) was excellent too. All tunes are composed by Carla Bley.


Not available on my country yet. I'll be ordering this soon. Loved the previous album by this stunning trio as well.


----------



## Heliogabo

severance68 said:


> Mosaic Select: Denny Zeitlin
> The Columbia Studio Trio Sessions (3 CDs)
> Mosaic, 2009 compilation
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> includes the Columbia albums:kj
> 
> Cathexis (recorded Febuary 19 and March 6, 1964)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Carnival (recorded October 28-29, 1966)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Zeitgeist (recorded April 16-17, 1966 and March 18, 1967)


Gorgeous pianist. He deserves more recognition.


----------



## starthrower

New from E.S.T. drummer Magnus Ostrom.


----------



## Casebearer

Eric Dolphy - Springtime


----------



## starthrower

Listened to this one twice Friday night. Great album!


----------



## norman bates

Heliogabo said:


> Gorgeous pianist. He deserves more recognition.


yes, Zeitlin is truly one of the greats. Those Columbia trio sessions are some of the best jazz produced in the sixties.


----------



## Casebearer

Chet Baker - In Tokyo


----------



## starthrower

A friend of mine burned me a CD-R of the vinyl. Some really cool jazz with George Coleman playing tenor & alto sax.


----------



## TurnaboutVox




----------



## clavichorder

This one gives me a really good feeling, so golden toned all around, especially Wynton's solos:


----------



## tortkis

Casebearer said:


> Chet Baker - In Tokyo


This is very good. I downloaded the mp3 from Google Play. Thank you.


----------



## starthrower

Windsleepers-la fiancee du pirate










I know nothing about this band, but it's a pretty cool modern jazz album. I got it from
the university radio station where I used to do my jazz program. It's kind of a dark
album with some wordless female vocal melodies, a sax player that reminds me of Sam
Rivers and Wayne Shorter, electric piano, trumpet, bass, and drums. Recorded in Germany 
in 2005.


----------



## clavichorder

Just discovered this amazing track from the debut album of Wynton Masalis as a leader, 'Father Time.' Herbie Hancock plays piano in this album, but not in this song.


----------



## Casebearer

Ellery Eskelin - a great New York saxophone player - has just released a new Live cd on Hatology with his New York Trio (or in this case Trio Willisau). The other menbers are Gary Versace (Hammond Organ) and Gerry Hemingway (drums). You can find an excerpt here:

http://elleryeskelin.blogspot.nl/2016/05/its-available-order-from-web-site.html

and some more of his stuff on Soundcloud:

http://https://soundcloud.com/ramichellery

Check out all of it! He's worth it.

Here's a picture I made of him during a concert in 2014 in Den Bosch with Jozef Dumoulin. Copyright, yeah!!!!


----------



## Casebearer

This combination is so unusual I had to post it. Music for two trombones and two pedal steel guitars by Susan Alcorn. I didn't even know these guitars existed...

Can't say I like it so far as a whole but some parts are nice. It seems to require holistic and feminist 'deep listening'.


----------



## starthrower

Casebearer said:


> Ellery Eskelin - a great New York saxophone player - has just released a new Live cd on Hatology with his New York Trio (or in this case Trio Willisau). The other menbers are Gary Versace (Hammond Organ) and Gerry Hemingway (drums). You can find an excerpt here:
> 
> http://elleryeskelin.blogspot.nl/2016/05/its-available-order-from-web-site.html
> 
> and some more of his stuff on Soundcloud:
> 
> http://https://soundcloud.com/ramichellery
> 
> Check out all of it! He's worth it.
> 
> Here's a picture I made of him during a concert in 2014 in Den Bosch with Jozef Dumoulin. Copyright, yeah!!!!


Sounds good! The only thing I have w/ Eskelin is an album by bassist Mark Helias called Loopin' The Cool.


----------



## tortkis

clavichorder said:


> Just discovered this amazing track from the debut album of Wynton Masalis as a leader, 'Father Time.' Herbie Hancock plays piano in this album, but not in this song.


I liked the early Wynton Marsalis very much, especially the late 1980s recordings such as Black Codes, J Mood, and Live at Blues Alley. We listened to these albums enthusiastically at the university. I have not been following him since then, except for few albums I checked out occasionally.


----------



## TurnaboutVox

*Ancient Land, New Territory*
Jonas Howden Sjøvaag & Arild Andersen
[Shipwreckords, 2015]










*Bluish*
Tomasz Stanko, Arild Andersen, Jon Christensen
[Power Bros, 1992]


----------



## Casebearer

Music for taped sound and jazz trumpet played by Voiznoiz3. This is Michel Banabila and Eric Vloeimans (the very interesting Dutch trumpet player).


----------



## Casebearer

Eric Vloeimans, Mehmet Polat and Michel Banabila live at Grounds Rotterdam


----------



## norman bates

Casebearer said:


> I didn't even know these guitars existed...


Pedal steel are used very often, especially in country music but in other genres too. Pink floyd and their "the great gig in the sky" is an example. Anyway thanks for the video, it looks interesting, I didn't know her.


----------



## TurnaboutVox

[Concord, 2008]

Great stuff, I love what these two do together.


----------



## Conglomerate




----------



## Casebearer

norman bates said:


> Pedal steel are used very often, especially in country music but in other genres too. Pink floyd and their "the great gig in the sky" is an example. Anyway thanks for the video, it looks interesting, I didn't know her.


I later found out some other stuff by her is more interesting than what I posted.


----------



## Casebearer

Jean-Luc Ponty's No absolute time (1993). Wonderful polyrythmics.


----------



## tortkis

Black Orpheus - Masabumi Kikuchi (ECM, 2016)









Live recording of a solo piano concert in 2012. Lyrical, quiet, and rhythmically complex. Manhã de Carnaval sounds very unique.


----------



## Casebearer

Mulgrew Miller Quintet - Wingspan (1988). On vinyl. Got it today with a set of other vinyl albums that have been sleeping in a bedroom for years.

The video is from a different album.


----------



## starthrower

I never knew Herbie Mann had this band with all these heavy cats.






A 2 CD set was recently released. Live At The Whiskey 1969.


----------



## Casebearer

^^^

Wonderful stuff Starthrower. I've found this one on YT:


----------



## Xenakiboy

I'm not new to jazz but what are some albums you suggest I hear? I love bebop, free jazz, smooth jazz and klezmer-jazz especially


----------



## Casebearer

Xenakiboy said:


> I'm not new to jazz but what are some albums you suggest I hear? I love bebop, free jazz, smooth jazz and klezmer-jazz especially


You might start working your way backwards through this thread, ha ha. There's just too much. Or you should give some more clues about what you know already and what you'd be interested in.


----------



## severance68

Dizzy Gillespie Big Band - The New Continent
Composed and arranged by Lalo Schifrin
Conducted by Benny Carter
Recorded September 1962
Jazz Collectors, 2010 reissue


----------



## aleazk




----------



## Casebearer

Stanley Turrentine. A great sax player with a beautiful tone. But I chose 'Tender Togetherness' (1981) tonight. Probably his worst record with very heavy 'soul' influences (of the dreamy type). As a friend of mine said: he probably had to pay his mortgage.

Still his sax sounds great, it's the music that stinks


----------



## severance68

Johnny Dankworth:
The Avengers (1963)
The Frost Report (1966)

Let's Slip Away - Film and TV 1960-1973 (2 CDs)
Disc 2
Universal UK, 2009 compilation


----------



## Vaneyes




----------



## Vaneyes




----------



## Vaneyes




----------



## tortkis

Swing's Mistress - Whitney Smith Big Steam Band (Community Records, 2011)









Superb straight-ahead big band jazz. Andrea Kuzmich, who sings most of the tunes, is fantastic.

Flight to Nassau (Sammy Nestico)




Nica's Dream (Horace Silver)


----------



## starthrower

Picked this up at the library today. As you probably guessed by the band name, it's a large group recording. And it features some really fine new material from the veteran bassist.



















Here's a preview.


----------



## tortkis

Listening to Mike Nock. An outstanding compoaser / pianist.

Ondas (ECM, 1982)
Mike Nock (piano, percussion), Eddie Gómez (bass), Jon Christensen (drums)









An Accumulation Of Subtleties - Mike Nock Trio (FWM, 2010)
Mike Nock (piano), Ben Waples (bass), James Waples (drums)


----------



## Xenakiboy

Anyone like Coleman here?


----------



## Barbebleu

Xenakiboy said:


> Anyone like Coleman here?


Ornette, George, Hawkins?


----------



## Andolink

This classic from October of 1960 by Art Pepper and his quintet is SOOO GOOOD!


----------



## Conglomerate




----------



## Conglomerate




----------



## Conglomerate




----------



## Dan Ante

tortkis said:


> Listening to Mike Nock. An outstanding compoaser / pianist.


I have a couple of his CDs The Australians claim him as one of their sons but he is a New Zealander.


----------



## Xenakiboy

Barbebleu said:


> Ornette, George, Hawkins?


Ornette of course! :lol:


----------



## Barbebleu

Xenakiboy said:


> Ornette of course! :lol:


One of my favourite artists since I first got into jazz in 1965. Too many albums to pick anything out but there is a great box set that has all his classic Atlantic albums called Beauty is a Rare Thing and if I was recommending a brilliant overview of Coleman in the sixties this would be it. Essential listening. Then, of course, you need to get his late sixties stuff from Blue Note and Impulse then his electric guitar band stuff in the seventies and eighties. Basically if you enjoy him at all you need everything!


----------



## starthrower

Barbebleu said:


> Basically if you enjoy him at all you need everything!


I really enjoy the Song X 20th Anniversary re-issue. The six extra tracks added as the new first section of the album are terrific! And the whole thing has a seemless quality. It doesn't feel like an old album with bonus tracks tacked on.

I like George Coleman too. I don't care what Tony Williams thought about him. I've been listening to Monterey 1963, and Seven Steps To Heaven, and it's great music!


----------



## Heliogabo

starthrower said:


> I really enjoy the Song X 20th Anniversary re-issue. The six extra tracks added as the new first section of the album are terrific! And the whole thing has a seemless quality. It doesn't feel like an old album with bonus tracks tacked on.


I didn't knew about that re-issue. Holly ignorance, now I feel I'm missing something!!


----------



## Dan Ante

Esbjorn Svensson Trio - Behind The Yashmak, Car Crash, Dodge The Dodo - LIVE


----------



## Conglomerate




----------



## Vaneyes




----------



## Guest

I just received this disc--wow! The musicians are practically in the room with me! My only quibble is that the piano and drums are panned hard left/right--if each have recorded in stereo and equally spread lt/rt, then the sound would be a bit more spacious, but it still sounds remarkably good in this SACD remastered version.


----------



## CDs

I have _Kind of Blue_ on Mofi SACD. Might have to look into getting _E.S.P._ as well.


----------



## Vronsky

*John Coltrane: First Meditations (for quartet, 1977)*










John Coltrane: First Meditations (for quartet, 1977)


----------



## Dan Ante

George Melly/Mick Mulligan Mama don't allow. The good old days of jazz.


----------



## Jay

The under-recognized Bobby Jones, formerly with Mingus:


----------



## Casebearer

Vronsky said:


> John Coltrane: First Meditations (for quartet, 1977)


I have that one on vinyl. It's great.


----------



## tortkis

It Could Only Happen with You - Duke Pearson (Blue Note, 1974)









Duke Pearson, Burt Collins, Joe Shepley, Kenny Rupp, Hermeto Pascoal, Jerry Dodgion, Al Gibbons, Frank Foster, Lew Tabackin, Bob Cranshaw, Ron Carter, Mickey Roker, Flora Purim

very good latin jazz.


----------



## Vronsky

*Bill Evans: Portrait in Jazz (1960)*










Bill Evans: Portrait in Jazz (1960)


----------



## Casebearer

György Szabados (the father of modern Hungarian jazz) and Anthony Braxton in a performance from 1984.


----------



## Dan Ante

Vronsky said:


> Bill Evans: Portrait in Jazz (1960)


Love his playing I have a fistful of Bill Evans TrioCDs.


----------



## Vronsky

*Charles Mingus: Blues & Roots (1960)*










Charles Mingus: Blues & Roots (1960)


----------



## zhopin

Night Train (Expanded Edition)
The Oscar Peterson Trio


----------



## Barbebleu

Just added these to my collection. The Copland/Abercrombie/Wheeler is very good and what I've heard of the Evans, so far, is excellent.


----------



## Xenakiboy

Vronsky said:


> Charles Mingus: Blues & Roots (1960)


I've played that record a few times, if you know what I mean!


----------



## Vronsky

*The Bad Plus - The Rite of Spring (2014)*










The Bad Plus - The Rite of Spring (2014)


----------



## Morimur

Vronsky said:


> The Bad Plus - The Rite of Spring (2014)


A rather weak rendition.


----------



## Vronsky

Morimur said:


> A rather weak rendition.


Lacks a bit of intensity, but I don't agree with you. I think it's a good rendition. However, I think that Larry Coryell's jazz version of The Rite of Spring is far better than this one.


----------



## Barbebleu

Vronsky said:


> Lacks a bit of intensity, but I don't agree with you. I think it's a good rendition. However, I think that Larry Coryell's jazz version of The Rite of Spring is far better than this one.


And his version of The Firebird!


----------



## starthrower

Coryell played a little bar up the street from my house last fall. He played Bolero on really good sounding acoustic guitar. It made me go buy the CD, which has a ton of great stuff on it.


----------



## Casebearer

Listening to Albert Ayler with Don Cherry, Gary Peacock and Sunny Murray - The Copenhagen Tapes (1964).
That's the same year Peyton Place premiered on American television and the first Beatles album was released in the US.


----------



## Barbebleu

Casebearer said:


> Listening to Albert Ayler with Don Cherry, Gary Peacock and Sunny Murray - The Copenhagen Tapes (1964).
> That's the same year Peyton Place premiered on American television and the first Beatles album was released in the US.


Two out of three ain't bad!


----------



## Barbebleu

Added these to my Pat Metheny collection


----------



## Barbebleu

And these













View attachment 85984

__
Sensitive content, not recommended for those under 18
Show Content


----------



## Vronsky

*Herbie Hancock: Thurst (1974)*










Herbie Hancock: Thurst (1974)


----------



## Barbebleu

Just listened to this. Very good.


----------



## Heliogabo

Barbebleu said:


> Just listened to this. Very good.
> 
> View attachment 86020


I've never heard a bad recording from this trio (and I've heard every one of them I think).


----------



## Vronsky

*John Coltrane: Meditations (1966)*










John Coltrane: Meditations (1966)


----------



## norman bates

I'm listening to David Virelles and he seems a VERY interesting pianist. The influence of Andrew Hill is quite clear, but this guy has a lot of personality.


----------



## Casebearer

Jason Moran and Robert Glasper as a duo. Nice music although the setting looks more like a Victorian dinner table than an Italian aperitivo setting.


----------



## Casebearer

Don Cherry's health food. It's hypnotizing...


----------



## tortkis

Book Of Intuition - Kenny Barron Trio (Impulse!, 2016)









Kenny Barron (piano), Kiyoshi Kitagawa (bass), Johnathan Blake (drums)

The first recording of Barron's regular trio. All the tunes are his original except for two by Monk and Charlie Haden's Nightfall. Very good.


----------



## Jay

Michael Attias (alto)


----------



## Vronsky

*Duke Ellington: Unknown Session (1979)*










Duke Ellington: Unknown Session (1979)


----------



## starthrower

I usually pick up a Bill Evans album every couple of years, and this one has been on my radar for a long time now. It features Philly Joe Jones on drums, and he always elevates any session.


----------



## tortkis

Seven Lines - Hera with special guest Hamid Drake (2013)









Wacław Zimpel: clarinet, alto clarinet, harmonium
Paweł Postaremczak: tenor & soprano saxophones, harmonium
Maciek Cierliński: hurdy-gurdy
Raphael Rogiński: guitar
Ksawery Wójciński: double bass
Paweł Szpura: drums
Hamid Drake: drums, frame drum, vocal

Powerful, deep, and spiritual. A splendid album.


----------



## GodNickSatan

Don't recall hearing harmonium in jazz before. That sounds interesting.


----------



## Vronsky

*Art Tatum: Piano Starts Here*










Art Tatum: Piano Starts Here


----------



## norman bates

GodNickSatan said:


> Don't recall hearing harmonium in jazz before. That sounds interesting.


are you thinking of a jazz version of Janitor of lunacy?


----------



## starthrower

Wow! This is a great jazz record! https://www.youtube.com/results?search_query=joe+harriott+free+form


----------



## starthrower

Being a Swede, I found this discovery quite interesting. This beautiful tune can be found on the 1964 album Jazz pa svenska, the biggest selling jazz album in Sweden. https://en.wikipedia.org/wiki/Jazz_på_svenska


----------



## Morimur

starthrower said:


> Being a Swede, I found this discovery quite interesting. This beautiful tune can be found on the 1964 album Jazz pa svenska, the biggest selling jazz album in Sweden. https://en.wikipedia.org/wiki/Jazz_på_svenska


A Swede, eh? I knew there was something about you...

something awesome, that is!


----------



## starthrower

Morimur said:


> A Swede, eh? I knew there was something about you...
> 
> something awesome, that is!


You're too kind! Actually, my great uncle Herb Larson was truly the awesome one. He died during his 100th year in 2012.


----------



## Heliogabo

starthrower said:


> Wow! This is a great jazz record! https://www.youtube.com/results?search_query=joe+harriott+free+form


Absolutely. This is great stuff. I like even more his Abstract album, released two years after this one. Harriot's indo-fussion albums are worth hearing too.


----------



## aleazk

Bill Evans & Toots Thielemans - Affinity






Toots Thielemans is simply amazing.


----------



## CDs

Just picked up the gold edition of *Sonny Rollins - Way Out West* on Analogue Productions. Got it for a huge bargain of $10.99!


----------



## Jay

The forgotten Frank Strozier (alto) with the almost-forgotten Booker Little:


----------



## Casebearer

aleazk said:


> Bill Evans & Toots Thielemans - Affinity
> 
> 
> 
> 
> 
> 
> Toots Thielemans is simply amazing.


He might be now but he ruined our youth being always present in all the major shows on Dutch and Belgian television playing the most middle of the road music you can imagine. When he was playing all the energy left us and we fell into a state of lethargy or depression. I think he must have prevented 1.000's of abortions because it had a devastating effect on our libido too.


----------



## tortkis

The Complete Overseas Session - Tommy Flanagan (piano), Wilbur Little (bass), Elvin Jones (drums)









Recorded 1957. This was one of my favorite jazz albums. I believe no digital album had been available until recently.


----------



## starthrower

Jay said:


> The forgotten Frank Strozier (alto) with the almost-forgotten Booker Little:


I'm a fan. The Fantastic Frank Strozier, and Long Night are a couple of great CDs.


----------



## tortkis

Casebearer said:


> He might be now but he ruined our youth being always present in all the major shows on Dutch and Belgian television playing the most middle of the road music you can imagine. When he was playing all the energy left us and we fell into a state of lethargy or depression. I think he must have prevented 1.000's of abortions because it had a devastating effect on our libido too.


I don't have any strong feeling about Thielemans but thanks for that clip. I love Here's That Rainy Day and recently I've been collecting recordings of the tune. Noël Akchoté (guitar solo), Keith Davis (piano solo), Paul Audy (guitar solo), and Bill Evans (solo on Alone) were what I heard lately and all impressive. Probably the first recording I really liked was Michel Petrucciani's (Pianism). Freddie Hubbard (Straight Life) is also very good.


----------



## Casebearer

I'll be the first to admit all I'll post on Toots is extremely subjective because I'll never forgive him for ruining Saturday Nights.


----------



## starthrower

First listen to this one in ages. Great band!

Chris Speed
Josh Roseman
Uri Caine
James Genus
Marty Ehrlich
Joey Baron


----------



## zhopin

Feeling a little jazzy today. 

I absolutely love this album.


----------



## Jay

Hod O'Brien, keeping the flame alive...


----------



## starthrower




----------



## Casebearer

Today I got a gift from a friend and colleague who's parting with the last of his vinyl. Some 30 records amongst that a lot of jazz. Some Dutch jazz from the eighties (Willem Breuker Collective, 5 Slag 1 Wijd, etc) and some international/American jazz (Branford Marsalis, Herbie Hancock, John Scofield, Eddie Lockjaw Davis, Hank Mobley, Eddie Harris).

Don't know where I'll start....


----------



## starthrower




----------



## starthrower

Beautiful collection of Swedish jazz recorded in the 50s & 60s.
A disc each by the pianist and guitarist. Especially moving are
the Swedish folk tunes performed by the piano trio.
http://www.waysidemusic.com/Music-P...-Blowout-Sale)__23-ACMEMD-spc--spc-281CD.aspx


----------



## Casebearer

Jesse van Ruller & Joris Roelofs playing Just in Time.


----------



## Casebearer

Kang Tae-Hwan. Solo saxophone from South Korea.

Impressive in my opinion. Sound of ' 아침의 나라'

My first impression is that he took off with what Coltrane and Messiaen left him.






In this second part he's the Messiaen of jazz saxophone.






He also has a trio.


----------



## Casebearer

Miály Dresch Quartet playing the beautiful 'Dawn' from their 2004 album Straight Music on BMC Records.
Performers are Mihály Dresch, István Baló, Mátyás Szandai and Ferenc Kovács.

Nice slow build up and straight beauty!


----------



## Heliogabo




----------



## Casebearer

Eddie Harris' Listen Here. Great saxophone! And it swings the hell out of you.


----------



## Casebearer

John Coltrane - Spiritual


----------



## norman bates

Casebearer said:


> In this second part he's the Messiaen of jazz saxophone.


to me this reminds me of guys like Roscoe Mitchell. Maybe also Evan Parker or Anthony Braxton.


----------



## Casebearer

A great concert by Ibrahim Maalouf and his band at the North Sea Jazz Festival in 2014. I same him later that year in Eindhoven. It's a beautiful blend of Arab, jazz and rock. I like the whipping effect of the lead trumpet playing a phrase and getting answered by the brass choir again and again. At times it swings till your pants drop, at other times it's tender with heartbreakingly beautiful melodies.

If you haven't heard his music yet, try now.....






I forgot: PLAY IT LOUD!!!!!!


----------



## Casebearer

And if you're impatient and want to hear some trumpet playing you have never heard before: start the video at 19:10 and listen through till 27:00 minutes (and more). Tell me what you think!


----------



## Pugg

Eileen Farrell - Somebody Loves Me (1960s)


----------



## jim prideaux

The Nearness of You/Ballad Book-Michael Brecker (with a band that includes Metheny, Haden, Hancock, de Johnette)......


----------



## tortkis

Elicit Inquest (2014)








Laura Watts (composer, pocket trumpet and vibraphone), Jeff Watts (drum set and percussion), Orlando le Fleming (double bass)

About The Heart (2016)








Laura Watts (pocket trumpet, vibraphone, fender rhodes), Orlando le Fleming (double bass), Jeff "Tain" Watts (drum set, percussion) with special guests Melissa Aldana (tenor sax), Kristin Berardi (voice), Anthony Garcia (guitar), Eladio "Don Pancho" Terry (chekere) and Yunior Terry Cabrera (bass)

I like the sound of pocket trumpet. It's warm, dark, a bit stuffy but not cheap at all. Laura Watts's playing is soulful and creative, reminding me of Don Cherry, not only because of the instrument.


----------



## Xenakiboy

I've been listening to my CD of Kind of Blue by Davis (obviously) and the thought hit me that; as much as I love bebop and the more "experimental" types of jazz, the smoother style of instrumental jazz (of which Kind Of Blue is a prime example, I could listen to all day. 
Coltrane, Coleman, Sun Ra, Dolphy and Mingus haven't had enough plays around my place lately. I have a decent jazz collection, I should be listening to it more regularly! :tiphat:


----------



## Xenakiboy

Of course Thelonious Monk too! He was ***ing scary good!!


----------



## tortkis

Kaigaribushi (Bill Laswell remix) - Akira Sakata









_Japanese free jazz icon, Akira Sakata in collaboration with the legendary Pete Cosey (Miles Davis, Muddy Waters, Howling Wolf), drummer - Hamid Drake and bassist - Bill Laswell. Traditional Japanese folk art meets funk and free improvisation. Mix-construction by Bill Laswell._

https://billlaswell.bandcamp.com/track/kaigaribushi-bill-laswell-remix


----------



## Conglomerate




----------



## Xenakiboy

I've been listening to Thelonious Monk's; Straight, No Chaser album recently and the harmonies are deliciously good, jazz has a hold on me at the moment. It's annoying I don't listen to it as much as I should be!


----------



## Xenakiboy

I'm finding it hard to stop listening to this at the moment!!! 










I'm not going to resist the urge either... :trp::trp::trp:


----------



## starthrower

I really like this one! Recorded 1975 for ECM.


----------



## tortkis

Live At Dreher Paris 1981 - Mal Waldron & Steve Lacy (hatOLOGY)









Two greats play works of Monk and their compositions.


----------



## Simon Moon

starthrower said:


> I really like this one! Recorded 1975 for ECM.


Yep.

It's a killer.


----------



## Heliogabo

I love Waldron and Lacy duets and was looking for this album. It seems a rarity now, the only copies I found were so expensive. Congratulations!


----------



## starthrower

Heliogabo said:


> I love Waldron and Lacy duets and was looking for this album. It seems a rarity now, the only copies I found were so expensive. Congratulations!


I have the studio duet albums, as well as Mal Waldron's band albums with Lacy. Love those cats!


----------



## Heliogabo

starthrower said:


> I have the studio duet albums, as well as Mal Waldron's band albums with Lacy. Love those cats!


Yes I have two studio albums and one live recording by this duet. They worked together so well.


----------



## tortkis

Heliogabo said:


> I love Waldron and Lacy duets and was looking for this album. It seems a rarity now, the only copies I found were so expensive. Congratulations!


mp3 download (320kbps) is available at emusic for a bargain price. (4-disc set for $6.49) Many OOP hathut albums are now available for downloading. Even if you are in a hardcore CD-only camp, I recommend to convert just for it. 

http://www.emusic.com/album/-/-/16114192/


----------



## Pugg

starthrower said:


> I really like this one! Recorded 1975 for ECM.


I do like this mysterious covers .


----------



## Vronsky

*Stan Getz: Moments in Time*










Stan Getz: Moments in Time


----------



## Xenakiboy

This is so awesome, dare I say better than the original.


----------



## Xenakiboy

That hits the spot!


----------



## Heliogabo

tortkis said:


> mp3 download (320kbps) is available at emusic for a bargain price. (4-disc set for $6.49) Many OOP hathut albums are now available for downloading. Even if you are in a hardcore CD-only camp, I recommend to convert just for it.
> 
> http://www.emusic.com/album/-/-/16114192/


Thank you so much, tortkis. Certainly I prefer cds, but I' m not totally closed to downloads, specially in cases like this. Unfortunately this is not available in my country, I apreciate your post anyway :tiphat:


----------



## Casebearer

Just got back from a holiday in beautiful Slovenia. Although it's hardly known for its jazz culture and the few Slovenians that have this inclination mostly go abroad to Austria and other countries to study I managed to find two nice jazz / fusion cd's in Ljubljana with some help from the owner of the local Jazz & Blues Record Store. First one, more inside the jazz tradition, is the cd Underground by the Blue Train Quintet (2014) with Marko Petrusic (piano), Daniel Homsak (bass), Uros Sever (trumpet), Andrej Vernik (tenorsax), Jaka Hawlina (trumpet), Iztok Repovz (drums).

I also managed to find a youtube video of a live show on which the quintet is playing much of the material from this album.






On the other cd I'll post in the non-classical listening topic.


----------



## Barbebleu

Albert Ayler - The First Recordings Vol. 1


----------



## starthrower

Happy Birthday to Pat Metheny! Can't believe he's 62.
Born Aug 12th 1954.


----------



## Barbebleu

starthrower said:


> Happy Birthday to Pat Metheny! Can't believe he's 62.
> Born Aug 12th 1954.


Need to go and listen to some Pat now. I still think of him as the young guitar hero of the late seventies/early eighties. Aaargh, where did the last forty years go.


----------



## starthrower

Barbebleu said:


> Need to go and listen to some Pat now. I still think of him as the young guitar hero of the late seventies/early eighties. Aaargh, where did the last forty years go.


I don't know? I was just thinking that when I started listening to Pat, we were both in our 20s. Anyway, he's given me countless hours of extreme pleasure listening to his music. And I'm fortunate to have seen him live a half dozen times including one of the shows with Ornette back in '86. Man, that was an exciting night seeing all those geniuses onstage together!


----------



## Xenakigirl

starthrower said:


> I don't know? I was just thinking that when I started listening to Pat, we were both in our 20s. Anyway, he's given me countless hours of extreme pleasure listening to his music. And I'm fortunate to have seen him live a half dozen times including one of the shows with Ornette back in '86. Man, that was an exciting night seeing all those geniuses onstage together!


Fantastic guitar player, him with Ornette would be mindblowing!!


----------



## Casebearer

I love Pat Metheny. I had one of his cd's with me on our trip to Slovenia! I also love his collabaration with Joni Mitchel on the Shadows and Lights live album. His solo on Amelia, it's heaven...


----------



## LarryShone

I'm fairly new to jazz and I discovered this classic Miles disk yesterday. Its just such an amazing disk. All improv, one take.


----------



## Vronsky

*Bill Evans Trio: Waltz for Debby (1962)*










Bill Evans Trio: Waltz for Debby (1962)


----------



## LarryShone

Vronsky said:


> Bill Evans Trio: Waltz for Debby (1962)


Class. Sheer class


----------



## starthrower

A really great sounding big band album!


----------



## LarryShone

starthrower said:


> A really great sounding big band album!


I love your signature. Thats how I feel about music. You dont just hear it. You have to listen to it.


----------



## Jay




----------



## Barbebleu

Albert Ayler - First Recordings Vol. 2.


----------



## Vronsky

*Paul Desmond: Blues In Time (Not Now Music, 2013)*






Paul Desmond: Blues In Time (Not Now Music, 2013)


----------



## tortkis

Belonging - Keith Jarrett (ECM, 1974)









Keith Jarrett (piano), Jan Garbarek (sax), Palle Danielsson (bass), Jon Christensen (drums)

This may be a famous story, but I didn't know about the lawsuit between Jarrett and Steely Dan. He accused Steely Dan of stealing _Long As You Know You're Living Yours_ for _Gaucho_. There is resemblance, but to me it sounds rather being influenced than stealing. Anyway, both are great albums.

Gaucho - Steely Dan (MCA, 1980)


----------



## SimonNZ

RIP Bobby Hutcherson. One of the most impressive discographies in any genre.

Playing one of my favorites of his now, Solo/Quartet from 1982:


----------



## Barbebleu

SimonNZ said:


> RIP Bobby Hutcherson. One of the most impressive discographies in any genre.
> 
> Playing one of my favorites of his now, Solo/Quartet from 1982:


One of the great modern vibraphone players. Right up there with Milt Jackson and Gary Burton. Only 75, too soon.


----------



## Vronsky

*Joe Zawinul: The ESC Years*










Joe Zawinul: The ESC Years


----------



## starthrower

Barbebleu said:


> One of the great modern vibraphone players. Right up there with Milt Jackson and Gary Burton. Only 75, too soon.


So sad to know Bobby Hutcherson is gone. A one of a kind artist and musician who possessed an instantly recognizable sound on both vibes and marimba. http://www.nytimes.com/2016/08/17/arts/music/bobby-hutcherson-dies-jazz.html?_r=0


----------



## tortkis

RIP Hutcherson. Besides the excellent Blue Note recordings, this 1999 Verve album with Kenny Garrett, Geri Allen, Christian McBride and Al Foster was particularly memorable to me. I saw him live around that time in a concert with Milt Jackson and Stefon Harris, 3 generations of great vibraphonists.

Skyline


----------



## Vronsky

*Arkadia Jazz All-Stars: Thank You, Duke! Our Tribute to Duke Ellington*










Arkadia Jazz All-Stars: Thank You, Duke! Our Tribute to Duke Ellington


----------



## Vronsky

P.S. I want to ask a question to all participants on this thread: What do you think of Herbie Hancock's music? How much you heard from it and what is your opinion? Thanks.


----------



## Barbebleu

Vronsky said:


> P.S. I want to ask a question to all participants on this thread: What do you think of Herbie Hancock's music? How much you heard from it and what is your opinion? Thanks.


Herbie with Miles and the V.S.O.P band definitely. Later years and his funk adventures I'm not so keen on although Headhunters is a great album. His piano stuff with Chick Corea brilliant, along with his more straight ahead jazz groups. All in all a jazz giant and well worth exploring.


----------



## Heliogabo

Vronsky said:


> P.S. I want to ask a question to all participants on this thread: What do you think of Herbie Hancock's music? How much you heard from it and what is your opinion? Thanks.


Some great albums on Blue Note label. I second Barbeblue about his work with MD and VSOP, maybe his best. I have mixed feelings about his funk stuff, some is really enjoyable, but some other I can't get it. Still, he's a great jazzman with no doubt.


----------



## Jay

Vronsky said:


> P.S. I want to ask a question to all participants on this thread: What do you think of Herbie Hancock's music? How much you heard from it and what is your opinion? Thanks.


Great player, with a very hip harmonic sense. I prefer the 60s Herbie, with Miles and various other sideman gigs, as well as his solo albums, particularly _Speak Like A Child_ and _The Prisoner_, both larger group projects with great arrangements.

The Mwandishi, Sextant, & Headhunters albums are a different thing, not uninteresting but not the first things I reach for.


----------



## Jay




----------



## starthrower

Herbie Hancock is brilliant! I have most of the Blue Note albums, and my favorites are Inventions and Dimensions, Maiden Voyage, and Speak Like A Child. If you want to hear a lot of piano and no horns, get Inventions...

He changed up in the late 60s. Fat Albert Rotunda is more funk oriented, but it's a now dated 60s boogaloo sound. The next couple of albums are more in the vein of Miles In A Silent Way. Those are Mwandishi and Crossings. And he continued along these lines with Head Hunters, but it's not quite as spacey.

Another interesting album is 1999's Gershwin's World. This album contains some very hip and original takes on these classic tunes. Features Wayne Shorter, Stevie Wonder, Joni Mitchell, and the great soprano, Kathleen Battle.

If you like the the 60s Miles Davis Quintet, and you want more of that type of thing, go with some of the Blue Note albums. The only one I don't really like is My Point Of View. This was his second album, and it sports an impressive line-up, but the date sounds uninspired to my ears.


----------



## tortkis

Vronsky said:


> P.S. I want to ask a question to all participants on this thread: What do you think of Herbie Hancock's music? How much you heard from it and what is your opinion? Thanks.


Although he composed some wonderful tunes and the 60s Miles Davis band was great, I have never been a big fan of Hancock. I often felt there is something mechanical or aritificial in his playing. I do not dislike mechanical, aritificial music in general, but his style was not to my taste then. (I have not heard much of his funk stuff. I just re-listened to Head Hunters. Very good!)


----------



## starthrower

tortkis said:


> I often felt there is something mechanical or aritificial in his playing.


Hmm? I've never read any criticism such as this about Herbie Hancock's playing. And I don't hear it myself. To my ears, Herbie is simply one of the finest jazz pianists I've ever had the pleasure of listening to. He plays amazingly inventive solos, has a very advanced harmonic concept, and most importantly, he has a great touch and feel, and rhythmic sense.


----------



## tortkis

starthrower said:


> Hmm? I've never read any criticism such as this about Herbie Hancock's playing. And I don't hear it myself. To my ears, Herbie is simply one of the finest jazz pianists I've ever had the pleasure of listening to. He plays amazingly inventive solos, has a very advanced harmonic concept, and most importantly, he has a great touch and feel, and rhythmic sense.


I too have never heard this kind of opinion which I felt about Hancock. Every jazz fans I met highly praised Hancock's playing in his group and the Miles Davis band. But I have not become really enthusiastic about his playing. Probably what he does are too advanced for me.


----------



## norman bates

starthrower said:


> Fat Albert Rotunda is more funk oriented, but it's a now dated 60s boogaloo sound.


on that album there's my favorite tune of him, "Tell me a bedtime story", that is also one of his most popular standards.

Talking of lovely standards and musicians with a great sense of harmony, I was listening to this (I didn't know that it was the only standard composed by an argentinian musician)


----------



## Casebearer

tortkis said:


> I too have never heard this kind of opinion which I felt about Hancock. Every jazz fans I met highly praised Hancock's playing in his group and the Miles Davis band. But I have not become really enthusiastic about his playing. Probably what he does are too advanced for me.


I must say I can go with you a long way though. I experience his playing as very skilled and interesting from the technical aspect but I can't remember ever being touched by it in any way that made me want to put on some more of his music. In my opinion 'the groove' is somehow missing, but of course that is based on a limited amount of listening. Just my opinion so far.


----------



## starthrower

Amazing trumpeter!


----------



## starthrower




----------



## Vronsky

*Bill Evans Trio: The 1972 Ljubljana Concert*










Bill Evans Trio: The 1972 Ljubljana Concert


----------



## tortkis

Musical Monsters - Cherry / Tchicai / Schweizer / Francioli / Favre (Intakt, 2016)









Don Cherry (trumpet), John Tchicai (alto saxophone, voice), Irène Schweizer (piano), Léon Francioli (bass), Pierre Favre (drums)

http://www.intaktrec.ch/269-a.htm

Recorded 1980. A great finding from the archives. Superb.


----------



## Pugg

*R.I.P Toots Thielemans 22-08-2016*






*Toots Thielemans *- The Shadow of Your Smile .1978 wmv

Homage to a great musician!


----------



## Miles120

a fantastic piece by herbie hancock. I hope you enjoy it.


----------



## tortkis

Paul Smoker (1941-2016)
Landings - Paul Smoker Notet (Alvas, 2013)









Paul Smoker (trumpet), Steve Salerno (guitar), Drew Gress (bass), Phil Haynes (drums)






Smoker's playing was free and tender. He had a beautiful trumpet tone.


----------



## Barbebleu

tortkis said:


> Musical Monsters - Cherry / Tchicai / Schweizer / Francioli / Favre (Intakt, 2016)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Don Cherry (trumpet), John Tchicai (alto saxophone, voice), Irène Schweizer (piano), Léon Francioli (bass), Pierre Favre (drums)
> 
> http://www.intaktrec.ch/269-a.htm
> 
> Recorded 1980. A great finding from the archives. Superb.


Didn't know this album. Thanks for the heads up.


----------



## Barbebleu

Listening to Eberhard Weber - The Colours of Chloe and Orchestra. Lovely stuff and very ECM.


----------



## starthrower

I remember watching this when it first aired. Edgar is one funky bass player!


----------



## tortkis

The Rites - Burnt Sugar the Arkestra Chamber conducted by Butch Morris (Avant Groidd Musica , 2003)









Melvin Gibbs (bass), Okkyung Lee (cello), Jason Di Matteo (double bass), Qasim Naqvi (drums), Trevor Holder (drums), Latasha Nevada Diggs (electronics), Satch Hoyt (flute), James Lee (guitar), Morgan Craft (guitar), Pete Cosey (guitar), Rene Akan (guitar), Bruce Mack (organ), Vijay Iyer (piano), DJ Mutamassik (turntables, tape, effects), Mazz Swift (violin), Justice Dilla-X (voice), Lisala Beatty (voice), Lawrence Butch Morris (conduction)

http://www.cdbaby.com/cd/burntsugar2

Really good jazz funk inspired by Stravinsky's music. I found this while searching for Pete Cosey's recordings.


----------



## GodNickSatan

With the passing of Bobby Hutcherson, now only Richard Davis remains from Out to Lunch, my favourite jazz album of all time.


----------



## Vronsky

*Thelonious Monk: It's Monk's Time (1964)*










Thelonious Monk: It's Monk's Time (1964)


----------



## Conglomerate

Happy birthday, Mr. Shorter!


----------



## starthrower

Wayne Shorter is 83 years old and he's playing in a jazz rock band with Santana!


----------



## SimonNZ

Another giant of the jazz world gone...

RIP Rudy Van Gelder

Looking now through the massive list of albums he produced/engineered/recorded and just what a large percentage of those are classic/essential sessions is dizzying.

This appears to be his first, and I'm playing it now:










Gil Melle - New Faces, New Sounds (1953)

http://dgmono.com/rvg-discography/


----------



## Casebearer

SimonNZ said:


> Another giant of the jazz world gone...
> 
> RIP Rudy Van Gelder
> 
> Looking now through the massive list of albums he produced/engineered/recorded and just what a large percentage of those are classic/essential sessions is dizzying.
> 
> This appears to be his first, and I'm playing it now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Gil Melle - New Faces, New Sounds (1953)
> 
> http://dgmono.com/rvg-discography/


RIP Rudy van Gelder. We all listen to maybe the best music ever made through his ears.

Interesting database too.


----------



## jegreenwood

SimonNZ said:


> Another giant of the jazz world gone...
> 
> RIP Rudy Van Gelder
> 
> Looking now through the massive list of albums he produced/engineered/recorded and just what a large percentage of those are classic/essential sessions is dizzying.
> 
> This appears to be his first, and I'm playing it now:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Gil Melle - New Faces, New Sounds (1953)
> 
> http://dgmono.com/rvg-discography/


Just read his obituary in the Times. Really, besides Bach there may be no name that figures as prominently in my music library.


----------



## Barbebleu

Yesterday's listening

Miroslav Vitous- Remembering Weather Report 

Gary Burton - Who is Gary Burton, The Time Machine, Reunion, New Vibe Man in Town.

Charles Lloyd - Acoustic Masters

Sonny Rollins - Alfie

Archie Shepp - Attica Blues 

Liberation Music Orchestra - Ballad of the Fallen

Tony Oxley - The Baptised Traveller

Amalgam - Prayer for Peace

Terje Rypdal - Blue

John Abercrombie - Characters

I'm all jazzed out!


----------



## starthrower

30 hours of jazz recordings by the legendary recording engineer Rudy Van Gelder to be broadcast starting Friday evening.
https://www.cc-seas.columbia.edu/wkcr/story/rudy-van-gelder-memorial-broadcast

Rudy Van Gelder Dead at 91.
http://www.nytimes.com/2016/08/26/a...-sound-of-jazz-on-record-dies-at-91.html?_r=0


----------



## D Smith

Remembering Rudy Van Gelder.


----------



## jim prideaux

Anat Fort Trio-As If (ECM)

read very little about this 'band' anywhere and yet this album has an airy melodic sense similar to the great John Taylor (in particular his ECM albums!)


----------



## Jay




----------



## Barbebleu

jim prideaux said:


> Anat Fort Trio-As If (ECM)
> 
> read very little about this 'band' anywhere and yet this album has an airy melodic sense similar to the great John Taylor (in particular his ECM albums!)


Thanks for the heads-up on this one JP. Is this the album And If?


----------



## jim prideaux

Barbebleu said:


> Thanks for the heads-up on this one JP. Is this the album And If?


yes it is-sorry about that......good to know not just 'banging on' in a vacuum!


----------



## jim prideaux

Michael Brecker-Tales from the Hudson.....Pat Metheny making a significant contribution!


----------



## jim prideaux

Herbie Hancock-Gershwin's World....


----------



## millionrainbows

I've been listening to Tal Farlow, the guitarist, and I seem to remember seeing a Gil Melle album listed in his discography. Be sure to get this Tal Farlow/Red Norvo reissue; it's the best:



No drums at all; just vibes, guitar, and bass. Farlow makes his guitar sound like bongos at times.


----------



## Barbebleu

jim prideaux said:


> yes it is-sorry about that......good to know not just 'banging on' in a vacuum!


I've downloaded it and I agree that it has a John Taylor feel to it. She is a very fine pianist and I will investigate her other albums.


----------



## Jay

... with Monty Waters


----------



## Vaneyes




----------



## Vaneyes




----------



## Vaneyes




----------



## Heliogabo

This fine album, cut from the "Interplay" sessions


----------



## starthrower

Not sure if this is jazz? But I like these musicians.


----------



## Casebearer

It's beautiful!

Let's call it jazz.


----------



## Vronsky

*Bill Evans & Toots Thielemans: Affinity (1979)*










Bill Evans & Toots Thielemans: Affinity (1979)


----------



## tortkis

Paul Motian and The Electric Be-Bop Band Play Monk and Powell (Winter & Winter, 1999)









Paul Motian (drums), Chris Potter (alto saxophone), Chris Cheek (tenor saxophone), Steve Cardenas (electric guitar), Kurt Rosenwinkel (electric guitar), Steve Swallow (electric bass)

my favorite be-bop band.


----------



## Casebearer

I love Chris Potter.


----------



## tortkis

Casebearer said:


> I love Chris Potter.


I only heard Potter on EBBB (the two saxophonists play beautifully.) Any reommendation of Potter's album?


----------



## Heliogabo

tortkis said:


> I only heard Potter on EBBB (the two saxophonists play beautifully.) Any reommendation of Potter's album?


I like this one









There's other ecm albums by him that I have not heard, but I guess they are good too.
Some years ago I assisted to a Chris Potter trio concert, it was an amazing experience, those guys really exploded the theater.


----------



## Hampshire Hog

tortkis said:


> Paul Motian and The Electric Be-Bop Band Play Monk and Powell (Winter & Winter, 1999)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Paul Motian (drums), Chris Potter (alto saxophone), Chris Cheek (tenor saxophone), Steve Cardenas (electric guitar), Kurt Rosenwinkel (electric guitar), Steve Swallow (electric bass)
> 
> my favorite be-bop band.


On the basis that I am assuming you know your stuff, I am going to give this a go, because you may know what you are talking about, and the cover is cool.
i am a Jazz numpty, but trying to learn.
Recently listening to lots of Art Blakey whose music I particularly enjoy.


----------



## tortkis

Heliogabo said:


> I like this one
> 
> 
> 
> 
> 
> 
> 
> 
> 
> There's other ecm albums by him that I have not heard, but I guess they are good too.
> Some years ago I assisted to a Chris Potter trio concert, it was an amazing experience, those guys really exploded the theater.


Thank you, I have forgotten that I have it! I'm now listening to that exquisite album. I want to check out some Potter's leader albums. (I don't have any.)



Hampshire Hog said:


> On the basis that I am assuming you know your stuff, I am going to give this a go, because you may know what you are talking about, and the cover is cool.
> i am a Jazz numpty, but trying to learn.
> Recently listening to lots of Art Blakey whose music I particularly enjoy.


To me, be-bop is very individualistic music, and, although Parker, Gillespie, Powell are my favorite jazz musicians, there is no be-bop band I particularly prefer as a group. (Hard-bop / modern jazz is another story.) I think the EBBB transformed be-bop to an organic group expression without too much arrangement.


----------



## Casebearer

tortkis said:


> I only heard Potter on EBBB (the two saxophonists play beautifully.) Any reommendation of Potter's album?


I have his most recent albums The Sirens (2013) and Imaginary Cities (2015). Love them both but his previous work seems to be very nice also. I'll have to get into those myself too. Check out Rate Your Music!


----------



## Casebearer

Heliogabo said:


> I like this one
> 
> 
> 
> 
> 
> 
> 
> 
> 
> There's other ecm albums by him that I have not heard, but I guess they are good too.
> Some years ago I assisted to a Chris Potter trio concert, it was an amazing experience, those guys really exploded the theater.


Apart from Chris Potter I love Jason Moran as well. Attended a concert of him in Eindhoven I think two years ago when he was playing a tribute to Fats Waller with papier maché hat and all. Very nice show. I was really taken in by his version of Jitterbug Waltz.


----------



## Jay

Drew Gress, with Berne, Taborn, Rainey, & Alessi:


----------



## Vronsky

*Grant Green: Green Street (1961)*










Grant Green: Green Street (1961)


----------



## starthrower




----------



## Vronsky

*Art Blakey & The Jazz Messengers: Moanin' (1958)*










Art Blakey & The Jazz Messengers: Moanin' (1958)


----------



## Hampshire Hog

Haitian Fight Song. Charles Mingus.

fabulous.although shouldn't a song have words ?


----------



## Heliogabo




----------



## Casebearer

Been listening tonight to Gijs Hendriks Quartet's interesting album Run a Risk from 1985.


----------



## Casebearer

And after that I listened to Eddie Lockjaw Davis with Milton Buckner, Jimmy Leary and Gus Johnson









Great album. Eddie is powerful and sensitive at the same time.


----------



## Vronsky

*Keith Jarrett: The Köln Concert (1975)*










Keith Jarrett: The Köln Concert (1975)


----------



## Jay




----------



## Jay




----------



## Casebearer

Esbjörn Svensson Trio - Eighthundred Streets by Feet performed live in Hamburg


----------



## Jay




----------



## Heliogabo

Today is Coltrane´s 90th birthday. Lets remember him in his own words and music:

http://www.udiscovermusic.com/john-coltrane-in-20-quotes


----------



## starthrower

Five disc set of Coltrane's sideman sessions with Elmo Hope, Tad Dameron, Sonny Rollins, Red Garland, Mal Waldron, Gene Ammons, and Ray Draper.


----------



## starthrower

Great gig from Bosnia!


----------



## Barbebleu

starthrower said:


> Great gig from Bosnia!


Love John Scofield. Currently listening to Sco-Mule. John Scofield with Govt. Mule. Great stuff.


----------



## starthrower

Barbebleu said:


> Love John Scofield. Currently listening to Sco-Mule. John Scofield with Govt. Mule. Great stuff.


I have that CD. Love the Wayne Shorter tune. Sco has a young drummer on that Sarajevo show. The guy plays some awesome stuff on the second tune.


----------



## Medtnaculus

Can anyone recommend some piano composers like Chick Corea, especailly anything similar to his Trilogy album? Huge fan of that album.


----------



## Barbebleu

Medtnaculus said:


> Can anyone recommend some piano composers like Chick Corea, especailly anything similar to his Trilogy album? Huge fan of that album.


Where to start? One I always go back to is My Spanish Heart and also the duet albums he did with Herbie Hancock and Gary Burton. I'll come back with a list of what I consider essential Chick.


----------



## Barbebleu

Medtnaculus said:


> Can anyone recommend some piano composers like Chick Corea, especailly anything similar to his Trilogy album? Huge fan of that album.


I think there's a bug somewhere. I keep posting twice and it's not deliberate.


----------



## Casebearer




----------



## Casebearer

Dutch documentary on Chet's final days. I lived in Amsterdam during that period. Reports of drug-related deaths on the streets or in the canals were somehow part of everyday life.


----------



## Jay




----------



## jurianbai

One of jazz guitarist that I listen to a lot. I am sure he must have many fans in TC as well, guitarist Chuck Loeb new album :









Amazon


----------



## norman bates

Medtnaculus said:


> Can anyone recommend some piano composers like Chick Corea, especailly anything similar to his Trilogy album? Huge fan of that album.


I confess I don't know that particular album, and even if I consider Corea a very interesting composer looking at the songs on the album I see that there are a lot of old standards. Anyway he's been deeply influenced by McCoy Tyner. And maybe another name that could be mentioned is Denny Zeitlin, his piano trios of the early sixties (check out his "Mosaic select" if you don't know it already) are a must have. He had a very advanced harmonic sense, he wrote very interesting tunes and he can swing like hell.


----------



## starthrower

I only recently learned that percussionist Mtume is Jimmy's son.


----------



## starthrower

Some good Corea piano albums are Now He Sings, Now He Sobs, Trio Music In Europe, and there's a lot of good stuff on the 2 CD set Forever w/ Stanley Clarke and Lenny White. The first Return To Forever album is great if you like electric piano.


----------



## Jos

Spinning right now; Sonic Boom by Lee Morgan


----------



## JACE

starthrower said:


> I only recently learned that percussionist Mtume is Jimmy's son.


That's ^ probably my favorite Jimmy Heath record.


----------



## Jay

JACE said:


> That's ^ probably my favorite Jimmy Heath record.


I prefer this one:


----------



## Barbebleu

Jay said:


> I prefer this one:


Nice line-up I've always liked Barry Harris. He was excellent when he worked with Yusef Lateef on Live at Pep's. And then there's Sam Jones and Billy Higgins. Nice.


----------



## worov

In my recent jazz listening, I have enjoyed this Roy Hargrove recording :


----------



## norman bates

I'm listening to some youtube videos of Peter Mazza. I've never heard of this guy before. Jaw dropping guitarist. He sounds like the heir of Jimmy Wyble or something like that.


----------



## starthrower




----------



## Vronsky

*Cal Tjader's Latin Kick*










Cal Tjader's Latin Kick


----------



## Jay




----------



## starthrower

Recorded 1972 w/ John Hicks/Reggie Workman/Alvin Queen


----------



## starthrower

Great set I picked up from the library.


----------



## cwarchc

I have to say, I'm rather partial to a bit of Monk


----------



## millionrainbows

My favorite Monk is "Monk's Music" on Riverside. I like the two early Blue Note sessions, and the Milt Jackson solo album from those same sessions.

I like the George Russell on Fantasy, and the earlier stuff with Bill Evans.

I like Don Ellis, all the early experimental stuff.

Getting' into (very late) Jimmie Guiffre. Great experimental stuff.

I want more Third Stream stuff, and more Gunther Schuller, John Lewis, along that avant garde line.


----------



## millionrainbows

starthrower said:


> Some good Corea piano albums are Now He Sings, Now He Sobs, Trio Music In Europe, and there's a lot of good stuff on the 2 CD set Forever w/ Stanley Clarke and Lenny White. The first Return To Forever album is great if you like electric piano.


Hey star thrower, what are those early Chick Corea records where it is very atonal sounding? Maybe Barry Ashtul on bass? Some of it seemed to be live.


----------



## starthrower

millionrainbows said:


> My favorite Monk is "Monk's Music" on Riverside. I like the two early Blue Note sessions, and the Milt Jackson solo album from those same sessions.
> 
> I like the George Russell on Fantasy, and the earlier stuff with Bill Evans.
> 
> I like Don Ellis, all the early experimental stuff.
> 
> Getting' into (very late) Jimmie Guiffre. Great experimental stuff.
> 
> I want more Third Stream stuff, and more Gunther Schuller, John Lewis, along that avant garde line.


I love all stuff as well. I'm a huge George Russell fan. I have the early Don Ellis album, Essence, which is excellent! And I bought Don Ellis in India, a fairly recent posthumous release. His playing is incredibly strong despite his short time to live due to his unfortunate heart condition. Monk's Music was the first one I bought in the mid 80s, and I finallly got the Blue Note CDs last year.


----------



## starthrower

millionrainbows said:


> Hey star thrower, what are those early Chick Corea records where it is very atonal sounding? Maybe Barry Ashtul on bass? Some of it seemed to be live.


Altschul is the drummer. Are you thinking of Circle?


----------



## Barbebleu

millionrainbows said:


> Hey star thrower, what are those early Chick Corea records where it is very atonal sounding? Maybe Barry Ashtul on bass? Some of it seemed to be live.


That would be the trio album called A.R.C. with Chick, Barry Altschul and Dave Holland. All great stuff and very modern if not quite in the Cecil Taylor or Albert Ayler mould.


----------



## millionrainbows

Barbebleu said:


> That would be the trio album called A.R.C. with Chick, Barry Altschul and Dave Holland. All great stuff and very modern if not quite in the Cecil Taylor or Albert Ayler mould.


Maybe that's it. I heard it back in 1973 or so, on LP. It was my roommate's. It seemed to be European. I'll go hunt for it under that name. Also, thanks to starthrower for responding.


----------



## starthrower

Love this tune!


----------



## millionrainbows

starthrower said:


> I love all stuff as well. I'm a huge George Russell fan. I have the early Don Ellis album, Essence, which is excellent! And I bought Don Ellis in India, a fairly recent posthumous release. His playing is incredibly strong despite his short time to live due to his unfortunate heart condition. Monk's Music was the first one I bought in the mid 80s, and I finallly got the Blue Note CDs last year.


"Monk's Music" was also my first Monk. I found it in a college bookstore, on Riverside, but not the original cover. It was a later re-issue transitional cover.

The Ellis in India sounds interesting. I have a couple of the 60's big band things, where some of it sounds Indian. Would it be like that?

I first heard of Don Ellis on a George Russell album. You know, how you follow a trail. Fun, isn't it?

Another favorite of mine is a tune called Duquility by Mal Waldron. Beautiful tune. His solo is a masterpiece. It's with Eric Dolphy. The Quest?


----------



## millionrainbows

That Konitz/Guiffre is beautiful, man. Thanks for that one, starthrower. I just love the sound of the recording, too, before reverb took over everything. What an intricate head, too. This is truly chamber music of the highest order.


----------



## starthrower

In India is a small group live recording.


----------



## starthrower

The Konitz/Giuffre is available w/ another album on a 2-fer CD. I think I'm gonna pick up a copy.


----------



## worov

Just discovered this :






This is amazing stuff !


----------



## starthrower

^^^
From a great Album, Album!


----------



## Barbebleu

worov said:


> Just discovered this :
> 
> 
> 
> 
> 
> 
> This is amazing stuff !


The whole album, incidentally called Album Album, by Jack DeJohnette's Special Edition, is excellent, as are all his albums with that particular band.


----------



## Bluecrab

millionrainbows said:


> Maybe that's it. I heard it back in 1973 or so, on LP.


You're definitely on the right track. They made a couple of albums on ECM right around that time. A couple of years before that, that same trio with Anthony Braxton made the brilliant Circle album, _Paris-Concert_, also on ECM. Recorded live, it was originally a 2-LP album. Now available on CD. It includes a fantastic duet with Chick Corea and Anthony Braxton. Not really jazz imo... much more akin to post-modern music. I listen to that cut to this day. It never begins to sound old.


----------



## Barbebleu

Bluecrab said:


> You're definitely on the right track. They made a couple of albums on ECM right around that time. A couple of years before that, that same trio with Anthony Braxton made the brilliant Circle album, _Paris-Concert_, also on ECM. Recorded live, it was originally a 2-LP album. Now available on CD. It includes a fantastic duet with Chick Corea and Anthony Braxton. Not really jazz imo... much more akin to post-modern music. I listen to that cut to this day. It never begins to sound old.


Scary that these albums are over forty years old. Aargh, where has my youth gone?


----------



## Casebearer

And I just discovered this: Gabor Szabo's More Sorcery from 1967. Recorded in Boston and at the Monterey Jazz Festival


----------



## millionrainbows

Bluecrab said:


> You're definitely on the right track. They made a couple of albums on ECM right around that time. A couple of years before that, that same trio with Anthony Braxton made the brilliant Circle album, _Paris-Concert_, also on ECM. Recorded live, it was originally a 2-LP album. Now available on CD. It includes a fantastic duet with Chick Corea and Anthony Braxton. Not really jazz imo... much more akin to post-modern music. I listen to that cut to this day. It never begins to sound old.


Yes, I think that was it. I'm going to get both, A.R.C. and Circle. I noticed that there is a "Circle 1" and a "Circle 2", as well as an "Early Circle."

I think the yellow Paris Concert is the one I remember.


----------



## Bluecrab

millionrainbows said:


> Yes, I think that was it. I'm going to get both, A.R.C. and Circle.


Man, it's nice to see that those CDs are still in publication. I might have to check out those other two Circle albums.

I doubt that you'll be disappointed with the yellow Circle live album. The Corea/Braxton piece I referenced earlier is called, logically enough _Duet_. It sounds like Anthony Braxton is playing sopranino on that cut (the liner notes only credit him with "reeds and percussion."). Corea's piano playing reminds me of some of Schoenberg's solo piano pieces. There's also a very nice version of Wayne Shorter's _Nefertiti_, which opens the album.

Slightly off topic, but I think it's great that Anthony Braxton finally got a really nice gig (professorship at Wesleyan University) after all those years of scraping to get by. It's nice to know that he no longer has to hustle chess in Manhattan and pawn his horns from time to time just to eat. Every once in a while, there is some justice in this world.


----------



## millionrainbows

Bluecrab said:


> Man, it's nice to see that those CDs are still in publication. I might have to check out those other two Circle albums.
> 
> I doubt that you'll be disappointed with the yellow Circle live album. The Corea/Braxton piece I referenced earlier is called, logically enough _Duet_. It sounds like Anthony Braxton is playing sopranino on that cut (the liner notes only credit him with "reeds and percussion."). Corea's piano playing reminds me of some of Schoenberg's solo piano pieces. There's also a very nice version of Wayne Shorter's _Nefertiti_, which opens the album.
> 
> Slightly off topic, but I think it's great that Anthony Braxton finally got a really nice gig (professorship at Wesleyan University) after all those years of scraping to get by. It's nice to know that he no longer has to hustle chess in Manhattan and pawn his horns from time to time just to eat. Every once in a while, there is some justice in this world.


I used to have a couple of Anthony Braxton LPs, and they had these mathematical-sounding names using numbers and letters, like Z-28. I liked it, and I'm glad to see him teaching.

Yeah, I liked what I heard on the Paris LP. It did sound like Schoenberg.

Also, I loved "Piano Improvisations" I & II, and have both on CD. The second one is more avant-sounding. Chick Corea never fails to amaze me. I have Return To Forever Live in Montreaux on DVD, and it is amazing what he does with his hands and a piano.

I like what he does on Fender Rhodes on the Miles Davis recordings, where he & Zawinul are both playing pianos: The Cellar Door Sessions, and the Jack Johnson Sessions.


----------



## starthrower

Bought this on a lark, when I spotted it at a local store. It really quite good! Her first two albums recorded in the mid 70s. Features Joe Henderson, Hubert Laws, George Bohanon, Tony Dumas, Leon Chancler, Oscar Brashear, Kenneth Nash.


----------



## Barbebleu

millionrainbows said:


> Yes, I think that was it. I'm going to get both, A.R.C. and Circle. I noticed that there is a "Circle 1" and a "Circle 2", as well as an "Early Circle."
> 
> I think the yellow Paris Concert is the one I remember.


Didn't know about the first two albums. I'll be hunting them down! Thank you for the heads-up.


----------



## starthrower

I bought a copy of this expanded edition. There are some other titles on this label that seem be out of stock quite a bit. John Tchicai, Marion Brown, Ted Curson.


----------



## Casebearer

Back into jazz after a brief holiday from it?


----------



## starthrower

I'm on holiday from classical these past several months. A bit of jazz, Tom Waits, and some old prog rock stuff. Bought a couple of Scofield CDs too. His new one, and an oldie called Bar Talk.

I was listening to Charles Lloyd's Rabu De Nube this evening. A very good live album.


----------



## millionrainbows

starthrower said:


> Bought this on a lark, when I spotted it at a local store. It really quite good! Her first two albums recorded in the mid 70s. Features Joe Henderson, Hubert Laws, George Bohanon, Tony Dumas, Leon Chancler, Oscar Brashear, Kenneth Nash.


I remember her from a couple of Jean-Luc Ponty albums, and a feature story in Keyboard magazine. She's very good.


----------



## millionrainbows

starthrower said:


> I'm on holiday from classical these past several months. A bit of jazz, Tom Waits, and some old prog rock stuff. Bought a couple of Scofield CDs too. His new one, and an oldie called Bar Talk.
> 
> I was listening to Charles Lloyd's Rabu De Nube this evening. A very good live album.


I got Scofield's "Uberjam II." It's got a killer tune called "Boogie Stupid."


----------



## starthrower

millionrainbows said:


> I remember her from a couple of Jean-Luc Ponty albums, and a feature story in Keyboard magazine. She's very good.


Yeah, she was a 20 year old college student when she made these records and worked with Ponty. But after that she started making very commercial records, which I didn't have much interest in listening to.


----------



## millionrainbows

starthrower said:


> I bought a copy of this expanded edition. There are some other titles on this label that seem be out of stock quite a bit. John Tchicai, Marion Brown, Ted Curson.


I'd like to hear that. I have several Cecil Taylor titles. Some of them are marred by an out-of-tune piano, and I can't get past it. I do like his playing & approach, as long as it's on a good piano.


----------



## starthrower

millionrainbows said:


> I got Scofield's "Uberjam II." It's got a killer tune called "Boogie Stupid."


I was looking for my copy the other week. I misplaced it among the piles of CDs. Anyway, I'm looking forward to Country For Old Men, and Bar Talk, which was backordered for months.


----------



## millionrainbows

This CD by the Don Friedman Quartet is very good, very avant-garde, with some standards, too. It has some 12-tone jazz on it. Attilla Zoller is the guitarist, very good, and not heard that often.


----------



## starthrower

millionrainbows said:


> I'd like to hear that. I have several Cecil Taylor titles. Some of them are marred by an out-of-tune piano, and I can't get past it. I do like his playing & approach, as long as it's on a good piano.


It's a bit out of tune judging by this YouTube clip, but I've heard worse. For example, Mal Waldron's piano on Dolphy At The Five Spot. I guess those shoestring jazz labels didn't want to pay for a piano tuner before the recording date.


----------



## JACE

millionrainbows said:


> This CD by the Don Friedman Quartet is very good, very avant-garde, with some standards, too. It has some 12-tone jazz on it. Attilla Zoller is the guitarist, very good, and not heard that often.


Yes, Zoller is fantastic! Very unique.


----------



## starthrower

This just popped up after the Cecil tune.


----------



## millionrainbows

starthrower said:


> It's a bit out of tune judging by this YouTube clip, but I've heard worse. For example, Mal Waldron's piano on Dolphy At The Five Spot. I guess those shoestring jazz labels didn't want to pay for a piano tuner before the recording date.


That's not as out of tune as the one I remember, I can handle this. The sax helps. At least I don't notice it as much. I know what you mean about the Mal Waldron with Dolphy at The Five Spot.

BTW, that reminds me of "Out to Lunch." I bought the Rudy van Gelder remaster, traded in my old one, then got home and realized that it was in mono! So to have the stereo one, you have to keep your old one.


----------



## starthrower

I'll have to look for my copy and give it a listen. I don't remember which one I have?


----------



## millionrainbows

Dolphy is on this, as well as Ornette Coleman and Jim Hall. It was my first experience of "Third Stream" jazz.


----------



## millionrainbows

Dolphy is also on this, with one of his best performances on the tune "The Stranger." Despite the cheesy title and cover, it is very forward-looking jazz, and well recorded.

Jim Hall also plays some wonderful guitar on this.

Dolphy's solo on "The Stranger," though, is priceless. This embodies his "pathos" and humor.

Pathos: The quality or property of anything which touches the feelings or excites emotions and passions, especially that which awakens tender emotions, such as pity, sorrow, and the like; contagious warmth of feeling, action, or expression; pathetic quality.






The only other solo as good, by him, is his solo on the George Russell album with "Round Midnight." It also has that ironic pathos, that desperation and humor.


----------



## Barbebleu

starthrower said:


> I bought a copy of this expanded edition. There are some other titles on this label that seem be out of stock quite a bit. John Tchicai, Marion Brown, Ted Curson.


Not something else I'll need to check out. Aargh. I have this but I'm not sure about the extra tracks. I'll need to look at my copy.


----------



## starthrower

Lots of good renditions of Round Midnight, but George Russell's with Dolphy is pretty great! I have that John Lewis album as well.


----------



## millionrainbows

starthrower said:


> Lots of good renditions of Round Midnight, but George Russell's with Dolphy is pretty great! I have that John Lewis album as well.


What other versions of Round Midnight do you like? I can think of Monk, Miles Davis, and Kenny Burrell.


----------



## starthrower

There's a female vocal version by Sun Ra that I like. And Joe Henderson's Live In Japan recording. And Stanley Jordan's solo guitar version from his first album, Magic Touch.

Here's the wiki page. https://en.wikipedia.org/wiki/'Round_Midnight_(song)


----------



## millionrainbows

I've got the Miles Davis Prestige "Collector's Items" version. I like that album. "Charlie Chan" is Bird. This is another great one. At the end, he says "Lemme hear that Rudy."


----------



## starthrower

^^^

Sonny's solo is great!


----------



## millionrainbows

The first jazz album I ever heard was Sonny Rollins' "The Bridge." I borrowed it in 1969 from an older guy a couple of houses down. It was the original RCA LP, and I thought Jim Hall's solo on The Bridge was incredibly abstract and modern. It still sounds that way to me. I read the "story" of him playing at night, on the bridge in New York, and the whole thing became a legend to me. The cover image was striking, too. He looked like a pharaoh.


----------



## clavichorder

Are there any good CDs out there of Tadd Dameron on solo piano? I'm particularly interested in hearing him or a similar artist play his composition, Hot House, on the piano solo.


----------



## Friendlyneighbourhood

Jazz smells funny, fact


----------



## Casebearer

I suppose classical smells worse by now


----------



## starthrower

The introduction ceremony alone is exciting. A who's who of 60s avant garde legends!


----------



## Jay




----------



## Conglomerate




----------



## starthrower

Moncur is cool. I also dig his other Blue Note album, Some Other Stuff.


----------



## Casebearer

It's probably outside your reach because it's Dutch but I've been listening to the Pierre Courbois Quintet Live in Berlin and Réouverture. Two beautiful cd's in the Coltrane tradition.


----------



## Barbebleu

Conglomerate said:


>


Yes this is a cracker. What a great line-up.


----------



## millionrainbows

Barbebleu said:


> Yes this is a cracker. What a great line-up.


I've heard of everybody on there except Granchan Moncur III. I guess it's because I'n not really into trombones. The only trombones I remember are on George Russell albums.

I'm listening to Grant Green, Idle Moments. A good version of Django on there.


----------



## JACE

millionrainbows said:


> I've heard of everybody on there except Granchan Moncr III. I guess it's because I'n not really into trombones.


He's not particularly well-known; he only made a few records.

But they're GOOD. Particularly THAT one.


----------



## millionrainbows

JACE said:


> He's not particularly well-known; he only made a few records.
> 
> But they're GOOD. Particularly THAT one.


I guess I'll have to get that one. Sackbutt, here I come! :lol:


----------



## JACE

millionrainbows said:


> I guess I'll have to get that one. Sackbutt, here I come! :lol:


You won't regret it! 

I'm now spinning *Clare Fischer's Machaca* (MPS):


----------



## Barbebleu

millionrainbows said:


> I guess I'll have to get that one. Sackbutt, here I come! :lol:


Have a look at his discography on Wikipedia, he worked with some great people on a lot of really excellent albums.


----------



## Heliogabo

Jay said:


>


Jemeel Moondoc rocks. I do enjoy his stuff.


----------



## Heliogabo

Yes, Moncur is great, his Mosaic set compilation is a treasure.


----------



## Barbebleu

Casebearer said:


> It's probably outside your reach because it's Dutch but I've been listening to the Pierre Courbois Quintet Live in Berlin and Réouverture. Two beautiful cd's in the Coltrane tradition.


Jazz has no boundaries so I'll be having a listen to this group.


----------



## Barbebleu

Heliogabo said:


> Yes, Moncur is great, his Mosaic set compilation is a treasure.


Mosaic compilation you say. Not something else I have to get. Aaargh. :lol:

Panic over. I saw what was in this compilation and fortunately I have all the individual albums. Yay.


----------



## Barbebleu

Casebearer said:


> It's probably outside your reach because it's Dutch but I've been listening to the Pierre Courbois Quintet Live in Berlin and Réouverture. Two beautiful cd's in the Coltrane tradition.


Found some of his stuff on YouTube. Very good. I'll have a look for his albums now. Nice post bop feel to his music. Rather than 'Trane I was thinking Jazz Messengers, but that may be just what I caught on YouTube.


----------



## Jay




----------



## Casebearer

Barbebleu said:


> Found some of his stuff on YouTube. Very good. I'll have a look for his albums now. Nice post bop feel to his music. Rather than 'Trane I was thinking Jazz Messengers, but that may be just what I caught on YouTube.


You may be right, it was just meant as a general indication. I'm not that good in naming the styles.
Nice you enjoy it!


----------



## starthrower




----------



## starthrower




----------



## Jay




----------



## Casebearer

starthrower said:


>


Mezzo is so great with all their focus on jazz and classical music. I had it on cable television until a few years back our cable provider decided I could do without it without asking me anything.


----------



## Conglomerate




----------



## clavichorder

I need some recommendations, either in the vein of what I already like, or to expand my horizon either back in time or forward in time. My tastes right now: I like the "bluenote" stuff like Art Blakey and the Jazz Messengers. I have also found an interest in Thelonious Monk and his group, and Ahmad Jamal and his. Wynton Marsallis and the early stuff is really nice too.


----------



## Casebearer

Maybe try E.S.P. or Vijay Iyer to get into more modern stuff


----------



## starthrower

clavichorder said:


> I need some recommendations, either in the vein of what I already like, or to expand my horizon either back in time or forward in time. My tastes right now: I like the "bluenote" stuff like Art Blakey and the Jazz Messengers. I have also found an interest in Thelonious Monk and his group, and Ahmad Jamal and his. Wynton Marsallis and the early stuff is really nice too.


Art Blakey's music is what they call hard-bop. There's lots more of that on Blue Note.

Jackie McLean-Jackie's Bag, Let Freedom Ring, Right Now
Freddie Hubbard-Open Sesame, Ready For Freddie, Goin' Up
Hank Mobley-Soul Station, Roll Call
Horace Silver-Song For My Father, Cape Verdean Blues, Blowin' The Blues Away
Bobby Hutcherson-Components, Stick Up, Oblique
Joe Henderson-Mode For Joe, In n Out, Inner Urge
Cannonball Adderley-Somethin' Else
Sonny Rollins-Vol 2
Coltrane- Blue Train
Donald Byrd-Royal Flush, Byrd In Hand
Lee Morgan-Search For The New Land, Cornbread, The Procrastinator
McCoy Tyner-The Real McCoy, a classic date w/ Joe Henderson
Wayne Shorter-Adam's Apple, Speak No Evil

And you've got all of the Atlantic stuff too! Coltrane, Mingus, Ornette, Milt Jackson, Yusef Lateef, Roland Kirk. Some great live albums on this label include Roland Kirk's Bright Moments, Mingus At Antibes

Also a ton of great stuff on Prestige, Riverside, Contemporary, and other small labels.

Hampton Hawes-For Real w/ Harold Land
Curtis Counce-Landslide
Sonny Rollins & The Contemporary Leaders
Oliver Nelson w/ Eric Dolphy - Straight Ahead, Screamin' The Blues
Mal Waldron-The Quest w/ Dolphy and Booker Ervin
Roland Kirk-Domino/Reeds & Deeds, We Free Kings, I Talk To The Spirits
Yusef Lateef-Eastern Sounds, The Three Faces Of, Cry Tender
Eric Dolphy-Outward Bound, Out There, Far Cry, Last Date
Cannonball Adderley/Bill Evans-Know What I Mean

Also a lot more great stuff on the Milestone label by Joe Henderson, Sonny Rollins, McCoy Tyner. And you've got the Impulse label too. More Coltrane, Lateef, Archie Sheep, etc. And Oliver Nelson's The Blues & The Abstract Truth is on Impulse. An all time classic featuring Eric Dolphy, Bill Evans, Roy Haynes. Includes the very famous tune, Stolen Moments. And another great album on Impulse is Out Of The Afternoon by Roy Haynes. Features Roland Kirk and Tommy Flanagan.


----------



## Barbebleu

Starthrower - On going through your list I realised to my horror I have everything on it. Given that I've been collecting and listening since 1965 I suppose it's not surprising really. The basis of a great collection too. You have great taste.


----------



## starthrower

Thanks, Barb! I too have collected a huge amount of recordings. I know Clavichorder is much younger, and it does take a couple of decades to get a handle on the incredible scope of jazz styles and recordings in existence. And I didn't even mention any of the contemporary labels and modern recordings. All the stuff on ECM, Hat Hut, Black Saint/Soul Note, and so many other labels. Hell, I didn't even mention any classics on Columbia or Verve.


----------



## jim prideaux

'Kyoto' from Keith Jarrett's Sun Bear Concerts......and personally I could not care less whether he grunts or not-I think I would if I were responsible for such beauty!


----------



## Casebearer

This Jazz Hole is quite empty lately, glad you post something. I must admit I'm not listening to jazz that much myself at the moment but that might change overnight. I'll be going to a concert of the wonderful and beautiful Simin Tander in two weeks...


----------



## Jay




----------



## Casebearer

Jay said:


>


It was taped at the famous Moers Festival, just 70 miles from where I live. I feel I'm in the center of jazz country, ha ha.


----------



## starthrower

Amazing duo!


----------



## clavichorder

What do you guys think of the Miles Davis album, _Bitches Brew_?


----------



## norman bates

clavichorder said:


> What do you guys think of the Miles Davis album, _Bitches Brew_?


I listened a lot to it, it was one of the albums that introduced me to jazz music (or electric jazz, or jazz rock, whatever) and I liked it a lot. I still think it's a great and important album with a dark mysterious vibe, even if I can understand why someone could see it as overindulgent, and as a lot of the electric albums of Davis the focus is much more on the improvisation while the tunes are not particularly important as in the studio albums of the second quintet.
With the exception of Sactuary, that as I've said other times, it's also an amazing tune and one of the absolute highlights of jazz music (my opinion obviously). I wonder how the music of the later albums would have changed if Shorter hadn't left Davis (I like the albums after BB, but my personal opinion is that that stuff would have been much more interesting if Shorter had continued to write for the band).


----------



## Barbebleu

clavichorder said:


> What do you guys think of the Miles Davis album, _Bitches Brew_?


One of my all time favourite albums in any genre. I remember when I bought it on vinyl when it was first released and I was just blown away. It's a seminal album and should be in the collection of every true modern jazz aficionado. In fact I think I may need to listen to it again now!


----------



## starthrower

Barbebleu said:


> It's a seminal album and should be in the collection of every true modern jazz aficionado.


Everything Miles recorded from 1963-1970 is my favorite music of his. The 60s quintet (1965-1968) is one of the greatest jazz groups of all time. Five genius musicians that recorded brilliant original music on the studio albums ESP, Miles Smiles, Prince Of Darkness, Nefertiti, Miles In The Sky, Water Babies.


----------



## starthrower

Great instrumental performance of this classic Corea composition.


----------



## JACE

clavichorder said:


> What do you guys think of the Miles Davis album, _Bitches Brew_?


I think it's a staggering work of genius, among a handful of the greatest, most important recordings in Miles Davis' career.

That said, only a few of the recording that followed it begin to approach the same level of inspiration, imho. In other words, he was much more _consistent_ during other periods of his career. But that one peak of _Bitches Brew_ is SO HIGH. In my book, there is NOTHING higher.

As always, YMMV.


----------



## Casebearer

Mihály Dresch, my favourite modern day jazz performer and composer. Just one of his great songs (out of hundreds):


----------



## starthrower

I used to play the hell out of those Dave Holland Quintet albums on ECM.






http://www.naxos.com/catalogue/item.asp?item_code=dvww-jdhq


----------



## Casebearer

I've bought a few lately after attending a concert of his last month


----------



## Casebearer

Mihály Dresch and Archie Shepp:


----------



## Casebearer

Mihály Dresch and Chris Potter, two of the most loved modern saxophone players (by me that is) playing a beautiful duet. Dresch is so enthralled by what Potter's playing he misses the first hint to join in!


----------



## starthrower

Timmons had the magic touch! This is the swingin'est, most soulful piano trio album I've ever heard.


----------



## Retrograde Inversion

I'm pretty much a jazz neophyte (although some people tell me they hear jazz in my own music), so my pointing to something I've really liked is probably like a classical beginner chirping on about how great Beethoven's 9th is, but anyway:






Also: I asked about good online jazz harmony resources in the music theory forum, but I haven't had a reply. Can you help, please?


----------



## starthrower

Coltrane is usually discovered early on by new jazz listeners, and remains relevant for long time fans. Same for Miles, Monk, Rollins, and all the greats.

Can't help with the jazz harmony resources, but you might get more help at a jazz forum like Organissimo. They have a musician's forum there. http://www.organissimo.org/forum/index.php?/


----------



## norman bates

I'm not sure if jazz harmony is really a thing. Sure, there are musicians that have a strong individuality, there's the influence of the blues, but basically I don't think that the theory is different from classical music and actually many jazz musicians studied classical music or were even pupils of classical composers. 
Anyway some of the jazz gurus known for their harmonic knowledge: George Russell, Dennis Sandole, Lyle Spud Murphy, Ted Greene, George Garzone. And many others I'm forgetting now, but you could check out for their material. They teached to a lot of famous jazz musicians.


----------



## tdc

Retrograde Inversion said:


> Also: I asked about good online jazz harmony resources in the music theory forum, but I haven't had a reply. Can you help, please?


I think Norman is pretty much right in terms of the harmonies being the same. There are a lot of videos on youtube you can find that talk about the jazz approach. Jazz harmony doesn't share the same rules of composition found in traditional counterpoint (like the avoiding parallel 8ths, 5ths etc). It is analyzed as a series of chords over which a knowledgeable player can improvise. Theme development is a thing, and matching chords to scales, chord substitutions. etc.

If you can find a Real Book they have the chord progressions of standard tracks mapped out in a "jazz chart" as well as the main melodies notated that one would use as improvisational material.


----------



## starthrower

norman bates said:


> Anyway some of the jazz gurus known for their harmonic knowledge: George Russell


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

http://www.lydianchromaticconcept.com/


----------



## millionrainbows

Retrograde Inversion said:


> I'm pretty much a jazz neophyte (although some people tell me they hear jazz in my own music), so my pointing to something I've really liked is probably like a classical beginner chirping on about how great Beethoven's 9th is, but anyway:
> 
> Also: I asked about good online jazz harmony resources in the music theory forum, but I haven't had a reply. Can you help, please?


Get "The Jazz Language" by Dan Haerle. I saw one for $7.16 used. Also, his scale book. You need actual books, in order to write notes, underline things, see the scales in notation, have a permanent and stable reference. Forget the internet. Why? Too much potential for distraction. You need total concentration.

Get used to_ sheets of paper_ if you are going to be a musician. And pencils. I suggest the Papermate Sharpwriters, available at most grocery stores.

Also get some of the Hal Leonard play-along CDs, and have it set up next to your instrument at all times. Be able to simply sit down and play at any time, with no set-up time.


----------



## bestellen




----------



## Casebearer

^
Some text on that would be nice


----------



## Vaneyes




----------



## JACE

Earlier today:










*The Complete Capitol Fifties Jack Teagarden Sessions (Mosaic)*
Disc 1


----------



## starthrower

ECM 2017 John Abercrombie; Craig Taborn; Ralph Towner; Theo Bleckmann

https://madmimi.com/p/c83a39?fe=1&p...165-ede51e98b2b592db91d770bad24170dbbb80f09b#


----------



## Casebearer

Tom Rainey, Ingrid Laubrock, Mary Halvorson [1st set] @ Cornelia Street Café, 12-30-14 1/2

Saw Tom and Ingrid perform with Ubatuba last year. The experimental side of jazz.


----------



## Barbebleu

starthrower said:


> ECM 2017 John Abercrombie; Craig Taborn; Ralph Towner; Theo Bleckmann
> 
> https://madmimi.com/p/c83a39?fe=1&p...165-ede51e98b2b592db91d770bad24170dbbb80f09b#


Thanks for the heads up on these. You're a star!


----------



## starthrower

Amazing that Ralph Towner is still touring and cranking out the new releases. He'll be 77 this coming year!


----------



## Barbebleu

starthrower said:


> Amazing that Ralph Towner is still touring and cranking out the new releases. He'll be 77 this coming year!


I'm pretty sure I have everything he has ever released and he never disappoints. I saw him in Glasgow many years ago duetting with John Abercrombie. They were just brilliant. And I saw Oregon in Glasgow too when the fabulous Collin Walcott was with them. What a great band they were.


----------



## starthrower

I picked up 5 Years Later recently. Great album! Also like Diary, and Solo Concert. Winter Light by Oregon is a classic! And I like the s/t ECM album. The first tune, The Rapids, is a great Towner piece. That one reminds me of Metheny. And Pat was definitely influenced by Ralph.


----------



## Casebearer

John Lurie and the Lounge Lizards really were a great band but relatively shortlived. In my opinion they're amongst the best jazz has ever produced. And just now I discovered this great live set from Berlin 1991 and I really count them amongst the likes of Ornette Coleman and Zappa. I'll have to get the Live in Berlin cd's if they're still available anywhere.


----------



## Jay




----------



## Casebearer

Three Hungarian jazz guitarists from different generations and they're all great and will blow your mind. And they're all called Gábor.

First one is Gábor Szabó. Jazz with crossovers to Hungarian traditional music and raga. Here he is with The Fortune Teller from his album Dreams dating from 1968.






He also recorded one of the First Indian (and heroin) influenced psychedelic jazz albums called Jazz Raga in 1966.

Second one is Gábor Gado. A great, established name although maybe not that well-known in the States. 
Here's some excellent playing by the young Gábor from 1991 at a festival in Nagykanizsa with his trio. Listen to it, you'll be surprised!






I'd also like to post a song from the fabulous cd Greetings from the Angel (which I have and enjoy tremendously).






The young one is Gábor Csongradi, guitarist, composer and band leader as well. I saw him perform a few years back here with his quintet and was very impressed. Not a lot from him (under his own name) on YouTube but much more on his own site and Soundcloud.


----------



## Barbebleu

Casebearer said:


> Three Hungarian jazz guitarists from different generations and they're all great and will blow your mind. And they're all called Gábor.
> 
> First one is Gábor Szabó. Jazz with crossovers to Hungarian traditional music and raga. Here he is with The Fortune Teller from his album Dreams dating from 1968.
> 
> 
> 
> 
> 
> 
> He also recorded one of the First Indian (and heroin) influenced psychedelic jazz albums called Jazz Raga in 1966.
> 
> Second one is Gábor Gado. A great, established name although maybe not that well-known in the States.
> Here's some excellent playing by the young Gábor from 1991 at a festival in Nagykanizsa with his trio. Listen to it, you'll be surprised!
> 
> 
> 
> 
> 
> 
> I'd also like to post a song from the fabulous cd Greetings from the Angel (which I have and enjoy tremendously).
> 
> 
> 
> 
> 
> 
> The young one is Gábor Csongradi, guitarist, composer and band leader as well. I saw him perform a few years back here with his quintet and was very impressed. Not a lot from him (under his own name) on YouTube but much more on his own site and Soundcloud.


I've got the Szabo albums but I'll check out the other two guys as well.


----------



## starthrower

I like Attila Zoller. He was a bit more adventurous than Szabo, but Szabo was pretty soulful. I have Chico Hamilton's A Different Journey, and Szabo's album with Bobby Womack.


----------



## JACE

starthrower said:


> I like Attila Zoller. He was a bit more adventurous than Szabo, but Szabo was pretty soulful. I have Chico Hamilton's A Different Journey, and Szabo's album with Bobby Womack.


Zoller was a fantastic musician!


----------



## Vaneyes




----------



## Vaneyes




----------



## Vaneyes




----------



## Vaneyes




----------



## Casebearer

starthrower said:


> I like Attila Zoller. He was a bit more adventurous than Szabo, but Szabo was pretty soulful. I have Chico Hamilton's A Different Journey, and Szabo's album with Bobby Womack.


Dont know about him yet. Nice to be learning some more on my Hungarian jazz players. I'm busy right now deciding on tons of cd's I'll buy from the BMC Record label (home of several great Hungarian jazz musicians like Mihály Dresch and Gábor Gadó).


----------



## starthrower

I have one Zoller album. It's a live album on vinyl that a friend transferred to CD. Really good stuff.


----------



## JACE

This is probably my favorite Attila Zoller record:










*Common Cause (Enja, rec. 1979)*
with Ron Carter (b) and Joe Chambers (d)


----------



## Jay




----------



## Casebearer

I love Chris Potter. Seen him a few times too.


----------



## Barbebleu

Herbie Hancock - Takin' Off


----------



## starthrower

Barbebleu said:


> Herbie Hancock - Takin' Off


The only 60s Herbie album I haven't listened to. Dexter Gordon is a player I could never really get into, except for his early bop stuff. He always sounds kinda blase to my ears.


----------



## Barbebleu

starthrower said:


> The only 60s Herbie album I haven't listened to. Dexter Gordon is a player I could never really get into, except for his early bop stuff. He always sounds kinda blase to my ears.


I think this one might surprise you. Nice hard bop.


----------



## starthrower

Well, I decided to order the new Miles Bootleg set for now.


----------



## jim prideaux

currently having a major 'blast' having resurrected Pat Metheny's Letter from home album......not interested in any of the criticisms made by jazz heads as this album has a special place in my heart around December.......

last night Bobo Stenson Goodbye and Serenity-along with Cantando and Indicum they represent a particulary melodic and individual take on the piano trio!


----------



## starthrower

Letter From Home is a great album! The opening tune is a classic, and I've always like the adventurous Lyle Mays composition, Are We There Yet.


----------



## JACE

jim prideaux said:


> currently having a major 'blast' having resurrected Pat Metheny's Letter from home album......not interested in any of the criticisms made by jazz heads as this album has a special place in my heart around December.......
> 
> last night Bobo Stenson Goodbye and Serenity-along with Cantando and Indicum they represent a particulary melodic and individual take on the piano trio!


I'm a fan of _Letter from Home_ too. 

And I love those Bobo Stenson records as well.


----------



## jim prideaux

gathering momentum both with regard to Metheny on here and sitting here waiting for the first sight for a while of one of my oldest friends-Xmas drink-so listening to 'Chicago 87'-I think it is one of those sort of official bootleg thangs but the PMG is kicking up a melodic storm!!!!

starthrower-are you from the other side of the Atlantic as well because if you are a Happy Xmas across the pond to both you and Jace-always enjoy your posts!


----------



## starthrower

The last Bobo Stenson record I bought was Cantando, which is excellent! He has a great rhythm section. The drummer is very creative in a Paul Motian sort of way, but with his own syle.


----------



## JACE

jim prideaux said:


> starthrower-are you from the other side of the Atlantic as well because if you are a Happy Xmas across the pond to both you and Jace-always enjoy your posts!


Same to you, Jim. Merry Christmas & a Happy New Year! :tiphat:


----------



## Barbebleu

starthrower said:


> Well, I decided to order the new Miles Bootleg set for now.


Good choice. I really enjoyed it, multiple takes and all. And a merry Christmas and a very prosperous new year to all who contribute to the Jazz Hole. Here's to a great 2017. :trp::cheers:


----------



## jim prideaux

what a marvellous album Bobo Stenson's Serenity is.........listenin' again!


----------



## starthrower

Alphonse Mouzon lost his battle with cancer. He was the first drummer in Weather Report.
The title of this Wayne Shorter tune now sadly appropriate. Mouzon provides the haunting
vocals.


----------



## JACE

*Steve Kuhn Trio - At This Time ... (Sunnyside)*
with Steve Swallow & Joey Baron


----------



## millionrainbows

I love Steve Swallow.


----------



## starthrower

millionrainbows said:


> I love Steve Swallow.


And Joey Baron too! I only have one Kuhn album. An old one from the mid 70s with some really good sounding Fender Rhodes piano.


----------



## JACE

*Warne Marsh & Lee Konitz - Two Not One (Storyville)*
Disc 1


----------



## JACE

starthrower said:


> And Joey Baron too! I only have one Kuhn album. An old one from the mid 70s with some really good sounding Fender Rhodes piano.


starthrower,

Kuhn is one of my favorite musicians. He's remarkably consistent, so you can dip into his discography practically anywhere and come up with something wonderful. That said, these are some of my favorites:
- _Non-Fiction_ (ECM, 1978)
- _Playground_ w/ Sheila Jordan (ECM, 1979)
- _Oceans in the Sky_ (Owl/Sunnyside, 1985)
- _Looking Back_ (Concord, 1990)
- _Remembering Tomorrow_ (ECM, 1995)
- _The Best Things_ (Reservior, 2000)
- _Live at Birdland_ (Blue Note, 2007)


----------



## Casebearer

Wolter Wierbos, probably the greatest trombone player of the Netherlands, improvising on the chiming of a church bell.






And here he's playing his trombone interacting with the echo's from a waterwell. After that Guus Janssen (organs and piano) is playing a quite different, crazy but very impressive version of Beethovens Egmont Ouverture.


----------



## Casebearer

Sort of a documentary on the great days of 'heavy Dutch jazz' with Leo Cuypers, Willem Breuker, Han Bennink and Arjen Gorter. 
They played their asses! Heavy but always joyous, unconventional and anarchistic. We don't have this kind anymore, it's all acceptable and confined within limits nowadays. But these are all Giants.


----------



## Jay

Who sez horn ain't a jazz instrument?


----------



## starthrower

I have a couple of Tom Varner albums. Swimming, and The Mystery Of Compassion. And before Varner was jazz legend Willie Ruff who played horn and double bass. Check out his autobiography, A Call To Assembly. It's a fantastic read!


----------



## Vaneyes




----------



## Casebearer

For those who liked 'Heavy days are here again' by the Willem Breuker Collective there's another even more famous Dutch free jazz composition of this period called the 'Zeeland Suite' composed by Leo Cuypers. It has been remade recently by Jeroen van Vliet c.s. who's a great jazz pianist in his own right.

Here's a 49 minute YT clip of the original Zeeland Suite in a somewhat Bertolucci-like theatrical documentary Dutch style. The Zeeland Suite is made up out of nine parts that had to be performed at nine different locations in the provincie of Zeeland. Zeeland is a Dutch province that as you may know is well below sealevel and was severely flooded in 1953 killing thousands of people. It's one of our country's tragedies. As a result the vast Deltaworks where planned and you see images of construction of those works (that took a few decades to complete) too.


----------



## Casebearer

Vijay Iyer Trio


----------



## starthrower




----------



## jim prideaux

The Soul of Things-Tomasz Stanko........

as with every other album he plays on it is pianist Marcin Wasilewski that really makes this 'great'......

the only disappointment about the man is that he does not appear enough..either live in this country (both times I have seen the trio it has been superb!) or on recordings!


----------



## starthrower




----------



## Barbebleu

Eric Dolphy - Complete Prestige recordings.


----------



## starthrower

The postman just delivered this, and I gotta go back to work now. (Miles rasp) "Ain't that a bitch!"


----------



## Barbebleu

starthrower said:


> The postman just delivered this, and I gotta go back to work now. (Miles rasp) "Ain't that a bitch!"


You just reminded me why I love being retired!:lol:


----------



## starthrower

Barbebleu said:


> You just reminded me why I love being retired!:lol:


I was retired for 8 months last year, and I loved every minute of it. Well, except for waking up after back surgery!


----------



## JACE

*Joey Calderazzo - Going Home (Sunnyside)*
with Orlando le Fleming & Adam Cruz

A gorgeous record.


----------



## starthrower

Listening to disc one of the Miles Quintet studio run throughs. I don't know why I never thought of it before, but Circles has such a obvious Bill Evans influence. It's great to listen to Herbie's playing on this.


----------



## starthrower

John McLaughlin is 75 today! Born Jan 4th 1942 Yorkshire England


----------



## tortkis

JACE said:


> *Joey Calderazzo - Going Home (Sunnyside)*
> with Orlando le Fleming & Adam Cruz
> 
> A gorgeous record.


Sunnyside is releasing high quality jazz albums. I don't have this but purchased a couple of Kuhn recordings. (I prefer the trio with Swallow/Baron to the one with Carter/Foster.) It seems latin jazz is their strength. Recently I listened to Edward Simon (decent & very nice), Sara Serpa & André Matos (wonderful vocal-guitar duo), Orquesta Tipica Juan Pablo Navarro (enjoyable Argentinean tango), Carlos Franzetti (sophisticated Argentinean composer / pianist), Camila Meza (Chilean vocalist / guitarist / composer. Traces was one of my personal best findings last year. Refreshing music, I was reminded of Return to Forever), Fred Hersch Plays Jobim...


----------



## JACE

tortkis said:


> Sunnyside is releasing high quality jazz albums. I don't have this but purchased a couple of Kuhn recordings. (I prefer the trio with Swallow/Baron to the one with Carter/Foster.) It seems latin jazz is their strength. Recently I listened to Edward Simon (decent & very nice), Sara Serpa & André Matos (wonderful vocal-guitar duo), Orquesta Tipica Juan Pablo Navarro (enjoyable Argentinean tango), Carlos Franzetti (sophisticated Argentinean composer / pianist), Camila Meza (Chilean vocalist / guitarist / composer. Traces was one of my personal best findings last year. Refreshing music, I was reminded of Return to Forever), Fred Hersch Plays Jobim...


Yes, I agree 100% that Sunnyside is consistently releasing outstanding music! It's one of my favorite jazz labels.

Interesting that you noted the Latin music that seems to be flourishing on Sunnyside. I think you're right about that too. In fact, Latin-influenced jazz seems to be having a real impact on jazz in general. There are just so many fantastic Latin musicians these days that the line between "Latin" and "Jazz" is non-existent.

One example is drummer Adam Cruz. I think he's one of the most exciting drummers on today's scene. His Latin heritage is part of his playing -- but it's fully integrated with his jazz playing. So it's not "Latin Jazz" -- it's just jazz with a totally groovy Latin accent -- or not -- depending on the context that he happens to be playing in.

Cruz is just one example. But there are dozens just like him. It's exciting. 

The market for jazz may be shrinking (unfortunately) -- but there is no doubt that jazz is a GLOBAL phenomenon.


----------



## JACE

1970's Jazz from Britain:










*Michael Garrick Trio - Cold Mountain (Vocalion, originally Argo)*

Such a fantastic album. I think Garrick is a HUGELY under-appreciated figure -- especially here in the U.S. I only discovered his music last year, but he's already become one of my favorite musicians. He's got (or, I suppose I should say "had") a really unique voice -- both as a player and composer.


----------



## Casebearer

JACE said:


> Yes, I agree 100% that Sunnyside is consistently releasing outstanding music! It's one of my favorite jazz labels.
> 
> Interesting that you noted the Latin music that seems to be flourishing on Sunnyside. I think you're right about that too. In fact, Latin-influenced jazz seems to be having a real impact on jazz in general. There are just so many fantastic Latin musicians these days that the line between "Latin" and "Jazz" is non-existent.
> 
> One example is drummer Adam Cruz. I think he's one of the most exciting drummers on today's scene. His Latin heritage is part of his playing -- but it's fully integrated with his jazz playing. So it's not "Latin Jazz" -- it's just jazz with a totally groovy Latin accent -- or not -- depending on the context that he happens to be playing in.
> 
> Cruz is just one example. But there are dozens just like him. It's exciting.
> 
> The market for jazz may be shrinking (unfortunately) -- but there is no doubt that jazz is a GLOBAL phenomenon.


I suppose I'm into Hungarian jazz the same way you and tortis are into Latin jazz.


----------



## JACE

Casebearer said:


> I suppose I'm into Hungarian jazz the same way you and tortis are into Latin jazz.


Casebearer,

Are you familiar with the Hungarian bassist *Aladár Pege*? Earlier this year, I discovered a duo record that he made with pianist Walter Norris called _Synchronicity_. It was released on the Enja label in 1979.

Superb music, imho! 

Here's the title track:


----------



## Casebearer

No, I didn't yet. Thanks for mentioning him. I agree it's superb music. Listening to it now...

Although Aladar Pege died only some ten years ago I'm more familiar with current Hungarian jazz musicians and albums you can find on the BMC label and the Fono label. Mihály Dresch is my absolute favorite and I've posted on him several times. So now I'll post on Félix Lajkó, a great jazz violinist - and also a bit of a show man. First 15 minutes are in a small band setting showing his virtuosity. After that we're getting to where it's at with a bigger band (with Dresch on the saxophone and fuhun).


----------



## Casebearer

And this is a beautiful cimbalom based Dresch piece with Félix Lajkó playing the violin.


----------



## tortkis

Casebearer said:


> And this is a beautiful cimbalom based Dresch piece with Félix Lajkó playing the violin.


This is very good and interesting. Folkish (resembling arabic?), groovy and sometimes a bit free-ish. Cimbalom looks like Iranian santur. I know nothing about Hungarian music. Is there any relation with middle east music?


----------



## Bluecrab

starthrower said:


> John McLaughlin is 75 today! Born Jan 4th 1942 Yorkshire England


Happy birthday, Mr. McLaughlin.

My wife and I listened to a couple of cuts from _Birds of Fire_ last night. My Lord, Billy Cobham is a monster on that album. I saw that band warm up for King Crimson some time around 1973. My ears were ringing for three days afterward. But it was worth it.


----------



## Casebearer

^^ (reply to tortkis)

In my opinion yes because of the folk roots of this music. The most obvious reason being that a large part of Eastern Europe (Bulgaria, Greece, Rumania, Yugoslavia and Hungary) was part of the Ottoman (Turkish) empire which has influenced culture and (folk) music. Hungary itself was part of the Ottoman empire for 150 years but adjacent parts in Eastern Europe for a much longer period. Although the Hungarians have always been a somewhat separate people (because of their Finno-Ugric origin and language amongst mainly Slav peoples) Bartok and Kodaly primarily went out in search of folk music they connected with in southeastern direction (including Turkey where Bartok worked with the Turkish composer Saygun) so they must have felt a connection to the music of those parts.

Personally I have always felt that Hungarian (folk-influenced) and other Southeastern European music is somehow 'central' between Western and Eastern music which might explain my fascination.


----------



## tortkis

^ Thanks for your informative post, Casebearer. It aroused my interest in Hungarian music, since I recently listened to some Iranian classic music and liked it. I recalled reading a book about Bartók's study on Hungarian folk music (not about his compositions) but forgot most of the contents. I want to read it again.


----------



## Casebearer

I love Iranian (classical) music myself also. I've still got three cassette tapes somewhere of a Dutch radio documentary on Iranian music I found very interesting at the time.


----------



## Casebearer

James Brandon Lewis...........


----------



## Casebearer

I'll be seeing him in concert in two months!


----------



## Vaneyes

R.I.P. (except for jazz) *Nat Hentoff* (91). :angel: His Down Beat writings were singularly responsible for whetting my interest in jazz.











__ https://twitter.com/i/web/status/817903366382776320
http://www.nytimes.com/2017/01/07/nyregion/nat-hentoff-dead.html?_r=0

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


----------



## Guest

I just received this SACD--wow, the musicians are practically in the room with me!


----------



## tortkis

Vaneyes said:


> R.I.P. (except for jazz) *Nat Hentoff* (91). :angel: His Down Beat writings were singularly responsible for whetting my interest in jazz.


I have his book The Jazz Life. Today I reread the chapter about the Sketches of Spain session, a vivid description of the historical studio recording. (Conversations about the drum set location and the horn player's radio were so funny.)


----------



## Casebearer

Another great piece by the master of Hungarian folk influenced jazz. Hajnal means Dawn.


----------



## Casebearer

I got some older vinyl from a friend lately. One of them is Louis Jordan's - Remember Louis Jordan (Fontana 6430 114).

I had completely the wrong associations beforehand. It's nice lighthearted and sometimes humorous rhythm & blues with calypso and southamerican vibes and jazzy accompaniment. Not completely my style but quality music and okay for a change.


----------



## Casebearer

Continuing with my friends vinyl I've been listening to Jimmy Smiths' - The History of Jimmy Smith (a double album).

Jimmy Smith has been called the father of acid jazz playing his Hammond B-3 organ both in hard bop and jazz funk/fusion style. 
Not my absolute favorite but always a pleasure to hear a good Hammond organ.


----------



## Armanvd

Hi All. I'm New Here. I've Been Listening To Esbjörn Svensson trio's Live In Hamburg Lately. Genre : Contemporary Jazz


----------



## Casebearer

Listening now to Art Blakey's _Theory of Art_. This is a digitally remastered compilation cd that essentially is Night in Tunesia from 1957 by Art Blakey & The Jazz Messengers with two bonus tracks by Art Blakey's Jazz Messengers Plus Four (including Wynton Kelly, Lee Morgan and Cecil Payne).

Superb hard bop with great playing by Jackie McLean and Johnny Griffin on alto and tenor sax and Bill Hardman on trumpet. But it's really outstanding in the hard bop repertoire because of the great percussive intros by Art.

His theory works with me!


----------



## Heliogabo

Casebearer said:


> Listening now to Art Blakey's _Theory of Art_. This is a digitally remastered compilation cd that essentially is Night in Tunesia from 1957 by Art Blakey & The Jazz Messengers with two bonus tracks by Art Blakey's Jazz Messengers Plus Four (including Wynton Kelly, Lee Morgan and Cecil Payne).
> 
> Superb hard bop with great playing by Jackie McLean and Johnny Griffin on alto and tenor sax and Bill Hardman on trumpet. But it's really outstanding in the hard bop repertoire because of the great percussive intros by Art.
> 
> His theory works with me!
> 
> View attachment 91626


There isn' t a bad moment in Blakey's and his fellows recordings. Everything is top notch.


----------



## Pugg

wrong thread, sorry


----------



## Casebearer

Put on another recent buy: Terence Blanchard - Terence Blanchard (1991). Beautiful.

During the second piece I thought I heard Branford Marsalis on the saxophone and guess what, I guessed right....


----------



## Armanvd

> I love Iranian (classical) music myself also. I've still got three cassette tapes somewhere of a Dutch radio documentary on Iranian music I found very interesting at the time.


As An Iranian My Favourite Composer In Iran Is Kayhan Kalhor . Check Him Out .
He Also Collaborated With Yo-Yo Ma Multiple Times.


----------



## Jay




----------



## starthrower

Dave Douglas in conversation with today's leading jazz artists.
https://www.greenleafmusic.com/podcasts/


----------



## JACE

Bill Evans - _Since We Met_ (Fantasy)


----------



## Vaneyes

To whom it may interest, jazz clubs in Paris.

https://www.theguardian.com/travel/2017/jan/17/top-10-paris-jazz-clubs-chosen-by-musicians-experts


----------



## Armanvd

Black Host - Life In The Sugar Candle Mines (2013)


----------



## Dan Ante

Vaneyes said:


> To whom it may interest, jazz clubs in Paris.
> 
> https://www.theguardian.com/travel/2017/jan/17/top-10-paris-jazz-clubs-chosen-by-musicians-experts


That is a very interesting article. 
Have you any of this series? I managed to get about 15 - 20 at give away prices a few years ago. All the old greats I love em.







Also a good bit of info if interested 
http://jazzprofiles.blogspot.co.nz/2010/09/jazz-in-paris.html


----------



## Casebearer

Great, great music by the Dutch jazz trio consisting of Jan Kuiper (slick and dreamy guitar), Wolter Wierbos (mean trombone) and Paul van Kemenade (male saxophone). They're called the Podium Trio and are consistently making great jazz since the eighties.


----------



## Casebearer

And here's another one I love, Desert Blues:


----------



## starthrower

Love this sound. Steve Swallow on bass, Steve Kuhn on keyboards, Jon Christensen on drums.


----------



## starthrower




----------



## starthrower




----------



## starthrower

This recording really compliments these great players! A warm, full bodied sound with a beefy bottom end. NHOP's bass fills up the whole room with heart and soul.


----------



## Casebearer

Just been listening to him last week...


----------



## Jay




----------



## Casebearer

Stephan Crump's Rhombal performed at Cornelia St. Café


----------



## Vaneyes




----------



## Vaneyes




----------



## Dan Ante

*How about Zazz*


----------



## Vaneyes




----------



## Vaneyes




----------



## Dan Ante

Believe it or not that is the first time I have heard Lady Gag gag


----------



## starthrower

Here's a rare one! Sounds like it's in mono, or maybe that's the way it came out on YouTube? Wayne Marsh, ha, ha!


----------



## Casebearer

Sounds really great!


----------



## Pugg

Vaneyes said:


>


I do like this whole album from Mr. Bennet


----------



## starthrower

It's funny how Bennett appeals to young people now. When I was growing up it was old folks' music along with Sinatra and Dean Martin.


----------



## Barbebleu

Pugg said:


> I do like this whole album from Mr. Bennet


But for me, not really jazz. I'm afraid I'm one of these people who doesn't include anything vocal under the banner of jazz. Yes I admire Ella, Sarah and all of those singers who sang with jazz bands but, again for me, jazz is instrumental music which includes improvisation as its main component and singing doesn't cut it. And that includes scat!


----------



## starthrower

Barbebleu said:


> But for me, not really jazz. I'm afraid I'm one of these people who doesn't include anything vocal under the banner of jazz. Yes I admire Ella, Sarah and all of those singers who sang with jazz bands but, again for me, jazz is instrumental music which includes improvisation as its main component and singing doesn't cut it. And that includes scat!


I have to disagree with that point of view in a big way. Ella, Lambert, Hendricks & Ross, Carmen McRae, Mark Murphy to me are as hardcore jazz as anyone can be. Great musicians all. And the greatest of them all invented scat. Satchmo!


----------



## Barbebleu

starthrower said:


> I have to disagree with that point of view in a big way. Ella, Lambert, Hendricks & Ross, Carmen McRae, Mark Murphy to me are as hardcore jazz as anyone can be. Great musicians all. And the greatest of them all invented scat. Satchmo!


We'll just have to agree to disagree on that one. At my advanced age I'm not going to be persuaded otherwise and I'm sure you're the same. Anyway there's lots of stuff we do have in common so no worries then.


----------



## starthrower

Hey, we are old dogs. But I do agree Gaga and Bennett are not jazz singers, Even if Bennett made an album with Bill Evans. But to tell you the truth, if most people walked into a club and the great Bill Evans was at the piano, they would consider it cocktail music and talk over it. Unless of course it was Ronnie Scott's, and then they'd get the boot!


----------



## Barbebleu

Yeah, the average listener with Van Gogh's ear for music wouldn't know a pianistic giant if they were run over by a Bechstein upright with Evans at the keys!


----------



## starthrower

I'm taking a liking to this chick! I've known her name for decades, but just recently got listening to her music.


----------



## Dan Ante

starthrower said:


> Hey, we are old dogs. But I do agree Gaga and Bennett are not jazz singers, Even if Bennett made an album with Bill Evans. But to tell you the truth, if most people walked into a club and the great Bill Evans was at the piano, they would consider it cocktail music and talk over it. Unless of course it was Ronnie Scott's, and then they'd get the boot!


When I was in the UK I went to Ronnie Scott's twice but no big names were performing


----------



## Casebearer

starthrower said:


> I'm taking a liking to this chick! I've known her name for decades, but just recently got listening to her music.


Please continue


----------



## Jay




----------



## jim prideaux

Tales from the Hudson=Michael Brecker (and a number of other 'names')


----------



## ldiat

*Al Jarreau*

Al Jarreau, Singer Who Spanned Jazz, Pop and R&B Worlds, Dies at 76


----------



## ldiat




----------



## starthrower

Jarreau just retired from the road. Too bad he didn't get to enjoy some home time in his golden years.


----------



## elgar's ghost

I know the Duke wouldn't approve of bad language but this is f*****ng superb.


----------



## yetti66

"His mother called him Bill" is excellent as is the whole body of work Ellington did with Strayhorn's assistance. Adding to this thread - what are examples of such collaborations in the history of classical music? Miles' work with Gil Evans represents another example of a unique and creative collaboration in jazz history.


----------



## Vaneyes

Saw Al Jarreau R.I.P. in-concert, early '80's. Professional, genuine.

:angel:


----------



## jegreenwood

elgars ghost said:


> I know the Duke wouldn't approve of bad language but this is f*****ng superb.


A terrific album.


----------



## jegreenwood

yetti66 said:


> "His mother called him Bill" is excellent as is the whole body of work Ellington did with Strayhorn's assistance. Adding to this thread - what are examples of such collaborations in the history of classical music? Miles' work with Gil Evans represents another example of a unique and creative collaboration in jazz history.


I can think of examples of composer/interpreter(/muse?): Britten/Pears, Stravinsky/Balanchine. Also Mozart/Da Ponte.


----------



## starthrower

I'm gonna buy this one just for the sound of the drums! And of course Ray Brown and Oscar are great too! I'm not sure who is scatting along with the music? I never heard Peterson do this.


----------



## jim prideaux

Goodbye-Bobo Stenson......every so often I return to one of a number of Stenson' albums (Cantando,Serenity,Indicum)and I am staggered (again)by just how good they are!


----------



## starthrower

Excellent live recording from Potsdam, NY 1966


----------



## jim prideaux

jim prideaux said:


> Goodbye-Bobo Stenson......every so often I return to one of a number of Stenson' albums (Cantando,Serenity,Indicum)and I am staggered (again)by just how good they are!


......the same is also true of the series of albums credited to Pete Erskine on ECM but also featuring the great John Taylor.From that sequence I am listening to 'You never know'..........

I have often encountered criticism of the ECM 'aesthetic', the notion of 'chamber jazz' and some idea of sterility in comparison with 'real jazz'......yeah right!

......third track 'on the lake', expansive, succinct and evocative all at the same time!


----------



## Barbebleu

jim prideaux said:


> ......the same is also true of the series of albums credited to Pete Erskine on ECM but also featuring the great John Taylor.From that sequence I am listening to 'You never know'..........
> 
> I have often encountered criticism of the ECM 'aesthetic', the notion of 'chamber jazz' and some idea of sterility in comparison with 'real jazz'......yeah right!
> 
> ......third track 'on the lake', expansive, succinct and evocative all at the same time!


Weirdly enough I too have been listening to the Erskine, Daniellson, Taylor albums recently. Fabulous music which exemplifies the ECM ethos.


----------



## starthrower

A great late session by Pepper and co. 1980


----------



## Barbebleu

Last night and this morning's listening pleasure.


----------



## starthrower

Love that building in the Larry Young photo. I read about it somewhere but forgot where it is. I think I have only one John Handy album. The live record with Pat Martino


----------



## Jay




----------



## yetti66

Bill Evans was a excellent composer and genre changing pianist/ performer. The TTTT (twelve tone tune two) caught my ear when I first began listening to Evans. The bass performance is stunning as well - a great trio in live performance.


----------



## Guest

Extraordinary sound and superb playing. I bought a 24bit/192Khz file that was copied directly from the analog master tape.


----------



## elgar's ghost

I've had a great day drinking with friends and now I'm (if I'm allowed to use a jazz cliché) digging this whole collection.


----------



## starthrower

^^^
Cheesy public domain label, but I must confess I bought that one.


----------



## starthrower

starthrower said:


> Excellent live recording from Potsdam, NY 1966


Liner notes give location as St Lawrence University, but that school is in Canton, NY. I know because I've been there dozens of times. Anyway, it's a great concert in superb sound. Thanks, ESP-Disk. http://www.espdisk.com/4060.html


----------



## starthrower




----------



## yetti66

Highly recommend adding Taylor's "Conquistador" (1966) to that playlist - 2 song album


----------



## starthrower

Superb early date recorded 1959. Art Taylor on drums, Wendell Marshall on bass.

Great ballad playing on Passion Flower, and What's New.


----------



## cwarchc

Enjoyed this so much, went and dug this one out after


----------



## EarthBoundRules

New to jazz. I love "Better Git It in Your Soul" from _Mingus Ah Um_!


----------



## starthrower

EarthBoundRules said:


> New to jazz. I love "Better Git It in Your Soul" from _Mingus Ah Um_!


Try the Blues & Roots album, and Oh Yeah w/ Roland Kirk. Great stuff!


----------



## starthrower

Great film!


----------



## Barbebleu

starthrower said:


> Great film!


Thanks for the heads-up on this Starthrower. One of the jazz greats.


----------



## starthrower

Horace Parlan 1931-2017


----------



## Blake

In the mood for some Monk.


----------



## starthrower




----------



## Heliogabo

starthrower said:


> Horace Parlan 1931-2017


I didn't knew about Parlan's passing. A quite intriguinf pianist. RIP.


----------



## starthrower

New Bill Evans documentary.

http://www.billevanstimeremembered.com/mobile/index.html


----------



## norman bates

a little gem (little just because it's a very short tune):






I'd like to find more jazz that could be defined ethereal as this piece.


----------



## Casebearer

Here's a - partly - aethereal one for you Norman


----------



## Casebearer

George Vukan, great Hungarian pianist. Died 5 years ago.


----------



## Casebearer

And in this one his partner in crime Béla Szakcsi Lakatos shows his skills as a pianist, somewhat more on the jazz side than George. Béla also engaged with Kurtág, Ligeti, Eötvös and Boulez works later.


----------



## norman bates

Casebearer said:


> Here's a - partly - aethereal one for you Norman


thank you, never heard them before. It reminds of something between Bill Frisell and David Torn


----------



## starthrower

Very different from his ECM stuff. Aggressive, free playing.

It's from this box set.


----------



## Conglomerate




----------



## starthrower

Legendary vibraphonist Gary Burton to hang up mallets for good after March tour.
http://www.miamiherald.com/news/local/community/gay-south-florida/article135228289.html

PS Listening to Chick and Gary doing the Tiny Desk concert got me all choked up. Such beautiful music! The jazz world will miss Gary Burton.


----------



## Barbebleu

starthrower said:


> Legendary vibraphonist Gary Burton to hang up mallets for good after March tour.
> http://www.miamiherald.com/news/local/community/gay-south-florida/article135228289.html
> 
> PS Listening to Chick and Gary doing the Tiny Desk concert got me all choked up. Such beautiful music! The jazz world will miss Gary Burton.


That's bad news indeed. Another giant exits the scene. I think I have everything official and a bunch of live bootlegs. I will pour myself a large Springbank and listen to Duster tonight I think and reflect on this news and the passing of Larry Coryell.


----------



## Barbebleu

Conglomerate said:


>


An elusive and exceptional album. I have the vinyl original. Classic Blue Note sleeve.


----------



## Barbebleu

starthrower said:


> Very different from his ECM stuff. Aggressive, free playing.
> 
> It's from this box set.


Thanks for the heads-up. I have sent for the box set.


----------



## starthrower

Great to hear this again! One of my old favorites.


----------



## Barbebleu

starthrower said:


> Great to hear this again! One of my old favorites.


So many great Burton albums. One of my favourites from the early days is A Genuine Tong Funeral. Under-rated in my opinion. Also the live one he did at Carnegie Hall just after Lofty Fake Anagram with an outstanding version of Lines. The interaction between Burton and Coryell is superb. Listening to it reminded me of another great duet from the Charles Loyd album Of Course, Of Course. The track is Voice in the Night with Lloyd and the great Gabor Szabo. Fantastic interplay. And of course the Burton/Corea albums are a joy. Basically Gary could play with anyone and always sound brilliant.


----------



## starthrower

I gotta get the Burton/Corea ECM box. Can't believe I never picked up that stuff. And I'm gonna snap up a few of the early ones available in Japanese editions before they're sold out. Good Vibes, New Vibe Man In Town, and Matchbook w/ Towner.

PS I have Genuine Tong Funeral on an RCA CD. Will have to dig it out for a spin.


----------



## starthrower

Early Daze!


----------



## jim prideaux

the magical introduction to 'Terraces' from Pete Erskine's Time Being hits me every time-as Daniellson and Taylor come in I am left wondering why music cannot always elicit the same response!


----------



## starthrower

This chick plays some really nice soprano with Ornette's rhythm section.


----------



## starthrower

I've been neglecting my BS/SN boxes, so I cracked open the Andrew Cyrille set.


----------



## Casebearer

Clifford Jordan Quartet's Glass bead games.


----------



## norman bates

Casebearer said:


> Clifford Jordan Quartet's Glass bead games.


curious fact: this is a tune written by the father of Spike Lee. And I like it a lot


----------



## starthrower

I didn't pay much attention to the album when it came out 20 years ago, but this live show is great!

The New Standard


----------



## starthrower

I bought the CD back then, but I had no idea the session was filmed. A live before a studio audience album.


----------



## tortkis

norman bates said:


> a little gem (little just because it's a very short tune):
> 
> 
> 
> 
> 
> 
> I'd like to find more jazz that could be defined ethereal as this piece.


I think Jacob Young has similar atmosphere.

Also, this is otherworldly.
Tyto Alba - Gunnar Halle, Jeppe Kjellberg, Steinar Nickelsen


----------



## starthrower

Mariano, Wheeler, Mangelsdorff, and co.


----------



## norman bates

tortkis said:


> I think Jacob Young has similar atmosphere.
> 
> Also, this is otherworldly.
> Tyto Alba - Gunnar Halle, Jeppe Kjellberg, Steinar Nickelsen


Thank you, unfortunately due to youtube limitations I can't listen to it


----------



## Barbebleu

I'm currently listening to a fantastic Max Roach album - Members, Don't Git Weary. Wonderful music and sensational playing.


----------



## starthrower

Barbebleu said:


> I'm currently listening to a fantastic Max Roach album - Members, Don't Git Weary. Wonderful music and sensational playing.


I have that one. Love Max! I just ordered the 2nd Black Saint set. Several albums featuring Odean Pope.

NP:


----------



## Heliogabo

This 1981 (AAD) recording is one of the best sounding albums I've ever heard:










The trio simply seems to be in front of you, playin in your living room.
I wish to explore more Art Lande's recordings,


----------



## Barbebleu

Heliogabo said:


> This 1981 (AAD) recording is one of the best sounding albums I've ever heard:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> The trio simply seems to be in front of you, playin in your living room.
> I wish to explore more Art Lande's recordings,


I'm glad I invested heavily in ECM back in the day. I still enjoy listening to the vinyl originals and there is something reassuring about looking at those amazing sleeves in full size. My local secondhand record shop got a load of ECM albums in about thirty five years ago and because I was a regular and my taste was well known, I got first dibs on them at knockdown prices. Happy days.

Oh, btw, look for one called Red Lanta. (Yes, it's an anagram). It is excellent.


----------



## Casebearer

I'll be seeing James with his trio on Friday. Been listening to his stuff all evening. I think I like his work with Haim Peskoff best so far.


----------



## starthrower

^^^
He sounds good, but does he have any tunes?


----------



## Dan Ante

I could only stand it for 7 min


----------



## Casebearer

starthrower said:


> ^^^
> He sounds good, but does he have any tunes?


Would you say this has a tune? (Most of the pieces on his latest EP No Filter are tuny).


----------



## Casebearer

Here's some talking and playing in relation to his main influences: gospel, spoken word/poetry, free jazz.


----------



## Casebearer

Great concert it was. Three small guys with enormous energy, rhythm and control. Very powerful free jazz. Lewis has a very beuatiful tone of (sax) voice.






Tonight it was performed without the voice (which I don't mind I think).


----------



## bharbeke

Maynard Ferguson's Newport Suite has some great tunes on it. "Got the Spirit" and "Three More Foxes" are a couple of the highlights.


----------



## tortkis

I am listening to Kenny Barron's fantastic trio albums. Most of the tunes are his original compositions. Beautiful.

Scratch (Enja, 1985)








with Dave Holland (bass) & Daniel Humair (drums)

Book of Intuition (Impulse!, 2016)








with Kiyoshi Kitagawa (bass) & Johnathan Blake (drums)


----------



## Faramundo

that's a great LP, really.


----------



## Heliogabo

Yes, when cool meant cool...


----------



## Dan Ante

Acker Bilk & His Paramount Jazz Band: In A Persian Market (Live in Jazz Festival Prague 1964)


----------



## Jay




----------



## starthrower

Live quartet recording not to be confused with the big band album of the same name.


----------



## Heliogabo

This music should not be forgotten.
the orchestra is an octet in fact, mainstream compositions and arrangements by Levitt, very intriguing if you like this genre. 
This release has two albums made by this ensemble.


----------



## Barbebleu

I'm currently listening to a fantastic live double album with Max Roach and Archie Shepp called The Long March. Absolutely brilliant.


----------



## starthrower

Barbebleu said:


> I'm currently listening to a fantastic live double album with Max Roach and Archie Shepp called The Long March. Absolutely brilliant.


I'm a big fan of both. Will listen to this on YouTube.


----------



## Vaneyes

Via YT, *Nina Simone* at Montreux 1976. Sometimes disturbing, sometimes brilliant.

https://www.bing.com/videos/search?...6BA9224F3DF10D0F67376BA9224F3DF10&FORM=VRDGAR


----------



## Heliogabo

RIP Arthur Blythe:

https://jazztimes.com/news/saxophonist-arthur-blythe-dies-76/


----------



## Faramundo

brilliant !!


----------



## starthrower

Great album featuring Ralph Towner, John Abercrombie, Jan Hammer, Sonny Fortune, Dom Um Romao. Double CD also featuring the album, Tribe. Got this from Wayside for 6 dollars.
http://www.waysidemusic.com/Music-P...Ds-(Mega-Blowout-Sale)__23-MIG-spc-80102.aspx


----------



## Barbebleu

starthrower said:


> Great album featuring Ralph Towner, John Abercrombie, Jan Hammer, Sonny Fortune, Dom Um Romao. Double CD also featuring the album, Tribe. Got this from Wayside for 6 dollars.
> http://www.waysidemusic.com/Music-P...Ds-(Mega-Blowout-Sale)__23-MIG-spc-80102.aspx


Thanks for heads-up. That's it ordered.


----------



## starthrower

This one sounds great too! Joe Farrell on winds, David Friedman on vibes, plus Towner and George Mraz. Friedman sounds heavily influenced by Bobby Hutcherson.


----------



## Barbebleu

It was the double cd I ordered so I'm looking forward to this too. Love Joe Farrell. He was brilliant on the Elvin Jones Blue Note albums and also on his work with Chick Corea.


----------



## starthrower




----------



## millionrainbows

starthrower said:


> ^^^
> He sounds good, but does he have any tunes?


I heard a recurring lyrical figure. It's like Ornette Coleman, somewhat.


----------



## millionrainbows

starthrower said:


> Great album featuring Ralph Towner, John Abercrombie, Jan Hammer, Sonny Fortune, Dom Um Romao. Double CD also featuring the album, Tribe. Got this from Wayside for 6 dollars.
> http://www.waysidemusic.com/Music-P...Ds-(Mega-Blowout-Sale)__23-MIG-spc-80102.aspx


And at what a Price for 2-CDs! This Wayside link is your greatest gift to us, Starthrower.


----------



## Michael42

starthrower said:


> This one sounds great too! Joe Farrell on winds, David Friedman on vibes, plus Towner and George Mraz. Friedman sounds heavily influenced by Bobby Hutcherson.


I love that album!


----------



## Jay




----------



## Vaneyes




----------



## starthrower

I used to play the crap outta this one about 35 years ago. Listen to the first track. The drummer is phenomenal, as is Lee and rest of the band. Reminds me of 70s George Duke, and Zappa a bit.


----------



## millionrainbows

Found this at Goodwill for $2. Hutcherson's first recording as leader. Good playing from Freddie Hubbard, Andrew Hill, Sam Rivers. Modern, uncompromising.


----------



## millionrainbows

Thanks for all your good posts, star thrower. I just ordered from Wayside: Uncle Meat Deluxe 3-CD, Greasy Love Songs (original vinyl mix of Cheap Thrills), and an old Brand X (Morroccan Roll).


----------



## Jay

millionrainbows said:


> Hutcherson's first recording as leader. Good playing from Freddie Hubbard, Andrew Hill, Sam Rivers. Modern, uncompromising.


^Good stuff. You may dig this:


----------



## Casebearer

Been listening to Coltrane's Africa/Brass album again on a double cd with several takes of it. When you're in the mood it's all you could want of music.The brass is really kicking *** on these takes. And Coltrane himself and his band of course. I think it would still make a big impression if it was performed today.

Here's a full album version I could find on YT.


----------



## Casebearer

I also love Kulu Sé Mama (great percussion/drums!), so here it is.


----------



## starthrower

35 years late getting to this one. I like it!


----------



## millionrainbows

starthrower said:


> 35 years late getting to this one. I like it!


That's what I like about life; there's so many good albums I haven't heard yet. It's almost like going back in time and being able to afford all the stuff you couldn't buy.

Here's one I hope gets put on CD before I pass:


----------



## Jay




----------



## tortkis

Heliogabo said:


> RIP Arthur Blythe:
> 
> https://jazztimes.com/news/saxophonist-arthur-blythe-dies-76/


Arthur Blythe: Illusions (1980)








Arthur Blythe (alto saxophone), Abdul Wadud (cello), James Blood Ulmer (guitar), Bob Stewart (tuba), John Hicks (piano), Fred Hopkins (bass), Bobby Battle (drums), Steve McCall (drums)

I listened to Blythe for the first time and really liked the playing and compositions on this album. From jazz funk to hard bop, every track is fantastic.


----------



## tortkis

Not recent news, but Dominic Duval passed away last year. His Songs for Krakow is one of my favorite bass solo albums. His playing is warm, melodic, and free. I liked the Trio X albums and duo recordings with Mcphee and with Perelman a lot.


----------



## Jay

tortkis said:


> I listened to Blythe for the first time and really liked the playing and compositions on this album.


I recommend _The Grip_ and _Metamorphosis_, both on India Navigation.


----------



## starthrower

Steve's first three albums on Columbia re-issued on BGO. Haven't listened to this stuff for over 30 years when I had the vinyl compilation.


----------



## Vaneyes




----------



## Vaneyes




----------



## Casebearer

Saw them tonight. An international band (Japanese, Spanish, Canadian and Italian) based in the Netherlands. The Okabe Family playing compositions by the Japanese alto saxophone player Genzo Okabe, originally from Tokyo. Very interesting. He's trying to merge the pentatonic scale of traditional Japanese music ((1, b9, 4, 5, 7) into jazz in a way different from Bach's Wohltemperiertes Klavier. (Not that I know what that means).

Right next to him is the young jazzpianist Miguel Rodriguez. Great convincing playing. Drum and double bass great as well. I was very impressed by them. Really tight band. And it swings, brother!


----------



## millionrainbows

starthrower said:


> Steve's first three albums on Columbia re-issued on BGO. Haven't listened to this stuff for over 30 years when I had the vinyl compilation.


That's very cool. These releases are hard to find. I'm looking forward to the remastering, and I've always loved his cover art.

Here is a favorite of mine:


----------



## Jay




----------



## Barbebleu

Vaneyes said:


>


Don't mean to be too picky here but Rosemary Clooney? Jazz? Even Cole Porter is barely jazz. Great writer of popular songs though.


----------



## starthrower

millionrainbows said:


> That's very cool. These releases are hard to find. I'm looking forward to the remastering, and I've always loved his cover art.


Re-mastering sounds very good! And there's an excellent essay chronicling Steve's early career, and also some info about the French artist who designed the covers.


----------



## cwarchc

It appears that I'm in a jazz mood recently








Preceded by


----------



## Vaneyes

Barbebleu said:


> Don't mean to be too picky here but Rosemary Clooney? Jazz? Even Cole Porter is barely jazz. Great writer of popular songs though.


The style, the phrasings in this song should be obvious.

Do a search. She qualifies easily. As with many (NancyWilson, Peggy Lee, for example) popular outings (usually TV) were available to "pay the rent'. Peggy Lee even did successful Maxwell House Coffee ads.:tiphat:


----------



## Barbebleu

Yeah. I wouldn't pick them as jazz either. Nothing with a human voice I'm afraid. Vocalists lack that one important ingredient of jazz. Improvisation. And don't get me started on scat! But that's my taste. :tiphat:


----------



## jegreenwood

Barbebleu said:


> Don't mean to be too picky here but Rosemary Clooney? Jazz? Even Cole Porter is barely jazz. Great writer of popular songs though.


I love Cole Porter, but I do not think of him as a jazz artist. ("Now You Has Jazz" from his score for "High Society" is not one of the standouts in his oeuvre - even with Louis Armstrong participating.)

Having said that, his songs have been used time and time again by jazz artists. I can't count the number of jazz renditions I have of "Love for Sale" or "Every Time We Say Goodbye", both vocal and non-vocal.

I've been focusing on jazz the last several days. While I've listened to a number of albums, much of my time has been spent digging into the second Miles Davis Quintet box set (sorry - not sure how to link a picture using my iPad.)


----------



## Casebearer

Michiel Braam is one of the great Dutch modern jazz & improv composers and piano players. He has several bands. This video is of his band eBraam.


----------



## Casebearer

And this one is from a live concert in Korea


----------



## starthrower

Some great footage here! And not many views on YT.


----------



## Barbebleu

Billy Harper - The Awakening. Fabulous stuff. Reminds me a bit of Charles Lloyd's stuff in the late sixties.


----------



## starthrower

I wish this was out on CD.


----------



## starthrower

Barbebleu said:


> Billy Harper - The Awakening. Fabulous stuff. Reminds me a bit of Charles Lloyd's stuff in the late sixties.


Started listening to Harper's Destiny Is Yours CD yesterday. It sounds really good! It's on the SteepleChase label and features Eddie Henderson, among others.


----------



## Jay




----------



## norman bates

Jay said:


>


great album, and Bolivia is a hard bop classic


----------



## starthrower

I have this on cassette. I missed out on the CD, now out of print.


----------



## Selby

Dear Jazz Hole,

I have read through all 173 pages of this thread over the past couple weeks and it has been a deeply enjoyable experience.

The recommendation I would like to offer is the recent works of Tim Berne: Snakeoil (2012), Shadow Man (2013), and You've Been Watching Me (2015). I think that his compositions compete with the very best of our living classical composers. I think that the individuals musicians in his ensemble (Snakeoil) are first rate. The music is dripping with atmosphere. I would describe it as almost agoraphobic. It is dense and thick yet still spacious. It is unlike, to me, anything else I've heard; the pieces are very consistent in quality and engagement. Listening to Tim Berne's Snakeoil feels a lot like getting lost in Brooklyn on a hot summer night.

My highest recommendation.


----------



## Jay




----------



## tortkis

Genesis - Peter Evans Quintet (2016)








Peter Evans (trumpet, piccolo trumpet and compositions), Sam Pluta (live electronics), Ron Stabinsky (piano, synthesizer), Tom Blancarte (bass), Jim Black (drums, percussion, electronics)
https://peterevansmusic.bandcamp.com/album/genesis

A stunning album. Peter Evans is an incredible musician, excellent at bop to avant garde. The album Ghost (2011) is also highly recommended.


----------



## millionrainbows

One of the greatest jazz fusion albums of all time...


----------



## tortkis

Muntu Recordings








http://nobusinessrecords.com/muntu-recordings.html
Jemeel Moondoc (alst sax), Arthur Williams (trumpet), Mark Hennen (piano), William Parker (bass), Rashid Bakr (drums)

Great improvised music, in the format of quintet, quartet and trio. This reminded me of Ornette Coleman's clarity rather than chaotic free-jazz. NoBusiness's digital download (wav files) includes a 41-page booklet pdf containing many nice photos.


----------



## Selby

How about a little Snarky Puppy?


----------



## Selby

Latest purchase:


----------



## Casebearer

Saw Vijay in concert 1,5 years ago. He's really interesting.


----------



## Selby

^ I've had _A cosmic rhythm with each pulse _and _Break Stuff _on heavy rotation. I've really been enjoying him. I'd say that, to me, right now, Vijay Iyer and Tim Berne are composing the most interesting jazz.


----------



## Casebearer

I agree, he's one of the most innovative in jazz these days. The concert I saw/heard was based on the Break Stuff cd.


----------



## Armanvd




----------



## Casebearer

I have that one as well. Nice! I love Chris Potter.


----------



## Barbebleu

Casebearer said:


> I have that one as well. Nice! I love Chris Potter.


Me too and I heartily concur.


----------



## Casebearer

Quite interesting combination of afro and electronics with a jazzy feel: Mbongwana Star


----------



## Casebearer

And another one


----------



## Jay

Pianist Steve Colson:


----------



## tortkis

Hudson - DeJohnette, Grenadier, Medeski, Scofield









first-rate jazz rock by great musicians.


----------



## Casebearer

I've just discovered Oum - a great Maroccan singer - with ethnic roots and sometimes heavy jazz influence. Great music and this one in particular. Hope you enjoy it all!


----------



## MattB

*Chet Baker & Bill Evans* - _The Complete Legendary Sessions_










One of my favorites.


----------



## Selby




----------



## jim prideaux

Pat Metheny Group.....

Still Life Talking
We live here
The road to you 
Letter from home

....yeah!


----------



## norman bates

jim prideaux said:


> Pat Metheny Group.....
> 
> Still Life Talking
> We live here
> The road to you
> Letter from home
> 
> ....yeah!


no.

More seriously, it's just that I've never been a fan of Metheny altough he's a talented player. And I love his tune "In her family".


----------



## Pugg

MattB said:


> *Chet Baker & Bill Evans* - _The Complete Legendary Sessions_
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> One of my favorites.


I just ordered this one, going to make someone very happy. :tiphat:
On vinyl .


----------



## Barbebleu

Eric Dolphy - Complete Prestige Recordings


----------



## Casebearer

norman bates said:


> no.
> 
> More seriously, it's just that I've never been a fan of Metheny altough he's a talented player. And I love his tune "In her family".


Norman, to make you change you mind on Metheny. He played the best guitar solo ever imo on Amelia (from 6:00 minutes onwards).


----------



## starthrower

Pianist Geri Allen lost her battle with cancer. 
http://www.npr.org/sections/thereco...llen-pianist-composer-and-educator-dies-at-60


----------



## Casebearer

My four favorite American saxophone players of this day: Chris Potter, Joshua Redman, Greg Osby and James Brandon Lewis.
Enjoy them, they're all top class!


----------



## Barbebleu

starthrower said:


> Pianist Geri Allen lost her battle with cancer.
> http://www.npr.org/sections/thereco...llen-pianist-composer-and-educator-dies-at-60


 Terribly sad. Saw this on another thread.


----------



## Selby

Upcoming releases from 2 of my favorite artists:

August 25th:









September 8th:


----------



## starthrower




----------



## philoctetes

Cool, planning to see both of those groups, Iyer and Berne, in SF in 2017-18.

Sun Ra Arkestra coming soon...


----------



## Barbebleu

Deep River - Joanna Macgregor on piano and Andy Sheppard, saxes. Fantastic stuff.


----------



## Larkenfield

I was lucky to hear Lee Morgan and Joe Henderson live at the Lighthouse in Hermosa Beach, CA, many years ago. I still remember the thrill of it like yesterday.


----------



## Larkenfield

I also remember hearing Ornette Coleman live in L.A. when he was very controversy. He was playing a white, plastic alto sax like Charlie Parker used to play and sounded amazing in this outdoor concert with his quartet featuring Don Cherry.


----------



## Barbebleu

Larkenfield said:


> I also remember hearing Ornette Coleman live in L.A. when he was very controversy. He was playing a white, plastic alto sax like Charlie Parker used to play and sounded amazing in this outdoor concert with his quartet featuring Don Cherry.


What year would that have been, Lark?


----------



## Casebearer

Maybe the best jazz ever


----------



## tortkis

^ That Coltrane's solo on So What is my favorite. Mindblowing. I wished he kept playing forever. I have been looking for similar recording of Coltrane, that is, long, seeking, creative improvisation.


----------



## Guest

Wonderful playing and sound. Available only as a hi-res download from HDTT. Mine is 24bit/96k.


----------



## Vaneyes

*Donald Eugene Cherry* (1936 - 1995)


----------



## Vaneyes

Barbebleu said:


> What year would that have been, Lark?


Possibility...


----------



## 38157

Obviously I'm very late to the party, but while I was away on holiday, I found a copy of "Heavy Weather" and finally listened to the whole album. I actually don't know much about Zawinul other than that I've inevitably heard him whenever I've listened to "Bitches Brew", but I have to say, I think his compositions were the weaker parts of the album. I like the head of Birdland, but can't get behind the obnoxious hand-claps in the latter part of the solos. And I've tried to enjoy The Juggler a few times now, and it just leaves me cold each time. I really liked Shorter's pieces (especially Harlequin), and Jaco's (particularly Havona, which for me is in competition with Harlequin for best track of the album). Actually, I wish they'd have just written the whole album...

Need to get into Weather Report, I've neglected them even though I've known about them. Sounds like they had an interesting and eclectic evolution. Need to spend some time on Zawinul too - maybe earlier compositions which are less consciously "pop" might grab my attention a bit more than the slightly lacking Heavy Weather selection (beautiful synth tones, though - liked his playing more than his writing).


----------



## Larkenfield

Excellent free-wheeling interview with Miles Davis from 1985:
https://www.theguardian.com/music/2012/nov/06/miles-davis-interview-rocks-backpages


----------



## philoctetes

Premiered this CD last night. Lloyd can do no wrong, and this is his updated resume.


----------



## eugeneonagain

I found a copy of Roland Kirk's _Reeds and Deeds_ today in a second-hand shop for just a few euros. His simultaneous sax playing on the title track is so good, you'd really think it was more than one player if you'd never heard of him.


----------



## TurnaboutVox

*Pictures & Tales*
Christoph Oeding Trio
[Mons Records, 2007]

Random pick on Spotify.


----------



## Jay




----------



## Vaneyes




----------



## Vaneyes




----------



## Vaneyes




----------



## Vaneyes




----------



## MattB

*Moondog* - Sax Pax for a Sax


----------



## Vaneyes

If I may, stray from the norm briefly. :tiphat:

Birds and Jazz

http://www.dailymail.co.uk/sciencet...birds-caught-singing-like-jazz-musicians.html

100 Essential (2008)

http://www.newyorker.com/magazine/2008/05/19/100-essential-jazz-albums

100 Greatest

https://100greatestjazzalbums.blogspot.ca/

100 that shook the world

http://www.jazzwisemagazine.com/pag...1585-the-100-jazz-albums-that-shook-the-world

It never fails to amaze me how many solid albums came out of the 50's & 60's. Truly, the golden era of jazz recording.


----------



## tortkis

Wood Flute Songs ~ Anthology / Live 2006-2012 - William Parker Quartet / Quintet / Sextet / Septet / Ensemble









This 8-disc set is an excellent document of William Parker groups' live performances. I love the quartet (I think it is one of the best contemporary bop/free bands), which is the core of these ensembles, and the vocals and piano added wonderful emotions and colors.


----------



## eugeneonagain

I saw a few versions of _Moanin'_ posted above (including Blakey's original), but what do folks think of this? Rhoda Scott kills this on the hammond:


----------



## Jay

The Book cooks!


----------



## Guest

On the Iso-Mike label. Amazingly natural sound.


----------



## 38157

This woman is insane. I enjoy listening to singers much more when they aren't singing words... especially when they're singing great instrumental music.


----------



## Casebearer

****** said:


> This woman is insane. I enjoy listening to singers much more when they aren't singing words... especially when they're singing great instrumental music.


Fabulous scatting/vocalise by Camille!


----------



## Dan Ante

Sorry I much prefer Ella


----------



## Vronsky

I have a question: Are you familiar with any of these musicians and their music?
David Helbock Trio (Austria) 
Trondheim Jazz Orchestra & Ole Morten Vågan (Norway)
Mario Rom's Interzone (Austria)
Dee Alexander (USA)
Orlando Julius with the Heliocentrics (Nigeria/United Kingdom)
Steve Coleman and Five Elements (USA)
Marc Ribot and the Young Philadelphians (USA)
Anthony Joseph (United Kingdom)
Roberto Ottaviano (Italy)
Craig Tabron Quartet (USA)


----------



## 38157

Vronsky said:


> I have a question: Are you familiar with any of these musicians and their music?


I know Marc Ribot's guitar playing a little bit, form his work with Zorn and other improvisers in New York like Mary Halvorson and Trevor Dunn. Have to admit, I have to investigate him more, though, I don't know much about his own projects. Anything in particular you'd recommend?


----------



## starthrower

Steve Coleman & 5 Elements is modern jazz/funk in odd meters. I can enjoy it in small doses. I like the albums Sine Die, and Black Science.

Craig Taborn's music is also very progressive employing complicated rhythms. But ultimately I prefer my jazz with a bit more lyricism.


----------



## Vronsky

****** said:


> I know Marc Ribot's guitar playing a little bit, form his work with Zorn and other improvisers in New York like Mary Halvorson and Trevor Dunn. Have to admit, I have to investigate him more, though, I don't know much about his own projects. Anything in particular you'd recommend?


Sorry, I'm not familiar with any of them, that's why I'm searching for opinions. Thanks for the links.


----------



## 38157

Vronsky said:


> Sorry, I'm not familiar with any of them, that's why I'm searching for opinions. Thanks for the links.


I see, makes sense! In that case, the free improvs I linked are part of what they do but not altogether representative. When I was listening to some more Ribot on YouTube yesterday, I came across this gem (



), which also features Dunn on bass, and that whole album, having listened to a couple of tracks, seems to be quite strong and aesthetically distinct. I also know Ribot's work on Zorn's The Dreamers (



), which is strangely melodic and accessible.

Also, she isn't in the list you mentioned, but is part of the fabric of the NY jazz scene it seems: Mary Halvorson is worth delving into. Very distinct and capable guitar player (



)


----------



## eugeneonagain

Check this kid playing Django style gypsy jazz guitar. From a Django documentary (should start at 6.45):


----------



## norman bates

Vronsky said:


> Sorry, I'm not familiar with any of them, that's why I'm searching for opinions. Thanks for the links.


Marc Ribot is a great guitarist, but I don't know his work well as I'd like. His work with Tom Waits is brilliant. This is one of my favorite guitar solos ever. Not very melodic but extremely expressive:


----------



## Casebearer

Great song as well.


----------



## Casebearer

I'm having a classic Coltrane night. Started with Greensleeves, then My Favorite Things, Equinox, Spiritual, I'm Old Fashioned, Locomotion, Russian Lullaby and Stellar Regions.


----------



## Casebearer

One of the Chet Baker albums from the 80's that really stands out imo is _Peace_ (1982). It's different. I'd be surprised if you know the album as Chet produced so many albums it's hard to keep track and I didn't.

I accidently stumbled across it around 1985 and loved it immediately for it's subdued, warm and somber atmosphere with great vibraphone and marimba's (especially on Lament for Thelonious). David Friedman composed most of the songs.

Here are a few tracks in case you don't know it. Can't stress it enough, listen to these marimba's and vibraphone!


----------



## Casebearer

And one of his last great concerts, less than a year before he fell out the window in Amsterdam.


----------



## Casebearer




----------



## eugeneonagain

I was watching that interview not long ago (on one of my periodic Chet marathons on youtube). Chet always seemed like a nice fellow and he had such a sad look in later years. He was the artist that really got me into listening to 'modern' jazz - not Miles or Coltrane. He never lost sight of melody and lyrical playing (especially on the flugel) sits perfectly alongside his faster, harder tunes like e.g. _Freeway_.

With those very last concerts though, he was hit and miss. Sometimes he pulled magic out of a hat; other times it was weak, breathy playing as though he couldn't manage it. When he was on form though he was always fantastic.


----------



## norman bates

Casebearer said:


> One of the Chet Baker albums from the 80's that really stands out imo is _Peace_ (1982). It's different. I'd be surprised if you know the album as Chet produced so many albums it's hard to keep track and I didn't.
> 
> I accidently stumbled across it around 1985 and loved it immediately for it's subdued, warm and somber atmosphere with great vibraphone and marimba's (especially on Lament for Thelonious). David Friedman composed most of the songs.
> 
> Here are a few tracks in case you don't know it. Can't stress it enough, listen to these marimba's and vibraphone!
> ....


thanks for this, I remembered only the beautiful cover because it looks like a Monet, but I had never heard it. Listening to the songs you've posted It seems a great album.


----------



## Kajmanen

Anyone know where i can find this type of jazz influenced stuff?


----------



## norman bates

Kajmanen said:


> Anyone know where i can find this type of jazz influenced stuff?


----------



## starthrower

Heard this tune on the radio about 22 years ago and bought the CD. It's now a long time favorite. It features Chuck Loeb on guitar who just lost his battle with cancer at 61. What a shame.


----------



## Selby

The new Vijay Iyer release on ECM, _Far From Over_, is getting universal high praise:

The Guardian:
https://www.theguardian.com/music/2017/aug/17/vijay-iyer-sextet-far-from-over-review-ecm


----------



## Joe B

Album: "Chroma" (1990)
Musicians; Jim Beard - Bob Berg - Randy Brecker - Mino Cinelu - Dennis Chambers - Mark Egan - Jon Herrington - Mark Ledford - Mike Stern

If you like truly rock'in fusion, give this a listen. "Music on the Edge" (a great tune) takes off at about 5 minutes into the video. This is of a concert performed in Japan. Mike Stern and company rock!


----------



## Joe B

One of my favorite tunes from Michael Brecker. I was fortunate to see him perform this right after this albums release at the Blue Note in NYC. The band members for the performance were Michael Brecker, Mike Stern, Adam Nussbaum, Jeff Andrews, and Joey Calderazzo. My brother and I got to talk to Mike Stern for a few minutes. I was sitting at Joey Calderazzo's right; right smack at the end of the piano keyboard. What a great show.


----------



## Jay




----------



## Kajmanen

Is this "fake" jazz or not jazz at all? It just has such a big airy feel to it.


----------



## MattB

Homenatge a Catalunya.


----------



## norman bates

Kajmanen said:


> Is this "fake" jazz or not jazz at all? It just has such a big airy feel to it.


It seems it's called nu jazz, but I would not say it's jazz in the sense that there seems to be no improvisation. But it has some jazzy touch, like the drum sample and the singer. To my ears it's closer to house music than to jazz. 
Stuff like this:






I liked it in any case, very atmospheric and even warm, something that I don't hear often in electronic music.


----------



## eugeneonagain

Here's some sheer swinging trad jazz and a win for the ladies of jazz. I recommend listening to the entire half hour, it's fantastic music.


----------



## Dan Ante

Staying with the trad/dixie here is a short one. Canal street blues

The Turk Murphy Jazz Band plays this King Oliver classic. Don Kinch, trumpetl; Bill Napier, clarinet; Turk Murphy, trombone; Skippy Anderson, piano; Pat Patton, banjo; George Bruns, tuba; Stan Ward, drums. Los Angeles, May 8, 1950.


----------



## starthrower

Bought the new Vijay Iyer CD the other day. Listened to it once. I enjoyed the more lyrical and meditative music towards the end of the album. I'm not as crazy about the more urgent and overly serious tone of some of the other material. Will keep listening to see if it grows on me.


----------



## starthrower

PS currently listening to Homescape by Nguyen Le, Paulo Fresu, and Dhafer Youssef.


----------



## 38157

Jean-Luc Ponty, the Atacama Experience. What an album. Couple of tracks that overshadow the rest, thought - as far as I'm concerned, the above track is the main motivation to put on the album.


----------



## starthrower

Just picked up this studio album. I discovered their Live At Frankfurt Jazz Festival album many years ago. This one is equally adventurous and includes the funniest liner notes I've ever read.


----------



## tortkis

Tangents - Gary Peacock Trio (ECM)








Gary Peacock (bass), Marc Copland (piano), Joey Baron (drums)

Introspective, spontaneous, and solid trio music.


----------



## jim prideaux

Angel Song-Lee Konitz, Kenny Wheeler, Bill Frisell and Dave Holland.......

a while since I have listened to this stunning ECM album......my loss!


----------



## Casebearer

I hope to see Lee Konitz live over here in just under a month!


----------



## jim prideaux

jim prideaux said:


> Angel Song-Lee Konitz, Kenny Wheeler, Bill Frisell and Dave Holland.......
> 
> a while since I have listened to this stunning ECM album......my loss!


and now listening to 'Other people'......Wheeler with the great John Taylor and the Hugo Wolf Quartet. Later I will find time to then listen to Wheeler, Taylor and Steve Swallow and their album 'One of many'.....


----------



## starthrower




----------



## Joe B

*Program:* Iron Clad, Alvin's Smile, Messina, Good-bye (in memory of Benny Goodman), Tomorrow, Lupe, The Theme (Miles Davis)
*Performers:* Bobby Hutcherson (vibes), Harold Land (tenor sax), Curtis Fuller (trombone), Cedar Walton (piano), Buster Williams (bass), Billy Higgins (drums)
*Recording:* Recorded by John Eargle at Fantasy Studios, Berkeley, CA 6/25/86-6/26/86
*Format:* CD (DDD)
*Label:* Delos


----------



## Joe B

Bob Berg "In the Shadows" with Mike Stern, Jim Beard, Dennis Chambers, Lincoln Goines, Will Lee, and Randy Brecker

Here's track #7 "Games":

[video]https://www.bing.com/videos/search?q=bob+berg+games&&view=detail&mid=5F966EA835DBD85103105F966EA835DBD8510310&FORM=VRDGAR[/video]


----------



## MattB

*Matthew Halsall* - On The Go (Special Edition)










One of my latest discoveries. Bandcamp link here.


----------



## Barbebleu

Casebearer said:


> I hope to see Lee Konitz live over here in just under a month!


Way better than seeing him dead!:lol:


----------



## Jay

^^^^^


----------



## Joe B

Recorded at Fantasy Studios, Berkeley, CA (September 8-9, 1986)


----------



## Casebearer

^^

Very tight stuff Jay!

It's now within less than two weeks...


----------



## Casebearer




----------



## Casebearer

He'll be 90 years of age in two days. Still playing!


----------



## tortkis

Joe B said:


> *Program:* Iron Clad, Alvin's Smile, Messina, Good-bye (in memory of Benny Goodman), Tomorrow, Lupe, The Theme (Miles Davis)
> *Performers:* Bobby Hutcherson (vibes), Harold Land (tenor sax), Curtis Fuller (trombone), Cedar Walton (piano), Buster Williams (bass), Billy Higgins (drums)
> *Recording:* Recorded by John Eargle at Fantasy Studios, Berkeley, CA 6/25/86-6/26/86
> *Format:* CD (DDD)
> *Label:* Delos


I think I went to a concert of this group at Yoshi's Berkley a long time ago. Sadly Land and Fuller were not in the best condition, but Hutcherson and others played brilliantly.


----------



## Joe B

Recorded by John Eargle direct to 2-Track digital at Sage & Sound Studios, Hollywood, CA on 12/13/89 & 12/14/89


----------



## Joe B

*Program:* In the Mood, Chattanooga Choo-Choo, The American Patrol, String of Pearls, Little Brown Jug, Kalamazoo, Tuxedo Junction, St. Louis Blues March, Pennsylvania 6-5000, Moonlight Serenade
*Performers:* Walter Levinsky (clarinet), Phil Bodner, Bill Slapin, Morty Lewis, Sol Schlinger (saxophones), Sonny Russo, Wayne Andre, George Masso, Paul Faulise (trombones), Marvin Stamm, Markie Markowitz, Jimmy Maxwell, John Frosk (trumpets), Bucky Pizzarelli (guitar), Ronnie Zito (drums), Jay Leonhart (bass), Bernie Leighton, Dave Grusin (piano), Julius LaRosa, Mel Torme, Marlene Ver Planck, Marty Neslon Michael Mark (vocalists)
*Conductor:* Larry O'Brien
*Composer:* Glenn Miller
*Recording:* Recorded by Larry Rosen at A&R Studio A-1, New York City
*Format:* CD (DDD--11/4/89)
*Label:* GRP


----------



## Casebearer




----------



## Casebearer




----------



## Balthazar

*The Thelonious Monk Quartet ~ Monk's Dream*


----------



## Dan Ante




----------



## Barbebleu

Balthazar said:


> *The Thelonious Monk Quartet ~ Monk's Dream*


I'm going to dig this one out now. Nice reminder Balthazar.


----------



## starthrower




----------



## MattB

@Balthazar Thanks.

Solo Monk


----------



## 38157

starthrower said:


>






Best version of Chameleon, brilliantly fluid sax solo that takes some interesting turns over its course (4'10" into video)


----------



## Casebearer

Usually I find (jazz)funk deathboring because it's all dominated by short endlessly repeated funk motives but this is really different stuff.


----------



## 38157

It either falls flat or is great - limited motivic material seems to either stimulate profound exploration, or get stale fast. Headhunters were a great band for the former possibility, I think


----------



## millionrainbows

The second disc is total chaos, a spontaneous unstructured improvisation.


----------



## regenmusic

George Russell "Vertical Form VI - Event II"

Everyone know who he is?


----------



## regenmusic

Did Prog Out Jazz Jazz or Did Jazz Still Prog Out After Prog Came Out? 

Sounds like George above may have been listening to a big of Prog. That came out in 1977. Builds up a bit like Magma.


----------



## Casebearer




----------



## Casebearer

A marvellous album by Céu (electronic bossa nova). Memories of Astrud Gilberto.


----------



## Casebearer

ALA.NI. Strange for a name but great for music. Think of Cassandra Wilson and also of the atmosphere of great jazz singers from the past.


----------



## Casebearer

Casebearer said:


>


Saw her in concert today at a jazz festival. She didn't let me down. Technicians f***ed up the sound the first 15 minutes but she coped with that really charmingly. I've heard her perform some great songs of herself and a great song from the Mingus album of Joni Mitchell if I'm not mistaken. I was really impressed by her and her band.


----------



## Casebearer

Casebearer said:


> A marvellous album by Céu (electronic bossa nova). Memories of Astrud Gilberto.


Saw her as well at the concert but just for 10 minutes. You know these festivals. Always tightly programmed with overlapping time slots. It was nice but I was on my way to something else. But, contrary to my habits, let me put in some gossip: I think she's 5 or 6 months pregnant!


----------



## Casebearer

I didn't get a chance to see ALA.NI because she was programmed against Kamasi Washington and Mark Guiliana Jazz Quartet. 
I did have a hard time choosing but in the end I did not choose Kamasi Washington. I like his powerful sound and sax playing but I have problems with the sugarsweet schmiering he ruins his compositions with. So I chose Mark Guiliana. I was not disappointed at all. This was one performance I'll remember for many years. Absolutely fabulous. The first 45 minutes they played as a trio (drums, bass and piano) and that was already wonderful. Mark is one of the best jazz drummers around and the interplay with Chris Morrisey on bass and Shai Maestro on piano was really intense. After that Shabaka Hutchings on tenorsax joined in and they blew the roof off in carefully build compositions that reached really orgasmic climaxes. The audience went crazy.

Mark Guiliana is a bandleader for himself just fairly recently but if you get a chance to see him, do!


----------



## Casebearer




----------



## MattB

Concert of Sacred Music

Duke Ellington

December 26, 1965










Second Sacred Concert

January - February 1968










The Ellington Suites


----------



## Joe B

Earlier this afternoon, running errands, this disc kept me company:










*Program: *Out Of This World, Soul Eyes, The Inch Worm, Tunji, Miles' Mode
*Performers:* John Coltrane, McCoy Tyner, Jimmy Garrison, Elvin Jones
*Format:* CD (AAD-1987)
*Label: *MCA Impulse


----------



## Bluecrab

*John Coltrane biography film on Independent Lens*

Last night I ran across this episode of Independent Lens on our local PBS station. It is outstanding. Lots of film footage and photos that I'd never seen before. Interviews with musicians who played with Coltrane, and with two of Coltrane's sons and his two stepdaughters.

It appears that you can stream it for free at this website:

http://www.pbs.org/independentlens/films/chasing-trane/

All of you out there who are fans of Coltrane's music will want to see this.


----------



## Casebearer

I was very curious but now I'm sad/mad. The rights people f**ked it up again. It is not available over here. I must be living in a barbarian country. What's wrong with open access to these things. So much for 'independent' lens. I felt sympathetic about them at first.


----------



## MattB

Hum, same here in France. It reminds me of one movie project I financed on KS a few years ago.
To this day the movie has been released in the US and is available in a pirated version all over the world but I still haven't received my copy due to international rights...

Anyway, the best latin jazz I have listened to in a while:

Marc Ribot Y Los Cubanos Postizos


----------



## Bluecrab

@ Casebearer and Mattb... I'm sorry to hear that. I just tested the link here (I'm in the US), and it worked fine. I don't understand why PBS would restrict access to the film.


----------



## Dan Ante

I tried the link this morning played the 30 second clip OK but not the full video, got the following message

*We're sorry, but this video is not available in your region due to right restrictions.*


----------



## Barbebleu

millionrainbows said:


> The second disc is total chaos, a spontaneous unstructured improvisation.


Absolutely brilliant stuff.


----------



## starthrower

Graham Collier - Darius


----------



## Joe B

Bluecrab said:


> Last night I ran across this episode of Independent Lens on our local PBS station. It is outstanding. Lots of film footage and photos that I'd never seen before. Interviews with musicians who played with Coltrane, and with two of Coltrane's sons and his two stepdaughters.
> 
> It appears that you can stream it for free at this website:
> 
> http://www.pbs.org/independentlens/films/chasing-trane/
> 
> All of you out there who are fans of Coltrane's music will want to see this.


I just checked out the trailer for the film, and it looks good. I've bookmarked it to return this evening to give it a watch. Thanks for posting it.


----------



## Casebearer

We're a small country but we have a very healthy and thriving jazz scene with dozens of outstanding bands and players. If I'd have the time I would go and see one every week. Well, I'm satisfied when I make it once a month.

So a few weeks ago I went to see Artvark, a saxophone quartet, that played their beautiful new (concept) album Trance. A symphonic poem for hogs and a truffle. On the inside of the cd they present one of the imaginary roadmaps to listen to the music by.


----------



## Selby

I just purchased *Christian Scott*'s _Stretch Music_ and _Centennial Trilogy_ from Ropeadope (https://ropeadope.com/). Now for the waiting.


----------



## Selby

^ OH Snap!! That order shipped less than 20 minutes after being placed. Woot!


----------



## Casebearer

Unnatural. There must be robots involved.


----------



## starthrower

Just picked this up at a local shop. Sounds fantastic! Haven't listened to any Tim Berne since the Science Fiction band with Marc Ducret. This new one was recorded live December 2014 in Rhinebeck, NY, a town near Poughkeepsie in the Hudson valley that was settled by the Dutch in the late 18th century.


----------



## philoctetes

post deleted...........


----------



## Selby

Any thoughts on Henry Threadgill?


----------



## starthrower

Selby said:


> Any thoughts on Henry Threadgill?


I wouldn't have guessed Threadgill with all the piano, but I was moved by that beautiful piece. I'm mostly familiar with his trio, Air.


----------



## jegreenwood

It was mentioned in a classical music thread but deserves mention here: ECM has finally made its music library available for streaming.


----------



## starthrower

This record kicks butt!

Sam Rivers
Dave Holland
George Lewis
Thurman Barker

Recorded Dec 1979


----------



## Jay

Selby said:


> Any thoughts on Henry Threadgill?


Too much good stuff to choose from, but I particularly dig his Sextett and Zooid groups, the latter with Ellman:


----------



## Joe B

*Had several hours on the road today, so I planned my listening time accordingly:*


----------



## starthrower

Kenny Wheeler 1930-2014 Composer/Trumpeter/Flugelhornist

Paying tribute to a great artist that didn't get much recognition during his long career.


----------



## starthrower

Selby said:


> Any thoughts on Henry Threadgill?


Getting back to Threadgill. This is one of my favorite things of his. A large ensemble he never recorded.


----------



## Selby

Currently listening to: 
*John Coltrane* - _A Love Supreme_ Live at Festival Mondial du Jazz Antibes, July 26, 1965
I recently, impulsively, bought the 3-disc complete masters and am now bathing in the light of the single live performance of the greatest piece of music from the second half of the 20th century.  I'm not sure I actually believe that, but, it would be on the short list of contenders that I would consider.


----------



## Casebearer

starthrower said:


> Kenny Wheeler 1930-2014 Composer/Trumpeter/Flugelhornist
> 
> Paying tribute to a great artist that didn't get much recognition during his long career.


I love that music.


----------



## Casebearer

Selby said:


> Currently listening to:
> *John Coltrane* - _A Love Supreme_ Live at Festival Mondial du Jazz Antibes, July 26, 1965
> I recently, impulsively, bought the 3-disc complete masters and am now bathing in the light of the single live performance of the greatest piece of music from the second half of the 20th century.  I'm not sure I actually believe that, but, it would be on the short list of contenders that I would consider.


I would be with you on that for sure.


----------



## starthrower

Picked up seven of these Finnish Jazz Liisa recordings on the Svart label. Available in the USA at good prices from Wayside Music, and Laser's Edge. Each disc features two different ensembles at about 40 minutes of music for each group, so it's a great value.

http://www.waysidemusic.com/Default.aspx

Sample more at YouTube

https://www.youtube.com/results?search_query=jazz+liisa


----------



## Barbebleu

Listening to Anouar Brahem's new album, Blue Maquams. Brilliant album by a terrific group of musicians, Brahem, Dave Holland, Django Bates and Jack De Johnette.


----------



## Balthazar

*Bill Evans Trio ~ Portrait in Jazz* (1960)

Bill Evans on piano, Scott LaFaro on bass, and Paul Motian on drums.


----------



## Casebearer

I've been listening to some cd's of the great bassist Avishai Cohen (Gently Disturbed, 2008 and At Home, 2005). 
He never fails to interest me.


----------



## starthrower

Wow! This tune knocks me out! Will have to pick up the CD.


----------



## Barbebleu

Listening to an album I haven't listened to in a long time. I bought it from Dobell's record shop in London on vinyl in 1967. European Concert Vol. 2 by the Modern Jazz Quartet. Couldn't find a copy of Vol. 1 til years later. Fab stuff.


----------



## starthrower

Just got this one as part of the BGO 2 disc re-issue of four Arthur Blythe albums.

Features: Jack DeJohnette, Cecil McBee, James Newton, Bob Stewart, James Blood Ulmer


----------



## Joe B

Listening to Joey Calderazzo's debut album (1991), with Branford Marsalis, Jerry Bergonzi, Michael Brecker, Jay Anderson, Peter Erskine, Adam Nussbaum, and Don Alias.

In 1989 I saw Joey with Michael Brecker, Mike Stern, Adam Nussbaum, and Jay Anderson at the Blue Note Cafe in NYC. I was on Joey's right, right at the end of the keyboard. AWESOME!


----------



## starthrower

From the Novus album, You Know The Number.


----------



## Casebearer

Speaking internationally I think Mark Guiliana was my discovery of 2017. As a drummer he's been a great sideman but recently he has his own quartet. I saw them in November in Eindhoven. Toplevel jazz.


----------



## Jacck

Minoru Muraoka - Bamboo (1970)
A highly interesting mixture of jazz and traditional Japanese music performed by numerous instruments, from shakuhachi, koto, shamishen and taiko to synths and conventional drums, Muraoka's unfamiliar crossover stands as enthralling, smooth and peculiar as the day it was conceived.


----------



## Jacck

Bill Evans - You Must Believe In Spring(1977)


----------



## Joe B

My favorite "hard bop" from the Blue Note catalog.


----------



## Jacck

Rabih Abou Khalil - Blue Camel 
Rabih Abou Khalil is known for fusing traditional Arab music with jazz, European classical music, and other styles.


----------



## Casebearer

I love this blend.


----------



## starthrower




----------



## laurie

Casebearer said:


> ALA.NI. Strange for a name but great for music. Think of Cassandra Wilson and also of the atmosphere of great jazz singers from the past.


Wow ... she's fantastic! (& I like her shirt ). 
I went straight to amazon & ordered her CD after watching this ~
thanks for posting it!


----------



## Dan Ante

Bessie Tucker Fort Worth and Denver Blues (1928) with feeling.


----------



## Casebearer

The French have a very strong tradition in their love for jazz. They have many great bands and festivals like Jazz sous les pommiers and a television channel that broadcasts high-quality jazz for 12 hours a day. One of their own greats is trumpet player Erik Truffaz.

Tonight I've been listening to his cd Mantis.


----------



## Casebearer

After that I've been listening to Mingus' Oh Yeah and then Don Cherry's Mu.


----------



## Joe B

Music of Claus Ogerman featuring:

Michael Brecker
Randy Bricker
Robin Ford
Alan Pasqua
Marcus Miller
Abraham Laboriel
Eddie Gomez
Paulinho DaCosta
Vinnie Colaiuta
Steve Gadd


----------



## Vronsky

Cannonball Adderley: Somethin' Else (1958)


----------



## Vronsky

Kenny Burrell: Midnight Blue (1963)


----------



## Vronsky

Miles Davis: 'Round About Midnight (1957)


----------



## Clairvoyance Enough

Ahmad Jamal's style, especially in these later albums, is beautifully strange and sparkling.


----------



## Vronsky

Egberto Gismonti: Sol Do Meio Dia (1978)


----------



## Vronsky

Egberto Gismonti: Dança Das Cabeças (1977)


----------



## starthrower




----------



## Barbebleu

Starthrower - Don't know Kurt Rosenwinkel but based on his name alone I'll give him a go.


----------



## starthrower

Barbebleu said:


> Starthrower - Don't know Kurt Rosenwinkel but based on his name alone I'll give him a go.


Check out the big band video at post 2752.


----------



## Barbebleu

starthrower said:


> Wow! This tune knocks me out! Will have to pick up the CD.


European Jazz at its absolute finest. The rhythm section, in particular the drummer who clearly studied at the Elvin Jones school of polyrhythms, is sensational. Can you point me in the direction of the cd please?


----------



## Vronsky

Anouar Brahem: Le Pas du Chat Noir (2002)


----------



## starthrower

Barbebleu said:


> European Jazz at its absolute finest. The rhythm section, in particular the drummer who clearly studied at the Elvin Jones school of polyrhythms, is sensational. Can you point me in the direction of the cd please?


Star of Jupiter is the name of the CD.


----------



## Barbebleu

starthrower said:


> Star of Jupiter is the name of the CD.


Found that one but I'm not sure that it has the hr big band on it.


----------



## starthrower

Barbebleu said:


> Found that one but I'm not sure that it has the hr big band on it.


Sometimes the best stuff is live and not on a CD. He does have a big band album called Our Secret World with a Portuguese jazz orchestra.


----------



## Vronsky

Jan Garbarek: I Took Up the Runes (1990)


----------



## Vronsky

Tord Gustavsen Trio: Being There (2007)


----------



## Vronsky

Brad Mehldau: Where Do You Start (2012)


----------



## Jacck

Far More Blue / Far More Drums - Dave Brubeck Quartet


----------



## The Kilt Guy

I work at a local college radio station and put on my own 1940s-style detective radio drama.

I love using Eric Reed's "Black, As In Buhaina" for my backing track. Love this cut


----------



## Vronsky

Cecil Taylor: Silent Tongues (1974)


----------



## Vronsky

Eberhard Weber: Yellow Fields (1976)


----------



## starthrower




----------



## Vronsky

Jan Garbarek: Visible World (1995)


----------



## starthrower

Just discovered this one, but I can't find a retailer to buy the CD. Di Piazza is the bassist on the McLaughlin album.


----------



## starthrower




----------



## Vronsky

Count Basie Trio: For The First Time (1974)


----------



## Vronsky

Blue Mitchell: Blue's Moods (1960)


----------



## Vronsky

Ralph Towner: Solstice (1975)


----------



## Vronsky

Erik Truffaz: The Walk of the Giant Turtle (2003)


----------



## Sloe

Just find out there is a jazz album by the Scientologists:


----------



## starthrower




----------



## Vronsky

Dexter Gordon: Go! (1962)


----------



## Vronsky

Thelonious Monk: Underground (1968)


----------



## athegn

Any chance this is on a CD:-

https://www.discogs.com/Lionel-Hampton-Hamp/release/4100795

BTW I have got the lp.


----------



## Vronsky

Brahem Anouar, John Surman, Dave Holland: Thimar (1998)


----------



## Vronsky

Agnes Buen Garnås & Jan Garbarek: Rosensfole (1989)


----------



## Rtnrlfy

Harley Card, The Greatest Invention (2017)


----------



## Vronsky

Jan Garbarek: Legend of the Seven Dreams (1988)


----------



## Vronsky

Gary Burton Quintet with Eberhard Weber: Ring


----------



## Vronsky

Jan Garbarek: Twelve Moons (1992)


----------



## Barbebleu

Working through your ECM back catalogue, Vronsky? There are worse ways to spend your time!:lol:

I'm listening to Bobo Stenson's first ECM album, Underwear, at the moment. Nice album with the wonderful Arild Andersen and Jon Christensen.


----------



## Vronsky

Barbebleu said:


> Working through your ECM back catalogue, Vronsky? There are worse ways to spend your time!:lol:
> 
> I'm listening to Bobo Stenson's first ECM album, Underwear, at the moment. Nice album with the wonderful Arild Andersen and Jon Christensen.


One of my University professors suggests these albums and he's asking for response and rating, so it is a little uncomfortable for me to say no. 

I like Anouar Brahem a lot, to be honest, and I'm particularly thankful for that recommendation.


----------



## Barbebleu

Vronsky said:


> One of my University professors suggests these albums and he's asking for response and rating, so it is a little uncomfortable for me to say no.
> 
> I like Anouar Brahem a lot, to be honest, and I'm particularly thankful for that recommendation.


Your Prof. has great taste.


----------



## Vronsky

Sun Ra: Lanquidity (1978)


----------



## Joe B

*Program (Composer):* Out There (Dolphy), Serene (Dolphy), The Baron (Dolphy), Eclipse (Charles Mingus), 17 West (Dolphy), Sketch of Melba (Randy Weston), Feathers (Hale Smith)
*Performers:* Eric Dolphy (alto sax, flute, B-flat and bass clarinets), Ron Carter (cello), George Duvivier (bass), Roy Haynes (drums)
*Recording: *Recorded August 16, 1960 Englewood Cliffs, New Jersey
*Format:* CD (AAD-1982)
*Label:* Prestige New Jazz


----------



## Joe B




----------



## starthrower




----------



## Barbebleu

I love Mike Westbrook's stuff. Marching Song from the sixties always gets a regular outing.


----------



## starthrower

Barbebleu said:


> I love Mike Westbrook's stuff. Marching Song from the sixties always gets a regular outing.


I like the Brit jazz stuff. I'm a big fan of Graham Collier, and John Surman. Right now I'm listening to Michael Formanek's new large band recording, The Distance. I also ordered a used copy of his out of print CD, Wide Open Spaces. I used to listen to it on a cassette.


----------



## Vronsky

Lonnie Liston Smith: Astral Traveling (1973)


----------



## Casebearer

Karel Boehlee. Ever heard of him? I didn't although he's Dutch. He's mainly a session musician that has accompanied several greats jazz musicians like Toots Thielemans (which I don't like but that's beside the point here), Woody Shaw, Wynton Marsalis etc.
In 2013 he got the Arena award for best accompanying musician. Some people are great musicians but stay in the shadow.


----------



## starthrower




----------



## starthrower




----------



## 38157

Got back into Weather Report recently. Listened to two albums, "Tale Spinnin'" and "Mr. Gone".
Tale Spinnin' was generally great. Not really into the world-music oriented tracks (4th and 6th, I forget their names), but "Man In the Green Shirt", "Between the Thighs" and the Shorter pieces were solid. "Between the Thighs" is hilariously banal at points, in what seems like a deliberately tongue-in-cheek way. Loved Alphonso Johnson's bass-playing too.

"Mr Gone" felt a bit weak, like a collection of miscellaneous jams with a vague structure. I liked some stuff on it, and don't know it well enough yet to comment on specific tracks, but as an album, it didn't feel too cohesive. I do find Weather Report to be a mixed bag generally, though - I either love what they're doing intensely, or I seriously don't care about it, there's not really an in-between.


----------



## starthrower

Keep listening. Mr. Gone is definitely not a collection of jams. There's more jamming on the Sweetnighter album. Try the Mysterious Taveller album, there's a lot of good pieces on that album.


----------



## 38157

The other day was my second time listening to it, and I did prefer it to my first attempt. Hopefully this will be the case with each liisten. Mysterious Traveller is next on the list, wasn't that Jaco's entrance?


----------



## The Deacon




----------



## starthrower

****** said:


> The other day was my second time listening to it, and I did prefer it to my first attempt. Hopefully this will be the case with each liisten. Mysterious Traveller is next on the list, wasn't that Jaco's entrance?


No, MT features Miroslav Vitous and Alphonso Johnson. Jaco came on board after that.


----------



## starthrower

The Deacon said:


>


You're getting to be a pest. Why do you feel the need to clutter up this thread with crap like this?


----------



## 38157

starthrower said:


> No, MT features Miroslav Vitous and Alphonso Johnson. Jaco came on board after that.


Just realised I was mixing it up with Black Market, still need to hear more of the earlier stuff. I have the self-titled album, and there's some great stuff on that, albeit quite a different style.


----------



## Atomas

in any mood an album 'Kind of Blue' works the best on my... It's hard to pick the one. So many others stay in line: Grant Green, Weather Report, John Scofield, John Coltrane, Gerry Mulligan...


----------



## starthrower

****** said:


> Just realised I was mixing it up with Black Market, still need to hear more of the earlier stuff. I have the self-titled album, and there's some great stuff on that, albeit quite a different style.


Yeah, the first record is beautiful. More of a true jazz improv record with the 60s Miles influence.


----------



## jegreenwood

athegn said:


> Any chance this is on a CD:-
> 
> https://www.discogs.com/Lionel-Hampton-Hamp/release/4100795
> 
> BTW I have got the lp.


Not sure how helpful this really is, but Discogs says Oscar Peterson plays on it, so the tracks should be on The Complete Lionel Hampton Quartets And Quintets With Oscar Peterson

Also available on Tidal (and probably other streaming services).


----------



## Casebearer

Felt liking playing some old jazz classics tonight. Started with a Lionel Hampton double cd 'Legendary Hits' and then Erroll Garner (Jazz Masters 7 on Verve). I never listened to his music consciously before but it's a revelation that stands the test of time well.
I love his creativity.


----------



## Casebearer




----------



## Dan Ante

Casebearer said:


> Felt liking playing some old jazz classics tonight. Started with a Lionel Hampton double cd 'Legendary Hits' and then Erroll Garner (Jazz Masters 7 on Verve). I never listened to his music consciously before but it's a revelation that stands the test of time well.
> I love his creativity.


At last, I just knew you were not a lost case.


----------



## starthrower

Just got this one. I'm a huge fan of this quartet, and somehow I was unaware of this album until a month ago. I have all of the other albums with the exception of Backhand.


----------



## Vronsky

Oliver Nelson: The Blues and the Abstract Truth (1961)


----------



## Joe B

Vronsky said:


> Oliver Nelson: The Blues and the Abstract Truth (1961)


Wow! I've never seen this disc before. Thanks for posting. Some of my favorite musicians. It's in my cart at amazon.com.


----------



## Joe B

Listening to track #2: "Little Shoes"


----------



## Vronsky

Joe B said:


> Wow! I've never seen this disc before. Thanks for posting. Some of my favorite musicians. It's in my cart at amazon.com.


Frank Zappa cited Eric Dolphy's name as an influence on his first album _Freak Out!_. That's how I discovered _The Blues and the Abstract Truth_.


----------



## starthrower

Joe B said:


> Wow! I've never seen this disc before. Thanks for posting. Some of my favorite musicians. It's in my cart at amazon.com.


It's a classic!

Others you may enjoy:

Oliver Nelson-Straight Ahead w/ E. Dolphy
Oliver Nelson-Screamin' The Blues w/E. Dolphy
Mal Waldron-The Quest w/ E. Dolphy, Booker Ervin
George Russell-Ezz-Thetics w/E. Dolphy, Don Ellis
George Russell-Jazz In The Space Age w/Bill Evans, Paul Bley
Roy Haynes-Out Of The Afternoon w/ Roland Kirk, Tommy Flanagan


----------



## starthrower

Joe B said:


> Listening to track #2: "Little Shoes"


Bought that one over 30 years ago. IMO, his best album is Odds or Evens from 1991. Great tunes all the way through.


----------



## Joe B

Listening to track #1: "Afternoon in the Park"


----------



## Joe B

starthrower said:


> Bought that one over 30 years ago. IMO, his best album is Odds or Evens from 1991. Great tunes all the way through.


Track #6, "If You Say So", is my favorite from "Odds or Evens", though as you say, it has great tunes throughout.


----------



## Joe B

I got to see Mike Stern once live with Michael Brecker, Adam Nussbaum, Jeff Andrews, and Joey Pizzarelli at the Blue Note in NYC....fabulous!


----------



## starthrower

Joe B said:


> Track #6, "If You Say So", is my favorite from "Odds or Evens", though as you say, it has great tunes throughout.


Yeah, that one has a beautiful melody and inspired guitar solo. I've seen Stern live a few times and he always plays great. And I caught him with the Brecker Bros back in '92.


----------



## Joe B

Listening to track #1: "Tell You What"


----------



## starthrower

Joe B said:


> Listening to track #1: "Tell You What"


Huge Sco fan here! I have at least 20 albums. Favorite track on Loud Jazz is Dance Me Home.


----------



## Barbebleu

Joe B said:


> Wow! I've never seen this disc before. Thanks for posting. Some of my favorite musicians. It's in my cart at amazon.com.


There is a sequel too - More Blues and the Abstract Truth. I know, inventive title, but equally great music.


----------



## Joe B

Ending my single track listening with Pat Metheny's "First Circle"

Listening to this always puts a [email protected] eatin' grin on my face.


----------



## Joe B

starthrower said:


> Huge Sco fan here! I have at least 20 albums. Favorite track on Loud Jazz is Dance Me Home.


I've got 13 in my collection. He is an original for sure.


----------



## Barbebleu

starthrower said:


> Just got this one. I'm a huge fan of this quartet, and somehow I was unaware of this album until a month ago. I have all of the other albums with the exception of Backhand.


Yes, I'm also a huge fan of this, his "American" Quartet. Any band that contains four giants like this isn't capable of turning out duff music. I always felt that they were just a little bit more experimental than his later "European" Quartet. That's not to say his later stuff wasn't as good, maybe just a little less adventurous, but that's only my thoughts.


----------



## starthrower

I was obsessed with The First Circle in the mid 80s. Played it like crazy. Pat's solo on Tell It All is phenomenal. One of his finest studio solos. After listening to that album for a year and a half it culminated with a great live show here in June 1985.


----------



## starthrower

Barbebleu said:


> Yes, I'm also a huge fan of this, his "American" Quartet. Any band that contains four giants like this isn't capable of turning out duff music. I always felt that they were just a little bit more experimental than his later "European" Quartet. That's not to say his later stuff wasn't as good, maybe just a little less adventurous, but that's only my thoughts.


I feel the same way. And I've never warmed to Garbarek's icy tone. But I love Dewey Redman and Charlie Haden. You couldn't find two more soulful players. And Motian is a one of a kind drummer.


----------



## Barbebleu

starthrower said:


> I feel the same way. And I've never warmed to Garbarek's icy tone. But I love Dewey Redman and Charlie Haden. You couldn't find two more soulful players. And Motian is a one of a kind drummer.


I'm now in the mood to listen to some of this stuff now. Glad I looked at the thread!


----------



## Joe B

starthrower said:


> I was obsessed with The First Circle in the mid 80s. Played it like crazy. Pat's solo on Tell It All is phenomenal. One of his finest studio solos. After listening to that album for a year and a half it culminated with a great live show here in June 1985.


I got to see First Circle performed live in New London, CT in a small theater with perfect acoustics (now the Garde Arts Theater). It was 2 weeks before the group recorded "Still Life (Talking)", which they played in its entirety after asking the audience if we minded if they "practiced".


----------



## starthrower

I saw Metheny six times here in Syracuse including the tour with Ornette. Last time was 2002 on the Speaking Of Now tour. A 3 hour show. Unfortunately, the concert scene has dried up here and there's very little happening. My wife and I are hoping to relocate to Eugene, Or in the next couple of years.


----------



## Vronsky

I listened _Nocturne _by Charlie Haden a couple of weeks ago, but forgot to post here on TC. Excellent album overall. I don't know if that's his best album (I haven't explored much of his music) but I liked _Nocturne_.


----------



## starthrower

As much as I love Haden, I don't have many of his solo albums. I have a few of the Montreal albums with Egberto Gismonti, and Don Cherry and Ed Blackwell. And I picked up the album with Jim Hall. I recently listened to the Paul Motian album Tribute from 1974. This is a great recording with some very interesting tunes, and Charlie is on it.


----------



## Vronsky

Dorothy Ashby: Hip Harp (1958)


----------



## starthrower

Contains two completely improvised live sets recorded in May 2007. And they're not cacophonous noise fests. The music is exquisitely crafted without a wasted note. A fitting farewell for Sam Rivers (1923-2011).


----------



## starthrower

My wife let me crank this up because she's from Eugene. And why not? 
It's a great sounding record!


----------



## Casebearer

The wives we have...


----------



## starthrower

Casebearer said:


> The wives we have...


My wife actually likes listening to my music collection. She digs jazz, classical, rock, and blues. That's why I married her!


----------



## starthrower




----------



## Casebearer

starthrower said:


> My wife actually likes listening to my music collection. She digs jazz, classical, rock, and blues. That's why I married her!


Well, not just for that I'm sure. My wife likes most of my music as well when she's in the mood, but in daily practice she prefers silence.... or talking herself. Both are somewhat in the way of enjoying music. :lol:


----------



## starthrower

One of Sam's last live recordings, and a very good one.


----------



## Joe B

Today's commute:


----------



## Guest

AMMMusic










Paul McCartney said it went on too long, and Ornette Coleman was kicked out of a gig for talking during the performance.


----------



## Vronsky

Sonny Clark: Leapin' and Lopin' (1961)


----------



## starthrower




----------



## starthrower

Blue Note compilation of his 50s & 60s work I picked up for a couple bucks. I've since found a mint copy of his out of print debut album, and KB vol 2. Gotta get the Blue Lights volumes. That stuff is great! And this comp has a couple of tunes from the out of print Freedom album which was the follow up to Midnight Blue. Includes an essay by Burrell recalling his early days in New York. He was very busy in the studios and making a lot of bread, but he chose to work in a Broadway production for three years in order to have a regular schedule, and time to practice guitar and work on his own music.


----------



## starthrower

I've only heard a little bit by this Hungarian guitarist, and he's pretty interesting.


----------



## Casebearer

That reminds me: have you listened to Mihály Dresch? What do you think of him?


----------



## starthrower

Casebearer said:


> That reminds me: have you listened to Mihály Dresch? What do you think of him?


I remember you posted some stuff up here. Will have to re-listen now that I'm on a jazz kick.


----------



## starthrower

JACE said:


> Now listening to Art Pepper's _Straight Life_:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> The rhythm sections is Tommy Flanagan (p), Red Mitchell (b), and the inimitable Billy Higgins (d), who swings like a man possessed.


A favorite Art Pepper record. Red Mitchell was a phenomenal bassist.


----------



## Casebearer

starthrower said:


> I remember you posted some stuff up here. Will have to re-listen now that I'm on a jazz kick.


I also send you some stuff per mail (his album Riding The Wind) I'd love to have your opinion on but that's sometime back (april 2016).


----------



## starthrower

Casebearer said:


> I also send you some stuff per mail (his album Riding The Wind) I'd love to have your opinion on but that's sometime back (april 2016).


Can you resend that? I have a different computer and email. I can give you my address in a private message. I didn't find the album on YouTube.


----------



## starthrower

Right now I'm listening to this mellow Frisell/Charles Lloyd concert. I like the steel player, and Frisell's guitar.


----------



## starthrower

If your a fan of Metheny/Mays-Wichita Falls, give this a listen. A fascinating recollection from Pat and Lyle of the recording of this epic track. http://www.pmmediafiles2.com/podcasts/as_falls_wichita_commentary.mp3


----------



## Casebearer

starthrower said:


> Can you resend that? I have a different computer and email. I can give you my address in a private message. I didn't find the album on YouTube.


Of course, please PM me


----------



## Vronsky

Jukka Hauru & Nono Söderberg: Pop-Liisa 5 (1976)

Finnish jazz-rock fusion. It came randomly. I was searching something from Luigi Nono, and this recording popped out, never heard of both musicians before.


----------



## starthrower

^^^
I have the Jukka Hauru 1973 CD from the same label.

NP:


----------



## Joe B

Today's commute:










Thanks Vronshky for posting this (Post 2836). Got my CD yesterday and listened in the car today...an excellent disc!


----------



## Jay




----------



## Balthazar

*Ahmad Jamal ~ Marseille*

86 years old at the time of recording last year and still going strong...


----------



## starthrower




----------



## Barbebleu

Cuong-Vo 4-tet, Ballet-The Music of Mike Gibbs


----------



## Jacck

ANTONIO CARLOS JOBIM (1970) - Stone Flower


----------



## starthrower




----------



## Vronsky

Janko Nilovic: Rythmes Contemporains (1974)


----------



## starthrower

I bought this one about 24-25 years ago. It still hits the spot every time!


----------



## Vronsky

The Red Garland Trio: It's a Blue World (1958/1970)


----------



## Casebearer

The best jazz fusion of today: Chris Potter Underground. Serious free funk jazz.

Saw the band tonight!


----------



## Guest

I haven't listened to much jazz for a goodly while. 

Just listened to New Life by the David Murray Octet. Still sounds fresh. I saw them many moons ago at the RNCM in Manchester.


----------



## Guest

Casebearer said:


> The best jazz fusion of today: Chris Potter Underground. Serious free funk jazz.
> 
> Saw the band tonight!


I'm loving this. I think I may need to get back into jazz, I've missed about 20 years.


----------



## starthrower

Some high energy Oregon.


----------



## Casebearer

Up till 5 years ago I missed about 30 years of jazz, especially with respect to new developments in that period and live performances. But I've been sucking it in since then. I'm visiting a jazz concert at least once a month and have seen many great performance over the past years. They all come to the Netherlands it seems.

One of them was James Brandon Lewis Trio. Young, fresh, very heavy and loud. Maybe you'll like 'm. Smoking outside I asked them what they were gonna play. "We're gonna take you on a trip" is what they said. These guys don't do no bullshitting.


----------



## Jacck

I listened to *Miles Davis - Kind of Blue* and *Bitches Brew* albums in their entirety yesterday while doing some work. The Bitches Brew album is a tough one. This was about my 10th listening to it. At first the music seemed really weird, but after repeated listenings your brain starts to pick up patterns and melodies in this music and it is amazing.


----------



## starthrower




----------



## Barbebleu

dogen said:


> I'm loving this. I think I may need to get back into jazz, I've missed about 20 years.


Welcome back to the rabbit hole that is jazz. Your wallet should be very afraid!:tiphat:


----------



## Guest

Barbebleu said:


> Welcome back to the rabbit hole that is jazz. Your wallet should be very afraid!:tiphat:


Actually I was just about to post this:

As someone who may want to get back into jazz, a 194 page single thread isn't tremendously helpful.

What to do, oh what to do....?.....


----------



## Casebearer

dogen said:


> Actually I was just about to post this:
> 
> As someone who may want to get back into jazz, a 194 page single thread isn't tremendously helpful.
> 
> What to do, oh what to do....?.....


Take your calendar and plan to read one page every day. You'll be one of our expert contributors within less than a year. Look at it as if you're reading a book of poetry


----------



## Guest

Casebearer said:


> Take your calendar and plan to read one page every day. You'll be one of our expert contributors within less than a year. Look at it as if you're reading a book of poetry


Too much effort. I just need a top 50 of 21st century jazz albums. Not too Stockhausen, not too Alma Deutscher. :tiphat:


----------



## Casebearer

I suppose if you google on that you'll find a lot of worthwhile stuff. Problem so far is that there are many lists according to preferences but not anything like a 'definite' list.


----------



## MattB

Modern Art: The Complete Art Pepper Aladdin Recordings Volume 2 (1988)

Art Pepper


----------



## starthrower




----------



## starthrower

Dolphy stretches out for 15 minutes on the Coltrane classic.

Anybody know if this is on a CD?


----------



## starthrower




----------



## Larkenfield

starthrower said:


> Dolphy stretches out for 15 minutes on the Coltrane classic.
> 
> Anybody know if this is on a CD?


The _Naima_ CD: https://www.amazon.com/Naima-Eric-Dolphy/dp/B000008ARI






_Last Date_-my favorite album with Dolphy on bass clarinet, flute, and alto sax, with a straight-ahead, swinging European rhythm section...Awesome performance.


----------



## Larkenfield

The Yellowjackets - New Morning - The Paris Concert 2008






Oh yeah.


----------



## starthrower

Gorgeous tune!


----------



## Joe B




----------



## Guest

Ha. Just doing a bit of shopping...
...for Antonio Sanchez...
and I discover he played the great drum soundtrack in Birdman, one of my very favourite films.

Cool!


----------



## Guest

Vandermark 5
Annular Gift

View attachment 102528


----------



## Guest

Antonio Sanchez
Live in New York

View attachment 102529


----------



## Barbebleu

Miles Davis and John Coltrane - Bootleg Series Vol. 6 - European Tour 1960


----------



## Captainnumber36

Jacck said:


> I listened to *Miles Davis - Kind of Blue* and *Bitches Brew* albums in their entirety yesterday while doing some work. The Bitches Brew album is a tough one. This was about my 10th listening to it. At first the music seemed really weird, but after repeated listenings your brain starts to pick up patterns and melodies in this music and it is amazing.


Bitches Brew is about atmosphere and spacing out in a directionless manner. It's the epitome of a lack of focus!

Kind of Blue is brilliant, beautiful and amazing, however!


----------



## Jay

Captainnumber36 said:


> Bitches Brew is about atmosphere and spacing out in a directionless manner. It's the epitome of a lack of focus!


I hear it as expansive, free-flowing music, a long mood-shifting rock-ish tone poem that resists formulas and clichés.


----------



## Jay




----------



## Captainnumber36

blank .


----------



## Guest

Captainnumber36 said:


> blank .


a postmodernist post.


----------



## Captainnumber36

dogen said:


> a postmodernist post.


haha !


----------



## Captainnumber36

Jay said:


> I hear it as expansive, free-flowing music, a long mood-shifting rock-ish tone poem that resists formulas and clichés.


I do love Bitches Brew, who am I kidding.


----------



## Captainnumber36

Medeski Scofield Martin & Wood - "Juice"


----------



## Guest

OK, upthread I was so excited about buying my two jazz albums that I posted in this thread rather than the appropriate one. So I wasn't actually listening to them. I wouldn't want anybody thinking I'm posting my current listening when in fact I'm not.


----------



## Captainnumber36




----------



## Larkenfield

Hiromi and Chick Corea...


----------



## starthrower




----------



## Guest

...............


----------



## starthrower

Some excellent Brit jazz featuring Kenny Wheeler, Gordon Beck, Norma Winstone, Roy Babbington, Tony Coe, Tony Levin the drummer.


----------



## Vronsky

David Murray: Flowers for Albert (1976)


----------



## Larkenfield

*Art Tatum Trio 1944*


----------



## starthrower

Vronsky said:


> David Murray: Flowers for Albert (1976)


I spotted this CD in a bargain bin about 20 years ago but didn't buy it. I do have several other Murray CDs.


----------



## San Antone

Jacck said:


> I listened to *Miles Davis - Kind of Blue* and *Bitches Brew* albums in their entirety yesterday while doing some work. The Bitches Brew album is a tough one. This was about my 10th listening to it. At first the music seemed really weird, but after repeated listenings your brain starts to pick up patterns and melodies in this music and it is amazing.


Kind of Blue is of course one of the best jazz recordings ever made. A classic that never sounds dated to me. Bitches Brew is also very good, and there are themes, and formal aspects that were created with the arrangement of the longer jams. What might be interesting for you is to find the Deep Brew sets (vols 1 & 2) and compare the unedited jams with the final product.

Great listening.


----------



## Vronsky

Gil Mellé: Patterns in Jazz (1956)


----------



## Larkenfield

Swinging, chaotic, wild, fast & free. Mingus was known to teach each player his individual parts. No sheet music! You had to pay attention, and it kept Mingus in complete control of the group. Notice the Latino female voice and castanets in the background on some of the tracks. Olé!


----------



## TurnaboutVox

Quite challenging this, but I'm enjoying it more after a few plays. A late birthday present from my son.

*
Lavaman
Die Enttäuschung*
[Intakt Records, 2017]

Rudi Mahall: Bass Clarinet, Clarinet
Axel Dörner: Trumpet
Christof Thewes: Trombone
Jan Roder: Bass
Michael Griener: Drums


----------



## Guest

Billy Bang
Rainbow Gladiator

(on cassette!)


----------



## Casebearer

Does anyone know of other French horn players in jazz? Morris Kliphuis is a young Dutch guy doing very interesting stuff with his band Kapok and DIMLICHT.


----------



## Jay

Casebearer said:


> Does anyone know of other French horn players in jazz?


Tom Varner is my personal favorite
Julius Watkins
David Amram


----------



## MattB

Eternal

Branford Marsalis Quartet

Branford Marsalis: saxophones
Joey Calderazzo: piano
Eric Revis: bass
Jeff "Tain" Watts: drums


----------



## Guest

OK, I'd never heard of Chris Potter till very recently. Now, I've just got my third CD of his.....

Anyhoo....for the first time in several years I've just listened to Steely Dan : Alive in America. I bought it on release in 1995. And guess who plays tenor & alto sax on it?

Small world...


----------



## Casebearer

Going allright...


----------



## Guest

Avishai Cohen
Into the Silence


----------



## Casebearer

You're going allright...


----------



## cwarchc

Saw these last friday
fantastic


----------



## Guest

cwarchc said:


> Saw these last friday
> fantastic


Lucky you! I'd love to see him.


----------



## Joe B

My favorite Dolphy disc.


----------



## Casebearer

cwarchc said:


> Saw these last friday
> fantastic


Saw him six months ago doing that thing. Very very good.


----------



## Joe B




----------



## cwarchc

dogen said:


> Lucky you! I'd love to see him.


If you get the chance, then do it
They were brilliant did a 2 hour set


----------



## Larkenfield

*Three by Hiromi . . .*











*Playing Schumann . . . *






:tiphat:


----------



## MattB

This and the whole _Affinity_ album right now.


----------



## Casebearer

Kika Sprangers! This girl is in her mid-twenties and already a Young VIP in the Dutch jazz arena. She's from my home town and just completing her Young VIP tour around the important Dutch jazz venues. I've seen her before with her quintet but for this occasion she expanded her quintet to a large ensemble of twelve with 3 lady singers (the singing is harmonically part of the compositions) and four wind instruments (flute, horn, trumpet and bass clarinet).

Kika composes, directs, plays soprano and alto saxophone and she has proved to be able to organize all these people around herself at her young age. Quite impressive. Give it a listen!


----------



## Joe B




----------



## Jay




----------



## Joe B

Here's the title track via youtube.com:


----------



## eugeneonagain

This is currently spinning on the turntable. Ethio jazz/funk:


----------



## Conglomerate




----------



## Guest

Enjoying one of my latest acquisitions; some very meditative music. Works by Bartok, Satie and Mompou amongst others.

Bobo Stenson Trio
Contra La Indecision


----------



## Oldhoosierdude

Oh you cats!

Right this minute I am listening to one of the all time great albums









Gettin the Grover Groove on!


----------



## starthrower

Joe B said:


> Here's the title track via youtube.com:


I used to listen to this Stern album a lot in the 90s. A really good batch of tunes. I stopped following him many years ago as most of his albums sound pretty much the same.


----------



## Joe B

starthrower said:


> I used to listen to this Stern album a lot in the 90s. A really good batch of tunes. I stopped following him many years ago as most of his albums sound pretty much the same.


I have all of the discs prior to this and only a few more after this release. I'm drawn to his earlier music, where each disc was different than the one which went before. Today in the car to/from work it was his first release, along with some tracks from Pat Metheny Groups' "Letter From Home":


----------



## MattB

Un témoin dans la ville (1959)

Barney Wilen


----------



## millionrainbows

If you want something different out of Stern, try this:










Also, I think he keeps getting more refined. The cut "Nardis" is fantastic, and is fairly late-period Stern.


----------



## starthrower

I don't have Upside Downside on CD, but I remember liking this tune.


----------



## Joe B

starthrower said:


> I don't have Upside Downside on CD, but I remember liking this tune.


"Little Shoes" is a GREAT tune. I always listen to it first whenever this disc goes into the player. I can't confirm this, but my older brother told me Mike wrote this after the birth of his son....makes sense to me.


----------



## starthrower

Here's a nice piece of film. This tune is from one of the first CDs I bought back in '84.


----------



## Joe B

Michael Brecker amazes me with his playing.


----------



## Dan Ante

I am on a “Cannonball Adderley” binge at the moment, to night it is ‘Nippon Soul’ rec live in Tokkyo 1963 in fact most of my Cannonball CDs are live recordings, also an EST CD ‘Good morning Susie Soho’


----------



## starthrower

Excellent documentary.


----------



## Joe B

Starting out Saturday morning with Pat Metheny Group's "Slip Away":


----------



## Casebearer

Kika Sprangers Large Ensemble playing Delight


----------



## Oldhoosierdude

I don't like all Pepper but I like this one.


----------



## Oldhoosierdude

I just finished writing another short story called The Abstract Truth. Inspired by Oliver Nelson's album The Blue and the Abstract Truth, more specifically by the tenor sax solo in Stolen Moments. I like the story, it's one of my good ones. I predict publication for this one.


----------



## Guest

The first jazz album I bought and I love it still.
Tony Williams
Civilisation









(I'd get it on CD, but not at £45  )


----------



## Joe B




----------



## philoctetes

Lotta good new jazz being issued this month. Just heard Dave Holland with Evan Parker in quieter mode on Uncharted Territories, with Craig Taborn on piano...


----------



## starthrower




----------



## philoctetes

Last weekend's haul from Amoeba


----------



## Oldhoosierdude

Current listening.


----------



## ollv

humour jazz avantgarde music thisone :
http://mp3.music.lib.ru/mp3/p/pantry_of_sug/pantry_of_sug-semilossa-short-2.mp3


----------



## Barbebleu

Just got the new John Coltrane - Both Directions At Once and the new Charles Lloyd - Vanished Gardens. Fabulous.


----------



## Oldhoosierdude

Not sure why this album isn't always mentioned up there on all of the best lists.


----------



## philoctetes

More trading at Amoeba yesterday. Najwa really impressed me on first listen.


----------



## starthrower




----------



## Casebearer

Whenever it's from Budapest pay attention!


----------



## Casebearer

Barbebleu said:


> Just got the new John Coltrane - Both Directions At Once and the new Charles Lloyd - Vanished Gardens. Fabulous.


And I got the new Coltrane as well today. As a postponed birthday present. Great listening!


----------



## Oldhoosierdude

Casebearer said:


> And I got the new Coltrane as well today. As a postponed birthday present. Great listening!


I heard about this release on an NPR broadcast. What little they played sounded great. Let us know about it after you give it a good listen. I see there are two releases, a one disk and a deluxe 2 disk with the alternate takes. This is one I would pay full price for (quite unusual for me) if it is another great one.


----------



## Oldhoosierdude

George Russell - The Jazz Workshop 1956

Another great classic, not as recognized maybe as some others. Good, tight composition. Careful, exacting playing. All well thought out. A thoroughly pleasing album all around. My only nit pick is the silly titles for the pieces.


----------



## Vronsky

Sonny Clark: Cool Struttin' (1958)


----------



## Barbebleu

Oldhoosierdude said:


> I heard about this release on an NPR broadcast. What little they played sounded great. Let us know about it after you give it a good listen. I see there are two releases, a one disk and a deluxe 2 disk with the alternate takes. This is one I would pay full price for (quite unusual for me) if it is another great one.


It's excellent. It doesn't shed any new light but it's the classic quartet and it's unknown music so what's not to like. And for a change McCoy Tyner seems a bit more prominent in the mix than usual. Now if they would just remaster all the Classic Quartet recordings!!!!

I got the deluxe edition. Seemed silly to do otherwise.


----------



## MattB




----------



## Joe B

Vronsky said:


> Sonny Clark: Cool Struttin' (1958)


My favorite "hard bop" from the Blue Note catalog.


----------



## philoctetes

The new Coltrane is excellent. I never liked his original Nature Boy release and this one is kinda wild in comparison.


----------



## Oldhoosierdude

philoctetes said:


> The new Coltrane is excellent. I never liked his original Nature Boy release and this one is kinda wild in comparison.


I see that its on the YouTube.


----------



## Casebearer

Unlike Barbeblue I got the simple edition. So I don't know if the deluxe edition is worth paying for extra. The edition I got as a present suits me fine. Just great listening to some new stuff by the grand old Coltrane Quartet. I also love the McCoy Tyner parts being more prominent.


----------



## starthrower

Casebearer said:


> I also love the McCoy Tyner parts being more prominent.


Is this a non Van Gelder recording? Rudy always made the piano sound puny.


----------



## Barbebleu

starthrower said:


> Is this a non Van Gelder recording? Rudy always made the piano sound puny.


Nope! Mixed by van Gelder but better than usual.


----------



## starthrower

Some great jazz stories told by the charming Steve Swallow.


----------



## starthrower

I saw a bunch of these at my local record store yesterday.

5 Original Albums
http://www.universalmusic.it/musica-jazz/ricerca/album/?q=5 original albums


----------



## Barbebleu

Current listening - Bags and 'Trane. Nice!


----------



## starthrower

Just got turned onto this Cuban pianist. His band sounds great and I really dig the music. It's not the typical high adrenal stuff with horns. Just one wind player (clarinet, flute, bari sax) and some understated percussion augmenting the trio. Cool and romantic music without any trace of sentimentality. Recommended!


----------



## starthrower

Great modern/progressive percussion track!


----------



## Guest




----------



## Oldhoosierdude

Some of Turrentine's albums get a little out there for me but this one is solid throughout.


----------



## Barbebleu

Oldhoosierdude said:


> Some of Turrentine's albums get a little out there for me but this one is solid throughout.
> View attachment 105814


I'm struggling to think which Turrentine albums would be 'out there'. A more mainstream jazz musician would be hard to find.


----------



## Guest

Barbebleu said:


> I'm struggling to think which Turrentine albums would be 'out there'. A more mainstream jazz musician would be hard to find.


This is what comes up when you type the phrase "mainstream jazz musicians" in Wikipedia -

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

and this article -

https://www.allmusic.com/subgenre/mainstream-jazz-ma0000012249/artists

Curious as to what your thoughts might be... Accurate? Dubious? Debatable?

- Syd


----------



## Barbebleu

Sydney Nova Scotia said:


> This is what comes up when you type the phrase "mainstream jazz musicians" in Wikipedia -
> 
> https://en.wikipedia.org/wiki/Mainstream_jazz
> 
> and this article -
> 
> https://www.allmusic.com/subgenre/mainstream-jazz-ma0000012249/artists
> 
> Curious as to what your thoughts might be... Accurate? Dubious? Debatable?
> 
> - Syd


The second article is highly debatable. McCoy Tyner? Mainstream? A cornerstone of Coltrane's classic quartet which was by no stretch of the imagination mainstream. My definition of mainstream would be a little less mundane than the artists named in this feature. I suppose Turrentine would be more correctly defined as post bop or even hard bop in the manner of Horace Silver, Art Blakey et al. But certainly not 'out there'. Perhaps I should have said straight ahead rather than mainstream.


----------



## Oldhoosierdude

Barbebleu said:


> I'm struggling to think which Turrentine albums would be 'out there'. A more mainstream jazz musician would be hard to find.


It ain't nothin but personal taste, bro.


----------



## Barbebleu

Oldhoosierdude said:


> It ain't nothin but personal taste, bro.


Oh,absolutely dude!
What sort of stuff is to your taste?
How do you feel about people like Eric Dolphy, Bobby Hutcherson, Shepp, Stanley Cowell and their ilk.


----------



## Dan Ante




----------



## Guest




----------



## Oldhoosierdude

Barbebleu said:


> Oh,absolutely dude!
> What sort of stuff is to your taste?
> How do you feel about people like Eric Dolphy, Bobby Hutcherson, Shepp, Stanley Cowell and their ilk.


I like most of what they do. Really I should listen to those Turrentine albums again. I had them on the truck stereo while driving for work. They were on my amazon prime account. I was probably not paying enough attention with work distractions and driving.


----------



## Guest




----------



## endelbendel

Integrity is the by-word for Shorter. You hear it in every note.


----------



## Joe B




----------



## Barbebleu

Fantastic musician. We were robbed of the best of him.


----------



## Joe B




----------



## Oldhoosierdude

A classic. The 2003 remastered release is fantastic.


----------



## starthrower

The great Polish trumpeter and jazz musician Tomasz Stanko has died.
https://www.msn.com/en-gb/entertain...trumpeter-tomasz-stanko-dies-at-76/ar-BBLd6hw


----------



## Joe B




----------



## jim prideaux

starthrower said:


> The great Polish trumpeter and jazz musician Tomasz Stanko has died.
> https://www.msn.com/en-gb/entertain...trumpeter-tomasz-stanko-dies-at-76/ar-BBLd6hw


so sorry to hear this....I was just about to write a post mentioning him in relation to a thread concerning Miles Davis and 'moody'.....the albums Stanko made with Marcin Wasilewski's trio remain some of my favourite jazz 'full stop'.

Currently listening to Pat Metheny's Offramp....although I listen to Metheny with great regularity I had forgotten how great this ECM early 80's album is.


----------



## jim prideaux

Pat Metheny-Bright size life.........

Jaco !!!!!


----------



## starthrower




----------



## Fredx2098

Anyone into The Necks?


----------



## starthrower

Fredx2098 said:


> Anyone into The Necks?


I've heard the name but assumed they were a pop band. I was wrong.


----------



## Fredx2098

That's a lot different from their studio albums I've heard so far, but I like it. They're usually more jazzy, but it seems like they're building up, I'm 13 minutes in.


----------



## Barbebleu

starthrower said:


> The great Polish trumpeter and jazz musician Tomasz Stanko has died.
> https://www.msn.com/en-gb/entertain...trumpeter-tomasz-stanko-dies-at-76/ar-BBLd6hw


Such a shame. I have quite a few of his albums. Great musician, terrific
music.


----------



## jim prideaux

Tomasz Stanko Septet (includes the wonderful Bobo Stenson)-Litania, the music of Krzysztof Komeda.


----------



## starthrower




----------



## tortkis

Listening to the extended 11-disc version of Braxton's Sextet (Parker) 1993. The playing styles range from straight-ahead bebop idiom to total free. Every player is excellent and creative. Especially, I like Paul Smoker's melodic and strong trumpet. Sadly he passed away two years ago.









Anthony Braxton, Ari Brown, Paul Smoker, Misha Mengelberg, Joe Fonda, Pheeroan akLaff, Han Bennink

Confirmation
https://newbraxtonhouse.bandcamp.com/track/confirmation


----------



## starthrower

Avant Garde Jazz heaven!


----------



## Roger Knox

Tony Bennett is 92 today. Happy Birthday!


----------



## Joe B

Pat Metheny Group playing "The First Circle". (ECM LC 2516)


----------



## Guest

Whiteys Lindy Hoppers in the film "Hellzapoppin".


----------



## Joe B




----------



## Oldhoosierdude

Current listening.


----------



## philoctetes

Wallowing in Weber


----------



## philoctetes

Great set, early Cecil in good company


----------



## elgar's ghost

I've seriously neglected my humbly-proportioned but amply-cherished jazz collection for too long - from today I'm going to remedy that by trying to find time for at least an album a day in between my usual classical binges, starting with these...

*Art Blakey - The Jazz Messengers (1956):*

Donald Byrd - trumpet
Hank Mobley - tenor sax
Horace Silver - piano
Doug Watkins - bass
Art Blakey - drums



*Larry Young - Unity (1965):*

Woody Shaw - trumpet
Joe Henderson - tenor sax
Larry Young - organ
Elvin Jones - drums


----------



## starthrower




----------



## starthrower




----------



## Barbebleu

tortkis said:


> Listening to the extended 11-disc version of Braxton's Sextet (Parker) 1993. The playing styles range from straight-ahead bebop idiom to total free. Every player is excellent and creative. Especially, I like Paul Smoker's melodic and strong trumpet. Sadly he passed away two years ago.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Anthony Braxton, Ari Brown, Paul Smoker, Misha Mengelberg, Joe Fonda, Pheeroan akLaff, Han Bennink
> 
> Confirmation
> https://newbraxtonhouse.bandcamp.com/track/confirmation


I treated myself to this on your recommendation. Brilliant stuff. I have a lot of Braxton and this is easily among his best work. Thanks for the heads-up.


----------



## Barbebleu

starthrower said:


>


Sadly missed and a wonderful artist. I saw him in Glasgow many years ago in concert with Ralph Towner. Super evening.


----------



## Barbebleu

elgars ghost said:


> I've seriously neglected my humbly-proportioned but amply-cherished jazz collection for too long - from today I'm going to remedy that by trying to find time for at least an album a day in between my usual classical binges, starting with these...
> 
> *Art Blakey - The Jazz Messengers (1956):*
> 
> Donald Byrd - trumpet
> Hank Mobley - tenor sax
> Horace Silver - piano
> Doug Watkins - bass
> Art Blakey - drums
> 
> 
> 
> *Larry Young - Unity (1965):*
> 
> Woody Shaw - trumpet
> Joe Henderson - tenor sax
> Larry Young - organ
> Elvin Jones - drums


Fabulous album from a much underrated artist. Terrific lineup.


----------



## starthrower

Barbebleu said:


> I treated myself to this on your recommendation. Brilliant stuff. I have a lot of Braxton and this is easily among his best work. Thanks for the heads-up.


I envy you and would love to hear this set. Great line-up! The drummers are always an important ingredient when I'm considering a jazz album and I love those two.


----------



## starthrower

Just picked up this collection today which contains four titles I didn't previously own. Listening to Trio 64 at the moment, and I'm looking forward to the session with Shelly Manne.


----------



## tortkis

Barbebleu said:


> I treated myself to this on your recommendation. Brilliant stuff. I have a lot of Braxton and this is easily among his best work. Thanks for the heads-up.


I finished listening to all, few tracks at a time. I liked Mengelberg's imaginative piano playing. I want to check out his recordings.


----------



## Desafinado

starthrower said:


> Just picked up this collection today which contains four titles I didn't previously own. Listening to Trio 64 at the moment, and I'm looking forward to the session with Shelly Manne.


I love Evans, and Evans radio on Spotify, but can't imagine trying to traverse his whole catalogue. Usually I throw on Waltz For Debby or Sunday at the Vanguard and call it a day. Everything is just so samey across his work.


----------



## Desafinado

One thing I've wondered that maybe some in this thread have an answer to:

What's out there for new millennium stuff that's fun and light, rather than intellectual and pensive? Every time I attempt to listen to more recent stuff it's always of the _serious music for serious listeners_ variety. I can appreciate it, but would much rather spend my time with music that's a little more uplifting and swingy.


----------



## starthrower

Desafinado said:


> I love Evans, and Evans radio on Spotify, but can't imagine trying to traverse his whole catalogue. Usually I throw on Waltz For Debby or Sunday at the Vanguard and call it a day. Everything is just so samey across his work.


I a way yes, but in another way no. Improvisation is never the same. And there are dozens of other great tunes I love to hear Evans play that are not on those two albums.


----------



## Desafinado

starthrower said:


> I a way yes, but in another way no. Improvisation is never the same. And there are dozens of other great tunes I love to hear Evans play that are not on those two albums.


I need to try listening more closely like that again soon. With Spotify making things so easy music has really been devalued for me.

I miss the days I'd throw on a record and quietly listen to both sides. These days I don't have the patience for it.


----------



## starthrower

Desafinado said:


> I need to try listening more closely like that again soon. With Spotify making things so easy music has really been devalued for me.
> 
> I miss the days I'd throw on a record and quietly listen to both sides. These days I don't have the patience for it.


I enjoy losing myself in listening to a full album. I don't use Spotify. That said I do hunt around on YouTube and listen to individual tracks. But I appreciate the effort and creativity that goes into the sequencing and production of an album. It's an art that I hope will survive the digital age and short attention spans.


----------



## philoctetes

The Evans albums with LeFaro are crucial, the rest not so much IMO...


----------



## philoctetes

Desafinado said:


> One thing I've wondered that maybe some in this thread have an answer to:
> 
> What's out there for new millennium stuff that's fun and light, rather than intellectual and pensive? Every time I attempt to listen to more recent stuff it's always of the _serious music for serious listeners_ variety. I can appreciate it, but would much rather spend my time with music that's a little more uplifting and swingy.


Mmm, you gave no examples but I think Henry Threadgill's new one has some swing... most of his music is upbeat for me... much of the Scandia / ECM type stuff borders on navel-gazing so I tread carefully around there... a lot of the newer melodic jazz that I like is influenced by Eastern music especially India... I just discovered Tigran Himasayan who is Armenian and is blending many different sources in music... just a couple ideas from recent listening...

... and yes, without Spotify I might not have heard Tigran and a lot of other great new music, so it's a good thing for me...


----------



## starthrower

philoctetes said:


> The Evans albums with LeFaro are crucial, the rest not so much IMO...


I don't agree. Evans played with several other great bass players and made great music with Gary Peacock, Eddie Gomez, Marc Johnson.


----------



## philoctetes

Ok I raise your call by one Paul Motian. Besides, how many other albums did LeFaro make?

And really, I did not mean those other albums were bad... I can listen to Evans anytime.


----------



## philoctetes

Those 5-packs have been on the rack at Amoeba so I got the Kenny Burrell and don't regret it... the Stan Getz Bossa set looks tempting too...


----------



## starthrower

I agree about Motian. Probably the most creative drummer, and a member of two of jazz's great rhythm sections. Motain/Le Faro, and Motain/Haden.


----------



## Desafinado

philoctetes said:


> *Mmm, you gave no examples* but I think Henry Threadgill's new one has some swing... most of his music is upbeat for me... much of the Scandia / ECM type stuff borders on navel-gazing so I tread carefully around there... a lot of the newer melodic jazz that I like is influenced by Eastern music especially India... I just discovered Tigran Himasayan who is Armenian and is blending many different sources in music... just a couple ideas from recent listening...
> 
> ... and yes, without Spotify I might not have heard Tigran and a lot of other great new music, so it's a good thing for me...


Treading far back enough in time I tend toward some of the great piano and horn players, Oscar Peterson, Duke Ellington, Coleman Hawkins, Charlie Parker, Miles Davis, Gerry Mulligan, Bill Evans.

Haven't really delved into modern stuff to a great extent, but I think that's mostly because I haven't been crazy about a lot of what I have listened to. A lot of the time jazz is mood music to me, and I listen to it to uplift the spirit rather than get introspective. Just don't get a lot of that outside of the guys of old.

That said I do _really_ enjoy Wynton Marsalis.


----------



## Jay

RIP Randy Weston...


----------



## starthrower

RIP to the big man, Randy Weston. I love African Cookbook.


----------



## Casebearer

philoctetes said:


> Mmm, you gave no examples but I think Henry Threadgill's new one has some swing... most of his music is upbeat for me... much of the Scandia / ECM type stuff borders on navel-gazing so I tread carefully around there... a lot of the newer melodic jazz that I like is influenced by Eastern music especially India... I just discovered Tigran Himasayan who is Armenian and is blending many different sources in music... just a couple ideas from recent listening...
> 
> ... and yes, without Spotify I might not have heard Tigran and a lot of other great new music, so it's a good thing for me...


His name is Tigran Hamasyan. Interesting guy. Saw him perform twice in The Netherlands.


----------



## tortkis

I listened to Randy Weston's Sound, a 2-disc recording of solo piano, recorded in the ballroom of Montreux Palace, only with the recording engineer Blaise Grandjean. Intimate and concentrated, without any dull moment for two hours. (The recording was done in two afternoons.) I think this review by Langston Hughes described the music of Weston very well.

_"When Randy plays, a combination of strength and gentleness, virility and velvet emerges from the keys in an ebb and flow of sound seemingly as natural as the waves of the sea."_


----------



## starthrower




----------



## philoctetes




----------



## Guest

I just received this Analog Productions SACD--sounds great!


----------



## Dan Ante

The best decade of the Dutch Swing College Band IMO.


----------



## starthrower

Insanely great playing here.


----------



## juliante

I’ve just got into Jazz. My goodness what a huge hole in my musical appreciation that was! All those years of CM listening refining my appreciation, particularly of chamber music…. and all along there was a huge stone I had ignored let alone lifted. 

The album Miles Smiles did it for me. Extraordinary music making – complex, exploratory and expansive yet completely cohesive and totally engaging, all driven by incredible musicianship and interplay. 

From a brief wiki overview and some wider listening, it seems I am at present most drawn to post bop and modal jazz. 

So any recommendation based on the above gratefully received. :tiphat:


----------



## starthrower

I'm a huge fan of the Miles Quintet recordings as well. You're probably aware of Herbie's Maiden Voyage, as well as Wayne Shorter's Blue Note Recordings. You can keep going with Bobby Hutcherson's 60s albums as well as Joe Henderson's. The Blue Note records involving Jackie McLean, Grachan Moncur, and Hutcherson are all worth listening to. Some of the titles are Destination Out, One Step Beyond, Evolution, Some Other Stuff. You might want to try Andrew Hill's music too.


----------



## starthrower




----------



## starthrower




----------



## starthrower




----------



## tortkis

juliante said:


> I've just got into Jazz. My goodness what a huge hole in my musical appreciation that was! All those years of CM listening refining my appreciation, particularly of chamber music…. and all along there was a huge stone I had ignored let alone lifted.
> 
> The album Miles Smiles did it for me. Extraordinary music making - complex, exploratory and expansive yet completely cohesive and totally engaging, all driven by incredible musicianship and interplay.
> 
> From a brief wiki overview and some wider listening, it seems I am at present most drawn to post bop and modal jazz.
> 
> So any recommendation based on the above gratefully received. :tiphat:


As for modal jazz, besides Miles' Kind of Blue and Milestones, my favorites are Coltrane on the last tour with Miles in 1960 (So What) and Village Vanguard live with Dolphy in 1961. Incredible improvisation.

So What, live in Stockholm, 1960





Miles' Mode, live at Village Vanguard, 1961


----------



## starthrower




----------



## norman bates

The unexpected John McLaughlin. I love this, hard bop so warm it almost sounds as taken from a Mingus album (like Oh Yeah or Blues and roots)


----------



## Guest




----------



## Dorsetmike

Oscar Peterson and Joe Pass do Porgy & Bess a little differently, could almost qualify as Baroque?


----------



## Dorsetmike

My favourite rendition of What's New, Mel Powell, Paul Quinichette Bobby Donaldson. (some time back on another forum I posted this link and some parts of the world could not access it, if that is still the case my apologies)


----------



## Dan Ante

No Moon At All Mike Knock Trio. Auckland


----------



## Larkenfield

Joey Alexander showing off his jazz genius at the age of 12 or 13... What do I love about his playing? Absolutely everything. He's got it all from swing to fabulous technique, from great piano voicings to imaginative melodic lines. I could listen to him all day, every day, as the exciting future of jazz. Already he can play the h*ll out of Thelonius Monk, one of his favorite composers and one of the most challenging composers to play in the world of jazz. It's worth looking him up.


----------



## starthrower




----------



## Joe B

Good program, great playing, excellent recording!


----------



## elgar's ghost

Larkenfield said:


> Joey Alexander showing off his jazz genius at the age of 12 or 13... What do I love about his playing? Absolutely everything. He's got it all from swing to fabulous technique, from great piano voicings to imaginative melodic lines. I could listen to him all day, every day, as the exciting future of jazz. Already he can play the h*ll out of Thelonius Monk, one of his favorite composers and one of the most challenging composers to play in the world of jazz. It's worth looking him up.


That's good to hear. I'll mutter a silent prayer in the hope that he doesn't go down the Jamie Cullum route.


----------



## Dorsetmike

One of the earliest Jazz artists I heard, Dodo Marmarosa trio, with Harry Babasin (bass, cello), Jackie Mills (drums) on a 78. Father wouldn't let me play it when he was around, he was not into anything other than opera, Beethoven or 1930s comedy entertainers like Arthur Askey, George Formby and Spike Jones


----------



## Barbebleu

starthrower said:


>


The Actuel label was a godsend to those of us who had a liking for the avant-garde Jazz movement in the sixties.


----------



## starthrower

Barbebleu said:


> The Actuel label was a godsend to those of us who had a liking for the avant-garde Jazz movement in the sixties.


I don't know if you noticed but I posted a new thread on the AEC and Associated albums ECM box and its contents. 21 CD set being released next month.


----------



## starthrower

Released Sept 28th on Verve. Features understated, straight ahead playing. The band sounds good but a bit reserved. I'd like to hear them play live. They swing, and the new pianist sounds good. Bill Stewart sounds great as usual.

John Scofield-guitar
Gerald Clayton-piano, organ
Vicente Archer-bass
Bill Stewart-drums


----------



## Dan Ante

*Any old jokers here???

The mighty Stan Kenton, big bands didn't get much better than this.*


----------



## starthrower

Hamiet Bluiett has passed away.

https://www.nytimes.com/2018/10/07/obituaries/hamiet-bluiett-dies-at-78.html


----------



## Dorsetmike

Brother Jack McDuff soul jazz


----------



## Dorsetmike

Quinichette with Basie on Hammond


----------



## starthrower




----------



## starthrower




----------



## Dorsetmike

Best concert I ever attended, MJQ at Birmingham town hall IIRC in 1968, some of these tracks were played.


----------



## jim prideaux

Tomasz Stanko Quintet-Dark Eyes.


----------



## starthrower




----------



## Conglomerate




----------



## Dorsetmike

Going back a bit,


----------



## Simon Moon

I just discovered trumpeter Jonathan Filnlayson.

He just released a new album, "3 Time Round" earlier this month, and it very well could be the best jazz release of 2018.

It's modern and progressive, with great melodies and incredible playing by all members.

All About Jazz review here:

https://www.allaboutjazz.com/3-times-round-jonathan-finlayson-pi-recordings-review-by-mark-corroto.php

Song sample here:

https://jonathanfinlayson.bandcamp.com/album/3-times-round


----------



## Dorsetmike

Some West coast,


----------



## joen_cph

*Ahmad Jamal *- Milestones of a Legend 10 CD Box.

CD 4, "_But Not For Me - Live at the Pershing_" (1958)

Very cool, superb.

Don't know if jazz experts will entirely agree, but this reminds me somewhat of say Petrucciani´s much later trio recordings from the 90s.


----------



## Dorsetmike

Mel Powell septet, CD of 2 Vanguard 1950s LPs


----------



## starthrower




----------



## philoctetes

Was going through my library yesterday (I have a free book box on my curb) and realized I ought to recommend this writer to folks in the jazz hole... the first is Mackey's jazz trilogy and the second is the sequel, though I read the latter first and suffered no spoilage.



















I opened to a random page yesterday and Mackey's character was ranting about Bill Dixon, a trumpeter I should know better... Mackey writes in a style similar to Wilson Harris, a surveyor from Guyana who has been writing novels from the spirit realm since 1960, including one about the Jonestown massacre.


----------



## starthrower

John Handy's Rainbow Band 1979

1. Interview + DJ Introduction
2. Rainbow
3. Station Outro

Featuring
John Handy (Saxophone)
Ali Akbar Khan (Sarod)
Zakir Hussain (Tabla)
L. Subramanian (Violin)
Bola Sete (Guitar)

http://www.odmcy.com/catalog/index....-john-handy-john-handy-s-rainbow-band-1979-cd


----------



## rbacce

My first post in Talk Classical. heh

Been listening a lot to this one recently. I transcribed a few lines at the piano too. Any Glasper fans around?


----------



## starthrower

Art Ensemble Of Chicago - Les Stances A Sophie, is back in print!

https://soundsoftheuniverse.com/sjr/product/art-ensemble-of-chicago-les-stances-a-sophie


----------



## Dorsetmike

Mary Lou Williams Down beat from the 1951-53 album 
(rest of the album is listed alongside)


----------



## Vronsky

Jan Garbarek & The Hilliard Ensemble: Mnemosyne (1998)


----------



## Dan Ante

C Jam


----------



## jegreenwood

Agharta. Working my way through Miles' electric era.


----------



## Dorsetmike

Basie, Peterson & Joe Pass BBC 1980 "Words and Music"


----------



## Dorsetmike

A bit different


----------



## Dorsetmike

Albert Ammons Boogie






Meade Lux Lewis, more Boogie


----------



## Dorsetmike

Chet Baker, What's new


----------



## Dorsetmike

deleted, duplicate post


----------



## Dorsetmike

Mel Powell Carnegie jam session 1938, a few good names in there


----------



## Dorsetmike

Still in the 1930s, but this side of the pond, Nat Gonella and his Georgians, Tiger rag


----------



## Dorsetmike

Miller sound from the Squadronaires, this was a TV spot to plug their Glenn Miller tribute record.


----------



## Dan Ante

Dorsetmike said:


> Miller sound from the Squadronaires, this was a TV spot to plug their Glenn Miller tribute record.


Is that classed as jazz? I must find something from Victor Silvester


----------



## Dorsetmike

Exactly what is and is not classed as jazz, if one takes a broad view I would suggest blues, boogie, "traditional" jazz in its many guises, Dixieland, New Orleans, Chicago etc, modern jazz also has various sub genre, cool, hot, west coast, east coast etc; for me big band swing also belongs; do you class Ellington & Basie as jazz performers? If so then Miller, Goodman, Herman, Kenton and a good few others must also qualify. OK not every song/tune/number by the big bands can be classed as Jazz, particularly some of the vocals, note I said *some* of the vocals don't forget singers like Ella Fitzgerald.

It's always going to be difficult to draw strict lines when discussing music genres


----------



## Dan Ante

*How do you feel about Ted Heath?*






*What is the difference between Jazz and swing?*


----------



## Dan Ante

Just changing the subject for a minute, can you remember the first jazz record that you purchased? mine was in the mid 50s

*Hot Versus Cool on the MGM label*

























I still have it and it sounds OK, a few grackles and pops but it was played a lot.


----------



## Dorsetmike

One of my first was a Dodo Marmarosa, father was not pleased, for him if it wasn't opera or Beethoven it was not music


----------



## Dorsetmike

Kai & J J on trombones






Anybody know the pianist on this track?


----------



## Dorsetmike

LAmbert Hendricjs abd Ross, plus Joe Williams, Everyday I have the blues


----------



## Dan Ante

One ens that I followed enthusiastically was the George Shearing Quintet here is one of his compositions 'Lullaby of birdland' which became a jazz classic, I suppose the whippersnappers on TC will say it is too soft.


----------



## Dorsetmike

Saw him at Festval hall, his first night back on the UK stage. Not heard this track before


----------



## Dan Ante

I must check I am sure I have this track somewhere.
Just one more then I must get cracking.
The inimitable George Melly with Fanny Brown. Saw him in various jazz clubs one of the best.






*I hope Mike and Dan are not frightening or boring all other posters* :wave:


----------



## starthrower

From the recently released 3CD/5 LP set.


----------



## Dorsetmike

Mel Powell, 1950s Vanguard series "Easy Swing": little quiz for you can you name instrument and soloist at around 2:40 - 3.0? If you have the LP or CD let the others have a go first.


----------



## Frank Freaking Sinatra




----------



## Dorsetmike

Paul Quinichette


----------



## Dan Ante

Peanut Vendor two very different versions I have both of the Ted Heath LPs shown on the video, which do you prefer?

*First the Kenton*





*Now Ted Heath*


----------



## philoctetes

Saw this at Amoeba and had enough trade credit to cover it. No-brainer and after hearing about half of it, no regrets.


----------



## starthrower

I got my box last week. I love the music! The packaging not so much.


----------



## philoctetes

starthrower said:


> I got my box last week. I love the music! The packaging not so much.


The shoes of the fisherman's wife...


----------



## philoctetes

"Thirsty" sounds more like "Bongwater"


----------



## Dan Ante

*'Mesoteric Circles' Mike Nock Quartet*


----------



## Barbebleu

starthrower said:


> I got my box last week. I love the music! The packaging not so much.


I already have 17 of the 21 albums in the box so I'm reluctant to splash out for the sake of the missing four. I'll just need to track them down individually!


----------



## Dorsetmike

> 'Mesoteric Circles' Mike Nock Quartet


I suffered for about 3 minutes expecting something worthwhile to happen then the sax started, I gave up at that point. I'm sorry I don't class that as jazz, nor any other music genre, just unpleasant random noise. Abuse of the instruments used to generate it.


----------



## starthrower

Barbebleu said:


> I already have 17 of the 21 albums in the box so I'm reluctant to splash out for the sake of the missing four. I'll just need to track them down individually!


Sounds like a plan. The box is a bit cumbersome and not made for shelving. And the CDs are housed in flimsy, generic gatefold sleeves.


----------



## philoctetes

Yeah ECM's obsession with the "unfinished" look has finally gone too far... anybody who actually plays the CDs often could actually wear this box out easily. 

Still, ECM has often seem beyond my budget, and I've waited patiently for yesterday's boutique items to become today's box sets. So for me the time is ripe - this music has aged well and I'm happy to play the files and put the box in a safe place.


----------



## Red Terror

starthrower said:


> I got my box last week. I love the music! The packaging not so much.


It is well thought out and as most ECM packaging, it employs a minimalist aesthetic. Too many equate quantity with quality.


----------



## philoctetes

Red Terror said:


> Too many people think quantity equals quality.


If they only understood linear algebra...


----------



## Dan Ante

Dorsetmike said:


> I suffered for about 3 minutes expecting something worthwhile to happen then the sax started, I gave up at that point. I'm sorry I don't class that as jazz, nor any other music genre, just unpleasant random noise. Abuse of the instruments used to generate it.


Fair enough but it is very mild to some of the clips posted here, it has rhythm and riffs and it is improvised and it does get going from about 3:00 on, but I do understand your comment. btw have a look at the thread "Free Improvisation"


----------



## starthrower

The Mike Nock sounds fine to me. It's jazz to my ears. And nothing too far out either.


----------



## starthrower

Red Terror said:


> It is well thought out and as most ECM packaging, it employs a minimalist aesthetic. Too many equate quantity with quality.


I wasn't referring to the aesthetics. Just the physical construction and design. It's not user friendly or rack-able. It's a coffee table box, which is okay for a while.


----------



## Red Terror

starthrower said:


> I wasn't referring to the aesthetics. Just the physical construction and design. It's not user friendly or rack-able. It's a coffee table box, which is okay for a while.


Burn the discs to an external hard-drive and file the boxset in a bankers box. Works for me.


----------



## Red Terror




----------



## starthrower

Red Terror said:


> Burn the discs to an external hard-drive and file the boxset in a bankers box. Works for me.


I don't do that stuff. I play my CDs. If I didn't I'd just buy downloads.


----------



## Red Terror

starthrower said:


> I don't do that stuff. I play my CDs. If I didn't I'd just buy downloads.


It's a well reviewed set. I must get a copy for myself.


----------



## Red Terror

*Kammerflimmer Kollektief - There Are Actions Which We Have Neglected And Which...*

A masterwork by one of my favorite jazz groups. If you don't appreciate "far-out" jazz, you'll hate this.


----------



## Dorsetmike

"Benny does Ringo"

Benny Goodman with a UK line-up, Tommy Whittle, George Chisholm, Kenny Baker, Bil Mc Guffie, Lennie Bush, Ronnie Stephenson and Jud Proctor; recorded at Abbey Road Nov 28, 1969


----------



## Larkenfield




----------



## starthrower

1959 session


----------



## philoctetes

More $10 ECM reissues on the way due January 18


----------



## starthrower

philoctetes said:


> More $10 ECM reissues on the way due January 18


Do you have a link or some titles?


----------



## Jay




----------



## Captainnumber36

I just bought Birth of the Cool and can't stop listening to it, Miles & Beethoven are my top music Artists of all time.


----------



## Dan Ante

Captainnumber36 said:


> I just bought Birth of the Cool and can't stop listening to it, Miles & Beethoven are my top music Artists of all time.


I dig Miles as well and according to history LvB was a good pianist and his compositions are the best.


----------



## Dorsetmike

Ellington & Joe Pass Cottontail


----------



## Dan Ante

* Just a bit of fun which this kind of jazz should be.*


----------



## Captainnumber36

I'm listening to some Pat Methany Group right now, it's very groovy. I do love it!


----------



## Jay




----------



## Larkenfield

Dan Ante said:


> * Just a bit of fun which this kind of jazz should be.*


Oh my. This was so good it brought tears to my eyes.


----------



## Dan Ante

Larkenfield said:


> Oh my. This was so good it brought tears to my eyes.


Now now don't be naughty…….


----------



## Dan Ante

*Another bit of jazz from the 50s*

Three great musicians of the day 1954.Gene Krupa, Lionel Hampton, Teddy Wilson: Airmail Special.


----------



## Jay

Dupree Bolton on trumpet:


----------



## Dan Ante

*Chris Barber's Jazz Band, When you and I were young, Maggie.*

Monty Sunshine Clarinet


----------



## Dan Ante

*Brubecks 'Take five' is known by all and in 5/4 time something new in those days here is the Brubeck Quartet with unsquare dance this in 7/4 time c1961.*


----------



## Dan Ante

Brubeck again this time a waltz but not as in Straus, how to make ¾ time swing.


----------



## Dan Ante

*Here we go again.
Dave Brubeck with Paul Desmond 'Blue shadows in the street' in 9/8 time.*






* IMO this is an underrated piece.*


----------



## Barbebleu

Brubeck was a great pioneer of using unusual time signatures in jazz. In the late sixties Don Ellis did much the same in a big band setting.


----------



## starthrower

Don Ellis was a phenomenal trumpet player. I like his early small group albums. And there was a CD of a concert in India released several years ago that features some great playing despite the fact that Ellis was ailing from his weak heart which killed him at age 44.


----------



## Dan Ante

*Guys, how about posting a clip or two of other groups doing odd times.
In the meantime Dave Brubeck Quartet Castilian Blues 6/4*


----------



## Barbebleu

Dan Ante said:


> *Guys, how about posting a clip or two of other groups doing odd times.
> In the meantime Dave Brubeck Quartet Castilian Blues 6/4*


*

I think Castilian blues and its companion piece,Castilian Drums are in 5/4!*


----------



## Barbebleu

starthrower said:


> Don Ellis was a phenomenal trumpet player. I like his early small group albums. And there was a CD of a concert in India released several years ago that features some great playing despite the fact that Ellis was ailing from his weak heart which killed him at age 44.


I saw Don Ellis and his Orchestra in Berlin in 1968 at the Jazztage. Fabulous.


----------



## starthrower

Barbebleu said:


> I saw Don Ellis and his Orchestra in Berlin in 1968 at the Jazztage. Fabulous.


I was into the Monkees in '68! :lol:


----------



## Dan Ante

Barbebleu said:


> I think Castilian blues and its companion piece,Castilian Drums are in 5/4!


Whoops of course it is, stupid old Dan can't even count, I submit myself for disciplinary action.


----------



## Dan Ante

*OK then how about "Maori Blues" is that a better example *


----------



## Dorsetmike

Chet Baker - Almost Blue


----------



## philoctetes

Digging up an old favorite from the 80s, and a new one from 2018. What do these two have in common?


----------



## starthrower

I have Mobo on vinyl. Missed out on the CD re-issue of I & II. The Gramavision label had some good stuff.


----------



## philoctetes

starthrower said:


> I have Mobo on vinyl. Missed out on the CD re-issue of I & II. The Gramavision label had some good stuff.


I had Mobo II on vinyl and just got the CD last week used for $6. But I've never heard Mobo I and wonder if it's worth chasing down... not on Spotify and new copies are crazy expensive. Watanabe apparently does not care for the US market.

I heard a lot of Molvaer and Aarset over the last week. Very spacey like Hassell but often beatless. Nordub is an exception.


----------



## starthrower

Honestly I haven't listened to it in so long I don't remember. It's on YouTube like everything else.






The Ventures tune sounds okay but the next tune sounds awfully dated. I don't like the drum sound or guitar tones.


----------



## philoctetes

starthrower said:


> Honestly I haven't listened to it in so long I don't remember. It's on YouTube like everything else.
> 
> 
> 
> 
> 
> 
> The Ventures tune sounds okay but the next tune sounds awfully dated. I don't like the drum sound or guitar tones.


Thanks... I forget about youtube sometimes... now I recall hearing this track before... not so bad.... the first track on Mobo II is much worse IMO... but it's the exception and All Beets Are Coming is a fun conclusion to the set...

Now listening to American Shorthair, Mobo I... eh... it's all coming back to me now... Mobo II wins again, the arrangements are simpler, fewer synthesizers...

That reverbish sound was typical of Sly & Robbie at the time... their alternative to MTV and Phil Collins... hard to tell the diff now...


----------



## philoctetes

Out with the Old, In with the New... Got this almost two years ago, unfamiliar with the lineup. Now I'm following all of them on Spotify.

Did someone say it isn't jazz? Go away!


----------



## starthrower

Bunch of cool ECM re-issues. https://www.ecmrecords.com/home


----------



## Red Terror

philoctetes said:


> Digging up an old favorite from the 80s, and a new one from 2018. What do these two have in common?


Both were made in Japan, right?


----------



## Dorsetmike

Dodo Marmarosa, my first jazz purchase was Dodo Marmaros, not this track though


----------



## philoctetes

Red Terror said:


> Both were made in Japan, right?


"Recorded and mixed at Media Sound NY"

Jamaica would have been a better guess, but wrong... both albums have Sly & Robbie on rhythm, but made ~35 years apart, crossing a lot of jazz evolution in the process...

From the AEC White Box


----------



## MattB

Soft Lights, Sweet Trumpet

Harry James










My first Harry James record.


----------



## Joe B

Of the "Mobo" albums of Kazumi Watanabe, I listen far more to Mobo Splash than either of the others:


----------



## philoctetes

Two sides of Elvind Aarset


----------



## millionrainbows

Listening to a lot of Jimmy Guiffre with Jim Hall.


----------



## millionrainbows

I love Don Ellis, too. These are the ones I have:


----------



## starthrower

Steve Coleman & Five Elements


----------



## starthrower




----------



## millionrainbows

Once again, thanks goes out to Starthrower for turning me on to some great jazz.


----------



## starthrower

millionrainbows said:


> Once again, thanks goes out to Starthrower for turning me on to some great jazz.


Check out Pi Recordings. They have the Steve Lehman, and the Steve Coleman live set.
https://pirecordings.com/


----------



## tortkis

I recently listened to Steve Coleman for the first time (Live at the Village Vanguard Vol.1) and found it very impressive. The improvisations and compositions are integrated very well. Other PI recordings releases I heard are also creative, adventurous and of high quality. (Threadgill, Sorey, Rivers.) I've been interested in Lehman since I read the wikipedia article on spectral music saying that he "has introduced spectral techniques into the domain of jazz."


----------



## starthrower

I like Lehman's band more than his alto playing. I've always dug Steve Coleman. I started listening to him with Dave Holland back in the 80s.


----------



## tortkis

This is a beautiful duo album by Joseph Jarman (1937-2019) and Marilyn Crispell. I have not listened to Jarman other than AEC. Crispell is becoming one of my favorite contemporary pianists.

Connecting Spirits


----------



## starthrower

She has a new record with Joe Lovano. Jarman made some fine albums under his own name. I have a couple.


----------



## Dorsetmike

Mel Powell, Paul Quinichette, Bobby Donaldson Avalon


----------



## starthrower

I really enjoyed this. So many great people involved from Bill Bruford to Joe Morello.


----------



## Dan Ante

*George Melly being a little bit naughty but a lovable rasca*l


----------



## Dorsetmike

Bill Evans trio


----------



## philoctetes

I saw the Marilyn Crispell (Amaryllis) Trio long ago and have tix to see her with Lovano in March. Steve Lehman played with Iyer last year and it was certainly different, though to call it spectral might challenge my notion of what that is.


----------



## Barbebleu

Oregon - The Glide. One off track they did for a soundtrack. Very driving for Oregon!


----------



## Desafinado

Any of you with a Spotify subscription may appreciate this playlist I've put together:

Live at the Village Vanguard

I've been trying to compile as many live recordings from the Village Vanguard as I can, and get them all in one place. Makes for a nice shuffle over an hour or two.


----------



## SARDiver

I love Dave Brubeck. There's not a recording of his I don't enjoy.


----------



## Dorsetmike

Dutch Swing College


----------



## millionrainbows

I got a newer remaster of this CD, but also picked this one up, just for the cover photo of Bill Evans.


----------



## Dorsetmike

Pete Johnson Piano.


----------



## starthrower

Nice set recently uploaded.

Sco - guitar
Larry Goldings - organ
Greg Hutchinson - drums


----------



## millionrainbows

This shows Martino gradually going more & more "outside" on a blues.Very instructive. The drummer, btw, plays a shuffle with a great feel.


----------



## philoctetes

Recent favorites. Joey Baron has come a long way as a drummer since I last heard him...


----------



## philoctetes

millionrainbows said:


> I got a newer remaster of this CD, but also picked this one up, just for the cover photo of Bill Evans.
> 
> View attachment 113080


Always thought the other cover should have had the Creature of the Black Lagoon below the swimmer, lurking... here Bill looks like a creature of a different sort - the vodka fish.


----------



## Dorsetmike

Joe Pass, Satin doll


----------



## Dorsetmike

David Snell quintet


----------



## Dorsetmike

JJ &KAi, trombone for two


----------



## millionrainbows

Jean-Luc Ponty: Aurora


----------



## norman bates

Hozan Yamamoto / Masabumi Kikuchi - silver world (1970)






Hozan Yamamoto - shakuhachi 
Masabumi Kikuchi - piano
Gary Peacock - bass
Hiroshi Murakami - drums

I'm alway been fascinated by certain jazz calm and reflective, and especially from the sixties (with musicians like Coltrane and Shorter) I hear sometimes the influence of japanese music on jazz. This album is one of those projects where that connection is very explicit, and it's basically an album of spiritual jazz with a japanese element. I love the sound of the Shakuhachi (probably more than the western flute).


----------



## starthrower

Bruford/Levin/Torn/Botti : Upper Extremities BLUE Nights

Recorded live.


----------



## Jokke

Stolen Moments :trp:


----------



## Larkenfield

I bet this Steinway and Sons never experienced anything like this. Good! Monk often sounded like he was hamfisted and clumsily banging away at something for the first time even if he'd played it a hundred times. He was a genuine original, playing completely from his own unique creative source, a quirky sounding composer and improviser who could go from stride piano to oblique and angular in a style that's never been duplicated... and he was proud of his right-hand runs that he stole from Art Tatum and Mary Lou Williams!... He sounds so simple on the surface but was an harmonic genius. I regret never hearing him live when he was playing at Shelly's Manne-Hole on Cahuenga Blvd in Hollywood but I heard a number of other jazz greats such as Bill Evans, Art Pepper, and Miles... The interior was covered with classic jazz albums stapled to the walls and I was fortunate to hear Shelly's great quintet with the incredible but now virtually forgotten Frank Strozier on alto. What a virtuoso, from Chicago! But that's another story...


----------



## Larkenfield

In memory of the multi-talented Andre Previn, with the great Ray Brown and Joe Pass ...


----------



## Larkenfield

The astonishing Bill Evans. The first hour more reserved and then it gathers a head of steam.


----------



## Dorsetmike

Joe Pass, Joe's blues


----------



## Dorsetmike

Mel Powell album (tracks from Vanguard series 1950s)


----------



## Dorsetmike

Tuba Skinny, Tangled Blues






Jubilee stomp


----------



## Dan Ante

Dorsetmike said:


> Tuba Skinny, Tangled Blues
> 
> 
> 
> 
> 
> 
> Jubilee stomp


I have been following Tuba Skinny for a while now I have always liked Dixie or Traditional in fact my very first job was with a trad band and I loved every minute of it. Jezzzz that was 60- years ago where have all the years gone?


----------



## starthrower

Henry Threadgill - Where's Your Cup


----------



## Dorsetmike

@Dan Ante, some trad for you


----------



## Dan Ante

Dorsetmike said:


> @Dan Ante, some trad for you


Good stuff Mike I may post a video of the band I played with all those years ago they still have two of the original band but they are now in their eighties and a little bit ...you know

In the meantime a bit of big band swing, Benny Goodman 'Sing sing sing' at Carnegie Hall I do have the LP


----------



## Dorsetmike

A bit more Benny, sound quality on the first is not brilliant but some good solos including Mary Lou Williams






This one from the London Date album, Benny with an all British backing, one of my favourite LPs






From the same album small group with Kenny Baker,George Chisholm, Bill McGuffie, Lennie Bush, Ronnie Stephenson and Judd Proctor


----------



## Dan Ante

*@ Mike*, I have a Goodman LP Benny Goodman and his small groups all excellent stuff.


----------



## Dorsetmike

Same here Dan, ripped to hard drive, included in play lists.


----------



## Barbebleu

Current listening - Kulu Se Mama by John Coltrane. Sensational album. I hadn't listened to it in about thirty five years and it's nice to be reminded about how fabulous it is.


----------



## HistoryJoe

I've been enjoying Daniel Szabo's new chamber-jazz thing (Visionary) with Peter Erskine on drums. Here's the title track





The ensemble plays a little too "perfect" but the rhythm section helps keep it alive


----------



## Larkenfield

The irrepressible Clark Terry... "Mumbles"... with Oscar Peterson. When the rhythm section stops like this, it's called a stop-time blues:


----------



## Larkenfield

The wonderful Carmen McRae... singing the melody of Thelonius Monk's "Ugly Beauty."


----------



## starthrower

Love Carmen McRae! Monk is not easy to sing.


----------



## Larkenfield

starthrower said:


> Love Carmen McRae! Monk is not easy to sing.


 If you like Carmen, look for the album she did with Dave Brubeck in the early 1960s. It's one of my favorites and you might enjoy it... You're so right about Monk being hard to sing and even she has a little trouble with the melody. But what a voice! Best wishes.


----------



## starthrower

I have The Real Ambassadors by Brubeck which features Carmen, Satchmo, and Lambert, Hendricks & Ross.


----------



## Eva Yojimbo

Anyone here heard this: 





Though I'd heard the band before, this video was a relatively new discovery for me, even though it has 8.5 million views. The part that has everyone freaking out is when Hathaway harmonizes with her own voice around the 6:00-mark.


----------



## Larkenfield




----------



## NLAdriaan

Eva Yojimbo said:


> .. Though I'd heard the band before, this video was a relatively new discovery for me, even though it has 8.5 million views. The part that has everyone freaking out is when Hathaway harmonizes with her own voice around the 6:00-mark.


Thx for sharing, heard Snarky Puppy in concert a few years ago with their great Hammond hero Cory Henry. Didn't hear this clip before, though. It seems to be a recordings session of Snarky Puppy's album Family Dinner vol 1.

To add to the thread: this is a video of Cory Henry, improvising on Hammond B3 at the memorial of the late Melvin Crispell. Moving to see the pile of tissues on the organ, filled with tears:


----------



## Joe B

Today's commute:


----------



## Larkenfield

Gary Burton retires after losing perfect pitch...


----------



## Dorsetmike

Guitar overdose, Barney Kessel, Charlie Byrd and Herb Ellis


----------



## Dan Ante

*The Big Noise From Winnetka - (Bob Haggart & Ray Bauduc)*

This was the original version Haggart Bass - Bauduc Drums poor old Bob was not the best whistler but…


----------



## Larkenfield




----------



## Larkenfield

At his best with his own group!


----------



## Dorsetmike

Pete Johnson boogie woogie piano


----------



## Dorsetmike

Buck Clayton/Mel Powell Jam sessions, vol 4 1954/5, 6 tracks.


----------



## Captainnumber36

Ah Um - Charles Mingus


----------



## Dorsetmike

George Chisholm and "the Tradsters" Butter aand Egg man






Pity, I think it's spoilt by the drum solo near the end, to me it doesn't "fit" the rest of the track, what say you guys?


----------



## Dan Ante

Dorsetmike said:


> George Chisholm and "the Tradsters" Butter aand Egg man
> 
> 
> 
> 
> 
> 
> Pity, I think it's spoilt by the drum solo near the end, to me it doesn't "fit" the rest of the track, what say you guys?


I'm OK with the very small drum solo.


----------



## Jay




----------



## Dorsetmike

Dan Ante said:


> I'm OK with the very small drum solo.


As a stand alone drum solo then no complaint, but my point is that it doesn't seem to fit with the rest of the track, I've noticed the same on other tracks by this combo, as rythm backing OK, but the solos don't sound as though they have any relevance to the rest of the piece.


----------



## Dan Ante

Dorsetmike said:


> As a stand alone drum solo then no complaint, but my point is that it doesn't seem to fit with the rest of the track, I've noticed the same on other tracks by this combo, as rythm backing OK, but the solos don't sound as though they have any relevance to the rest of the piece.


He is hard to follow but it is a 32 bar number and it is quite normal for the middle eight to be taken as a solo, and OK I have heard better.:cheers:


----------



## Captainnumber36

This track by Metheny is insane, I've never heard him get so aggressive:


----------



## Captainnumber36

I also got four Coltrane albums today for 10 dollars all condensed to two CDs.

CD 1: 
Blue Train
Africa Brass

CD 2:
Coltrane Plays the Blues
Ole


----------



## Hiawatha

I'm on this thread more to learn than to educate but I also have some great "tunes" to offer including these. A slight warning : while I have what I think are quite strong jazz leanings, I tend to come at it from every sort of angle other than the centre which sometimes to my annoyance I can struggle with a bit:



Alice Coltrane - Turiya And Ramakrishna






Dorothy Ashby - The Moving Finger


----------



## Larkenfield

S'more Dorothy Ashby:






She was frequently played on jazz radio in Los Angeles.


----------



## Hiawatha

Larkenfield said:


> S'more Dorothy Ashby:
> 
> 
> 
> 
> 
> 
> She was frequently played on jazz radio in Los Angeles.


Thank you for this!


----------



## Hiawatha

The irony of......

Mose Allison - Certified Senior Citizen






An artist who I first heard about in the early 1980s because of, would you believe, a cover version by The Clash:

Look Here -


----------



## Joe B

Today's commute:


----------



## Dorsetmike

Tuba Skinny from last years European tour (over 1 hour)


----------



## Hiawatha

Little Jimmy Scott

On Broadway






Time After Time






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


----------



## Dan Ante




----------



## Dorsetmike

Anything goes, Mel Powell


----------



## Dorsetmike

Ella Fitzgerald scatting How high the moon


----------



## Hiawatha

Herbie Hancock - Chameleon






Rahsaan Roland Kirk - Ain't No Sunshine


----------



## Hiawatha

Paul Whiteman and His Orchestra - Anything Goes






Slim Gaillard - Cement Mixer






Sister Rosetta Tharpe - Didn't It Rain






Quantic - Transatlantic


----------



## Duncan




----------



## Hiawatha

Gwilym Simcock - How I wrote "These are the Good Days":






Zoe Rahman - "Down to Earth":


----------



## Barbebleu

Hiawatha said:


> Gwilym Simcock - How I wrote "These are the Good Days":
> 
> 
> 
> 
> 
> 
> Zoe Rahman - "Down to Earth":


Thanks Hiawatha for using links and not posting the whole thing. The embedded videos play havoc with my iPad.


----------



## Hiawatha

Barbebleu said:


> Thanks Hiawatha for using links and not posting the whole thing. The embedded videos play havoc with my iPad.


You are very welcome.

(Actually, it's the only way I know). :lol:


----------



## Hiawatha

Sun Ra - Love In Outer Space






Moondog - Lament I, "Bird's Lament"






For a bit of Sun Ra live, the sound quality on his clip isn't great and the performance would best be described as "loose" but it really captures the unique atmospheres created by a wonderful artist:

Face the Music / Space is the Place:






Moondog was, of course, equally individual.


----------



## Duncan




----------



## philoctetes

Hiawatha said:


> You are very welcome.
> 
> (Actually, it's the only way I know). :lol:


Use the menu icon that looks like a filmstrip. But B is right the embeds can be annoying. It's also annoying if I see a YT link and no information posted about it. You're not doing that so it's perfect. But a lot of people post links with no info and I won't bother to click for such lazy folk.

I rarely post YT myself links but I do use album art a lot. Hope that's not a problem.

My recent jazz listening has been more Muhal from the box that came this week. Also quite a bit of Molvaer. I've been stocking up on the Miles school of horns lately so I can finally give Bitches Brew and Ife a break.


----------



## Jay




----------



## starthrower

Going to see these cats tomorrow night.


----------



## starthrower

No photography of the performance was allowed, but I took this shot after the show. DeJohnette's Yamaha drum kit, and the double bass played by Esperanza once belonged to Scott LaFaro. She doesn't own the instrument, but it was made available for the concert.


----------



## Barbebleu

starthrower said:


> Going to see these cats tomorrow night.


Nice. Cats? Are we back in the 40s then?:lol: I'm hip to that daddy-o!!


----------



## Duncan




----------



## starthrower

Barbebleu said:


> Nice. Cats? Are we back in the 40s then?:lol: I'm hip to that daddy-o!!


The music certainly wasn't. A very modern sounding quartet playing quite daring and challenging music. Joe Lo is pretty amazing the way he can jump right onto a tricky melodic phrase while Jack is playing all over the place. I don't know how they know where one is at times.


----------



## Barbebleu

starthrower said:


> The music certainly wasn't. A very modern sounding quartet playing quite daring and challenging music. Joe Lo is pretty amazing the way he can jump right onto a tricky melodic phrase while Jack is playing all over the place. I don't know how they know where one is at times.


I'd like to have caught this gig myself. Where were they playing?


----------



## starthrower

At Cornell University in Ithaca, NY


----------



## Hiawatha

philoctetes said:


> Use the menu icon that looks like a filmstrip. But B is right the embeds can be annoying. It's also annoying if I see a YT link and no information posted about it. You're not doing that so it's perfect. But a lot of people post links with no info and I won't bother to click for such lazy folk.
> 
> I rarely post YT myself links but I do use album art a lot. Hope that's not a problem.
> 
> My recent jazz listening has been more Muhal from the box that came this week. Also quite a bit of Molvaer. I've been stocking up on the Miles school of horns lately so I can finally give Bitches Brew and Ife a break.


Thank you for the advice. In view of the pluses and minuses, perhaps I should stick to what I am doing!? I haven't posted information with everything. Some of it is self explanatory or else for what readers wish to make of it. But I will try to continue with background information where that might be interesting or helpful. Hope this is ok.


----------



## Hiawatha

Black Market

Weather Report - 



Aziz Sahmaoui - 




The Pursuit of the Woman with the Feathered Hat

Weather Report - 



Mullova/Barley -


----------



## Barbebleu

starthrower said:


> At Cornell University in Ithaca, NY


Might have been a bit of a trek for me then!:lol:


----------



## starthrower

Barbebleu said:


> Might have been a bit of a trek for me then!:lol:


You Brits probably get better jazz gigs on your side of the pond. The only steady action over here is in the big cities where hardly anyone can afford to live. I get my handful of shows each year and most of those require traveling out of town.

If I was wealthy I could live in NYC and hear live jazz every week. And I could go to Zorn's club to hear the weird stuff. I was down there last fall but I didn't make it to the clubs. It's so expensive that I could only afford to stay a couple of days. L.A. is even worse. There's a huge homeless population and the corrupt city leadership is doing nothing about it. So better to stay home and listen to my records.


----------



## Duncan

Hiawatha said:


> Thank you for the advice. In view of the pluses and minuses, perhaps I should stick to what I am doing!? I haven't posted information with everything. Some of it is self explanatory or else for what readers wish to make of it. But I will try to continue with background information where that might be interesting or helpful. Hope this is ok.


You're an all-star calibre poster with an astonishing versatility running across all genres and for that you have my genuine admiration but some really-first rate music may be inadvertently overlooked through a lack of the judicious use of graphics to draw attention to your posts. People have a tendency to scroll through threads quite quickly and graphics can help give them a visual cue as to the contents of the post.

It's just intended as friendly advice and it's certainly your call to make but there are so many incredible jazz photos/album covers that you could bring to the attention of the forum - look at Starthrower's use of graphics in his posts as an example of just how effective the utilization of graphics can be.

But it's your call - perhaps you're a minimalist at heart - which is cool - but as mentioned previously your posts are really first-rate and it would be a shame for them to be overlooked.

Just as an example this is a really attractive album cover that would have helped to highlight your Sun Ra selection -


----------



## starthrower

The life affirming music and joy that is exuded from this ensemble never fails to inspire me. And this record in particular is a great example.


----------



## Hiawatha

Mollie John said:


> You're an all-star calibre poster with an astonishing versatility running across all genres and for that you have my genuine admiration but some really-first rate music may be inadvertently overlooked through a lack of the judicious use of graphics to draw attention to your posts. People have a tendency to scroll through threads quite quickly and graphics can help give them a visual cue as to the contents of the post.
> 
> It's just intended as friendly advice and it's certainly your call to make but there are so many incredible jazz photos/album covers that you could bring to the attention of the forum - look at Starthrower's use of graphics in his posts as an example of just how effective the utilization of graphics can be.
> 
> But it's your call - perhaps you're a minimalist at heart - which is cool - but as mentioned previously your posts are really first-rate and it would be a shame for them to be overlooked.
> 
> Just as an example this is a really attractive album cover that would have helped to highlight your Sun Ra selection -
> 
> View attachment 116469


Thank you for your kind comments which I very much appreciate. My first visual link was posted today on Melody of the Day so I will try to extend that now to other threads. Ironically, this comes at the time when I have probably exhausted the more unusual material much of which surprised/delighted me when I first viewed/heard it although in some ways that might well be a good reason to do it. Let's see how it goes.


----------



## Jay




----------



## Hiawatha

Carmen McRae - Flamingo


----------



## starthrower




----------



## Duncan




----------



## Barbebleu

starthrower said:


>


Oooh, this looks interesting. I've always loved Tolliver right back to his work in the sixties with Andrew Hill and Jackie McLean.


----------



## starthrower

Barbebleu said:


> Oooh, this looks interesting. I've always loved Tolliver right back to his work in the sixties with Andrew Hill and Jackie McLean.


Good, but not too unusual. Maybe too much octane because it's still morning over here. I'll have to try it again later in the day.


----------



## Duncan

Barbebleu said:


> Oooh, this looks interesting. I've always loved Tolliver right back to his work in the sixties with Andrew Hill and Jackie McLean.


*Charles Tolliver - "Emperor March" -*


----------



## starthrower

Love this one! It's in the second Soul Note box.


----------



## Dorsetmike

Dutch swing college


----------



## tortkis

Barbebleu said:


> Oooh, this looks interesting. I've always loved Tolliver right back to his work in the sixties with Andrew Hill and Jackie McLean.


Strata-East's live recordings of his quartet (re-released on Mosaic Select) are my favorites, especially Live in Tokyo. Beautiful trumpet tone, exciting ensemble, and good compositions. I have the previous big band album (With Love) but have not heard it many times.


----------



## Larkenfield




----------



## Duncan




----------



## Dorsetmike

Charlie Christian with Goodman sextet


----------



## Captainnumber36

Weather Report - Heavy Weather!


----------



## tortkis

I am re-listening to Miles Okazaki's 6-disc solo guitar recording of the complete compositions of Monk (2018). This is an excellent interpretation of the great works with no dull moment. The guitar sound is firm and nuanced.

https://okazakiwork.bandcamp.com/album/work-complete-volumes-1-6









I recently listened to another superb recording of Monk's complete works Monk's Casino (2005). The approach is completely different from Okazaki or Monk himself, some tracks are quite avantgarde, sometimes reminding me of the Ornette Coleman quartet.

Alexander von Schlippenbach (piano), Axel Dörner (trumpet), Rudi Mahall (bass clarinet), Jan Roder (bass), Uli Jennessen (drums)
https://intaktrec.bandcamp.com/album/monks-casino









Last year, Frank Kimbrough released Monk's complete compositions on Sunnyvale, which I have not heard yet.


----------



## Hiawatha

Artie Shaw - Concerto For Clarinet:


----------



## Dorsetmike

Pete Johnson 1946 stomp


----------



## starthrower

Vibraphonist Dave Samuels has died after a long illness. He was 70.

https://jazztimes.com/news/dave-samuels-1948-2019/


----------



## Dorsetmike

Peterson, Kessel, and Pederson at Ronnie Scott's


----------



## SONNET CLV

It's been some while since I looked into the Julius Hemphill box _The Complete Remastered Recordings On Black Saint & Soul Note_, so I did so tonight.









Fascinating stuff -- spontaneous-creation jazz, improvisational music at its best … and strangest (at times).

Listened to discs _Raw Materials And Residuals_ (Hemphill on alto & soprano sax, Abdul Wadud on cello, and Don Moye on sun percussion) and _Flat-Out Jump Suite_ which has Hemphill on flute & tenor sax along with trumpeter Olu Dara, cellist Wadud, and Warren Smith on percussion. The first disc was recorded November 1977 in New York, the second in June 1980 in Milan, Italy. There are three more discs in the set, which I'll save for a future listening session.

I've derived great delight from the collection "The Complete Remastered Recordings On Black Saint & Soul Note". Don't know if I have the full set, but I count 43 of the white spined boxes on my jazz shelf. An awesome collection I'm glad to be able to tap into at will.


----------



## starthrower




----------



## philoctetes

Daniel Carter is no my radar today. He's been around a long time, but I first heard him on a recent release with Shipp and Parker. He still seems ahead of his time for such a veteran, leaning to the quiet side of free improv.


----------



## Barbebleu

Stanley Cowell - Blues for the Viet-Cong. Superior modern jazz.


----------



## Hiawatha

Steve Williamson - Mandela:


----------



## Hiawatha

Chuck Mangione - Journey To A Rainbow:


----------



## Hiawatha

Django Bates' Belovèd - The Study Of Touch:


----------



## Hiawatha

Galliano - Twyford Down:


----------



## Barbebleu

Quiet Song - Paul Bley, Bill Connors, Jimmy Giuffre. Quite excellent.


----------



## Jay




----------



## Joe B

Yesterday's commute and driving around doing chores after work:


----------



## Joe B

Just spent several hours in the car. At least I got to listen to the following:


----------



## Hiawatha

Trio Pim Jacobs with Ruud Brink - Moonlight in Vermont:


----------



## Hiawatha

Charlie Parker - Just Friends:


----------



## Hiawatha

Sonny Rollins - St Thomas:


----------



## Hiawatha

Art Blakey & the Jazz Messengers - Moanin':


----------



## Jay




----------



## Jay




----------



## tortkis

Hiawatha said:


> Charlie Parker - Just Friends:


This is one of my favorite Charlie Parker recordings. Everything is perfect. I recently listened to Charlie Parker with Strings Deluxe Edition, which includes 4 additional takes (incomplete/alternate) of Just Friends. The outline is the same, but Parker's improvisation in each take is fresh and creative. Very interesting to hear how it evolves to the final version.


----------



## Hiawatha

tortkis said:


> This is one of my favorite Charlie Parker recordings. Everything is perfect. I recently listened to Charlie Parker with Strings Deluxe Edition, which includes 4 additional takes (incomplete/alternate) of Just Friends. The outline is the same, but Parker's improvisation in each take is fresh and creative. Very interesting to hear how it evolves to the final version.


Thank you very much for your post.


----------



## Hiawatha

Ben Webster - Stardust:


----------



## Hiawatha

Don Cherry - Brown Rice:


----------



## Hiawatha

Louis Armstrong - West End Blues:


----------



## Hiawatha

Tomasz Stanko Quintet - So Nice:


----------



## starthrower




----------



## Dorsetmike

Mel Powell from 1950s Vanguard series, "Gone with the wind"


----------



## Dorsetmike

Going further back, Lu Watters Yerba Buena jazz band; pick your track(s) from the list of 23.


----------



## Joe B

Today's commute:


----------



## haydnguy

I don't usually listen to jazz but I thought this was really nice. :tiphat:


----------



## starthrower

Coincidentally, I listened to this one earlier today.


----------



## starthrower

On a sadder note, jazz guitar legend Kenny Burrell has fallen on hard times. You can read about it here and donate if you wish. The story has been confirmed as true by Jazz Times Magazine.

https://www.gofundme.com/support-ke...UEFkEv22We9KNNBMaNSNZrtrhIYX-fXSZu2tgEd1V1GvE


----------



## Jay




----------



## Joe B

Some light jazz during my hours in the car yesterday:


----------



## millionrainbows




----------



## Dorsetmike

Benny Goodman sextet


----------



## Jay




----------



## Hiawatha

starthrower said:


>


Excelllent - thanks.


----------



## millionrainbows

Starthrower! Sarah Vaughan!

Bye, Bye! I'm moving!
Tomorrow I may be splittin' to Britain or Norway!
I'm saying' bye, bye! Bye, baby!
Now that I've heard all that jazz and "WHEREAS" I have had it!
I've had it! I'm through now! With you now!


----------



## millionrainbows




----------



## Dan Ante

Dorsetmike said:


> Benny Goodman sextet


*Yeh go man go good stuff Mike *


----------



## Dorsetmike

Some more trad for you Dan


----------



## Dan Ante

Thanks Mike, trad is not so popular to day, my first paid gig was with a trad band in the 50s, West Midlands, some of my best memories are of that period the actual band is still going but only two of the original musicians are with it.


----------



## Jay




----------



## philoctetes

The jazz hole is almost sinking...


----------



## Barbebleu

philoctetes said:


> The jazz hole is almost sinking...


One of my favourite Paul Bley albums.


----------



## Dorsetmike

philoctetes said:


> The jazz hole is almost sinking...


Never heard of him until now, having listened to a couple of tracks on youtube, I don't want to hear him.


----------



## Dorsetmike

This lot enjoy themselves and make good music


----------



## Dorsetmike

But in case you don't consider that Jazz, here's a recent offering by Tuba Skinny


----------



## Dan Ante

Dorsetmike said:


> But in case you don't consider that Jazz, here's a recent offering by Tuba Skinny


Mike I like Tuba skinny but have you noticed how long some of the lead ins are? this one was not too bad but on some it seems to go on for 16 or more bars or is she just getting her foot warm the usual is 1 bar only, but I still like em :cheers:


----------



## philoctetes

...and it just sank a bit lower....


----------



## millionrainbows




----------



## Dorsetmike

> ...and it just sank a bit lower....


Is this also submerged






or this?






or is it only traditional that gets up your nose?






There are as many types of jazz as there are classical music, maybe it's about time to split into separate threads for trad, blues, mainstream, big band swing, modern and whatever you call the atonal ****


----------



## Dan Ante

They must have been reading this thread because this morning I looked for examples of lengthy lead ins and some of the videos must have been edited to cut the lead in to a more normal length but I did find this one.


----------



## Dan Ante

*Stan the man*


----------



## Dorsetmike

More Trad






Vintage Basie and others






Being 1930s films, some dancing and singing, but plenty of jazz in there.


----------



## Dan Ante

I like the way Basie starts off with a good old 12 bar number, those were the the days...


----------



## Dan Ante

The women are coming 

*Shake 'Em Up Jazz Band - Savoy Blues*


----------



## Jay

Barbebleu said:


> One of my favourite Paul Bley albums.


Mine as well. And....


----------



## Dorsetmike

Duke Ellington, Best of


----------



## Dorsetmike

Mary Lou Williams in London 1953 ( Bass - Ken Napper, Bongos - Tony Scott, Drums - Allan Ganley, Piano - Mary Lou Williams


----------



## Dan Ante

Dorsetmike said:


> Duke Ellington, Best of


I get:..........................


----------



## Dorsetmike

Probably copyright involved, I've had similar with posts from USA members. It's 19 Ellington Standards, A train, rocking in rythm etc.


----------



## Dan Ante

*Trad jazz is always so much fun and these jokers are having just that,*


----------



## MattB

The Capitol Studios Sessions

Jeff Goldblum & the Mildred Snitzer Orchestra















Joy.


----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Dorsetmike

Did not like the Mirror of Truth, reminded me of Einaudi, don't like him either.


----------



## starthrower




----------



## tortkis

Amarcord Nino Rota









Re-released last year. Great lineup: Jaki Byard, Bill Frisell, Muhal Richard Abrams, Wynton & Branford Marsalis, Kenny Barron, ... Each track is superb, and my favorites are Carla Bley group's 8 1/2 and Steve Lacy's solo sax on Roma. I really wish that That's The Way I Feel Now (Monk Tribute) will be reissued as a complete album.


----------



## Hiawatha

Ron Carter - The Shadow Of Your Smile:


----------



## Hiawatha

Mongo Santamaria - Afro Blue:


----------



## Hiawatha

Dizzy Gillespie - Manteca:


----------



## Hiawatha

Bill Evans - Like Someone in Love:


----------



## millionrainbows

A little whole-tone soloing, anyone?


----------



## Dan Ante

starthrower said:


>


*
WOW this must be worth millions of $$$$$$*


----------



## Dan Ante




----------



## Duncan




----------



## Dorsetmike

Buck Clayton & Mel Powell, jam sessions 1954/5 "I found a new baby"






Quite a few tracks from this volume on You tube


----------



## Jay




----------



## Hiawatha

Charles Mingus - Solo Dancer:


----------



## Hiawatha

Lester Young - Stardust:


----------



## Hiawatha

Julie London - Cry Me A River:


----------



## Hiawatha

Joji Hirota - Sublimation:


----------



## Hiawatha

Art Ensemble of Chicago - Hail We Now Sing Joy:


----------



## Hiawatha

Carmel - Bad Day:


----------



## Larkenfield

Hiawatha said:


> Julie London - Cry Me A River:


Her sexy debut album cover seemed to add to the moodiness of the song:









The great Barney Kessel on guitar.


----------



## Duncan




----------



## starthrower




----------



## Hiawatha

Larkenfield said:


> Her sexy debut album cover seemed to add to the moodiness of the song:
> 
> View attachment 118781
> 
> 
> The great Barney Kessel on guitar.


Yes indeed.

A very underrated singer in all ways and one of the greatest songs of all time.


----------



## Duncan




----------



## Tom Storer

Hmmm... this displays as a link but not as an embedded video. Is there a special syntax for embedding videos?


----------



## tortkis

Tom Storer said:


> Hmmm... this displays as a link but not as an embedded video. Is there a special syntax for embedding videos?


This code will show an embedded video.

[video=youtube;qweSlfP6BtI]https://youtu.be/qweSlfP6BtI[/video]

Here is the result. If you click "Reply With Quote" of this post, you can see the text.


----------



## Dorsetmike

If you hover the cursor over the next to last icon to the right above the "Reply to thread" window, it shows "insert video" if you then click on it wou get a pop up asking for the URL insert the URL and hit enter and then click "Post Reply"


----------



## Dorsetmike

Oscar and Bill


----------



## Dorsetmike

More Boogie


----------



## Tom Storer

Thanks, tortkis and Dorsetmike. Here goes:


----------



## Tom Storer

Cecile McLorin Salvant is an exceptional jazz singer. I saw her last night in a duo with pianist Sullivan Fortner. Stupendous. Here's an entire concert:


----------



## Barbebleu

Tom Storer said:


> Hmmm... this displays as a link but not as an embedded video. Is there a special syntax for embedding videos?


I like links. I'm not keen on embedded videos. Links are good!!


----------



## Dorsetmike

Mel Powell, Thigamagig


----------



## Tom Storer

Barbebleu said:


> I like links. I'm not keen on embedded videos. Links are good!!


I think people are more likely to be tempted to click on an embedded video than a link. Images get attention. Not saying this is necessarily a good thing...


----------



## Tom Storer




----------



## Dan Ante

Barbebleu said:


> I like links. I'm not keen on embedded videos. Links are good!!


Could you explain why you don't like them, are they a threat or what ??


----------



## Larkenfield

Hampton Hawes - "Spanish Steps"


----------



## Dorsetmike

Not quite jazz, but a bit of nostalgia, an arranged medley of big band swing standards played in the style of the originals (listed against the bands &/or the composers associated with them)

0:23 - Skyliner - Charlie Barnet 1:01 - Take the 'A' Train - Duke Ellington 1:29 - Let's Dance - Benny Goodman 2:08 - I've Got My Love to Keep Me Warm - Irving Berlin 2:45 - Begin the Beguine - Artie Shaw 3:27 - I'm Getting Sentimental Over You - Tommy Dorsey 4:14 - Midnight Sun - Lionel Hampton/Sonny Burke 4:43 - You Made Me Love You - James V. Monaco 5:43 - Moonlight Serenade - Glenn Miller 6:26 - Peanut Vendor - Stan Kenton 7:03 - Woodchopper's Ball - Woody Herman 7:33 - One O'Clock Jump - Count Basie


----------



## Duncan




----------



## Barbebleu

Dan Ante said:


> Could you explain why you don't like them, are they a threat or what ??


They play havoc with my iPad. Continual page reloads. A real pain. No problem on the laptop or desktop though but I'm more often on the iPad.


----------



## Barbebleu

Just went mental and downloaded a bunch of Blue Note albums that I didn't have.

Horace Silver - New Faces, New Sounds
xxxxxxxxxxxxxxHorace-Scope
xxxxxxxxxxxxxxSilver's Serenade
Kenny Dorham - At the Café Bohemia 2CD
xxxxxxxxxxxxxxxUna Mas
J.R. Monterose - Self titled album
Joe Henderson - Inner Urge
xxxxxxxxxxxxxxxMode for Joe
xxxxxxxxxxxxxxxPage One
Herbie Hancock - Empyrean Isles


----------



## starthrower

No vocal albums, Barb?  I've always dug Inner Urge.


----------



## Barbebleu

starthrower said:


> No vocal albums, Barb?  I've always dug Inner Urge.


Clearly you've seen my views on jazz with vocals!!:lol:


----------



## starthrower

I've got some Horace Silver with vocals! I kinda like it, but he wasn't exactly a great lyricist.


----------



## Barbebleu

starthrower said:


> I've got some Horace Silver with vocals! I kinda like it, but he wasn't exactly a great lyricist.


Which album(s) S.? Not any that I've got and I have a few. Later in his career?


----------



## starthrower

A couple albums around 1970. Any Bey is the vocalist. Horace even plays some electric piano. I happen to think there's some good music and heartfelt sentiments on those albums but they were never held in high esteem as the snobby critics of the day panned them.

I'll have to look up New Faces, New Sounds. I'm not familiar with that one.


----------



## Duncan

Barbebleu said:


> Clearly you've seen my views on jazz with vocals!!:lol:


Yikes! - That's all that I've been playing! - _Et chaque chanson est en Français!_ - If you wish to defriend me as a result I shall understand and accept my fate graciously...


----------



## Barbebleu

Mollie John said:


> Yikes! - That's all that I've been playing! - _Et chaque chanson est en Français!_ - If you wish to defriend me as a result I shall understand and accept my fate graciously...


À Chacun son goût.


----------



## Barbebleu

starthrower said:


> A couple albums around 1970. Any Bey is the vocalist. Horace even plays some electric piano. I happen to think there's some good music and heartfelt sentiments on those albums but they were never held in high esteem as the snobby critics of the day panned them.
> 
> I'll have to look up New Faces, New Sounds. I'm not familiar with that one.


It's his debût album on Blue Note.


----------



## Barbebleu

starthrower said:


> A couple albums around 1970. Any Bey is the vocalist. Horace even plays some electric piano. I happen to think there's some good music and heartfelt sentiments on those albums but they were never held in high esteem as the snobby critics of the day panned them.
> 
> I'll have to look up New Faces, New Sounds. I'm not familiar with that one.


That Healin' Feeling and Total Response would appear to be two of the culprits!


----------



## starthrower

Barbebleu said:


> That Healin' Feeling and Total Response would appear to be two of the culprits!


I have the two disc re-issue which includes a third album.


----------



## Barbebleu

starthrower said:


> I have the two disc re-issue which includes a third album.


I see the third one was called - All.

All three released as the United States of Mind.

I tend to focus on Blue Note in the fifties, sixties and some select seventies, like Ornette, Cecil, Moncur and Dolphy. You get the picture.


----------



## starthrower

As do most jazz fans. They did produce some fine releases when they re-launched in 1985.


----------



## Dan Ante

Barbebleu said:


> They play havoc with my iPad. Continual page reloads. A real pain. No problem on the laptop or desktop though but I'm more often on the iPad.


OK I get you, I have a Samsung J2 smart phone and no problems with that but I am usually on my desk top or lap top


----------



## Barbebleu

starthrower said:


> As do most jazz fans. They did produce some fine releases when they re-launched in 1985.


They did indeed. I've got a couple of Michel Petrucciani and some other stuff.


----------



## starthrower

The One Night With Blue Note concert is great as well. Too bad Horace Silver, and Wayne Shorter weren't a part of that, but they were signed to other labels at the time.

If you haven't seen the Michel Petrucciani documentary on YouTube, it's a wild story.


----------



## Jay




----------



## Dan Ante




----------



## tortkis

Mollie John said:


>


Avalon Jazz Band and Trenet's Ménilmontant are wonderful found to me. Now listening to Je Suis Swing downloaded from CD Baby. Lovely and delightful.


----------



## Barbebleu

I have a lot of original Blue Note albums on vinyl but as I've got digital versions they rarely get an outing. Sadly my vinyl languishes unplayed but I'm loth to part with it as I've had it such a long time. I started my album collection in 1965 when I started earning so they're part of my growing up plus I'm a hoarder at heart!:lol:

Also I had to have a fair few of them specially imported from the States so you can understand my reluctance to get rid of them. I've told my sons which ones are the collector's items ( the gatefolds etc) but I fear than when I go so do they!

C'est la vie!


----------



## starthrower

If I had some of those attractive Blue Note vinyls I'd keep them too! Death will do the parting for all of us soon enough so may as well treasure the things we enjoy. I've been itching to play some Blue Note stuff but I went and packed them all in totes and my wife buried them in her closet. I should have left them on the shelf for easy access.


----------



## Dan Ante

I am struggling to get at my vinyl and some of my CDs as they are at ground level and I don't do bending.


----------



## Dorsetmike

Same here, but I'm gradually managing to copy most onto the PC a few that have snap crackle and pops get run through Audacity and edited them out if not too severe.


----------



## philoctetes

Release date 6/5 but already on Spotify


----------



## philoctetes

Exploring young jazz guitarists today...


----------



## starthrower

Great conversation!


----------



## tortkis

Barbebleu said:


> Just went mental and downloaded a bunch of Blue Note albums that I didn't have.
> 
> Horace Silver - New Faces, New Sounds
> xxxxxxxxxxxxxxHorace-Scope
> xxxxxxxxxxxxxxSilver's Serenade
> Kenny Dorham - At the Café Bohemia 2CD
> xxxxxxxxxxxxxxxUna Mas
> J.R. Monterose - Self titled album
> Joe Henderson - Inner Urge
> xxxxxxxxxxxxxxxMode for Joe
> xxxxxxxxxxxxxxxPage One
> Herbie Hancock - Empyrean Isles


I searched for Blue Note albums online and realized that many albums I didn't have are now digitally available. I downloaded these and put more in my wish list.

Horace Silver: That Healin' Feelin'
George Russell: So What
Larry Young: Heaven On Earth
Blue Mitchell: Step Lightly

I also found some Mosaic box sets have been released as mp3 albums. Gerald Wilson seems interesting. I have Carmell Jones CD with Gerald Wilson, which was very good.

The Complete Pacific Jazz Recordings Of Gerald Wilson And His Orchestra
The Complete Blue Note lou Donaldson Sessions 1957-60


----------



## Larkenfield




----------



## starthrower

I bought a bunch of these back in the 90s.


----------



## Dorsetmike

Basie small group, KC Organ blues.


----------



## tortkis

Currently listening to The Complete Horace Parlan Blue Note Sessions









I've been on a hard-bop binge. I am really glad that this is available. The set includes 7 Blue Note Albums (5.5 hours): Movin' & Groovin', Us Three, Headin' South, Speakin' My Piece, On The Spur Of The Moment, Up & Down and Happy Frame Of Mind.

https://www.prestomusic.com/jazz/products/8631324--the-complete-horace-parlan-blue-note-sessions


----------



## tortkis

Recently, I have been using Presto Jazz for Jazz album downloads. The site started this year. I use other sites for experimental/avant-garde jazz, but this site seems a good place to find mainstream musicians/labels. The nice things are artists/labels categories, indication of whether a digital booklet is included or not, and reasonable prices for FLAC files. Each track has the information of the composer, which is rare for jazz downloads on other stores.


----------



## Dorsetmike

Tuba Skinny on the 4th steamboat stomp


----------



## Dan Ante

Dorsetmike said:


> Tuba Skinny on the 4th steamboat stomp


Great jazz Mike ...


----------



## Duncan




----------



## Dorsetmike

Buck Clayton Jam session, Huckle buck


----------



## Jay




----------



## Dorsetmike

Really getting back to the roots with this 1926 offering

https://archive.org/details/1926-USA-Archives-1926-12-10-Dixieland-Jug-Blowers-Boodle-Am-Shake-


----------



## Dorsetmike

Kid Ory and others


----------



## Dorsetmike

Pete Johnson, Rocket Boogie


----------



## Dan Ante




----------



## Dorsetmike

Oscar Peterson, You look good to me.


----------



## starthrower

2 CDs of hard boppin' jazz


----------



## tortkis

Theo Croker - Star People Nation









Excellent contemporary jazz. This is the most straight ahead track in the album. It is a tribute to Elvin Jones.

The Messenger





_"How we swing our quarter note is the basis of all black music. It's the beat, and this song was made to reflect the power in that swing."_ - Croker


----------



## The Deacon

PEGE - SAME '71

Hungarian double bass player (with Art Farmer in the band).

Wot do you know?
Yews knows nuffink.


----------



## The Deacon

Make that '79, not '71


----------



## Dorsetmike

Tuba Skinny with Shaye taking a few bars on piano


----------



## Barbebleu

Charles Mingus - Jazz in Detroit/strata Concert Gallery

Recently rediscovered live gig. Four CD box, four and a half glorious hours. Well four if you take the long interview out.


----------



## Larkenfield




----------



## Larkenfield

Chet Baker "Fair Weather":


----------



## starthrower

Listening to four classics I picked up used at a local shop.

Oscar Peterson - Night Train gatefold edition
Bill Evans - Waltz For Debby 20 Bit 2K remaster
Lee Konitz - Motion
Clifford Brown and Max Roach at Basin Street gatefold master edition


----------



## Dan Ante




----------



## Barbebleu

Anthony Braxton Quintet - Tristano. Wonderful 7 cd box set with some glorious playing.


----------



## starthrower




----------



## Dorsetmike

Buck Clarton, Mel Powell jam session


----------



## starthrower

Great session, and the RVG edition I have sounds pretty good.


----------



## starthrower




----------



## philoctetes

Fascinated presently by Mary Halvorson - her singing has a touch of Kim Gordon, and her 1/4-tone bends claim a trademark as unique as Frisell's reverse fades...


----------



## jim prideaux

I have known people treat the following with mild contempt and disdain but personally I think these four albums by Manu Katche are superb...

Unstatic
eponymous (ECM)
Playground
Neighbourhood

Third Round-unsure about!

(worth taking note of who the musicians are-on two of the above the Marcin Wasilewski Trio provide the 'spine'....and thats before mentioning Stanko, Garbarek etc.....nuff said!)


----------



## Barbebleu

jim prideaux said:


> I have known people treat the following with mild contempt and disdain but personally I think these four albums by Manu Katche are superb...
> 
> Unstatic
> eponymous (ECM)
> Playground
> Neighbourhood
> 
> Third Round-unsure about!
> 
> (worth taking note of who the musicians are-on two of the above the Marcin Wasilewski Trio provide the 'spine'....and thats before mentioning Stanko, Garbarek etc.....nuff said!)


Yeah, you would have to be a real musical idiot not to like Manu. Great musician and always releases intriguing albums.


----------



## starthrower

I haven't listened to any of Katche's stuff. I'll look him up on YT. I haven't bought any ECM's since the early part of the year. Gotta get back to the Art Ensemble box.


----------



## jim prideaux

starthrower said:


> I haven't listened to any of Katche's stuff. I'll look him up on YT. I haven't bought any ECM's since the early part of the year. Gotta get back to the Art Ensemble box.


There is a mighty fine live version of 'Song for her' on YT I can recommend.


----------



## Joe B

Starting the day out a little different than usual:










John Coltrane (tenor & soprano saxes)
McCoy Tyner (piano)
Steve Davis (bass)
Elvin Jones (drums)

tracks:
*My Favorite Things
Everytime We Say Goodbye
Summertime
But Not For Me*


----------



## starthrower

Released 1973

I think this one has been re-issued on vinyl recently, but I'm playing the CD. The music has a strong psychedelic juju character with distorted organ sounds, wah wah pedals, driving percussion, and hypnotic bass grooves. I like it! Recommended to fans of electric Miles, and Sun Ra.


----------



## starthrower

Great old daze!


----------



## Dorsetmike

Champion Jack Dupree; Goin' down slow






Love the backing , my idea of real blues.


----------



## Barbebleu

Current listening

Chick Corea - Antidote. On first listening I was slightly underwhelmed. But listening again, it's growing on me.
Bill Frisell - The Intercontinentals. Excellent.
And by way of a step back to my younger years, Eric Dolphy - Out to Lunch. Magic!


----------



## starthrower

Picked up used copies of these Blue Note titles. Both fine albums. Both are recent Japan re-issues, but I opted for the older editions. The Sonny Red having five extra tracks not included on the straight re-issue.


----------



## Jay




----------



## Barbebleu

Listening to the radio to Charles Mingus album Ah Um and I was reminded that this is the sixtieth anniversary of its release. 1959 was a great year, Miles - Kind of Blue, Dave Brubeck -Time Out and Ornette Coleman - The Shape of Jazz to Come. Great stuff.


----------



## Jay

Barbebleu said:


> Listening to the radio to Charles Mingus album Ah Um and I was reminded that this is the sixtieth anniversary of its release. 1959 was a great year, Miles - Kind of Blue, Dave Brubeck -Time Out and Ornette Coleman - The Shape of Jazz to Come. Great stuff.


and....

Giant Steps (though _released_ in early '60)
Sun Ra - _Jazz In Silhouette_


----------



## philoctetes

My copy is signed, purchased last night


----------



## starthrower

Some Sirius-ly fun music!


----------



## 89Koechel

Um, has anyone mentioned Lester Young, lately …. or EVER? Just wondered, and I still have almost-all of the (five) 2-LP sets that CBS/Sony/Columbia reissued, a few decades ago …. plus other stuff.


----------



## philoctetes

Nobody mentions Lester cause he's legendary beyond words...

The Kansas City sessions are fabulous, great place to start...


----------



## starthrower

I have a few Lester Young albums I enjoy. With Teddy Wilson, and Oscar Peterson.


----------



## 89Koechel

One of the most-influential (and, of course, most-original) of all jazz tenor saxophonists - his "followers" included Stan Getz, Paul Quinichette, etc. … esp. in the 1950s.


----------



## 89Koechel

starthrower - (Lester, w/Teddy Wilson and Oscar P) - Those are fine, my friend, but Lester suffered, somewhat, in the WW2 time (he actually admitted he was a drug user), and some of his post-WW2 output suffered, to a certain degree, also. If you simply discover his earlier (late 1930's, early 1940s … et. al.) recordings, you'll find the person that the late Whitney Balliett (The New Yorker) described as a poet of jazz … with due justification.


----------



## starthrower

Understood, but pre-war classic jazz is not my regular diet of music. Other than the occasional Ellington or Fats Waller record.


----------



## tortkis

Jay said:


>


This is amazing. Hypnotic and ritualistic groove. I downloaded a digital reissue from eremite records.


----------



## NLAdriaan

starthrower said:


>


Great recording session, I have one CD of it, would be nice to find the complete sessions issue at a reasonable price

Nice thread, more relaxed than the uptight classical department.


----------



## starthrower

The Thursday Night selections on that CD are rather subdued. It's a bit too much of the same mood. I could have used a bit more energy on a couple of numbers.


----------



## Jay

89Koechel said:


> his "followers" included Stan Getz, Paul Quinichette, etc. … esp. in the 1950s.


And maybe this guy most of all:


----------



## 89Koechel

(" … pre-war classic … not my … diet of music.") - OK, I understand, also … and this period is not exactly, my main "diet", either, overall, but always deserves consideration, esp. as time goes on, and there's, certainly, more of a tendency to forget, or underrate, the past. …. No Bix, no Coleman Hawkins, no Joe Smith with or w/o Bessie Smith, no Jack Teagarden … nor even Louis A., with or without his Hot Fives and Hot Sevens? …. OK, my friend, but you might be missing something.


----------



## Duncan

Spent the last month completely submerged in "jazz yodeling" - :tiphat: special thanks to our esteemed colleague and my friend Barbebleu for the advice and guidence.

Melanie Oesch is the "Queen of Jazz Yodeling" - think Miles Davis if he had taken up yodeling rather than the trumpet...

Jump to the 1:30 mark to hear her "channel" Louis Armstrong...

Jump to the 2:00 mark to hear her "channel" Dizzy...


----------



## Duncan




----------



## Duncan

A monumental innovator, George Harrison himself said he changed music five or six times... at least... maybe it was actually six or seven times... he kind of lost count somewhere around 1967.

Harrison helped kick-start the cool jazz movement. "Kind of Blue-Green Almost Teal" his 1969 album is arguably the best album in jazz history. On that effort, Harrison moved away from the complex chord changes and fast tempos of bebop in favor or less chords and a more relaxed feel.

While Harrison might not have been able to hit the super high notes and play at breakneck speeds like John Lennon, Harrison preferred the middle register, and he once said, "Music is the space between the notes. It's not the notes you play; it's the notes you don't play."

One of most influential figures in the history of jazz, John Winston Ono Lennon's innovative, virtuosic trumpet playing and masterful phrasing, as well as his singing, has inspired generations of musicians for decades.

In 1970 the Beatles acrimoniously broke up and went their separate ways for two reasons...

Reason 1.)









And Reason 2.)









Four trumpeters in one band was probably three more than was needed as tensions inevitably arose whenever one of the members would step on the other's solo in mid stride...

McCartney's insistence on bringing in Mr. Acker Bilk as a way to retaliate for Lennon making Yoko Ono the unofficial "Fifth Beatle" probably didn't help all that much either...


----------



## Duncan

Special thanks and :tiphat: once again to my esteemed colleague and friend Barbebleu for bringing the "Three B's" (Chris Barber, Acker Bilk, and Kenny Ball) to my attention...


----------



## Jay

Mollie John said:


> Spent the last month completely submerged in "jazz yodeling" -


----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## Duncan




----------



## starthrower

I spotted a used copy of the 1998 CD release at a store today and bought it. Some great liner notes in this edition by Phil Schaap, Gerry Mulligan, and trombonist Mike Zwerin.


----------



## jim prideaux

E.S.T-Seven days of falling.


----------



## Jacck

*Miles Davis - In A Silent Way*
jazz is usually not my cup of tea, but Miles Davis is one of the 3 or 4 jazz musicians that is actually worth listening.


----------



## NLAdriaan

Mollie John said:


>


Hi Mollie, do these posts reflect your Jazz journey so far? If so, there is still a whole world to discover


----------



## starthrower




----------



## Bwv 1080

Jacck said:


> *Miles Davis - In A Silent Way*
> jazz is usually not my cup of tea, but Miles Davis is one of the 3 or 4 jazz musicians that is actually worth listening.


There are four or five other jazz musicians on that record, aside from Miles, worth listening to


----------



## Bwv 1080




----------



## starthrower

Young quartet playing a great Lyle Mays tune.


----------



## starthrower




----------



## Dorsetmike

Basie on Hammond


----------



## BrahmsWasAGreatMelodist

starthrower said:


>


I know it's a bit late, but happy 10000!


----------



## starthrower

BrahmsWasAGreatMelodist said:


> I know it's a bit late, but happy 10000!


I'm not sure I should be proud of this? But at least it took almost ten years.


----------



## Dorsetmike

Oscar Peterson Boogie blues etude


----------



## Dorsetmike

Jazz messengers - Moanin'


----------



## Dorsetmike

Lambert, Hendricks & Ross Moanin'


----------



## Jacck

Yazz Ahmed "the High Priestess of Psychedelic Arabic Jazz"
Yazz Ahmed - La Saboteuse (2017)


----------



## Barbebleu

I'm listening to Matana Roberts' Coin, Coin odyssey. I've listened to the first album which was sensational and I have two more to listen to. Volume four is due out soon to be followed by another eight parts. Imagine a further out Kamasi Washington, if you can, and you'll not be far wrong.


----------



## starthrower

In the days when there was still a shred of intelligent content on American television.


----------



## Barbebleu

Latest jazz listening is the wonderful Wes Montgomery album, Full House with the Wynton Kelly Trio and the estimable Johnny Griffin on tenor. Super stuff.


----------



## millionrainbows

A surprisingly good 1979 album by Larry Coryell, I assume which was originally on Vanguard, with Darius Brubeck on keyboards. Thanks to Wounded Bird reissues.


----------



## Jay




----------



## Bwv 1080




----------



## starthrower




----------



## Joe B

Earlier today:










A truly excellent disc.


----------



## starthrower

MPS Records 1972


----------



## millionrainbows

This mastering is audibly better than my earlier John Lewis 2-fer on Collectibles with "Golden Striker." There is low-level transient information, heard as "air" or "room ambience" around the instruments. Crisper definition.


----------



## norman bates

Jacck said:


> *Miles Davis - In A Silent Way*
> jazz is usually not my cup of tea, but Miles Davis is one of the 3 or 4 jazz musicians that is actually worth listening.


yes, a bit like classical music, there are just 3 or 4 good composers, the rest is trash


----------



## Barbebleu

norman bates said:


> yes, a bit like classical music, there are just 3 or 4 good composers, the rest is trash


Who would these three or four be? Mingus? Coltrane? Coleman? Davis? Ellington? Taylor? Bley? Evans? Metheny? Zorn? Kenton?


----------



## starthrower

Barbebleu said:


> Who would these three or four be? Mingus? Coltrane? Coleman? Davis? Ellington? Taylor? Bley? Evans? Metheny? Zorn? Kenton?


...Shorter, Hancock, Andrew Hill, Strayhorn, George Russell, Chick Corea, Thad Jones, Tad Dameron, Charlie Parker, Kenny Wheeler, Ralph Towner, Steve Lacy, John Scofield, Jaco Pastorius, Gil Evans, Bill Evans, Dave Brubeck, John Lewis?


----------



## Barbebleu

starthrower said:


> ...Shorter, Hancock, Andrew Hill, Strayhorn, George Russell, Chick Corea, Thad Jones, Tad Dameron, Charlie Parker, Kenny Wheeler, Ralph Towner, Steve Lacy, John Scofield, Jaco Pastorius, Gil Evans, Bill Evans, Dave Brubeck, John Lewis?


The list is large and could be larger. Three or four? Pah!:lol:


----------



## norman bates

starthrower said:


> ...Shorter, Hancock, Andrew Hill, Strayhorn, George Russell, Chick Corea, Thad Jones, Tad Dameron, Charlie Parker, Kenny Wheeler, Ralph Towner, Steve Lacy, John Scofield, Jaco Pastorius, Gil Evans, Bill Evans, Dave Brubeck, John Lewis?


...Herbie Nichols, Thelonious Monk, Booker Little, Eric Dolphy, Horace Silver, Bud Powell, Pee Wee Russell, Bobby Hutcherson, Denny Zeitlin, Lenny Breau, Sun Ra, Albert Ayler, Stan Getz, Jimmy Giuffre, Lester Young, Louis Armstrong, Sydney Bechet, Mary Lou Williams, Sonny Rollins, Max Roach, JJ Johnson, John Carter, Henry Threadgill, Allan Holdsworth, Clifford Brown, Grachan Moncur... I know the list is very long


----------



## starthrower

All trash but Monk, Mingus, and Ellington.


----------



## Jacck

Barbebleu said:


> Who would these three or four be? Mingus? Coltrane? Coleman? Davis? Ellington? Taylor? Bley? Evans? Metheny? Zorn? Kenton?


Mingus, Coltrane, Davis, Ellington, Evans, Sun Ra, Django Reinhardt, Armstrong - those are those whom I found listenable. I am not familiar with many more, but anytime I tried sampling some other jazz, it sounded almost the same to me and did not incite me to explore it further. I am also a little familiar with some Czech jazz musicians such as Karel Krautgartner or Jiří Stivín, which you likely do not know.


----------



## starthrower

I have a couple Czech CDs but the music is electric jazz rock. One group is called Energit. They sound like they had been listening to Mahavishnu and other earlier fusion bands.


----------



## Jacck

starthrower said:


> I have a couple Czech CDs but the music is electric jazz rock. One group is called Energit. They sound like they had been listening to Mahavishnu and other earlier fusion bands.


never heard of them. Interesting that the communists let some of the jazz flourish, while rock had to go mostly underground. There are many Czech jazz albums from the communist era on youtube, I have not heard most them, but the most favorite is certainly this fusion by the excellent Blue Effect prog rock band


----------



## norman bates

Jacck said:


> Mingus, Coltrane, Davis, Ellington, Evans, Sun Ra, Django Reinhardt, Armstrong - those are those whom I found listenable. I am not familiar with many more, but anytime I tried sampling some other jazz, it sounded almost the same to me and did not incite me to explore it further.


I don't what you've listened so far to but jazz is a genre with an incredible variety of sounds.
Tim Berne doesn't sound even remotely as Gato Barbieri, and Allan Holdsworth doesn't sound as George Barnes.
Besides that, the discography of Miles Davis is certainly amazing, but it's also because of the extremely important contributions of the musicians he hired, using not just their improvisations but also their compositions, arrangements, productions and concepts.


----------



## norman bates

.....................double post


----------



## Larkenfield

George Duke and his Trio are having _way_ too much fun:






Makes life worth living.


----------



## Larkenfield

One of the truly great inventions of Man was not the symphony or the piano sonata but the blues and jazz _swing_:






Scream organ scream!


----------



## Larkenfield

I love Candy Dulfer's earthy soulful sound on alto.. It's full of emotion and tugs at the heart.






I believe the truly great players leave you feeling like a million after hearing them.


----------



## Bwv 1080

Did not know there was an original 1962 swing version


----------



## starthrower

The legendary 1985 All Star concert.


----------



## millionrainbows

This truly is the "golden age"of CDs, now that vinyl is outselling CDs. Well-worth whatever dirt-cheap price I paid. Actually this early stuff is less commercial than the later "groovy" stuff. More serious soloing, plus guitar work from Joe Puma.


----------



## Duncan

*The Single Greatest Bagpipe Swing Video Ever Created - *


----------



## Duncan

*This is what John Coltrane would have sounded like had he chosen the banjo over the saxophone...*


----------



## Duncan

*Category - "Things That Miles Davis Couldn't Do On His Best Day" - *

*1.) - Play three trumpets at the same time - (see beginning of video) - *

*2.) - Play the trumpet and the banjo at the same time - (see 1:30 mark of video)*


----------



## Duncan

Barbebleu said:


> Who would these three or four be? Mingus? Coltrane? Coleman? Davis? Ellington? Taylor? Bley? Evans? Metheny? Zorn? Kenton?





starthrower said:


> ...Shorter, Hancock, Andrew Hill, Strayhorn, George Russell, Chick Corea, Thad Jones, Tad Dameron, Charlie Parker, Kenny Wheeler, Ralph Towner, Steve Lacy, John Scofield, Jaco Pastorius, Gil Evans, Bill Evans, Dave Brubeck, John Lewis?





norman bates said:


> ...Herbie Nichols, Thelonious Monk, Booker Little, Eric Dolphy, Horace Silver, Bud Powell, Pee Wee Russell, Bobby Hutcherson, Denny Zeitlin, Lenny Breau, Sun Ra, Albert Ayler, Stan Getz, Jimmy Giuffre, Lester Young, Louis Armstrong, Sydney Bechet, Mary Lou Williams, Sonny Rollins, Max Roach, JJ Johnson, John Carter, Henry Threadgill, Allan Holdsworth, Clifford Brown, Grachan Moncur... I know the list is very long


Sun Ra (seconded), Cecil Taylor (seconded), Lennie Tristano, Jimmy Giuffre (seconded), Ornette Coleman (seconded), Pharoah Sanders, A Flock of Seagulls, Albert Ayler (seconded), Arthur Blythe, Culture Club, Stan Douglas (Canadian!), James Newton, Mark Dresser, Gunhild Carling, Melanie Oesch, John Zorn (seconded), Henry Kaiser, Eugene Chadbourne, Rick Astley, Tim Berne, Bill Frisell, Steve Lacy (seconded)...


----------



## Bwv 1080

Mollie John said:


> *Category - "Things That Miles Davis Couldn't Do On His Best Day" - *
> 
> *1.) - Play three trumpets at the same time - (see beginning of video) - *
> 
> *2.) - Play the trumpet and the banjo at the same time - (see 1:30 mark of video)*


I bet Roland Kirk could


----------



## Duncan

*Category: "Fab Lookin' Jazz Singin' French Babes" - *


----------



## Duncan

*Category: "Jazz Banjo" -*






The Elmer Snowden Quartet - Harlem Banjo
Riverside Records RLP 348
Vinyl, LP 
US 1960

00:00 A1 It Don't Mean A Thing (If It Ain't Got That Swing) 
02:44 A2 Doin' The New Lowdown 
06:14 A3 Runnin' Wild 
09:42 A4 Diga Diga Doo 
12:06 A5 Them There Eyes 
14:57 A6 Tishimingo Blues

17:07 B1 C-Jam Blues 
22:03 B2 Sweet Georgia Brown 
25:25 B3 Alabamy Bound 
27:32 B4 12th Street Rag 
31:09 B5 Bugle Call Rag 
35:06 B6 Dear Old Southland

Banjo - Elmer Snowden
Bass - Tommy Bryant
Drums - Jimmy Crawford
Piano - Cliff Jackson

Recorded in NYC - December 9,1960


----------



## Eva Yojimbo

Was really enjoying this last night:


----------



## Duncan

*The World of Cecil Taylor*

*Link to label-authorized complete album -*

https://www.youtube.com/playlist?list=OLAK5uy_kBhXKn5IP8CtFMcpIh2P4kakhY5cLMJ34

Taylor famously once said that his approach to the piano was to view it as 'eighty-eight tuned drums'.


----------



## Duncan

*The Blues and the Abstract Truth
*
*Oliver Nelson, Paul Chambers (upright bass), Roy Hanes (drums), Bill Evans (piano), Eric Dolphy (flute), Freddie Hubbard (trumpet), George Barrow (baritone saxophone)*

*Link to label-authorized complete album (24 videos) - *

https://www.youtube.com/playlist?list=PLkHYDiZSB46HJBceX3fri_urH_mUT1xRC

"For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including 'Stolen Moments') and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché."
- Jazzwise

*Jazzwise
100 Albums That Shook the World*


----------



## Duncan

*Polar Bear - Held On The Tips of Fingers*

*Sebastian Rochford (d), Pete Wareham, Mark Lockheart (ts), Tom Herbert (b), Leafcutter John (programming) plus Jonny Philips (g), Ingrid Laubrock (ts), Joe Bentley (tb), Emma Smith (v) and Hannah Marshall (c). Rec. 2004-2005*

*Link to label-authorized complete album (9 videos) - *

https://www.youtube.com/playlist?list=OLAK5uy_lHWxzvrrWzRvuhvjw5pZUR9CscFekaBSo

"A stylistic crossroads where folk, avant-jazz, electronica and raw punk co-existed, Sebastian Rochford's music was aptly called "the sound of the future" even though it betrayed a love of Ellington, Monk and, yes, Napalm Death. Held On The Tips… twisted in digital trickery to a frontline of heavyweight tenor saxophonists, dazzling with folksy anthems such as 'Bear Town' or the drum 'n' bass drenched 'Fluffy'. Groundbreaking, it gave young British jazz bands the guts to label themselves like rock bands and to stretch beyond their comfort zones."

*Jazzwise
100 Albums That Shook the World*
*#100*


----------



## Joe B

Vronsky said:


> Oliver Nelson: The Blues and the Abstract Truth (1961)





Joe B said:


> Wow! I've never seen this disc before. Thanks for posting. Some of my favorite musicians. It's in my cart at amazon.com.





Mollie John said:


> View attachment 124117
> 
> 
> *The Blues and the Abstract Truth
> *
> *Oliver Nelson, Paul Chambers (upright bass), Roy Hanes (drums), Bill Evans (piano), Eric Dolphy (flute), Freddie Hubbard (trumpet), George Barrow (baritone saxophone)*
> 
> *Link to label-authorized complete album (24 videos) - *
> 
> https://www.youtube.com/playlist?list=PLkHYDiZSB46HJBceX3fri_urH_mUT1xRC
> 
> "For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including 'Stolen Moments') and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché."
> - Jazzwise
> 
> *Jazzwise
> 100 Albums That Shook the World*


The first time I even knew of this disc's existence was when it was posted by @Vronsky in Jan. of 2018. I immediately purchased it. A great addition for anyone's jazz collection.


----------



## starthrower

Joe B said:


> The first time I even knew of this disc's existence was when it was posted by @Vronsky in Jan. of 2018. I immediately purchased it. A great addition for anyone's jazz collection.


I have many Oliver Nelson albums. Abstract Truth is the famous one, but if you want to keep exploring I recommend Straight Ahead (also with Dolphy), Sound Pieces, Taking Care Of Business, and Screamin' The Blues.


----------



## starthrower




----------



## philoctetes

Chasing Dolphy as a sideman can be a real pleasure - his partnerships with Coltrane, Coleman, Mingus, Nelson, Waldron, Schuller, &etc were some of the best early "experiments in jazz", and though I've heard many of them I haven't heard them all. I recently played BATAT for the first time in years and actually enjoyed the Copland for once...

This one goes on my list to hear soon, with another incredible line-up of great collaborators...


----------



## Duncan

*The Bad Plus - These Are The Vistas*

*Ethan Iverson (p), Reid Anderson (b) and Dave King (d). Rec. 2003*

*Link to complete album - *






"Very few jazz groups today set out to mess with your head. You know, get inside there, push the furniture over, chuck things out of the window and generally make a nuisance of themselves. That's what's so refreshing about the Bad Plus. They barge in, do things a jazz piano trio isn't supposed to do, such as play Blondie's 'Heart of Glass' or Kurt Cobain's 'Smells Like Teen Spirit.' To get inside these songs, and their own well thought-out originals, they may inflict a bit of grievous bodily harm on the musical structures, but at least they give you a musical experience you won't forget easily."

*Jazzwise
100 Albums That Shook the World
#99*


----------



## Duncan

*Courtney Pine - Journey To The Urge Within *

*Courtney Pine (ts, ss, b-cl), Kevin Robinson (t), Ray Carless (bar s), Orphy Robinson (vb), Julian Joseph (p), Roy Carter (ky), Gary Crosby (b), Mark Mondesir (d), Cleveland Watkiss and Susaye Greene (v). Rec. 1986*

*Link to complete album - *

"Journey to the Urge Within heralded the arrival of Courtney Pine at the head of a new generation of British jazz musicians. A pied piper who led British jazz out of the trough of despond after its brilliant flowering in the 1960s, he was compared to the charismatic Wynton Marsalis in the USA as a spokesman for a new breed of technically accomplished young jazzers. Pine's music was powerful, intense and in the tradition of the great tenor saxophonists such as Coltrane and Rollins. Figuring in the Top 40, an unprecedented achievement for a British jazz album, it went silver, helping to trigger the 1980s jazz boom."

*Jazzwise
100 Albums That Shook the World
#98*


----------



## Duncan

*Tomasz Stanko - Soul Of Things*

*Tomasz Stanko (t), Marcin Wasilewski (p), Slawomir Kurkiewicz (b) and Michal Miskiewicz (d). Rec. 20I0*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_maXNI55cQ56PeFKotq0F9pMLsrW6vpt54

"It could have been Stanko masterpieces Litania or Leosia that made this list, but Soul of Things, with a trio of young Polish musicians he mentored since their early teens, is his best selling album for ECM and more than any other brought him to the attention of international audiences. It also contributed to the growing awareness outside Europe, particularly in the United States, that important music was coming out of the old world. An album of precisely focused moods, fragments of melody are crafted into masterful compositions shaped by the timeless elegance of Stanko's trumpet and the copacetic playing of his young protégés.

*Jazzwise
100 Albums That Shook the World
#97*


----------



## Duncan

*Medeski, Martin and Wood - Combustication*

*John Medeski (ky), Chris Wood (b), Billy Martin (d) and DJ Logic. Rec. 1998*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_nA7nG2rlBPl_7IyKI-Q4yOisdxvuZ-xdg

"Since the group's formation in 1992, many welcomed Medeski Martin and Wood as a flight from a largely conservative jazz mainstream while others believed they'd flown the coop entirely. In their own way this Hammond B-3 organ trio of the sort that has been around in jazz for at least 50 years pushed at the boundaries of jazz with rollicking grooves and extended keyboard improvisations. This might be edgy music, but it is body music just the same, try 'Coconut Boogaloo' or 'Sugar Craft' then see if you can stop popping your fingers. As they reveal here, they delight shaking up mainstream values by going back to the chicken shack, 21st century style."

*Jazzwise
100 Albums That Shook the World
#96*


----------



## Duncan

*Wynton Marsalis - Black Codes From The Underground *

*Link to complete album - *

https://www.youtube.com/playlist?list=PLs2jouAzo_6Rzm0osZABgipGuj58AZcxs

"Black Codes marks the time in young Wynton's career when he moved from being a Blakey/Hancock prodigy and started to stake out his own ground. This first batch of musical territory had already been trampled underfoot by various members of the Miles Davis and John Coltrane ascendancy, including both leaders, but Marsalis brings his own considerable musical personality to bear on the situation and plays with great invention throughout. He would shift from this base in future but this sets out his aesthetic stall nicely."

*Jazzwise
100 Albums That Shook the World
#95
*


----------



## Duncan

*Cassandra Wilson - Blue Light 'Til Dawn - Blue Note *

*Cassandra Wilson (v), Charlie Burham (vn), Brandon Ross, Gib Walton, Chris Whitley (g), Kenny Davis, Lonnie Plaxico (b), Kevin Johnson, Lance Carter, Cyro Baptista and Bill McClellan (d, perc) plus others. Rec. 1993*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLFW5m6HCyUmbHCo1fVr9Z9Bd2En4Bpx7j

"Female jazz vocals had gone through many false dawns between the late 1960s and the arrival of Cassandra Wilson's blue light in 1993. Jazz and blues roots have often been vocal starting points for revivals of every type, so it's appropriate that Wilson, with her burnished alto voice, should reach in that direction to find not only a crossover audience but establish a new consensus alongside the Great American Songbook to underpin her artistic credibility. That she has more or less continued on that path suggests it works for her on every level. It also points the way for those who follow."

*Jazzwise
100 Albums That Shook the World
#94*


----------



## Duncan

*Jan Johanssen - Jazz Pa Svenska *

*Jan Johansson (p) and Georg Riedel (b). Rec. 1962-64*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLKUyqLlH6brkzzJgD6Gdriga4mdtCAMBJ

"A key recording that more than any other defined the Nordic Tone in jazz, a Scandinavian kind of blues that places intensity, tone, space and meaning ahead of virtuosic athleticism. Taking ages old Swedish folk melodies from Svenska Låtar and then interpreting them from a jazz perspective, Johansson's carefully nuanced sound, the gradation of his touch, the exquisite detail of every note revealed by the meticulous recording quality captured a unique approach to jazz that has become widely influential. Players such as Mike Brecker, Tommy Smith, Jan Garbarek, Esbjörn Svensson, Tord Gustavsen all were to come under the spell of the Nordic Tone."

*Jazzwise
100 Albums That Shook the World
#93*


----------



## Duncan

*Sarah Vaughan and Clifford Brown*

*Sarah Vaughan (v), Clifford Brown (t), Herbie Mann (f), Paul Quinichette (ts), Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (d). Rec. 1954*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLUJ7V33M1wR2sU4VQYoGOdHNuV6YOOrOU

"Vaughan was a by-word for vocal worship among her peers and musical associates by the late 1940s, but little she recorded before this album consistently showed her true worth to jazz. Nestled in a sympathetic small-group setting, Sassy simply blossoms into an overwhelmingly seductive artist whose complete abandonment to her own idea of line and sound gives the listener a level of ecstatic pleasure delivered only by - well, by Sassy, Ella and Billie, truth be told. She may later have equalled this in other settings, but here the gauntlet was well and truly thrown down."

*Jazzwise
100 Albums That Shook the World
#92
*


----------



## Duncan

*Music Improvisation Company - Music Improvisation Company *

*Jamie Muir (perc), Hugh Davies (elec), Evan Parker (ss), Derek Bailey (el g) and Christine Jeffrey (v). 
Rec. Aug 1970*

*Link to complete album - *

https://www.youtube.com/playlist?list=PL20iOj9g23x1k7U9t23-s-DKh4nJeGVwd

"MIC represents the point of separation between free jazz and free improv. From their perspective, a whole series of trajectories are visible - in Evan Parker's case the use of live electronics and increasing reliance on soprano leading eventually to the Electro-Acoustic Ensemble. It marks a shift away from the creation of powerful, huge sonic edifices or of nature-imitating shapes and textures for a journey, with only a little exaggeration, into the DNA of sound itself. Less concerned with the global or cosmic, MIC explored the micro-universe through the concept of non-idiomatic improvisation. Strange, disturbing yet oddly attractive."

*Jazzwise
100 Albums That Shook the World
#91*


----------



## Duncan

*Charlie Haden - Liberation Music Orchestra*

*Charlie Haden (b), Don Cherry, Michael Mantler (t), Roswell Rudd (tb), Bob Northern (Fr hn), Howard Johnson (tba), Perry Robinson (cl), Gato Barbieri, Dewey Redman (ts), Sam Brown (g), Carla Bley (p, arr), Paul Motian and Andrew Cyrille (d). Rec. 1969*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLOqAgn1rgzlnLpNFDz9T-okxys9pq0N-J

"Jazz and politics have always been entwined, but rarely in the music's history have the links spelt out on record. The 1960s was a decade when that orthodoxy was reversed, with Charlie Haden's debut album at the decade's end being one of the most explicit endorsements of leftist sentiments to be found in the entire jazz world. Sentiments of any persuasion are no proof of quality, but the compositions - from Haden, Bley and Ornette Coleman, among others - are uniformly strong and the supporting cast fiercely inspired. For 40 minutes you could believe, if you wanted to."

*Jazzwise
100 Albums That Shook the World
#90*


----------



## Duncan

View attachment 124318


*Jackie McLean - Let Freedom Ring *

*Jackie McLean (as), Walter Davis (p), Herbie Lewis (b) and Billy Higgins (d). Rec. 1962*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_n1Dinxq_oq0qMSDfLQrgYxLkTh1ymrpjc

"McLean had made by turns excellent and ambitious albums prior to this disc, but for one reason or another none of them had managed a completeness of conception that pushed him into the forefront of the music. This one made it through a combination of memorable compositions ('Melody For Melonae') an attitude towards musical freedom fed by the new politics of the day and a consistent commitment to all-out emotionalism that is so forceful it frankly leaves the rest of his group in the shade. He went on to make more completely satisfying albums but this one broke the mould."

Jazzwise
100 Albums That Shook the World
#89


----------



## Duncan

*Jackie McLean - Let Freedom Ring *

*Jackie McLean (as), Walter Davis (p), Herbie Lewis (b) and Billy Higgins (d). Rec. 1962*

*Link to complete album - *

https://www.youtube.com/playlist?lis...gYxLkTh1ymrpjc

"McLean had made by turns excellent and ambitious albums prior to this disc, but for one reason or another none of them had managed a completeness of conception that pushed him into the forefront of the music. This one made it through a combination of memorable compositions ('Melody For Melonae') an attitude towards musical freedom fed by the new politics of the day and a consistent commitment to all-out emotionalism that is so forceful it frankly leaves the rest of his group in the shade. He went on to make more completely satisfying albums but this one broke the mould."

*Jazzwise
100 Albums That Shook the World
#89 *


----------



## Duncan

*Joe Harriott-John Mayer Double Quintet - Indo-Jazz Suite *

*Joe Harriott (as), Kenny Wheeler (t), Pat Smythe (p), Coleridge Goode (b), Allan Ganley (d), John Mayer (vn, harpsichord), Chris Taylor (f), Diwan Motihar (sitar), Chandrahas Paiganka (tambura) and Keshan Sathe (tabla). Rec. 1965*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_k4VPMhICNX3FIAnvKWxWOs6B8WdVGN2rw

"Ravi Shankar's 1962 Improvisations, with Bud Shank, and Don Ellis' unrecorded Hindustani Jazz Sextet from 1965 briefly pointed the way but nothing prepared you for Indo-Jazz Suite, the first full collaboration between jazz and Indian musicians that was so hip it hurt in 1966. Hailed by Melody Maker upon release as "highly provocative" it was conceived by Calcutta-born Mayer who based the pieces on the ascending and descending order of ragas with Harriott's quintet improvising around the Indian musicians to spellbinding effect. Not as successfully integrated as their subsequent Indo-Jazz Fusions I and II, this however first put the fat in the pan for Gabor Szabo, Shakti, Trilok Gurtu, Mukta, Nitin Sawhney and the feast of Indo-Jazz that followed."

*Jazzwise
100 Albums That Shook the World
#88*


----------



## Duncan

*Django Reinhardt - Rétrospective 1934-53*

*Django Reinhardt (g), the Quintette du Hot Club de France, Loulou Gasté, Joseph Reinhardt, Emmanuel Vées (g), Louis Vola, Coleridge Goode (b), Hubert Rostaing, André Ekyan (cl), Alix Combelle (ts), Gianni Safrred (p), Aurelia de Carolis (d) and many others. Rec. 1934-1953*

*Link to complete albums - *

https://www.youtube.com/playlist?list=OLAK5uy_m4imP7OXweMY5MMMwaORUlBpBkqju3sNE

"The great gypsy did pretty much all his recording during the pre-album age, and while he was justly honoured by the French soon after his death, most early UK vinyl releases were haphazard collations in indifferent sound. By contrast, this compact little high-quality cardsleeve box of three CDs, accompanied by a magnificent 75-page booklet in French and English which contains lavish photographs and discographical details, is by some distance the best one-step intro Django's staggering genius. Transfers from the original 78rpm singles are magnificent and the selection of titles is absolutely on the money, from earliest Hot Club sides to his post-war experiments with shifting personnel and electrified guitars."

*Jazzwise
100 Albums That Shook the World
#87*


----------



## Duncan

*Steps Ahead - Steps Ahead*

*Michael Brecker (ts), Eliane Elias (p), Mike Mainieri (vb), Eddie Gomez (b) and Peter Erskine (d). Rec. 1983*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_nODdDCwT4msyvDvuo_uA75n15lly87P3k

"A star-studded line-up this might have been, however, by the time they came to make their debut on an American label, Steps Ahead had forged a powerful group identity that critics were dubbing "the new acoustic fusion." Much of this was down to a repertoire comprising original, ad hoc song forms that seldom employed straight ahead rhythms. Take 'Both Sides of the Coin' that uses a latin rhythm and a rondo form, whereas 'Loxodrome' presented an advanced contemporary vehicle for improvisation. Yet promoters would still say why not just play a 12-bar blues? Staggering really for such a perfectly poised jazz chamber group, that can take your breath away."

*Jazzwise
100 Albums That Shook the World
#86*


----------



## Duncan

*Krzysztof Komeda - Astigmatic - Polskie - Nagrania Muza *

*Krzysztof Komeda (p), Tomasz Stanko (t), Zbigniew Namyslowski (as), Gunter Lenz (b) and Rune Carlson (d). Rec. 1965
*
*Link to complete album -*

https://www.youtube.com/playlist?list=OLAK5uy_mBIyhifA3zcIpn2g6gIfxtRbHzyJ4yXqM

"Astigmatic is one of the most important contributions to the shaping of a European aesthetic in jazz composition. Stanko himself has said that this is an album that could "never have been made in America", pointing to Komeda's day job as a composer for more than 40 films. "Film dictates untypical construction," Stanko has recalled. Indeed, the quintet responds to Komeda's compositions with audible glee - there is measured intensity here but also the unmistakable glow of inspiration."

*Jazzwise
100 Albums That Shook the World
#85*


----------



## Duncan

*Anthony Braxton - For Alto *

*Anthony Braxton (as). Rec. 1969*

*Link to complete album -*






"While the song titles - dedications to innovative musicians such as John Cage, Cecil Taylor and Leroy Jenkins - gave a clear indication of where the Association For The Advancement Of Creative Musicians iconoclast was coming from, few could have seen where, or rather how far, he was going on this landmark solo recital. Braxton's alto saxophone is like the sound of acid dripped from the beating wings of hummingbirds, a charmingly corrosive caress. Through brilliant dynamics, lyricism, harmonic invention and pure sound trickery, Braxton showed a single horn could be a complete orchestra, paving the way for similar undertakings by Sonny Rollins among others years later. Downbeat awarded For Alto five stars and called it "revolutionary." They were right."

*Jazzwise
100 Albums That Shook the World
#84*


----------



## Duncan

*Diana Krall - Love Scenes *

*Diana Krall (v, p), Russell Malone (g) and Christian McBride (b). 
Rec. 1997*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_lVndgz6l7nKh7NB3hY2rprqXIBsqM7mDc

"Where would female jazz vocals be today without Diana Krall? An imponderable, perhaps, especially when so many undistinguished vocalists currently populate the landscape. However, Krall is the genuine article on every level, whether you're talking about texture, taste, integrity, inventiveness or musicianship. Whatever setting she's chosen for herself in the past decade, it's been apposite. Love Scenes was a trio album and presaged her massive with-orchestra crossover, but it contains all the essential Krall ingredients and is a thorough convincing artistic manifesto. No wonder people listened."

*Jazzwise
100 Albums That Shook the World
#83*


----------



## Duncan

*Steve Coleman And - Five Elements - The Tao Of Mad Phat: Fringe Zones *

*Steve Coleman (as), Andy Milne (p, ky) David Gilmore (g), Reggie Washington (el b), Roy Hargrove (t), Josh Roseman (tb), Kenny Davis (b) and Junior "Gabu" Wedderburn (perc). Rec. 1993*

"Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation."

*Jazzwise
100 Albums That Shook the World
#82*


----------



## Duncan

*
Eberhard Weber - The Colours of Chloë *

*Weber (b, cello, ocarina), Rainer Bruninghaus (p, syn), Ack van Rooyen (flhn), Peter Giger, Ralf Hübner (d, perc), and the cellos of the Südfunk Orchestra Stuttgart. Rec. 1973*

*Link to "Eberhard Weber Colours: San Francisco, Great American Music Hall - October 14th, 1979" - *

Note: Substituted in place of "The Colours of Chloe"






"Eberhard Weber's debut album was one of the most significant opening volleys of ECM's arrival in the jazz world as an arbiter of modern taste. Completely devoid of any of the fashionable Americanisms of the day, its music was full of light and colour derived from European modernist classical and film traditions. As such, it offered a completely fresh pool of delights to fish in. Using his sinuous bass technique to articulate melody as no-one else had before, Weber alternated a sumptuously severe string backing with little keyboard and percussion patterns to huge atmospheric effect. Entrancing."

*Jazzwise
100 Albums That Shook the World
#81*


----------



## Duncan

*John Surman - Tales Of The Algonquin *

*John Surman (bs, ss), John Warren (bs, f), Mike Osborne (as, cl), Alan Skidmore (ts, fl), Kenny Wheeler, Harry Beckett (t, flhn), John Taylor (p), Barre Phillips, Harry Miller (b), Alan Jackson and Stu Martin (d). Rec. 1971*

*Link to complete album - *






"As much Canadian John Warren's album as fellow baritone player John Surman's, this record said that Surman was a star in the ascendant. So many UK jazz albums could fill this slot but this gets the vote for its ecstatic, exuberant playing from Surman and company and amazing, challenging writing from Warren. This was a glorious testament to the new-found confidence of British jazz. Warren's success lies in the way he remains within the big band tradition but extends it by incorporating elements of free playing, driving powerful polyrhythms and complex layering of his instrumental resources. An absolute and indisputable joy."

*Jazzwise
100 Albums That Shook the World
#80*


----------



## starthrower

^^^
Love me some Brit Jazz! The Weber album is great too. And I dig some of the Polish stuff. Stanko, and Namyslowski. The latter's Winobranie album is a great listen.


----------



## Barbebleu

Mollie John said:


> View attachment 124361
> 
> 
> *Joe Harriott-John Mayer Double Quintet - Indo-Jazz Suite *
> 
> *Joe Harriott (as), Kenny Wheeler (t), Pat Smythe (p), Coleridge Goode (b), Allan Ganley (d), John Mayer (vn, harpsichord), Chris Taylor (f), Diwan Motihar (sitar), Chandrahas Paiganka (tambura) and Keshan Sathe (tabla). Rec. 1965*
> 
> *Link to complete album - *
> 
> https://www.youtube.com/playlist?list=OLAK5uy_k4VPMhICNX3FIAnvKWxWOs6B8WdVGN2rw
> 
> "Ravi Shankar's 1962 Improvisations, with Bud Shank, and Don Ellis' unrecorded Hindustani Jazz Sextet from 1965 briefly pointed the way but nothing prepared you for Indo-Jazz Suite, the first full collaboration between jazz and Indian musicians that was so hip it hurt in 1966. Hailed by Melody Maker upon release as "highly provocative" it was conceived by Calcutta-born Mayer who based the pieces on the ascending and descending order of ragas with Harriott's quintet improvising around the Indian musicians to spellbinding effect. Not as successfully integrated as their subsequent Indo-Jazz Fusions I and II, this however first put the fat in the pan for Gabor Szabo, Shakti, Trilok Gurtu, Mukta, Nitin Sawhney and the feast of Indo-Jazz that followed."
> 
> *Jazzwise
> 100 Albums That Shook the World
> #88*


I bought this in 1966. I still have my original vinyl copy that I played to death so much that I can hear every note in my head still. I play the flute so I tried to copy the great flute playing of Chris Taylor with some success I might add. The follow up 'Indo-Jazz Fusions' was just as good.


----------



## Duncan

*Oliver Nelson - The Blues And The Abstract Truth *

*Oliver Nelson (as, ts), Freddie Hubbard (t), Eric Dolphy (f, as, bcl), George Barrow (bar s), Bill Evans (p), Paul Chambers (b) and Roy Haynes (d). Rec. 1961*

*Link to complete album (Bonus Track Version) -*

https://www.youtube.com/playlist?list=PLkHYDiZSB46HJBceX3fri_urH_mUT1xRC

"For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including 'Stolen Moments') and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché."

*Jazzwise
100 Albums That Shook the World
#79*


----------



## Duncan

*Betty Carter - The Audience With Betty Carter *

*Betty Carter (v), John Hicks (p), Curtis Lundy (b) and Kenny Washington (d). Rec. 1979*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_nUljP8wcIAGTTGA2m4Yo1W1LkzbfZWVYU

"Listening to this album is a cathartic experience. 'Sounds' is a tour de force of scat through shifting tempos and meters that lasts 25 minutes where at one point, Carter, Hicks, Lundy and Washington each play in a different meter. The album highlight is 'My Favorite Things' taken at a brisk tempo with Hicks at his most explosive as his accompaniment blossoms into a counterline to Carter's singing and by the coda who can say whether voice or piano predominates? To say this is one of the finest jazz vocal albums ever made is limiting; it numbers among the great contemporary jazz albums."

*Jazzwise
100 Albums That Shook the World
#78*


----------



## Duncan

*Art Tatum - The Genius of Art Tatum No.1 *

*Art Tatum (p). Rec. 1953*

"For decades Tatum was every jazz pianist's first choice as the greatest piano of all but by the early 1950s his public profile was still minute compared with some of his contemporaries. Norman Granz decided to fix that: between 1953 and Tatum's death in 1956 Granz recorded well over 200 selections and issued them on Clef and Verve. Tatum's popular and critical reputation has been secure ever since, his baroque creations simultaneously exciting and terrifying the listener."

*Jazzwise
100 Albums That Shook the World
#77*


----------



## Duncan

*Charles Lloyd - Dream Weaver *

*Charles Lloyd (ts, f), Keith Jarrett (p), Cecil McBee (b) and Jack DeJohnette (d). Rec. 1966*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_lZjueREQASCe7LN8xk-_rV2T3hFxPyTms

"Voted "new star" by Downbeat in 1965, the emergence of the Charles Lloyd Quartet took jazz by storm in 1966, expanding musical horizons with a challenging eclectic amalgam of modal and free jazz with Eastern textures and Spanish soul. Dream Weaver also introduced Keith Jarrett and Jack DeJohnette to the world before Lloyd's subsequent LPs Forest Flower and Love-In became two of jazz's biggest sellers. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic 1960s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era."

*Jazzwise
100 Albums That Shook the World
#76*


----------



## Duncan

*Oscar Peterson - Night Train *

*Oscar Peterson (p), Ray Brown b) and Ed Thigpen (d). Rec. 1962*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLkLimRXN6NKwsvKxuIhwm85jYXKKhILzv

"By 1962 Peterson's trio was one of the top draws in jazz worldwide and Peterson himself habitually won every jazz piano popularity poll going. Why? Well, the change in 1958 from piano-bass-guitar to piano-bass-drums had allowed him room to develop the group's leaner, grittier side and emphasise melody rather than bullish pyrotechnics. Night Train is the epitome of this approach: cool, funky, incredibly concentrated and well thought-through, it hangs together as a perfect modernist tribute to the funky roots of jazz, covering tracks from 'C Jam Blues' to 'Moten Swing' and 'The Hucklebuck'. Canadiana Suite may be Peterson's creative high water point, but Night Train defines him."

*Jazzwise
100 Albums That Shook the World
#75*


----------



## Barbebleu

Mollie John said:


> View attachment 124433
> 
> 
> *Charles Lloyd - Dream Weaver *
> 
> *Charles Lloyd (ts, f), Keith Jarrett (p), Cecil McBee (b) and Jack DeJohnette (d). Rec. 1966*
> 
> *Link to complete album - *
> 
> https://www.youtube.com/playlist?list=OLAK5uy_lZjueREQASCe7LN8xk-_rV2T3hFxPyTms
> 
> "Voted "new star" by Downbeat in 1965, the emergence of the Charles Lloyd Quartet took jazz by storm in 1966, expanding musical horizons with a challenging eclectic amalgam of modal and free jazz with Eastern textures and Spanish soul. Dream Weaver also introduced Keith Jarrett and Jack DeJohnette to the world before Lloyd's subsequent LPs Forest Flower and Love-In became two of jazz's biggest sellers. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic 1960s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era."
> 
> *Jazzwise
> 100 Albums That Shook the World
> #76*


Bought this when it came out too. Gave me a lifelong devotion to Messrs Lloyd, Jarrett and DeJohnette. Man, the sixties gave us some astounding music.


----------



## Larkenfield

Wonderful counterpoint between these two guitar legends. 

I was hooked on this for days when it first came out:






It still reminds me of someone very special.


----------



## Duncan

*Herbie Hancock - The New Standard *

*Herbie Hancock (p), Michael Brecker (ts), John Scofield (g), Dave Holland (b), Jack DeJohnette (d) and Don Alias (perc). Rec. 1996*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLEkotI6X-ToU6SEO73Ku_-CdjH9CcKlhu

"From the opening 'New York Minute' this album bursts with energy and creativity. Hancock soars and Brecker burns. Yet while the playing is exemplary, the choice of repertoire makes this album stand apart. 'New York Minute' is from the Don Henley album The End of The Innocence and songs by the likes of Steely Dan, Peter Gabriel, Paul Simon and Prince make this one of the first albums after 1990 to return to songs from popular culture once more as a basis for jazz improvisation. Yet they all end up as impeccable, burning New York-style jazz of the highest order and press the green light for other artists to follow suit."

*Jazzwise
100 Albums That Shook the World
#74
*


----------



## Duncan

*Roland Kirk - Rip, Rig & Panic *

*Roland Kirk (f, mzo, stritch, ts), Jaki Byard (p), Richard Davis (b) and Elvin Jones (d). Rec. 1965*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_no-AlwOLIdflhHL-sKUWk08ckBteR3CSU

"Many maintain that Kirk never made the perfect album: if so, this one comes closer than any other, mostly because Elvin Jones is consistently lighting a fire under the quartet generally and Kirk in particular. The multi-reed man is also self-evidently inspired by pianist Jaki Byard's playing and is consistently taking risks in everything he's doing. I Talk With The Spirits, his flute album, came next and gave the world 'Serenade to a Cuckoo', while 1968's Volunteered Slavery allowed Kirk to assault Burt Bacharach among others while giving him a new audience, but this one is the stone jazzer's delight."

*Jazzwise
100 Albums That Shook the World
#73*


----------



## Duncan

*Thelonious Monk - The Genius Of - Modern Music - Vol 1*

*Thelonious Monk (p), Idrees Sulieman/George Taitt (t), Danny Quebec West/Sahib Shihab (as), Billy Smith (ts), Gene Ramey/Bob Paige (b) and Art Blakey (d). Rec. 1947*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_nWAyadj0E30NDCsu3lUCx0rBQo8e9_n1k

"These early Monk sides almost sank without trace when first issued as 78rpm singles, and it was only because of a LP selection under this title in the mid-1950s that more than a handful of punters took any notice. Blue Note, though, were so into Monk that they'd done these three sessions in little more than a month, just to get the first small-group versions of 'Round Midnight', 'Ruby My Dear', 'Thelonious' and 'In Walked Bud' among others. With the possible exception of Idrees, the soloists weren't up to the pianist's level. Yet the miraculous Blakey is at his early best."

*Jazzwise
100 Albums That Shook the World
#72*


----------



## Duncan

*Wayne Shorter - Speak No Evil *

*Wayne Shorter (ts), Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d). Rec. 1964*

*Link to complete album -*

https://www.youtube.com/playlist?list=OLAK5uy_nvtNl1odH7oL8DTnv9MRaSfz-dM-NHFcc

"Recorded a few months into his stint with Miles, this date finds Shorter on the cusp of his mature compositional and improvisatory styles and in the congenial company of Hancock and Carter, with Elvin Jones keeping it honest at the back and Hubbard providing his usual perfect foil at the front. In a sense this is Shorter's essay on groove, but his angularity never makes it likely that the whole album would attain that ineffable level, or that he'd even want that. Herbie, of course, would do it without him a few months later on Maiden Voyage. So? Vive le difference, we say… "

*Jazzwise
100 Albums That Shook the World
#71*


----------



## Duncan

*Dollar Brand (Abdullah Ibrahim) - African Marketplace *

*Dollar Brand (Abdullah Ibrahim) (ss, kys, p), Gary Chandler (t), Malindi Blyth Mbityana, Craig Harris (tb), Carlos Ward (as), Jeff Jaywarrah King, Dwayne Armstrong (ts), Kenny Rogers (bs), Lawrence Lucie (bjo), Cecil McBee (b), Miguel Pomier and Andre Strobert (d, perc). Rec. 1980
*
*Link to complete album - *

https://www.youtube.com/playlist?list=PL7S51Osqs76FKO_-Lu5oZ5xz9xIA6yLzS

"Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort."

*Jazzwise
100 Albums That Shook the World
#70*


----------



## Barbebleu

MJ. Just assume I'm going to like all these posts!:tiphat:


----------



## Duncan

*Stan Tracey - Jazz Suite Inspired By Dylan Thomas' Under Milk Wood*

*Stan Tracey (p), Bobby Wellins (ts), Jeff Clyne (b) and Jackie Dougan (d). Rec. 8 May 1965*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_nMxQR3y8PmTpCrezGFdDaWD3wlwvH2Gus

"Tracey is indispensable, a one-man mission statement. Here he showed how much could be achieved within the basic jazz quartet format. Reaction at the time seems to have been along the lines of where on earth did this come from? Coherent, vital and mind-stretching, Tracey's eight pieces provide a remarkable insight into Thomas' great work but also into the creative process itself and the myriad sources jazz could explore for inspiration. With its jaunty, picaresque tunes and assured playing that reflected Thomas' saucy, roguish book, the album is a wonderfully humorous work that extended the boundaries in a hugely subtle way. After this, there would always be more to jazz than just blowing."

*Jazzwise
100 Albums That Shook the World
#69*


----------



## Duncan

*Esbjörn Svensson Trio - From Gagarin's Point Of View *

*Esbjörn Svensson (p), Dan Berglund (b) and Magnus Öström (d). Rec. 1999*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_kmPvLzDIfyW02ApMhNWVeMuXvZQ98pN5g

"It was not as if the Esbjörn Svensson Trio came out of nowhere. They've been around since 1991 refining a distinctive collective voice that prompted a name change to EST. It took the UK, who habitually look to the USA for its jazz heroes, longer than most European countries to come under their spell, but this is the album that did it. Their attachment to deeply felt melody, unhurried intensity, framed with the Nordic Tone, and the comparatively unconventional, pop-like structures of their compositions endeared them to jazz and non-jazz fans alike, in the honest humanity of their playing."

*Jazzwise
100 Albums That Shook the World
#68*


----------



## Duncan

*John Handy - Live At Monterey Jazz Festival *

*John Handy (as), Mike White (el vn), Jerry Hahn (g), Don Thompson (b) and Terry Clarke (d). Rec. 1965*

*Link to complete album -*






"Fresh from the Charles Mingus band, Handy tore Monterey apart in September 1965 with this startling hypnotic modal performance that got him signed to Columbia, sending shock waves out to Charles Lloyd, Gabor Szabo, Miles Davis and John McLaughlin. Rooted in the free flow of Coltrane's classic quintet with Eric Dolphy, the two side-long pieces open with Handy's mesmerising unaccompanied alto statement that, four decades later still sends shivers, before Hahn and White erupt into fiery flamenco, middle eastern and rock-tinged directions unheard of at the time. Little wonder that in December 1965 they were the first jazz act ever to play San Francisco's legendary Fillmore Auditorium paving the way for The Fourth Way and the sonic zeitgeist that followed."

*Jazzwise
100 Albums That Shook the World
#67*


----------



## Duncan

*Gil Evans - The Individualism of Gil Evans *

*Gil Evans (p, arr, comp) with, among others, Johnny Coles, Ernie Royal, Thad Jones, Bernie Glow (t), Frank Rehak, Jimmy Cleveland (tb), Julius Watkins, Bob Northern (Fr h), Bill Barber (tba), Steve Lacy (ss), Eric Dolphy (f, as, bcl), Wayne Shorter (ts), Garvin Bushell, Jerome Richardson (reeds), Kenny Burrell (g), Milt Hinton, Paul Chambers, Gary Peacock, Ron Carter (b) and Elvin Jones (d). Rec. 1963-4
*
*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_njGkrqAeLeMYME7pfN7I-wZNsNZpMR3yU

"A diffident self-promoter, Evans was only rarely coaxed into the recording studios to deliver albums that reflected fully his own musical visions away from the stars he wrapped in his sonic delights. This album is his most ambitious and deeply satisfying, covering his love of Kurt Weill, the blues, Spanish music and swaggering self-penned pieces, all of them dripping in the translucent arrangements that make you feel you've entered a uniquely magical musical land the moment the orchestra makes a sound. Seamlessly featuring soloists like Wayne Shorter, Johnny Coles and Phil Woods, this album is pure musical alchemy from a total original. The CD is a happily expanded version of the original vinyl, adding 27 minutes of excellent previously unreleased new music."

*Jazzwise
100 Albums That Shook the World
#66*


----------



## Duncan

*Gerry Mulligan - Gerry Mulligan Quartet*

*Gerry Milligan (bar s), Chet Baker (t), Bobby Whitlock (b) and Chico Hamilton (d). Rec. 1952*

*Link to complete album - *






"Mulligan first made a significant contribution to recorded jazz through his arrangements for Miles' so-called Birth of the Cool sessions for Capitol, but it was the 1952 pianoless quartet that hit the headlines and made him (as well as trumpeter sidekick Chet Baker) virtually overnight jazz celebrities. This album covers the initial (and best) sides the Mulligan Quartet cut, for Pacific Jazz, including 'Bernie's Tune', 'Freeway' and 'Walkin' Shoes', where the uncanny empathy between Mulligan and Baker is constantly underlined by the firmly resilient beat of Chico Hamilton. West coast jazz in its infancy and at its most joyously infectious."

*Jazzwise
100 Albums That Shook the World
#65*


----------



## Duncan

*Brad Mehldau - Art Of The Trio Vol.3 *

*Brad Mehldau (p), Larry Grenadier (b) and Jorge Rossy (d). Rec. 1998*

*Link to complete album -*

https://www.youtube.com/playlist?list=PLm8PHI-zgK_SKcJN9-7CglvR2_AqVm7xd

"Voted best jazz album of 1998 by The Guardian and part three of a musical odyssey that comprises five volumes stretching from 1996-2000. More so than his previous albums, this was the one that put him on the map, as much for a version of 'Exit Music (For A Film)' that turned Radiohead into Beethoven as his deeply haunting version of Nick Drake's 'River Man' that hipped a legion of young jazzers to two fresh new sources of repertoire. Here Mehldau's improvisations appear as variations upon variations upon variations, remote from their source maybe but entirely personal. In the process they lay to rest Bill Evans soundalike comparisons once and for all."

*Jazzwise
100 Albums That Shook the World
#64*


----------



## Captainnumber36

Miles Davis - Live Evil


----------



## Duncan

*Archie Shepp - Four For Trane*

*Archie Shepp (ts, arr), Alan Shorter (flhn), Roswell Rudd (tb), John Tchicai (as), Reggie Workman (b) and Charles Moffett (d). Rec. 1964*

*Link to complete album - *






"Shepp was a member of Cecil Taylor's 1960/1 unit that cut sides for Candid and Impulse!, but his first mature playing on disc is on the virtually unobtainable 1962 Archie Shepp - Bill Dixon Quartet album released on Savoy. Four For Trane demonstrates not only a shift in allegiance to Coltrane but a real gift for arrangement and a thoroughly original approach to his own playing at a time when everyone was copying Trane or Rollins. He may have got more radical later, but this was a 100 per cent proof shot of the new on its initial release."

*Jazzwise
100 Albums That Shook the World
#63*


----------



## Duncan

*Count Basie - The Atomic Mr Basie *

*Count Basie (p), Thad Jones, Joe Newman, Wendell Culley, Snooky Young (t), Benny Powell, Henry Coker, Al Grey (tb), Marshall Royal (as, cl), Frank Wess (as, ts), Frank Foster, Eddie "Lockjaw" Davis (ts), Charlie Fowlkes (bar s), Freddie Green (g), Eddie Jones (b), Sonny Payne (d) and Neal Hefti (arr). Rec. 1957*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_kEAsSdBBhQgzhrXe240agIqyAWV0W4ssI

"First issued simply as Basie and illustrated with "a tasteful" mushroom cloud it certainly had an explosive enough impact as it was his first album to capture the rich ensemble sound as well as the beat. Some of the charts wear better than others, but the overall feel is timeless. 'Kid From Red Bank' featuring stride piano from the leader and 'Whirly-Bird''s shouting tenor saxophone by Lockjaw epitomise the uptempos, while 'Splanky' and Newman-and-Thad's 'Duet' do it for the blues. And 'Li'l Darlin‚' proves emphatically that smoochy doesn't have to mean smoo-ooth."

*Jazzwise
100 Albums That Shook the World
#62*


----------



## Duncan

*Miles Davis - Birth of the Cool *

*Miles Davis (t), Lee Konitz (as), Gerry Mulligan (bar s), JJ Johnson (tb), Kai Winding (tb), Junior Collins (Fr hn), Gunther Schuller (Fr hn), Sandy Siegelstein (Fr hn), Billy Barber (tba), John Barber (tba), Nelson Boyd (b), Joe Shulman (b), Al McKibbon (b), Al Haig (p), John Lewis (p), Kenny Clarke (d), Max Roach (d), Gil Evans (arr), Johnny Carisi (arr) and Kenny Hagood (v). Rec. 1949-50*

*Link to complete album - *






"The wonder of Miles' career is the sheer amount of times he seized the moment, grabbed the right people, and got them to deliver their best creative thoughts for him. The first time was with Charlie Parker, but by the time he landed a contract with Capitol for some modern jazz sides with an augmented group, he was able to operate freely, pulling in the restless writing talents of Gil Evans, John Lewis, Gerry Mulligan and John Carisi to create a unified and superbly subtle backdrop for his emergent lyricism. The world is changed, part one."

*Jazzwise
100 Albums That Shook the World
#61*


----------



## Duncan

*Peter Brötzmann Octet - Machine Gun*

*Peter Brötzmann (ts, bar s), Evan Parker, Willem Breuker (ts), Fred Van Hove (p), Peter Kowald, Buschi Niebergall (b), Han Bennink and Sven Johansson (d). Rec. May 1968*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_nmujt4mEqLjYIv92jWl5-72bG1dvvXX6U

"Political statement, samizdat reflection on events or Janovian primal scream? Surely one of the most extreme albums ever recorded it's a musical manifesto from the European free jazz underground, an answering call to like-minds across the Atlantic and rallying cry for those at home. The title track features "solos" by the three horn players and pianist Van Hove, each as ferocious as the other. 'Responsible', for all its atonal howling, ends with a fabulous latin vamp while 'Music For Han Bennink' squeals and yelps with joy. Machine Gun leaves you shaken to the core."

*Jazzwise
100 Albums That Shook the World
#60*


----------



## Duncan

*Coleman Hawkins - Body And Soul - RCA Bluebird*

*Hawkins (ts) and many others. Rec. 1939-56*

*Link to complete album -*






"The trouble with Hawk is the same one faced by someone looking for an ideal single-set introduction to maverick genius Sidney Bechet - in such a long and protean career, how do you get all the best bits on one label? With Bechet it's still impossible. With Hawk, you can just about do it. The great man's original 'Body And Soul' masterpiece from 1939 is here, plus a telling number of tracks showing how he paced all the changes in jazz with ease and continued to grow artistically through the decades. The best of the later Hawk is on Verve, but this intro is nicely rounded."

*Jazzwise
100 Albums That Shook the World
#59*


----------



## Duncan

*Clifford Brown/Max Roach Quintet - Clifford Brown and Max Roach*

*Brown (t), Harold Land (ts), Richie Powell (p), George Morrow (b) and Max Roach (d). Rec. 1954*

"Timing is everything. For two years this group was the cutting edge of modern jazz: by spring 1956 they had Sonny Rollins as the resident tenor alongside Clifford Brown's dazzlingly innovative trumpet: Miles and Coltrane were still playing catch-up in their quintet. Then, a car crash claimed Brown and pianist Richie Powell and it was all over. This powerful set, containing classic interpretations of post-bop standards such as 'Daahaud', 'Joy Spring' and 'Parisienne Thoroughfare' is still the starting-point for post-Parker bop and mandatory listening for any subsequent trumpeter."

*Jazzwise
100 Albums That Shook the World
#58*


----------



## Duncan

*Horace Silver - Song For My Father *

*Silver (p), Blue Mitchell, Carmell Jones (t), Junior Cook, Joe Henderson (ts), Gene Taylor, Teddy Smith (b), Roy Brooks and Roger Humphries (d). Rec. 1963-64*

*Link to complete album - *

https://www.youtube.com/playlist?list=PL68FF74CDEBB152A2

"For the five years he held his Junior Cook-Blue Mitchell quintet together, Silver had the perfect combination of his high-quality tunes and a band that had a magic interpretative touch. They all played for each other to such an extent that the group became one of the true 1960s greats. Song For My Father features this group on two tracks, but not on the famous title tune, which instead ushers in the brilliant but short-lived quintet featuring Joe Henderson and Carmell Jones. No cause to fear: all remains in place for a classic that still casts its spell."

*Jazzwise
100 Albums That Shook the World
#57*


----------



## Duncan

*Art Ensemble of Chicago - A Jackson in Your House*

*Lester Bowie (t, flhn, perc), Roscoe Mitchell (ss, as, bs, cl, fl, whistles, steel drum, perc), Joseph Jarman (ss, as, cl, oboe, mba, siren, g) and Malachi Favors (b, el b, banjo, log drum and perc). Rec. 1969*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_lBaRZS20ls1iJFHheWTNHLzjwivyJ4-o4

"A spin on a fairground carousel that nevertheless stays on the side of art rather than entertainment. This was the record that showed that the sonic riot of the avant-garde wasn't incompatible with riotous humour. Using anything from Dixieland riffs to bluesy drawls to classical intermezzi, AEoC create a mix-tape in which tempo, mood and idiom become shifting sands on a strange and beautiful landscape. Imagine William Burroughs cutting up sheet music instead of text and having skilled players somehow make the fragments sound coherent. A deeply subversive but sophisticated work that must have been highly informative to anyone from Zappa to Zorn."

*Jazzwise
100 Albums That Shook the World
#56*


----------



## Duncan

*John Coltrane - Ascension*

*Coltrane (ts), Freddie Hubbard, Dewey Johnson (t), John Tchicai, Marion Brown (as), Archie Shepp, Pharoah Sanders (ts), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1965*

*Link to complete album -*






"Still an unruly, flawed, controversial, and deeply divisive album 40 years after its initial release, Ascension set the pace and the tone of the avant-garde music debate right through the back of the 1960s, quickly becoming a cutting-edge touchstone across the arts - even John Lennon told interviewers "of course I've heard Ascension" when asserting his late 1960s intellectual credentials alongside Yoko. Today, the music remains testingly difficult, the hell-hot fire and chaos from Trane's supporting musicians a clear indication of the times it was made in, yet it's a titanic date that changed jazz forever."

*Jazzwise
100 Albums That Shook the World
#55*


----------



## Barbebleu

I'm pretty sure I have 90 of the Jazzwise 100 albums that shook the world. What a wonderfully mis-spent youth!:lol:


----------



## Barbebleu

Mollie John said:


> View attachment 124566
> 
> 
> *Archie Shepp - Four For Trane*
> 
> *Archie Shepp (ts, arr), Alan Shorter (flhn), Roswell Rudd (tb), John Tchicai (as), Reggie Workman (b) and Charles Moffett (d). Rec. 1964*
> 
> *Link to complete album - *
> 
> 
> 
> 
> 
> 
> "Shepp was a member of Cecil Taylor's 1960/1 unit that cut sides for Candid and Impulse!, but his first mature playing on disc is on the virtually unobtainable 1962 Archie Shepp - Bill Dixon Quartet album released on Savoy. Four For Trane demonstrates not only a shift in allegiance to Coltrane but a real gift for arrangement and a thoroughly original approach to his own playing at a time when everyone was copying Trane or Rollins. He may have got more radical later, but this was a 100 per cent proof shot of the new on its initial release."
> 
> *Jazzwise
> 100 Albums That Shook the World
> #63*


I have the Shepp/Dixon album referred to in the notes. I spent about twenty years between the late sixties to late eighties playing catchup with BlueNote, Atlantic, Impulse and whoever else had the great albums. Great times and every day I discovered immense new music from the colossi of jazz. Being a bit of an anally retentive completist it was a matter of some honour for me to collect everything by any artist I loved. It has been an expensive hobby made more expensive by ever changing formats. I'm lucky my wife hasn't divorced me. She still might if she ever stops to total up what I've spent so far! In fact, divorce might be a lucky option:lol:


----------



## Barbebleu

Mollie John said:


> View attachment 124546
> 
> 
> *John Handy - Live At Monterey Jazz Festival *
> 
> *John Handy (as), Mike White (el vn), Jerry Hahn (g), Don Thompson (b) and Terry Clarke (d). Rec. 1965*
> 
> *Link to complete album -*
> 
> 
> 
> 
> 
> 
> "Fresh from the Charles Mingus band, Handy tore Monterey apart in September 1965 with this startling hypnotic modal performance that got him signed to Columbia, sending shock waves out to Charles Lloyd, Gabor Szabo, Miles Davis and John McLaughlin. Rooted in the free flow of Coltrane's classic quintet with Eric Dolphy, the two side-long pieces open with Handy's mesmerising unaccompanied alto statement that, four decades later still sends shivers, before Hahn and White erupt into fiery flamenco, middle eastern and rock-tinged directions unheard of at the time. Little wonder that in December 1965 they were the first jazz act ever to play San Francisco's legendary Fillmore Auditorium paving the way for The Fourth Way and the sonic zeitgeist that followed."
> 
> *Jazzwise
> 100 Albums That Shook the World
> #67*


I always thought that Charles Lloyd was the first jazz act to play the Fillmore. Of course there was also the East Coast Fillmore so maybe that's the answer.


----------



## Barbebleu

Mollie John said:


> View attachment 124612
> 
> 
> *John Coltrane - Ascension*
> 
> *Coltrane (ts), Freddie Hubbard, Dewey Johnson (t), John Tchicai, Marion Brown (as), Archie Shepp, Pharoah Sanders (ts), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1965*
> 
> *Link to complete album -*
> 
> 
> 
> 
> 
> 
> "Still an unruly, flawed, controversial, and deeply divisive album 40 years after its initial release, Ascension set the pace and the tone of the avant-garde music debate right through the back of the 1960s, quickly becoming a cutting-edge touchstone across the arts - even John Lennon told interviewers "of course I've heard Ascension" when asserting his late 1960s intellectual credentials alongside Yoko. Today, the music remains testingly difficult, the hell-hot fire and chaos from Trane's supporting musicians a clear indication of the times it was made in, yet it's a titanic date that changed jazz forever."
> 
> *Jazzwise
> 100 Albums That Shook the World
> #55*


This, Free Jazz and Chappaqua Suite get regular outings in my house. If you want the essence of free jazz you need these in your collection.


----------



## Duncan

Barbebleu said:


> I always thought that Charles Lloyd was the first jazz act to play the Fillmore. Of course there was also the East Coast Fillmore so maybe that's the answer.


There's a difference between "The Fillmore" and "Fillmore West"

"The Fillmore" - https://en.wikipedia.org/wiki/The_Fillmore

"Fillmore West" - https://en.wikipedia.org/wiki/Fillmore_West

http://www.chickenonaunicycle.com/Fill Aud Shows.htm

Note first entry for December 1965 -

10 December 1965
Fillmore Auditorium, San Francisco, CA
Jefferson Airplane, Great Society, Mystery Trend, Warlocks, Notes: Appeal 2-benefit For SF Mime Troupe. Also Performing:, Gentlemen's Band, The Vipers *(John Handy Quintet did not play)*

This is a complete list of acts which appeared at the Fillmore East -

http://www.chickenonaunicycle.com/Fill East Shows.htm

12 April 1968
Fillmore East, New York, NY
Butterfield Blues Band, Charles Lloyd, Tom Rush Lights: Joshua Light Show, Notes: 2 Shows

13 April 1968
Fillmore East, New York, NY
Butterfield Blues Band, Charles Lloyd, Tom Rush Lights: Joshua Light Show, Notes: 2 Shows

http://www.chickenonaunicycle.com/Fill East Shows.htm

This is the complete list of acts which appeared at the Fillmore West (starting 05 July 1968)

http://www.chickenonaunicycle.com/Fill West Shows.htm

26 July 1968
Fillmore West, San Francisco, CA
Charles Lloyd, Herd, James Cotton Lights: Holy See

27 July 1968
Fillmore West, San Francisco, CA
Charles Lloyd, Herd, James Cotton Lights: Holy See

28 July 1968
Fillmore West, San Francisco, CA
Charles Lloyd, Herd, James Cotton Lights: Holy See

Editor's Note - "Herd" was fronted by 18 year old lead vocalist and guitarist Peter Frampton.


----------



## Barbebleu

Mollie John said:


> There's a difference between "The Fillmore" and "Fillmore West"
> 
> "The Fillmore" - https://en.wikipedia.org/wiki/The_Fillmore
> 
> "Fillmore West" - https://en.wikipedia.org/wiki/Fillmore_West
> 
> http://www.chickenonaunicycle.com/Fill Aud Shows.htm
> 
> Note first entry for December 1965 -
> 
> 10 December 1965
> Fillmore Auditorium, San Francisco, CA
> Jefferson Airplane, Great Society, Mystery Trend, Warlocks, Notes: Appeal 2-benefit For SF Mime Troupe. Also Performing:, Gentlemen's Band, The Vipers *(John Handy Quintet did not play)*
> 
> This is a complete list of acts which appeared at the Fillmore East -
> 
> http://www.chickenonaunicycle.com/Fill East Shows.htm
> 
> 12 April 1968
> Fillmore East, New York, NY
> Butterfield Blues Band, Charles Lloyd, Tom Rush Lights: Joshua Light Show, Notes: 2 Shows
> 
> 13 April 1968
> Fillmore East, New York, NY
> Butterfield Blues Band, Charles Lloyd, Tom Rush Lights: Joshua Light Show, Notes: 2 Shows
> 
> http://www.chickenonaunicycle.com/Fill East Shows.htm
> 
> This is the complete list of acts which appeared at the Fillmore West (starting 05 July 1968)
> 
> http://www.chickenonaunicycle.com/Fill West Shows.htm
> 
> 26 July 1968
> Fillmore West, San Francisco, CA
> Charles Lloyd, Herd, James Cotton Lights: Holy See
> 
> 27 July 1968
> Fillmore West, San Francisco, CA
> Charles Lloyd, Herd, James Cotton Lights: Holy See
> 
> 28 July 1968
> Fillmore West, San Francisco, CA
> Charles Lloyd, Herd, James Cotton Lights: Holy See
> 
> Editor's Note - "Herd" was fronted by 18 year old lead vocalist and guitarist Peter Frampton.


So Lloyd played the Fillmore Auditorium on 20 January 1967 and I can see no trace of Handy ever playing there so the Jazzwise notes would appear to be mistaken and Lloyd was indeed the first jazz act to play the Fillmore.


----------



## Duncan

Barbebleu said:


> So Lloyd played the Fillmore Auditorium on 20 January 1967 and I can see no trace of Handy ever playing there so the Jazzwise notes would appear to be mistaken and Lloyd was indeed the first jazz act to play the Fillmore.


Yes, you're right - there was so much copying, pasting, and formatting going on that this section for "The Fillmore" went astray -

20 January 1967
Fillmore Auditorium, San Francisco, CA
Butterfield Blues Band, Charles Lloyd

21 January 1967
Fillmore Auditorium, San Francisco, CA
Butterfield Blues Band, Charles Lloyd

22 January 1967
Fillmore Auditorium, San Francisco, CA
Butterfield Blues Band, Charles Lloyd, Notes: 2pm Show

27 January 1967
Fillmore Auditorium, San Francisco, CA
Butterfield Blues Band, Charles Lloyd

28 January 1967
Fillmore Auditorium, San Francisco, CA
Butterfield Blues Band, Charles Lloyd

29 January 1967
Fillmore Auditorium, San Francisco, CA
Butterfield Blues Band, Charles Lloyd, Notes: 2pm Show

Reckon those 2 pm matinees were discount shows geared towards children and seniors, eh?


----------



## Duncan

Barbebleu said:


> So Lloyd played the Fillmore Auditorium on 20 January 1967 and I can see no trace of Handy ever playing there so the Jazzwise notes would appear to be mistaken and Lloyd was indeed the first jazz act to play the Fillmore.


It needs someone with far more expertise to determine the significance of these two entries -

https://www.pbs.org/kqed/fillmore/learning/people/handy.html

This is a website from "Public Broadcasting Service" the American public broadcaster entitled "The Fillmore" - they have a page on John Handy in which he's listed as "Saxophonist Former Fillmore Resident" but the page describes his playing at "Bop City" -

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

Music of the Fillmore

- Swing the Fillmore

http://www.pbs.org/kqed/fillmore/learning/music/swing.html


----------



## Barbebleu

Perhaps whoever compiled the notes on John Handy for Jazzwise confused Bop City on Fillmore Street with the 'Fillmore'! Who knows. Doesn't alter the fact that he played some immense music. It's a shame he is not massively represented on disc.

Btw, your posts have encouraged me to go back and listen to few of these albums that haven't had an outing for a while. Thanks for that.


----------



## Duncan

*Lester Young - Lester Young/Buddy Rich Trio - Verve *

*Young (ts), Nat King Cole (p) and Buddy Rich (d). 
Rec. 1946*

*Link to complete album (with Nat "King" Cole Bonus Track) -*

https://www.youtube.com/playlist?list=OLAK5uy_kTtz9CCXAgYUOTVmq10O11uXLACji7VPc

"Young was past his creative peak by the time vinyl LPs became the norm for recording purposes, but luckily a young Norman Granz snuck this session in during 1946 while Young was signed elsewhere, then sat on it until he signed Young himself in 1952. It catches Young in absolute peak mid-career form, accompanied by Nat King Cole on piano and Buddy Rich on drums. With the spotlight for once firmly on Young himself, the intimate date exhibits all Young's soul, elusive melodic and rhythmic invention, down-home drive and unearthly delicacy and shows just why he was Charlie Parker's early idol."
*
Jazzwise
100 Jazz Albums That Shook The World
# 54*


----------



## Duncan

*Pharoah Sanders - Karma - Impulse!*

*Sanders (ts) Leon Thomas (v, perc), James Spaulding (fl), Julius Watkins (Fr hn), Lonnie Liston Smith (p), Richard Davis, Reggie Workman, Ron Carter (b), Freddie Waits, William Hart (d) and Nathaniel Betis (perc). Rec. 1969*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_kqq4GRbZf9ECDCFrpXQ3Md7B0-MhaGJ_k

"What a sleeve! The saxophonist's meditative pose against a hazy burnt orange sun posits Karma as a healing sound for love children alarmed by the bomb, the bullet and the ballot. Coming out of the universal consciousness of mentor John Coltrane and borrowing some of the celestial majesty of his widow Alice, Sanders gets modal-hymnal on the enduring 'The Creator Has A Master Plan' and dazzlingly abstract on 'Colors'. These heady cosmic grooves fed the creative fire of anyone from Roy Ayers to Lonnie Liston Smith in the 1970s and inspired the more discerning purveyors of pro-tools instrumental music such as The Cinematic Orchestra in the millennium."

*Jazzwise
100 Jazz Albums That Shook The World
# 53*


----------



## Duncan

*John McLaughlin - Extrapolation - Marmalade*

*John McLaughlin (g), John Surman (bs, ss), Brian Odges (b) and Tony Oxley (d). Rec. 1969*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_mKm4NpG6DQs2o_fM-VCd5NOsejjFAetrg

"The 1960s was a decade when British jazz emerged with a strong identity with classic albums from the likes of Mike Westbrook, Michael Garrick, Don Rendell-Ian Carr Quintet and Mike Gibbs to name but a few. But Extrapolation is the most prophetic, not only as a stepping stone in McLaughlin's career - from Extrapolation to Tony Williams' Lifetime to Bitches Brew to the Mahavishnu Orchestra are indeed surprisingly small strides - but for how change in jazz in the late 1960s and early 1970s would shape up. This mixture of freedom (often "time, no changes") and structure as well as the increasing sense of identity in McLaughlin's playing framed by Surman and Oxley make for compelling listening."

*Jazzwise
100 Jazz Albums That Shook The World
# 52*


----------



## Duncan

*John Zorn - Naked City - Elektra/Nonesuch*

J*ohn Zorn (as), Bill Frisell (g), Wayne Horvitz (ky), Fred Frith (b) and Joey Baron (d). Rec. 1989*

*Link to complete album - *

https://www.youtube.com/playlist?list=PL219896963C35F8E5

"This is a superb example of post modern jazz. Zorn, the arch post modernist, expropriated practices, fragments and signifiers of different, sometimes alien music and relocated them within his own brash expressionism. Thus there's fleeting references to jazz, blues, surf guitars, film noir moods, country music plus short, sharp noise shocks all made possible by Bill Frisell's versatile guitar. Using segue-like channel zapping on TV, one mood is thrust in harsh disjunction with another. The only thing certain about postmodernism is uncertainty, so we should pay attention to this music, because uncertainty in an uncertain world is shaping all of us."

*Jazzwise
100 Jazz Albums That Shook The World
# 51*


----------



## Duncan

*Lennie Tristano - Tristano - Atlantic 
*
*Tristano (p), Lee Konitz (as), Peter Ind, Gene Ramey (b), Jeff Morton and Art Taylor (d). Rec. 1955*

*Link to complete album - *






"Theorist, teacher, creative thinker and virtuoso pianist, Tristano had advanced and very firmly held views about what constituted good playing practice. He expected his musicians to adhere to such views and accept whatever discipline he imposed. That it worked for others can be heard in Lee Konitz and Warne Marsh, and that it was influential can be discerned through Bill Evans's absorption of Tristano's methods. But Tristano's own audience remained tiny, this Atlantic album containing his moving elegy to Charlie Parker, 'Requiem', and his controversial multi-tracking of his own piano lines, 'Line Up', providing a brief moment when everyone sat up and took notice."

*Jazzwise
100 Jazz Albums That Shook The World
# 50*


----------



## starthrower

How about something new? I really enjoy this album.






https://sdbanrecords.bandcamp.com/album/airships-are-organisms


----------



## Duncan

*Joshua Redman, Ron Miles, Scott Colley and Brian Blade, 'Still Dreaming'*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_ngrBzJXR2zbJMisOHNwYRW2c4e_lg7rkQ


----------



## Duncan

*Andrew Cyrille, 'Lebroba' *

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_m3buNIRpgGlu_TrHbc3WPv-j1gHsrLDRg


----------



## Duncan

*Kris Davis and Craig Taborn, 'Octopus' *

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_npNswvA3nqGaB2w2k1n2A5llaUbUUmIHo


----------



## Duncan

*Anteloper, 'Kudu' *

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_lHFdPBuhqxdMZPJvPMxdTn0aNhULfyEcE


----------



## Duncan

*Hailu Mergia, 'Lala Belu'*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLt1w7xfPhaPXcbRNwVJB4_YsLaBAWghdg


----------



## Duncan

*Dizzy Gillespie - Shaw 'Nuff - Musicraft 
*
*Gillespie (t), Charlie Parker, Sonny Stitt (as), Dexter Gordon (ts), Clyde Hart, John Lewis, Frank Paparelli (p), Milt Jackson (vb), Chuck Wayne (g), Ray Brown, Curly Russell, Slam Stewart (b), Sid Catlett, Kenny Clarke, Cozy Cole, Shelly Manne (d) and Sarah Vaughan (v) plus many others. Rec. 1945-6*

*Link to compilation of clips - *






"Those who only know Gillespie from his 1950s efforts onwards can have no conception as to the veritable force of nature his trumpet playing was in the 1940s. This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here. These sessions, like the Parker Savoys, are the holy tablets of bop."

*Jazzwise
100 Jazz Albums That Shook The World
# 49*


----------



## Duncan

*Sun Ra - The Heliocentric Worlds of Sun Ra Volume 1- ESP-Disk*

*Sun Ra (p, mba, cel, perc), Chris Capers (t), Teddy Nance (tb), Bernard Pettaway (b tb), Danny Davis (f, as), Marshall Allen (picc, as, perc), Robert Cummings (bcl, perc), John Gilmore (ts, perc), Pat Patrick (bs, perc), Ronnie Boykins (b) and Jimhmi Johnson (perc). Rec. 1965*

*Link to complete album -*

https://www.youtube.com/playlist?list=PLpszlaVYHIX7SIXllW1xIMzr8f192w0Dg

"Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter."

*Jazzwise
100 Jazz Albums That Shook The World
# 48*


----------



## Duncan

*Sonny Rollins - The Bridge - RCA Victor*

*Rollins (ts), Jim Hall (g), Bob Cranshaw (b), Ben Riley and Harry Saunders (d). 
Rec. 1962*

*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_kYG_yeOErVktO5xeJlXY8MKSI0M7Uz74Y

"There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music."

*Jazzwise
100 Jazz Albums That Shook The World
# 47*


----------



## Duncan

*Andrew Hill - Point of Departure - Blue Note*

*Hill (p), Kenny Dorham (t), Eric Dolphy (f, as, bcl), Joe Henderson (ts, f), Richard Davis (b) and Tony Williams (d). Rec. 1964
*

*Link to complete album -*

https://www.youtube.com/playlist?list=PLvH3X_Ug_fmd7tARghg6-UM9_2zuhewFy

"Hill's is of course a multi-faced talent - a brilliant pianist and improviser, he is also one of jazz's outstanding composer-arrangers. This album emphasises the latter talents: he uses his highly personal sense of composition and instrumental colour much as Jelly Roll Morton did back in the late 1920s, bringing out sensational new sonorities and ideas between the select group of musicians he is using here and goading them to some of their most eloquent playing, individually and collectively. When those musicians include the front line we have here, that makes for some very special music indeed."

*Jazzwise
100 Jazz Albums That Shook The World
# 46*


----------



## Duncan

*John Coltrane - Impressions - Impulse!*

*Coltrane (ss, ts), Eric Dolphy (bcl, as), McCoy Tyner (p), Reggie Workman, Art Davis, Jimmy Garrison (b) and Elvin Jones (d). Rec. 1961 and 1963*

"This was Coltrane's second scoop into the Aladdin's cave of music he'd made at the Village Vanguard in November 1961. The first, released as At The Village Vanguard in 1962, had whipped up a storm of criticism and, through the blues 'Chasin' The Trane', served notice to a new generation about the music to come. This one went even further - India threw open the floodgates to the east in jazz, while 'Impressions' is 14 minutes of solid gold inspiration from Trane and Elvin. The 1963 studio fillers, 'Up Against The Wall' and 'After The Rain', are two exquisite musical punctuation points."

*Jazzwise
100 Jazz Albums That Shook The World
# 45*


----------



## Bwv 1080

Mahler Jazz

"Ging heut' Morgen über's Feld", second song of Lieder eines fahrenden Gesellen (also Symphony #1 first movement) nice little nod to the Symph 1 Finale in the bass solo around 3:10


----------



## Duncan

*George Russell The Jazz - Workshop - RCA Victor*

*George Russell (comp, arr, boombams), Art Farmer (t), Hal McKusick (as, f), Barry Galbraith (g), Bill Evans (p), Milt Hinton, Teddy Kotick (b), Joe Harris, Paul Motian and Osie Johnson (d). Rec. 1956
*
*Link to complete album - *

https://www.youtube.com/playlist?list=OLAK5uy_nEbIfUNujqsD6WJTlq2mgCaIULi3Cr05s

"One of the most important jazz albums ever. Using just six players, Russell achieves wonderful orchestral textures within these 12 compositions, thanks partly to guitarist Galbraith, and introduces the world to modal jazz (and Bill Evans) en route. Strange new harmonies, polyrhythms, pantonality and extended composition - with Russell and Gil Evans, jazz just became a complete new zone of potentialities. More influential on the jazz community directly, on Miles, Coltrane and Oliver Nelson, than through its sales, this is the one that so many musicians still check out. A masterpiece of small group playing and a masterclass on the role of composition in the music."

*Jazzwise
100 Jazz Albums That Shook The World
# 44*


----------



## Duncan

*Miles Davis - Sketches Of Spain - Columbia *

*Davis (t, flhn), orchestra and Gil Evans (cond, arr). Rec. 1960*

*Link to complete album - *

https://www.youtube.com/playlist?list=PL729F6E4D47DD5B45

"Miles already had two bona-fide large-group masterpieces for Columbia down in the plus column with Miles Ahead and Porgy & Bess by the time he and Gil Evans assembled this finely-drawn re-workings of classical pieces of music generally associated with Spain. At its core is the brooding central movement from Rodrigo's Concierto de Aranjuez, but the poignant lyricism and incandescent colours Miles and Gil invest the other pieces, including a rare Evans original, with a singularity of vision and intent that makes this a burningly bright and unified achievement. Once more they'd broken the mould, for themselves and everyone else."

*Jazzwise
100 Jazz Albums That Shook The World
# 43*


----------



## Duncan

*Stan Getz - Focus - Verve *

*Getz (ts), Roy Haynes (d), chamber string group and Hershey Kay (cond). Rec. 1961*

*Link to complete album -*

https://www.youtube.com/playlist?list=PL203DFFA4907C5EA3

"Nothing in the history of jazz soloist-plus-strings recordings could prepare the uninitiated listener for what this album delivers. Getz's commission to his favourite arranger/composer Eddie Sauter was completely open-ended. What Sauter delivered was a suite that stood up as music independently of anything Getz might add melodically but that left him plenty of room to create the most gorgeous tapestry of sound and emotion, interweaving between all the richness of Sauter's lean, expressive scores. Focus stands in glorious isolation even within the jazz tradition but is a certifiable classic within the genre that others still cite in awe."

*Jazzwise
100 Jazz Albums That Shook The World
# 42*


----------



## Duncan

*Chick Corea - Return To Forever - ECM*

*Corea (el p), Joe Farrell (f, ss), Stanley Clarke (el b), Airto Moreira (d, perc) and Flora Purim (v). Rec. 1972*

"By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the élan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone."

*Jazzwise
100 Jazz Albums That Shook The World
# 41*


----------



## Duncan

*Billie Holiday - At JATP - Clef/Verve 
*
*Holiday (v), Howard McGhee, Buck Clayton (t), Trummy Young (tb),Willie Smith (as), Illinois Jacquet, Wardell Gray, Coleman Hawkins, Lester Young (ts), Milt Raskin, Ken Kersey, Tommy Tucker (p), Charles Mingus, Al McKibbon (b), J.C. Heard and Jackie Mills (d). Rec. 1945-47*

*Link to complete album -*

https://www.youtube.com/playlist?list=PL207787D6DB8241CD

"People call Billie Holiday THE voice of jazz. However, her discography on vinyl is convoluted: her 1930s 78rpm output, where she was normally a featured singer rather than the star, had to wait until the 1960s to appear in any ordered way and the 1990s to appear substantially on CD. Ditto her 1940s Deccas. By the time she settled with Verve in 1952 her voice had darkened and lost its suppleness. This set of live performances from the mid-40s, however, finds her in good musicianly company, vocally at a peak and expressively in the mood to sweep all before her across a classic selection of material, including 'Strange Fruit' and 'Billie's Blues'."

*Jazzwise
100 Jazz Albums That Shook The World
# 40*


----------



## Duncan

*Tony Williams Lifetime - Emergency! - Polydor*

*Tony Williams (d), Larry Young (org) and John McLaughlin (g). Rec. 1969.
*
*Link to complete album -*

https://www.youtube.com/playlist?list=PL94gOvpr5yt2xvnulYtgnXltmqHZSoZqq

"This bold attempt to expand the boundaries of jazz in a dramatic jazz, blues, rock, Hendrix, MC5 amalgam left temperate listeners shell shocked and critics speechless. Today, the mere mention of jazz-rock prompts cries from establishment critics of "sell-out," but if this is selling-out, then maybe they should consider another line of work. This is jazz, rhythm and electricity writ large in a tumbling roller coaster of ideas. No wonder the album was called Emergency, with every member of the band having so much to say but so little time to say it."

*Jazzwise
100 Jazz Albums That Shook The World
# 39*


----------



## Duncan

*Cannonball Adderley - Somethin' Else - Blue Note*

*Adderley (as), Miles Davis (t), Hank Jones (p), Sam Jones (b) and Art Blakey (d). Rec. 1959*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLTIb4fKCEAevQGcDKFIXdimOXsMK4uVNv

"Adderley was about to push into the soul-jazz era when he made this one-off for Blue Note. In a sense it was a vale to what had passed between the altoist and Miles Davis during the time they shared the bandstand in the Miles Davis Sextet, complete with Miles' compulsive borrowings from Ahmad Jamal and the delicate balance struck between the beautiful simplicity of the emerging modernist simplicity and Cannon's natural ebullience. Miles got the altoist to shine through ballads and burnished blowing throughout, complementing in fine style while the rest of the crew kept a discreet distance. The Blue Note RVG version contain an extra track from this session."

*Jazzwise
100 Jazz Albums That Shook The World
# 38*


----------



## Duncan

*Charles Mingus - The Black Saint And The Sinner Lady - Impulse! *

*Rolf Ericson, Richard Williams (t), Quentin Jackson (tb), Don Butterfield (tba), Jerome Richardson (fl, ss, bar s), Dick Hafer (fl, ts), Charlie Mariano (as), Jaki Byard (p), Jay Berliner (g), Charles Mingus (b, p) and Dannie Richmond (d). Rec. 1963 *

*Link to complete album -*






"Maybe you have to acquire a taste for Mingus before getting to this, but I've known people with significant non-Mingus backgrounds fall headlong for it at first hearing. Whether you come from Ellington or from Coltrane or from blues-bands, there's stuff from this almost continuous suite to captivate you. Even techno fans - no sampling as such - will find early creative use of editing, recycling and overdubbing. Even more creative is the work of soloists such as Jackson, Byard and the amazing Mariano (later of ECM and all points east), and the unaccompanied flamenco guitar part apparently written note-for-note by Mingus himself."

*Jazzwise
100 Jazz Albums That Shook The World
# 37*


----------



## Duncan

*Ella Fitzgerald - Sings The Cole Porter Songbook - Verve*

*Fitzgerald (v) and the Buddy Bregman Orchestra. Rec. 1956*

*Link to complete album - *

https://www.youtube.com/playlist?list=PL8a8cutYP7fohtC8ZZRDbFM7Xe6BdgKzK

"Norman Granz had long cherished the ambition to have Ella recording for his label but had to wait until 1956 to make the signing. His first project for her was to record as many Cole Porter songs as they could lay their hands on in large ensemble style and release them (initially as volumes one and two) on an unsuspecting but quickly enraptured public. The idea caught on and Ella kept doing composer songbooks well into the 1960s. Nobody did it better, even though it could be said that Sinatra's studious avoidance of such anthologies produced the greater individual legacy."

*Jazzwise
100 Jazz Albums That Shook The World
# 36*


----------



## Duncan

*Duke Ellington - Ellington At Newport - Columbia*

*Ellington (p), Willie Cook, Ray Nance, Clark Terry, Cat Anderson (t), Britt Woodman, Quentin Jackson, John Sanders (tb), Johnny Hodges, Russell Procope (as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bar s), Jimmy Woode (b) and Sam Woodyard (d). Rec. 1956*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLO7CetMUy1Of_0WRJOCAQrNPGphOqVI2m

"Ellington often acknowledged that the 1956 Newport Jazz Festival offered him a virtual rebirth in terms of his in-person and recording career but there is little doubt as to why. Apart from the on-site near-riot after the conclusion of 'Diminuendo And Crescendo in Blue', this is a well-paced record for a lounge-chair audience wanting to know what the excitement was all about. The fact that 60 per cent of the original (including just about all of The Festival Suite) was recorded in the studio in the following days due to onstage microphone problems was only confirmed decades later."

*Jazzwise
100 Jazz Albums That Shook The World
# 35*


----------



## Duncan

View attachment 124860


*JP Schlegelmilch, Jonathan Goldberger and Jim Black, 'Visitors' *

*Link to complete album - *

https://www.youtube.com/playlist?list=PL5jQ1gQ7RGA3vN0N5ARzU1HIqAu4eWMhE


----------



## Duncan

View attachment 124861


*Kamasi Washington, 'Heaven and Earth'*

*Link to complete album - *

https://www.youtube.com/playlist?list=PL66rpxRAampshD4GYtIg__4nnEaXCybjJ


----------



## starthrower

Andrew Cyrille - X Man
1994 Black Saint


----------



## Duncan

*JP Schlegelmilch, Jonathan Goldberger and Jim Black, 'Visitors' 
*
*Link to complete album - *

https://www.youtube.com/playlist?lis...zU1HIqAu4eWMhE


----------



## Duncan

*Kamasi Washington, 'Heaven and Earth' *

*Link to complete album - *

https://www.youtube.com/playlist?lis...g__4nnEaXCybjJ


----------



## starthrower

I'm on an Oregon kick. I just ordered four 70s album re-issues on the Wounded Bird label.
http://www.woundedbird.com/

The expanded rendition of The Silence Of A Candle from "In Concert" 1975. Listening to this tune and Collin Walcott's solo, I can't help but think of Metheny. I'm sure he was absorbing these sounds and those of the early ECM releases. The influence is very apparent.


----------



## philoctetes

Saw the Julian Lage Trio on Saturday. Or rather I should say, the Julian Lage Trio absolutely nuked Healdsburg CA on Saturday. Don't miss Julian if he comes your way.


----------



## philoctetes

philoctetes said:


> Saw the Julian Lage Trio on Saturday. Or rather I should say, the Julain Lage Trio absolutely nuked Healdsburg CA on Saturday. Don't miss Julian if he comes your way.


Also saw Morrissey in SF on Thursday, and had no time left for Hardly Strictly in Golden Gate Park... Bill Frisell was on that lineup. Quite a weekend for music in the Bay Area.


----------



## Jay




----------



## Larkenfield

Peggy Lee just startin' out:






The later interview where she talks about "phrasing like a musician": 
https://www.namm.org/library/oral-history/peggy-lee

She did. :cheers:






She loved Billie Holiday.


----------



## starthrower




----------



## starthrower




----------



## Larkenfield

Alice Sara Ott & Francesco Tristano "A soft shell groove"


----------



## Larkenfield




----------



## Larkenfield




----------



## Larkenfield




----------



## Larkenfield

Senri is breathtaking on drums. :cheers:


----------



## Jay




----------



## Larkenfield




----------



## tortkis

New Year's Eve at Sweet Basil - Art Blakey & The Jazz Messengers









Art Blakey, Terence Blanchard, Donald Harrison, Jean Tousaint, Tim Williams, Mulgrew Miller, Lonnie Plaxico
Recorded December 30 & 31, 1985

This was my favorite Jazz Messengers album. Good compositions, everyone plays brilliantly. Donald Harrison is especially impressive. I Want to Talk About You featuring Harrison is terrific.


----------



## Duncan

*Joe Lovano and Dave Douglas Sound Prints, 'Scandal' *

Link to complete album -

https://www.youtube.com/playlist?list=OLAK5uy_nXjfVOfkfdppFQIGzVFoDFb3djCmBpDdM


----------



## Duncan

*James Brandon Lewis and Chad Taylor, 'Radiant Imprints' *

Link to complete album -

https://www.youtube.com/playlist?list=OLAK5uy_n10WbeqTuq_i6p8La9Y2fXHCESZSBqJIU


----------



## Duncan

*Houston Person and Ron Carter, 'Remember Love' *

Link to complete album -

https://www.youtube.com/playlist?list=OLAK5uy_mUzgL-1qOP2RlW6JWN0LpeuCSbUKmNZrs


----------



## Duncan

*Ray Angry, 'One' *

Link to complete album -

https://www.youtube.com/playlist?list=OLAK5uy_myVKPLENcnSXK_13nlGXL6Z6bDC2Tg_BY


----------



## Duncan

*Charles Lloyd and the Marvels + Lucinda Williams, 'Vanished Gardens' *

Link to complete album -

https://www.youtube.com/playlist?list=OLAK5uy_lZwHo8VS4gkQnGZ6xxL1a5ypZSatHlUpc


----------



## Duncan

*Woody Herman - The Thundering Herds - Columbia *

*Herman (cl, as, v) Sonny Berman, Pete Candoli, Conte Candoli, Shorty Rogers, Conrad Gozzo, Ernie Royal (t), Bill Harris (tb), Sam Marowitz, John LaPorta, Flip Phillips, Pete Mondello, Herbie Steward, Stan Getz, Zoot Sims, Serge Chaloff (reeds), Margie Hyams, Red Norvo (vb), Ralph Burns, Jimmy Rowles (p), Billy Bauer, Chuck Wayne (g), Chubby Jackson (b), Dave Tough and Don Lamond (d). Rec. 1945-47*

"The 1945-47 Herman bands - they came to be known as the First and Second Herds - were 1940s big band punk, high on their own adrenalin, testing all the boundaries and playing stampeding music that remains some of the most exciting of the last fifty years, whatever the genre: these guys took the sophistication of Ellington, grafted it on to the bone-chilling excitement of the Gillespie big band soloists and anchored it with the insanely swinging rhythm section of bassist Chubby Jackson and drummer Dave Tough."

*Jazzwise
100 Jazz Albums That Shook The World
# 34*


----------



## Duncan

*Jan Garbarek - Afric Pepperbird - ECM*

*Jan Garbarek (ts, fl), Terje Rypdal (g), Arild Andersen (b) and Jon Christensen (d). Rec. 1970*

"From the opening track 'Scarabee', the jazz world outside Scandinavia was introduced to a Nordic sensibility in jazz, the Nordic Tone. Intensity, meaning and space are essential to understanding what is probably the most misunderstood approach to jazz improvisation. Garbarek combines the intensity of Albert Ayler and the economy of Dexter Gordon but reinscribes them with Nordic folkloric allusions, to produce, in producer Manfred Eicher's words "an alternative to the American approach to jazz," an approach he champions to this day."

*Jazzwise
100 Jazz Albums That Shook The World
# 33*


----------



## Duncan

*Jimmy Smith - A New Sound, A New Star - Blue Note*

*Smith (org), Thornel Schwartz (g), Bay Perry and Donald Bailey (d). Rec. 1956*

"It's that simple: Jimmy Smith invented modern jazz organ and this is the album (in fact, volume one of two quickly-released volumes recorded at the same February 1956 sessions) where he announced his arrival. From the off, Blue Note was looking for commercial success and his version of 'The Champ', though not the first Jimmy Smith Blue Note single (on Volume two rather than Volume one), delivered big time. By then the first album had delivered a blues-plus-bebop blueprint for the jazz organ trio that Smith would subsequently develop, refine and occasionally revise, but that stayed remarkably consistent in content and quality over the next decade."

*Jazzwise
100 Jazz Albums That Shook The World
# 32*


----------



## Duncan

*Pat Metheny - Bright Size Life - ECM*

*Pat Metheny (g), Jaco Pastorius (b) and Bob Moses (d). Rec. 1975*

"The first blooming of Metheny's great talent as a recording artist in his own right came with this stunning trio which he led while teaching at Berklee School of Music and a member of Gary Burton's group of the day. At this stage of career (he was 21) Metheny indulged Pastorius somersaulting on to the stage and doing back flips off his speaker cabinet, and this mixture of Pastorius' exuberance and Metheny's intensity, moderated by the impeccable taste of Bob Moses lends a freshness to this album that makes it seem as if it were recorded yesterday."

*Jazzwise
100 Jazz Albums That Shook The World
# 31*


----------



## Duncan

*Stan Getz/Joao Gilberto - Getz/Gilberto - Verve *

*Getz (ts), Joao Gilberto (v, g), Antonio Carlos Jobim (p), Tommy Williams (b), Milton Banana (perc) and Astrud Gilberto (v). Rec. 1963*

"Funnily enough, this spring 1963 session was close to Getz's last serious stab at bossa nova - he'd already had massive success with Jazz Samba and Jazz Samba Encore - but it turned out to be the musical perfection perhaps no-one had actually been looking for but everyone instantly recognised on the album's release. This is perhaps the coolest, most definitively etched marriage of melody and latin rhythm ever achieved, and it was achieved by the towering genius of Tom Jobim's tunes and spare piano accompaniment, Gilberto's uniquely intimate voice and guitar, a rhythm section that breathes life and colour, all of it topped by the supreme melodist, Stan Getz. All that plus Joao's wife Astrud as a last minute show stealer and you have a classic on your hands."

*Jazzwise
100 Jazz Albums That Shook The World
# 30*


----------



## Duncan

*Herbie Hancock - Maiden Voyage - Blue Note*

*Freddie Hubbard (t), George Coleman (ts), Herbie Hancock (p), Ron Carter (b) and Tony Williams (d). Rec. 1965*

"A classic jazz album produced at a time when such albums seemed to be coming out every other day. Essentially the Miles Davis Quintet of the day with Hubbard pinch hitting for Davis (and playing as well as he would at any point of career) it contained two Hancock originals that would assume quickly the status of jazz standards. The binary 34-bar 'Dolphin Dance' and the modal 32-bar 'Maiden Voyage', with its pre-arranged rhythmic structure that is maintained throughout, will probably be played as long as jazz itself. Add to that 'Little One', previously recorded by Davis on ESP, and you have the concept album to end all concept albums."

*Jazzwise
100 Jazz Albums That Shook The World
# 29*


----------



## Duncan

*Art Blakey - Moanin' - Blue Note*

*Blakey (d), Lee Morgan (t), Benny Golson (ts), Bobby Timmons (p) and Jymie Merritt (b). Rec. 1958*

"Blakey was in on the ground floor when it came to the evolution of hard bop into soul jazz, having co-led the first Jazz Messengers with Horace Silver back in 1956. By 1958 he'd gone through a number of versions of the band, with this becoming the blueprint version for the next half a decade. With Benny Golson and Bobby Timmons supplying hard bop anthems such as the title tune, 'Along Came Betty' and 'Blues March', and the front line soloists refining their long, elaborate post-bop lines into the shorter and more pithy soul-based hard bop lines of the late 1950s, this Blakey band, and this Blakey album, defined soul jazz."

*Jazzwise
100 Jazz Albums That Shook The World
# 28*


----------



## Duncan

*Cecil Taylor - At The Café Montmartre - Debut *

*Taylor (p), Jimmy Lyons (as) and Sunny Murray (d). Rec. 1962
*
"Taylor had been a thorn in the modern US jazz world's side since the mid 1950s with his uncompromising approach to music-making, but up until this live date recorded in Copenhagen by the Danish Debut label he'd not made the decisive steps into free playing that would revolutionise the very basis of jazz rhythm. Here, Taylor, Lyons and Murray race pell-mell into music without metric boundaries, throwing open a Pandora's box of possibilities that would be investigated intensely by every jazz avant-gardist worldwide for the next 20 years. Additionally, Taylor's supercharged playing on this date was the first glimpse on record of his ability to sustain such white heat over Coltrane-like stretches of playing time."

*Jazzwise
100 Jazz Albums That Shook The World
# 27*


----------



## Duncan

*Bud Powell - The Genius of Bud Powell - Clef/Verve
*
*Powell (p), Ray Brown (b) and Buddy Rich (d). Rec. 1950-51*

Link to complete album -

https://www.youtube.com/playlist?list=OLAK5uy_nweo7xqUAujQnBRnh1cPL4pmlq6zdbz0c

"Two Herculean trio tunes - 'Tea For Two' and 'Hallelujah', both taken at breakneck speeds - make up the 1950 contribution here. With the benefit of extra CD space we get treated to two extra takes of 'Tea For Two', giving us an object lesson in how Powell developed his material as well as maintaining his incredible improvisational creativity. But the real jewels on this album are the eight solo selections recorded in February 1951. The level of invention Powell achieves puts this recital on equal par with anything in the recorded annals of jazz piano and makes it basic required jazz listening."

*Jazzwise
100 Jazz Albums That Shook The World
# 26*


----------



## Duncan

*Modern Jazz Quartet - Fontessa - Atlantic 
*
*John Lewis (p), Milt Jackson (vb), Percy Heath (b) and Connie Kay (d). Rec. 1956*

"It's difficult at this distance, with so much noise and fury intervening, to credit the radicalism of John Lewis' brief for the Modern Jazz Quartet, but back in 1956 they were doing stunningly new things in jazz in just about every musical area - form, content, arrangement, interplay and theory. They also had a secret weapon in that all four musicians were steeped in the blues and could wail whenever they needed to, thus obviating any tendency to effete noodling when things got a little formal. Fontessa was their first for Atlantic with the fully integrated line-up including Connie Kay: it delivered a perfect blueprint for the many MJQ advances of the next decade."

*Jazzwise
100 Jazz Albums That Shook The World
# 25*


----------



## starthrower

Premonition/Blue Note 1998

This one will make your audio system sound great. And the music is so cooooooooooool!!!!


----------



## starthrower

Wonderful film!


----------



## Duncan

*Wes Montgomery - The Incredible Jazz Guitar of Wes Montgomery - Riverside 
*
*Wes Montgomery (g), Tommy Flanagan (p), Percy Heath (b) and Albert Heath (d). Rec. 1960*

*Link to complete album - *

https://www.youtube.com/playlist?list=PLsWRn_ghmirIO-fmO0wjqkK3j7ooXIs4G

"Wes Montgomery simply played differently from all the others. He picked the strings with his thumb instead of a plectrum, creating a fresh, warm sound - sensitive on ballads but incisive on fast tempos. His solos would move through three stages, beginning with single-line improvisation, then shifting up a gear with passages in unison octaves, before building to a climax with lines stated in block chords. The effect was stunning and like Charlie Christian two decades earlier, his innovations were to open up new possibilities for the guitar and be the inspiration for a new generation of guitar players, including George Benson, Pat Martino and Larry Coryell, who once played Wes' own solo on 'D Natural Blues' to a surprised Wes. Every track on this album is a classic and his songs 'West Coast Blues' and 'Four on Six' have become part of the jazz canon."

*Jazzwise
100 Jazz Albums That Shook The World
# 24*


----------



## Duncan

*Frank Sinatra - Songs For Swingin' Lovers - Capitol *

*Frank Sinatra (v), Nelson Riddle (arr, cond) and big band. Rec. 1955-56
*
"Sinatra the jazz singer? There are vast swathes of Sinatra recordings that could never be remotely described as jazz, but the man himself credits Tommy Dorsey and Billie Holiday as his musical mentors and, when he put his mind to it, he could phrase and swing with the best. Additionally - and crucially - he influenced just about every jazz singer and musician worthy of the name between the 1940s and today, including such people as Lester Young, Miles Davis and John Coltrane, all of whom had listened very closely indeed to Sinatra's balladry. This classic mid-50s session puts Frankie's jazz credentials perfectly in order and throws down the gauntlet for everyone else."

*Jazzwise
100 Jazz Albums That Shook The World
# 23*


----------



## Duncan

*Jelly Roll Morton - Volume 1 - JSP*

*Morton (p, comp, arr), George Mitchell (c), Edward Kid Ory (tb), Omer Simeon, Barney Bigard, Darnell Howard, Johnny Dodds (cl), Stump Evans (as), Johnny St Cyr (bj), John Lindsay (b), Andrew Hilaire, Baby Dodds (d) and others. Rec. 1926-28*

"As with Sidney Bechet, it's devilishly hard to find a single compilation of Morton that covers all the essentials. This one doesn't quite, but does it better than most, and also does it under the auspices of remastering from original 78s by John R.T. Davies, whose expertise in this area is legendary. Morton's miraculous flowering in this period has to be heard to be believed, with his arrangements of his own and others' tunes so multi-faceted, so imaginative and full of incredible creative drive as to be a collective body of genius to place alongside that of Ellington and - much later - Mingus or Gil Evans. Except he did it first."

*Jazzwise
100 Jazz Albums That Shook The World
# 22*


----------



## Duncan

*Ahmad Jamal - But Not For Me - At The Pershing - Argo*

*Jamal (p), Israel Crosby (b), Vernell Fournier (d). Rec. 1958*

"Jamal's ideas about integrated and disciplined trio interplay had already deeply influenced jazz's inner circle of musicians while his piano-guitar-bass trio was around throughout the early 1950s. However, things went supernova-ish when this incredible unit made and released this jazz best-seller in 1958. Nobody remained untouched by his light-but-tight approach, his winningly imaginative arrangements and his incredible attention to dynamics. The highlight may have been 'Poinciana', but every track is an object lesson in how to draw the best from a tune. That it was no flash in the pan is shown by the music's drawing power and continuing fascination today, as well as its ability to influence every new generation of pianists."

*Jazzwise
100 Jazz Albums That Shook The World
# 21*


----------



## Duncan

*Weather Report - Heavy Weather - Columbia
*
*Joe Zawinul (ky), Wayne Shorter (ts, ss), Jaco Pastorius (b), Alex Acuña (d) and Manolo Badrena (perc). Rec. 1976*

*Link to complete album -*

https://www.youtube.com/playlist?list=OLAK5uy_ny_EVlvAF3_f6R3cqAl7FLIPULEiIerKM

"Sometimes, when listening to Weather Report at their best and this is one of their very best, it's worth pinching yourself as a reminder that at their heart, this band comprised one of jazz's most basic jazz configurations. It's simply, saxophone, piano, bass, drums and percussion. Then, listen to 'Birdland', later covered by Manhattan Transfer and Maynard Ferguson, and wonder. Listen to the boost Pastorius gives the band, especially on his own compositions 'Havona' and 'Teen Town.' Reaching number 30 on the Billboard album chart, even today Heavy Weather remains as stunning in its overall effect as the day it was made."

*Jazzwise
100 Jazz Albums That Shook The World
# 20*


----------



## Duncan

*Ornette Coleman - Free Jazz - Atlantic*

*Ornette Coleman (as), Freddie Hubbard, Don Cherry (t), Eric Dolphy (b cl), Scott LaFaro, Charlie Haden (b), Ed Blackwell and Billy Higgins (d). Rec. 1960*

"This one turned everyone around. Ornette set the musicians up in two parallel quartets, arranged some loose themes and collective playing to book end the entire performance as well as section off each solo, then let the musicians loose for a collective bout of improvisation that lasts well over half an hour reinventing the possibilities of jazz as it does so. The overall marvel of this record is that, while it proved to be so pregnant with ideas for those who followed in the next decades, the music grips the listener as excitingly as ever today."

*Jazzwise
100 Jazz Albums That Shook The World
# 19*


----------



## Duncan

*Dave Brubeck - Time Out - Columbia*

*Brubeck (p), Paul Desmond (as), Eugene Wright (b) and Joe Morello (d). Rec. 1959*

"Brubeck rarely gets his due. A shame, because his good qualities are pretty special. For starters, he knew exactly the way to get the best from Paul Desmond, and for that we should all be down on our knees in thanks. Secondly, he's a distinctive composer with a knack for melody, as this fine album demonstrates, even if the defining tune, 'Take Five', is a Desmond composition. It's also important to stress Brubeck's commitment to collective invention within his group: still an unusual thing in jazz in 1959. Put that all together and the unusual time signatures that mark this album out tend to pale in significance while the music remains convincing."

*Jazzwise
100 Jazz Albums That Shook The World
# 18*


----------



## Duncan

*Herbie Hancock - Head Hunters - Columbia *

*Herbie Hancock (ky), Bennie Maupin (saxes, fl, b cl), Paul Jackson (b), Harvey Mason (d) and Bill Summers (perc). Rec. 1973*

"It may have been jazz-rock after Bitches Brew, but after Head Hunters jazz-funk was the flavour de jour. Inspired by Sly and the Family Stone's 'Thank You (Falettinme Be Mice Elf Agin)' there's even a tribute track on it called 'Sly'. The release represented a u-turn of spectacular proportions from the more esoteric direction mapped out on Crossings and Sextant to an album aimed squarely at the dance floor which is where it scored. 'Chameleon', the single taken from the album (also a biggie for Maynard Ferguson), sped up the Billboard chart to number 13 and made this one of the biggest selling jazz albums of all time."

*Jazzwise
100 Jazz Albums That Shook The World
# 17*


----------



## Duncan

*Albert Ayler Trio - Spiritual Unity - ESP-Disk*

*Ayler (ts), Gary Peacock (b) and Sunny Murray (d). Rec. 1964*

"Ayler made a couple of revolutionary records in Europe two years prior to this but the first ESP-Disk was the one that made the breakthrough in terms of reaching out and changing absolutely everything. The sheer wildness of Ayler's sound, execution and ideas (hysterical trilling way above the normal range of the saxophone combined with body-blow honks and sonic booms from its very depths) was unprecedented, as was the frenetic free-rhythm accompaniment from Peacock and Murray. It was only later that his musical forms were grasped and understood. On release, the record changed every conception of what constituted cutting-edge jazz overnight and unleashed generations of imitators. But Albert did it first, and did it best."

*Jazzwise
100 Jazz Albums That Shook The World
# 16*


----------



## Duncan

*Mahavishnu Orchestra - Inner Mounting Flame - Columbia *

*John McLaughlin (g), Jerry Goodman (vln), Jan Hammer (key), Rick Laird (b) and Billy Cobham (d). Rec. 1972*

"Formed in 1971, the original Mahavishnu Orchestra remains guitarist John McLaughlin's greatest achievement. It lit up the night sky for almost two years, everything was played at 500mph with the Marshall stacks turned up to eleven. It left audiences in awe, then suddenly was gone. McLaughlin redefined the role of guitar in jazz, Cobham the drums and the band set new standards in ensemble cohesion. They did it without sounding glib, a trick their legion of followers never fathomed. They also sold albums in pop numbers and played arena rock stadiums. Even they didn't realise how great they were until it was all over."

*Jazzwise
100 Jazz Albums That Shook The World
# 15*


----------



## starthrower

Mark sent me this CD a dozen years ago when I was on the radio at Syracuse U.


----------



## Duncan

*Duke Ellington - The Blanton-Webster Band - RCA Bluebird *

*Ellington (p), Wallace Jones, Cootie Williams, Ray Nance (t), Rex Stewart (ct), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v tb), Barney Bigard (cl), Johnny Hodges, Otto Hardwick (as), Ben Webster (ts), Harry Carney (bs, bcl) Fred Guy (g), Billy Strayhorn (p), Jimmy Blanton (b), Sonny Greer (d), Ivie Anderson, Herb Jeffries (v) and others. Rec. 1940-1942*

"This 3-CD pack was first issued in the mid-1980s spotlighting Ellington's most fertile and ground-breaking music. During the three years covered by this set Ellington and his musical doppelgänger Billy Strayhorn turned jazz composition and arranging inside out, often using the simplest of ideas and materials, as only genius can, but also presenting immensely sophisticated ideas in a guise instantly grasped by their legions of fans. That they had the assistance of such stars as Hodges, Williams, Bigard, Webster and Blanton only added to the music's lustre: it remains an imperishable treasure. The slimline 3-CD 2003 RCA reissue titled Never No Lament: The Blanton Webster Band benefits from the latest remastering and research and is the version to get."

*Jazzwise
100 Jazz Albums That Shook The World
# 14*


----------



## Duncan

*Louis Armstrong - Complete Hot Fives and Sevens - Columbia*

*Armstrong (ct, v), Honore Dutrey, Edward Kid Ory, J.C. Higginbotham, Jack Teagarden (tb), Johnny Dodds, Don Redman, Jimmie Noone (cl), Barney Bigard, Happy Caldwell (ts), Lonnie Johnson (g), Johnny St Cyr (bj), Lil Hardin, Earl Hines (p), Baby Dodds, Zutty Singleton (d) and others. Rec. 1925-1930*

"If Jelly Roll Morton represents the high water of New Orleans polyphony through his Red Hot Peppers recordings of around this same time, Armstrong's Hot Fives and Sevens reach out into the music's future by allowing the incredible improvisatory genius of Armstrong to reach its first outrageous flowering. This music is bursting at the seams with vitality, Armstrong's every solo seeming to overflow with uncontrollable invention delivered with an urgency that is never manic, always confident, forever breathtaking in its conception. Within this admirably packaged 4-CD set from 2000 (easily the best collective incarnation of this music on disc) Armstrong's accompanying groups expand to meet his conception as the years go by while Louis himself keeps making that big picture bigger."

*Jazzwise
100 Jazz Albums That Shook The World
# 13*


----------



## Duncan

*Eric Dolphy - Out to Lunch - Blue Note
*
*Dolphy (f, as, b cl), Freddie Hubbard (t), Bobby Hutcherson (vb), Richard Davis (b) and Tony Williams (d). Rec. 1964*

"Funnily enough, although Out To Lunch has the iconic cover and evolutionary reputation, the real breakthrough Dolphy disc, Conversations, was made the previous summer, 1963, for the tiny FM label. Among other wonders, it contained the revolutionary 14-minute Dolphy-Richard Davis duet on 'Alone Together'. Be that as it may, Out To Lunch represents another side of the Dolphy genius, showing him as a musician-leader intent on involving his entire group in the improvisatory process at every level and at all times. Of course, he remains the group's most gripping player (he wrote all the material too) and his imitation of a drunk on 'Straight Up And Down' remains unsurpassed except by himself. What would he have done next?"

*Jazzwise
100 Jazz Albums That Shook The World
# 12*


----------



## Duncan

*John Coltrane - Giant Steps - Atlantic *

*Coltrane (ts), Tommy Flanagan, Cedar Walton, Wynton Kelly (p), Paul Chambers (b), Lex Humphries, Art Taylor and Jimmy Cobb (d). Rec. 1959|*

"It's pretty difficult to overestimate the influence this single album - or even more narrowly, its title track - has had on the development of jazz since its release: certainly the saxophone-bearing members of the world's jazz community have found it and endlessly renewing font of inspiration. More recently, pianists have delved into re-arrangements of Coltrane's elegant and distinctive compositions. The great man himself knew that this album was a culmination rather than a new beginning, but that probably accounts for its consummate artistry as much as any other reason: Coltrane was the most thorough of players."

*Jazzwise
100 Jazz Albums That Shook The World
# 11*


----------



## Duncan

*Keith Jarrett - The Köln Concert - ECM*

*Jarrett (p). Rec. 1975*

"Jarrett burst onto the international jazz scene as part of the ground-breaking Charles Lloyd Quartet of the latter 1960s, moved on to running his own trio, briefly joined in with the Miles Davis electronic voodoo soups of the early 1970s, then retreated to acoustic music and a re-examination of what he was attempting to achieve in his music. This led to something of a temporary eclipse in his profile in the first half of the 1970s, although his creativity continued to diversify and deepen. An adept at solo recitals (his Facing You for ECM in 1970 was a strong harbinger), he began a series of in-concert recitals for Manfred Eicher's label that attracted acclaim and increasing public interest, but no-one was prepared for what happened to The Köln Concert when it appeared. A long series of intensely rhythmical improvisations that became hypnotic and endlessly repeatable on turntables throughout the world, the album became a runaway bestseller by word of mouth, rapidly escaping the confines of the jazz listeners' community and spreading into the living rooms of people who never ever listened to, let alone owned, another jazz album. This remains the case with Jarrett and with the record, which is not only a jazz turning-point in its own right but one of the biggest-selling discs in the genre."

*Jazzwise
100 Jazz Albums That Shook The World
# 10*


----------



## Duncan

*Miles Davis - Bitches Brew - Columbia *

*Miles Davis (t), Wayne Shorter (ss), Bennie Maupin (b cl), Joe Zawinul, Chick Corea (el p), John McLaughlin (g), Dave Holland (b), Harvey Brooks (el b), Lenny White, Jack DeJohnette (d), Don Alias (perc) and Jumma Santos (shaker). Rec. 1969*

"From whatever perspective you choose to view the 1960s - from the Cuba Missile Crisis to the rise of the counter culture movement, the student riots in Paris in May 1968 to the growing anti-Vietnam protests across the USA, the advent of the pill to the rise of rock music - established values were being openly questioned, upturned and in general shaken up. So in a decade when the leitmotif was change, it's arguable that Bitches Brew was the album that shook the music world up most. After all, combining jazz and rock? Yes, there had been albums before Bitches Brew that did just that, but Miles Davis' position in the jazz world sanctioned the union between two seemingly opposed bedfellows. With Bitches Brew the jazz-rock message was handed down from the mount on tablets of stone. From the title track with Davis, Shorter and Maupin emerging from the matrix of the mix before being swallowed up by this swirling electrical brew, to 'Miles Runs the Voodoo Down' with the trumpeter on the heels of Hendrix, the sound of jazz was changed forever."

*Jazzwise
100 Jazz Albums That Shook The World
# 9*


----------



## Duncan

*Charlie Parker - Bird: The Complete Original Master Takes. The Savoy Recordings - Savoy Jazz*

*Parker (as, ts), Miles Davis (t), Dizzy Gillespie, Argonne Thornton, Clyde Hart, Bud Powell, John Lewis, Duke Jordan (p), Tiny Grimes (g, v), Curley Russell, Tommy Potter (b), Harold West and Max Roach (d) plus others. Rec. 1945-48*

"Parker, of course, made his most innovatory music on record prior to the invention of the LP, so every collection of his brilliant music from the 1940s is a latter-day compilation of the original 78rpm singles. Early vinyl attempts to collate his best material were haphazard at best, especially from the original Savoy company, so it wasn't until the 1960s and 70s that things got in any way organised and proper chronological reissues were successfully brought to market. These days, you can buy the complete Parker Savoys and Dials in a lavish multiple CD set, but you get all the breakdown, alternative takes and other bits and pieces, making it a trial for all but the committed Parker enthusiast. For those who want to know and shiver to the thrills of encountering earth-moving genius for the first time, master takes only, then this 2-CD set from the 1980s is the best entry point: you get Parker's own approved performance, you get just the Savoys and you get superior remastering across just two CDs rather than five or six. Undiluted precedent-breaking music from Parker, aided and abetted by the best and most sympathetic colleagues of the day."

*Jazzwise
100 Jazz Albums That Shook The World
# 8*


----------



## Duncan

*Charles Mingus - Mingus Ah Um - Columbia*

*Mingus (b), Jimmy Knepper/Willie Dennis (tb), John Handy (as, ts), Shafi Hadi (as), Booker Ervin (ts), Horace Parlan (p) and Dannie Richmond (d). 
Rec. 1959*

"Just as with the Monk at number six, this classic album also represented a career breakthrough. Recorded not long after his Blues And Roots, but Atlantic deliberately held that back for over a year because the bassist had signed his first contract with Columbia, the major whose distribution, especially to the white audience, was much more powerful. Ah Um's release came in the same year as his first evening appearance at the Newport Festival and the start of his record-breaking residency with Eric Dolphy.

The present album, however, was a studio venture with a specially constituted group familiar with Mingus' working quintets. Ervin's contributions, for instance, 'Fables Of Faubus'‚ and the gospelised opener 'Better Git It In Your Soul', are a definition of "hot", while Knepper on the deliberately old-fashioned 'Jelly Roll'‚ makes it satirical and serious at the same time. Similar things apply to 'Bird Calls'‚ and 'Goodbye Pork Pie Hat', where Handy pays oblique homage to Parker and Lester Young respectively but don't ignore the crucial reactions of the crisply recorded Richmond. Novice producer Teo Macero's tight editing allowed for more tunes and more user-friendly presentation than on Blues And Roots."

*Jazzwise
100 Jazz Albums That Shook The World
# 7*


----------



## Duncan

*Thelonious Monk - Brilliant Corners - Riverside*

*Monk (p, celeste), Ernie Henry (as), Sonny Rollins (ts), Oscar Pettiford/Paul Chambers (b), Max Roach (d) and Clark Terry (t). Rec. 1956
*
"Recording of Brilliant Corners began more than 50 years ago, making an impact hard to imagine these days. The first new Monk album to receive more than a guarded welcome in the press, the praise was entirely justified. Unlike his first two Riverside releases, respectively of Ellington standards and a bunch of other jazz standards, this was nearly all Monk's own tunes and three of the four were new, none more so than the extraordinary title-track which gave so much trouble to the all-star cast who'd never seen it before. Rollins and Roach, currently making a success of the newly Clifford Brown-less Roach quintet, had worked for Monk before but both were seriously challenged by his material here. The less well-known Ernie Henry was in the pianist's regular quartet and a post-Parker deviant comparable to Jackie McLean, while Pettiford was a pioneer bopper beloved of Monk except when they disagreed. Using the bubbly Clark Terry and Paul Chambers on a subsequent session was a stroke of genius, as was the unaccompanied piano track. And the whole thing was released just as Monk began his historic group with Coltrane."

*Jazzwise
100 Jazz Albums That Shook The World
# 6*


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## starthrower

Big Band/Small Groups/Afro-Cuban, Brazilian
Recorded 1957-1964

Just received a mint used copy of this 3 CD set released in 1992.


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## Duncan

*Sonny Rollins - Saxophone Colossus - Prestige*

*Rollins (ts), Tommy Flanagan (p), Doug Watkins (b) and Max Roach (d). Rec. 1956
*
"Was Sonny Rollins ready in 1956? Was he ready! Apart from this masterpiece, he also lead from the front on Plus 4, an album featuring the Brown/Roach Quintet of the day in all but name, plus Tenor Madness (the title track featuring a head-on with Coltrane) and the exquisite Plays For Bird. But Saxophone Colossus towers above them all, not only because it concentrates on a quartet setting allowing undiluted access to the creative process of Sonny at his most inspired, but because it is one of those happy coincidences where all elements came off equally well, including the use of unusual repertoire and inspired originals. Rollins himself was clearly inspired enough by such material as 'St Thomas' and 'The Moritat' from Threepenny Opera to still be playing them in concert 50 years later. Nevertheless, it is tempting to call these original recordings definitive, if only because they do in fact define the essence of Rollins' approach to improvisation, wringing every nuance and variation he can from the theme and its associated melodic and rhythmic patterns. The blues 'Blue 7' was famously dissected for such methodology by Gunther Schuller back at the time of Saxophone Colossus' initial release but that failed to stop Rollins from another two years of super-human saxophone playing before his dramatic retirement in 1959. This is still the biggest-selling jazz album of all time in Japan."

*Jazzwise
100 Jazz Albums That Shook The World
# 5*


----------



## Duncan

*Bill Evans Trio - Sunday At The Village Vanguard - Riverside*

*Evans (p), Scott LaFaro (b) and Paul Motian (d). Rec. 1961*

"None of the three men that made this music one fine June day in 1961 had any inkling of the impact it would have down the years: on listening to the playbacks LaFaro did mention to Evans that he thought they'd got pretty close to optimum performance, but that was about it. Two weeks or so later LaFaro was dead and Evans left with the ashes of his first great group. This album became Evans' own personal choice of what he thought best represented the trio through the spectrum of LaFaro's prodigiously gifted bass playing. The pianist obviously had great discernment because thousands of people have concurred with him since, naming this not only their favourite Evans album but the one that changed their lives (and in some cases, their careers). Why? Not only were the three trio members individually at their peaks on that particular Village Vanguard Sunday, but they interacted with quietly fierce invention as never before, certainly not on record. Equal partners, they sustained a musical dialogue on selection after selection that has rarely been equalled within the earshot of a professional microphone, with the astonishingly inventive LaFaro perhaps meriting the sobriquet of senior partner at times, so dominant can he be. This is hardly to downgrade Evans' own contributions, all of which retain their depth and freshness today."

*Jazzwise
100 Jazz Albums That Shook The World
# 4*


----------



## Duncan

*Ornette Coleman - The Shape of Jazz To Come - Atlantic*

*Coleman (as), Don Cherry (t), Charlie Haden (b), Billy Higgins (d). Rec. 1959*

"I don't know what it was about Ornette that led record company executives to go for the overkill on the album names, but by the time Atlantic released this, the altoist's debut on the label, he'd already had albums on Contemporary called Something Else!!!! and Tomorrow Is The Question. Anyway, few observers of the day were bothered by the hyperbole, more by the claim that Ornette had any musical worth whatsoever. Of course it was a complete red herring, because although Ornette did have a profound influence on subsequent jazz developments, it was an oblique one compared with that of Coltrane's or Eric Dolphy's or Miles Davis'. What this album did in fact contain and represent was a completely different and fresh set of musical signposts within the jazz vernacular, both in terms of the stunningly bright melodic patterns Ornette crystallised in his vibrant and beautiful compositions and in his off-the-wall improvisatory approach. He also brought back to jazz that rough, keening wail and constant pitch variations of the most basic blues and folk music. Later we all learned that he'd cut his musical teeth on tenor in Texas R&B bands and it all made sense: at the time it sounded as if Attila the Hun had been resurrected at the Five Spot and in Atlantic's recording studios and was in no mood to do deals. Ornette never did, either, bless him."

*Jazzwise
100 Jazz Albums That Shook The World
# 3*


----------



## Duncan

*John Coltrane - A Love Supreme - Impulse! *

*Coltrane (ts, v), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1964*

"No matter how many times you approach this album it's always greater than the sum of whatever parts you compile. Yes, it's perfect, yes, it's ambitious, yes it crosses over far from the usual jazz conceptions, yes it is couched as a suite of meditations-in-kind that give it a formal design way beyond 99 per cent of jazz albums. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober. But that only scratches the surface of this album's achievement. You can't lay it at the door of Coltrane's aspirations, because good intentions often lead to artistic disasters in music as well as every other aesthetic discipline, but it is possible that his own complete commitment to his testimony of spiritual re-birth happily coincided with a day in the studio where he was truly touched to open his soul through the medium of his saxophone, for his playing on this record is almost terrifyingly open, intense and soul-shattering, even when he is simply stating a theme."

*Jazzwise
100 Jazz Albums That Shook The World
# 2*


----------



## Duncan

*Vince Guaraldi Trio - "A Charlie Brown Christmas" *

*Jazzwise
100 Jazz Albums That Shook The World
# 1*


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## Duncan

^^^^^^Kind of had ya goin' there, eh? - :lol:









*Miles Davis - Kind of Blue - Columbia*

*Miles Davis (t), John Coltrane (ts), Cannonball Adderley (as), Wynton Kelly (p), Bill Evans (p), Paul Chambers (b) and Jimmy Cobb (d). Rec. 1959*

*Jazzwise
100 Jazz Albums That Shook The World
# 1*


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## Bwv 1080




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## Duncan




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## Duncan




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## Duncan




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## Duncan




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## Duncan




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## Duncan




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## eljr

Mollie John said:


> View attachment 125614
> 
> 
> *John Coltrane - A Love Supreme - Impulse! *
> 
> *Coltrane (ts, v), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1964*
> 
> "No matter how many times you approach this album it's always greater than the sum of whatever parts you compile. Yes, it's perfect, yes, it's ambitious, yes it crosses over far from the usual jazz conceptions, yes it is couched as a suite of meditations-in-kind that give it a formal design way beyond 99 per cent of jazz albums. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober. But that only scratches the surface of this album's achievement. You can't lay it at the door of Coltrane's aspirations, because good intentions often lead to artistic disasters in music as well as every other aesthetic discipline, but it is possible that his own complete commitment to his testimony of spiritual re-birth happily coincided with a day in the studio where he was truly touched to open his soul through the medium of his saxophone, for his playing on this record is almost terrifyingly open, intense and soul-shattering, even when he is simply stating a theme."
> 
> *Jazzwise
> 100 Jazz Albums That Shook The World
> # 2*


A very good ideaa...


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## eljr




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## starthrower

Listening to New Directions In Europe

Jack DeJohnette
Lester Bowie
Eddie Gomez
John Abercrombie


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## Barbebleu

Mollie John said:


> ^^^^^^Kind of had ya goin' there, eh? - :lol:
> 
> View attachment 125617
> 
> 
> *Miles Davis - Kind of Blue - Columbia*
> 
> *Miles Davis (t), John Coltrane (ts), Cannonball Adderley (as), Wynton Kelly (p), Bill Evans (p), Paul Chambers (b) and Jimmy Cobb (d). Rec. 1959*
> 
> *Jazzwise
> 100 Jazz Albums That Shook The World
> # 1*


No Jazzwise notes MJ?


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## Duncan

Barbebleu said:


> No Jazzwise notes MJ?


Every time that I tried to add them the firewall kept blocking access to the page - I copied them to a Word document and transferred that to here - they're quite extensive - Enjoy!









"Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, explains why Kind of Blue tops the list.

How does one properly gauge impact? There's no smouldering crater in the case of Kind of Blue, Miles' melancholy, modal-jazz masterwork. The 1959 disc didn't arrive with a thunderous clap, yet four decades later, at the end of the millennium, there it was at the top of any and all "best of" 
lists, nudging aside so many rock, pop and hip-hop recordings.

Today, there it is on Hollywood soundtracks, an incontestable signifier of hip. There it is near the sales till, still moving up to 5,000 copies a week worldwide, outselling most contemporary jazz recordings. And there it sits in at least five million CD collections. Often it's the one jazz title owned by a metal head or a classical enthusiast, not just the jazz-focused.

But perhaps Kind of Blue is better measured by the sum of the constituent parts. Five tunes, exceedingly simple in construction, exceptionally deep in evocative power, played by seven post-bop masters, all in their prime. A once-in-a-lifetime line up that makes the term "all-star" seem inadequate: trumpeter Davis, plus sax men John Coltrane and Cannonball Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb.

Certainly, Kind of Blue must be measured by musical influence. Ask any number of influential music-makers who have been around, such as Quincy Jones, Herbie Hancock, and the like, they all agree. At a time when the music had "gotten thick" as Miles said, Kind of Blue distilled modern jazz into a cool and detached essence.

The motivation behind going "modal" in the 1950s jazz world was to break from established harmonic patterns (melodic, too) and make way for fresh, extended improvisation. Miles was remarkably successful in marrying musical opposites: 20th century classical concepts such as harmonic simplicity, exotic scales and African rhythms all in a relaxed, swinging groove.

Kind of Blue became the improviser's bible upon its release in late 1959. For one of its joint creators - John Coltrane - it pointed the way forward: he led much of the jazz world into the 1960s after his modal lessons with Miles. At Coltrane's side pianist McCoy Tyner adapted Bill Evans' innovation of quartal harmony, the use of fourths on 'So What', to legendary results.

At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.

"I think the implications of Kind of Blue we now feel everywhere, but it wasn't as deep as they became over time," says saxophonist Dave Liebman. "Name me some music where you don't hear echoes of it," Herbie Hancock challenges.

"I hear it everywhere - it becomes hard to separate the modality that exists in rock 'n' roll, some of it could be directly from Kind of Blue."

Write a book with as narrow a focus as one jazz album (let's say Kind of Blue) and, trust me, one ends up thinking and rethinking the subject years after publication. My theories on why that particular Miles album maintains its hold on the top of various charts never seem to settle comfortably on one explanation. I feel the ranking of a musical masterpiece is one that should be open to constant rethink, even if the status remains the same in the end. Yet, especially in the mainstream press, the music chosen for those "best this" and "most that" lists simply falls in line with a long-established view with no question and little explanation.

For this reason and for others, I'm not a fan of top 10 lists. Or of 20, 100, or any number that would place one recording before another. Musical value and appreciation is far too subjective a thing to be ordered neatly on a linear scale. One-dimensional exercises such as list-making seem especially un-hip and unrevealing when it comes to jazz, the most porous and democratic of musics, open to all influences, granting all styles equal value and importance. At least in my view.

Of the many ideas I gathered for my book on Kind of Blue, there is one quote in particular that comes to mind whenever the subject of relative value arises.

"If you like Kind of Blue, turn it over, look who plays on it," says keyboardist Ben Sidran. "If you particularly like the piano, go buy a Bill Evans record, buy a Wynton Kelly record. If you like the alto playing, buy a Cannonball Adderley record. That one record - it's not even six degrees of separation - is maybe two degrees of separation from every great jazz record."

My own introduction to Kind of Blue took place in 1976, a time when my teenage ears were filled with post-Woodstock rock, and the first bursts of punk. Springsteen was a recent discovery as was Bob Marley. One day a mate whose musical taste I trusted implicitly yanked a worn copy of Miles' LP out of my father's collection - which I avoided as a matter of principle and teenage independence. Holding it out to me, he declared it a classic. I looked at it anew and came to enjoy its mood-setting atmosphere. I also came to realise how narrowly I had been casting for new sounds. I had been standing on the shore of a vast ocean of musical possibilities, yet fishing in one small inlet.

I didn't fully realise it then, but Kind of Blue helped me see the vastness before me and rejoice in its expanse. I've been sailing the waters, listening and learning, ever since.

If those 5,000 per week sales figures are any indication, I'm not alone. As a measure of impact - I can think of nothing more significant than the music that first unmoors one from preconceptions and the need to stay in one place. For this alone, for serving for so many as a portal to an entire world of creative music, I agree that Kind of Blue continues to earn its status as a number one.


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## starthrower

Tina Brooks


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## millionrainbows

Mollie John said:


> At a time when the music had "gotten thick" as Miles said, Kind of Blue distilled modern jazz into a cool and detached essence...The motivation behind going "modal" in the 1950s jazz world was to break from established harmonic patterns (melodic, too) and make way for fresh, extended improvisation.


Maybe he realized that the hippie movement was catching on, and more and more people were smoking dope. He probably said, "I'll make some music which will be good when you're stoned."


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## starthrower

millionrainbows said:


> Maybe he realized that the hippie movement was catching on, and more and more people were smoking dope. He probably said, "I'll make some music which will be good when you're stoned."


The Beboppers played through all those sophisticated chord changes when they were stoned. Miles switched to modal after he cleared his head.


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## Dorsetmike

Is there a line between swing and jazz, if so how would you define it?


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## Captainnumber36

Blue World - Coltrane. Very good release!


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## Duncan

Dorsetmike said:


> Is there a line between swing and jazz, if so how would you define it?


https://www.differencebetween.com/difference-between-jazz-and-vs-swing/


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## millionrainbows

Found used copies of Pharaoh Sanders' "Karma" and "Jewels of Thought" on Impulse. Listening now. This is my first PS experience, though I have been aware of him for some time. He was a jazz theorist, and wrote a book, which I can't locate.


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## starthrower

Sanders appears on some excellent Impulse albums by Alice Coltrane you may want to explore.


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## Barbebleu

millionrainbows said:


> Found used copies of Pharaoh Sanders' "Karma" and "Jewels of Thought" on Impulse. Listening now. This is my first PS experience, though I have been aware of him for some time. He was a jazz theorist, and wrote a book, which I can't locate.


Get Tauhid. My introduction to Sanders 50 odd years ago. Still gets played at least annually. Magical.


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## Bwv 1080

Dorsetmike said:


> Is there a line between swing and jazz, if so how would you define it?


Swing is a style of Jazz like Bebop or Fusion, more traditional song forms w/ less extended harmony and a strong blues influence


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## millionrainbows

Very pleased with this box! Cecil Taylor's "free" style might take getting used to, but now I am right at home with his fisticuffs. The rhythmic and phrasing aspects are what holds it all together. Right now, the "Live at Newport" which is very exciting.


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## Barbebleu

millionrainbows said:


> Very pleased with this box! Cecil Taylor's "free" style might take getting used to, but now I am right at home with his fisticuffs. The rhythmic and phrasing aspects are what holds it all together. Right now, the "Live at Newport" which is very exciting.


Wait until you get to his stuff beyond 1962. What you're hearing now will seem like Glenn Miller!!:lol:


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## elgar's ghost

For us lucky Brits: BBC4 9:30 tonight - 90m. documentary about Blue Note.


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## Barbebleu

elgars ghost said:


> For us lucky Brits: BBC4 9:30 tonight - 90m. documentary about Blue Note.


Thanks EG. Now set to record!


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## millionrainbows

Next tune to learn: _Juju_ by Wayne Shorter. 
Next to listen: _New Thing at Newport,_ I've never heard it.

Also, got a George Russell box.


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## Barbebleu

millionrainbows said:


> Next tune to learn: _Juju_ by Wayne Shorter.
> Next to listen: _New Thing at Newport,_ I've never heard it.
> 
> Also, got a George Russell box.


Juju - excellent. 
New Thing at Newport - superb. I still have my original vinyl copy but the cd has extra tracks so it gets the AirPlay.


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## millionrainbows

I also got a book: _As Serious As Your Life_ by Val Wilmer. Subtitle _Black music and the free jazz revolution

_


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## Barbebleu

millionrainbows said:


> I also got a book: _As Serious As Your Life_ by Val Wilmer. Subtitle _Black music and the free jazz revolution
> 
> _


That's a great book. Is that a used copy MR? I thought it was out of print. I think the period between 1960 and 1970 saw some of the most revolutionary music (I hesitate to put the label jazz on it) ever being produced by an absolute plethora of phenomenal African-American musicians and a fair few others like Roswell Rudd, George Russell and Dave Holland.

Ah, I just looked it up and it is still available. Also on Kindle!!


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## philoctetes

Barbebleu said:


> Wait until you get to his stuff beyond 1962. What you're hearing now will seem like Glenn Miller!!:lol:


Cecil's discography is pretty convoluted. I feel lucky to see him live twice, nothing can really compare to that. I really like the Candid stuff cause it seems spontaneous, more than the Blue Note releases. The latter label could have a way of making avant garde jazz sound a bit stiff. Of the later stuff Celebrated Blazons with Parker and Oxley is a good one but there are many others I haven't heard.


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## Barbebleu

Cecil did a wonderful set with Max Roach which is really worth a listen. His work with Jimmy Lyons is exceptional (I am thinking particularly of Nefertiti) as is his outing with the JCOA. He also has a notable number of live solo recordings at various European jazz festivals which, again, are worth hunting down.

I should perhaps say again that I personally feel that Cecil's music, latterly, transcends the label 'jazz'. Modern/avant garde classical would be a better fit.


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## Barbebleu

millionrainbows said:


> I also got a book: _As Serious As Your Life_ by Val Wilmer. Subtitle _Black music and the free jazz revolution
> 
> _


I've just started reading the latest version of this with the foreword by Richard Wiiliams. I'm glad I got it because it's just as good as I remembered it. Thanks for the reminder MR.

Btw, I was having a look through my Cecil stuff and I would recommend The Willisau Concert, the two Blue Notes (Unit Structures and Conquistador), Tzotzil Mummers Tzotzil and The Great Paris Concert as well as my previous mentions. If these don't expand (blow?) your mind then little will. Then again MR, you do have pretty good experience with the more outrè side of modern music so it may present little or no challenge at all!!


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## Barbebleu

philoctetes said:


> Cecil's discography is pretty convoluted. I feel lucky to see him live twice, nothing can really compare to that. I really like the Candid stuff cause it seems spontaneous, more than the Blue Note releases. The latter label could have a way of making avant garde jazz sound a bit stiff. Of the later stuff Celebrated Blazons with Parker and Oxley is a good one but there are many others I haven't heard.


I wasn't aware of the Celebrated Blazons album. I have the 2 Ts for a Lovely T box set with the same trio so thanks for the heads up Phil!


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## Dorsetmike

Some early blues tracks


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## Dorsetmike

Newport 1971, (just over an hour)


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## Luchesi

Even after all these years this album is still full of interesting new things. Excellent! He invents more creatively than in his other albums --- and that is saying a lot because he was so creative!


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## Barbebleu

By way of a trip down memory lane I revisited the first nine jazz albums I bought in the the year of 1966, starting in August. 

In order of purchase

Indo-Jazz Suite - Joe Harriott/John Mayer
Live at Pep's - Yusef Lateef
European Concert Vol. 2 - Modern Jazz Quartet
Dream Weaver - Charles Lloyd
Of Course, Of Course - Charles Lloyd
New Wave in Jazz - Coltrane, Shepp, Moncur et al.
Porgy and Bess - Modern Jazz Quartet
Time Out - Dave Brubecj
Time In - Dave Brubeck

All vinyl of course, and played to death! Actually not quite. They are still playable today. Happy days. :lol:


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## Barbebleu

Just finished watching a fine documentary on Netflix - Chasin' 'Trane. Anybody else watched it? Any Coltrane fans here? Favourite albums?


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## starthrower

Haven't seen it. I have quite a few Coltrane albums. The only ones I'm not crazy about are the free jazz records, only because I think he was better at the bop and modal stuff.


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## Barbebleu

starthrower said:


> Haven't seen it. I have quite a few Coltrane albums. The only ones I'm not crazy about are the free jazz records, only because I think he was better at the bop and modal stuff.


And there we differ!!:lol:

I love all his incarnations but the Impulse period is my favourite closely followed by his band with Pharoah and Rashied Ali then the Atlantic years then the Miles band.


----------



## philoctetes

Barbebleu said:


> Just finished watching a fine documentary on Netflix - Chasin' 'Trane. Anybody else watched it? Any Coltrane fans here? Favourite albums?


Coltrane's Sound, Ole, Crescent, and the Village Vanguard...


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## starthrower

Barbebleu said:


> And there we differ!!:lol:
> 
> I love all his incarnations but the Impulse period is my favourite closely followed by his band with Pharoah and Rashied Ali then the Atlantic years then the Miles band.


I like free jazz, but Coltrane doesn't sound comfortable in that zone. At least to my ears. I do like many of the Impulse releases. And all the albums Philo mentioned. But mostly I prefer to listen to Miles.


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## Luchesi

couldn't get it to post


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## Luchesi

It surprises me that this is my favorite version of this masterpiece (vocal). I've searched through the famous vocals. She doesn't try to out-Monk Monk. He was so close to the edge that you just can't go any further. lol


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## tortkis

Barbebleu said:


> Just finished watching a fine documentary on Netflix - Chasin' 'Trane. Anybody else watched it? Any Coltrane fans here? Favourite albums?


Recently I've been listening to Live Trane The European Tours, a 7-disc set of 1961-1963 concerts. The sound qualities are mostly fine, and it sounds Coltrane was playing with great confidence. Dolphy is exceptional (only on 1 and a half discs of 1961 recordings), but the quartet without him is great and has more unity. I am loving this set.


----------



## Barbebleu

tortkis said:


> Recently I've been listening to Live Trane The European Tours, a 7-disc set of 1961-1963 concerts. The sound qualities are mostly fine, and it sounds Coltrane was playing with great confidence. Dolphy is exceptional (only on 1 and a half discs of 1961 recordings), but the quartet without him is great and has more unity. I am loving this set.


I concur. Terrific set. I love Coltrane live, his Village Vanguard box is sensational too.


----------



## elgar's ghost

^
^

I have the Graz concert from 1962 - does the above box set replicate any of that?


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## Barbebleu

elgars ghost said:


> ^
> ^
> 
> I have the Graz concert from 1962 - does the above box set replicate any of that?


No. Sweden, France and Germany but no Austria.


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## millionrainbows

Barbebleu said:


> I've just started reading the latest version of this with the foreword by Richard Wiiliams. I'm glad I got it because it's just as good as I remembered it. Thanks for the reminder MR.
> 
> Btw, I was having a look through my Cecil stuff and I would recommend The Willisau Concert, the two Blue Notes (Unit Structures and Conquistador), Tzotzil Mummers Tzotzil and The Great Paris Concert as well as my previous mentions. If these don't expand (blow?) your mind then little will. Then again MR, you do have pretty good experience with the more outrè side of modern music so it may present little or no challenge at all!!


The Candid recordings lack some high-end, and sound dulled; but are good performances. I've got Unit Structures and Conquistador, and I agree they are very good, and the recordings are bright enough compared to the Candid.

The "New Thing at Newport" is good, for me, for the Archie Shepp. I must explore him now. Is everyone aware that he is on a recording with Frank Zappa? One of the YCDTOSA volumes. His combination of sax with vibes is real avant garde sounding, and I can see its appeal to Zappa.

The Coltrane on there, the "live" version of My Favorite Things," is interesting for its intensity and sustained finale, but that seems to go against my fondness for the studio version, which produces a more meditative effect.


----------



## Barbebleu

millionrainbows said:


> The Candid recordings lack some high-end, and sound dulled; but are good performances. I've got Unit Structures and Conquistador, and I agree they are very good, and the recordings are bright enough compared to the Candid.
> 
> The "New Thing at Newport" is good, for me, for the Archie Shepp. I must explore him now. Is everyone aware that he is on a recording with Frank Zappa? One of the YCDTOSA volumes. His combination of sax with vibes is real avant garde sounding, and I can see its appeal to Zappa.
> 
> The Coltrane on there, the "live" version of My Favorite Things," is interesting for its intensity and sustained finale, but that seems to go against my fondness for the studio version, which produces a more meditative effect.


For Shepp I would recommend Fire Music, Magic of Juju, Mama Too Tight and Blasé.


----------



## starthrower

The easiest and most affordable way to pick up some classic Shepp if you don't mind these cheapo editions.


----------



## Jay




----------



## Luchesi

John Coltrane - The Best of the Best - 57 Takes (6 HOURS)


----------



## philoctetes

Listening to Coltrane's Sound rn... what he does with Body and Soul just grooves... such a great album.

Speaking of the Original Album issues, the Coltrane, Mingus, and Grant Green selections are solid.


----------



## Jay

Alto time:


----------



## jim prideaux

Keith Jarrett-Expectations.


----------



## jim prideaux

Keith Jarrett-Sleeper
La Scala
The melody, at night with you


----------



## starthrower

1970


----------



## starthrower

A beauty!


----------



## philoctetes




----------



## philoctetes

My jazz listening keeps revolving between guitarists Halvorson, Lage, and Bro. On this one Mary rocks out with the leader of Deerhoof.


----------



## Bwv 1080

She is a recent discovery for me


----------



## philoctetes

Bwv 1080 said:


> She is a recent discovery for me


For me too, but I've seen her live already, met her in person, and bought a number of CDs. I don't care for Berne much so I'm avoiding that one. Interesting combo of personalities tho.

She and Formanek also work together in Thumbscrew, a trio, and will be in SF in April with a "big band" formation of that group.


----------



## jim prideaux

Last few weeks......Keith Jarrett-Sun Bear Concerts, repeated listening to the five separate concerts included.


----------



## Barbebleu

jim prideaux said:


> Last few weeks......Keith Jarrett-Sun Bear Concerts, repeated listening to the five separate concerts included.


Over the years I've been through it three times and it never ceases to amaze and enthrall. Jarrett at his absolute best.

Btw, I just picked up his latest album, Munich 2016. I'll keep you posted!


----------



## jim prideaux

Barbebleu said:


> Over the years I've been through it three times and it never ceases to amaze and enthrall. Jarrett at his absolute best.
> 
> Btw, I just picked up his latest album, Munich 2016. I'll keep you posted!


Would be really interested in your observations re Munich 2016.....listening again to one of the Sun Bear concerts......remarkable!


----------



## Jay

.... more alto:


----------



## Barbebleu

jim prideaux said:


> Would be really interested in your observations re Munich 2016.....listening again to one of the Sun Bear concerts......remarkable!


I'm about halfway through Munich. Very good but I think this one will take a couple of listenings to reveal its secrets.


----------



## jim prideaux

Keith Jarrett-Bremen Lausanne.


----------



## tortkis

Mal Waldron Plays the Blues (Enja, recorded 1971)








with Jimmy Woode (bass) & Pierre Favre (drums)

ECM released Free at Last Extended Edition with 4 alternative takes.


----------



## Barbebleu

tortkis said:


> Mal Waldron Plays the Blues (Enja, recorded 1971)
> 
> 
> 
> 
> 
> 
> 
> 
> with Jimmy Woode (bass) & Pierre Favre (drums)
> 
> ECM released Free at Last Extended Edition with 4 alternative takes.


I saw that and picked it up. I have the original vinyl which, interestingly enough, was ECM's first release - 1001!


----------



## tortkis

Barbebleu said:


> I saw that and picked it up. I have the original vinyl which, interestingly enough, was ECM's first release - 1001!


I like Mal Waldron around that time (early 70's) very much. His dark and repetitive piano is hypnotizing and addictive. He recorded a lot during 1969-1972.


----------



## jim prideaux

Keith Jarrett=Sleeper.


----------



## Jay




----------



## tortkis

Solo ~ I Surrender Dear - Peter Brötzmann, tenor sax









Brötzmann plays jazz standards and his compositions. Soulful solo performance.


----------



## starthrower

Bob Dorough on vocals


----------



## Jay




----------



## starthrower




----------



## Luchesi

..a little Blues.. amazing!


----------



## txtrnl341

Piwikiwi said:


> I think this is a very bad compilation for students. There is absolutely nothing wrong with the songs you included but it's extremely biased. I suspect it's because of your personal taste. I'll sum up my problems for you.
> 
> - No Sonny Rollins at all, arguably the greatest Tenor Saxophone player that has ever lived.
> 
> - No Charlie Parker, without a doubt the greatest Saxophone player that has ever lived and certainly the most influential.
> 
> - No Bud Powell, No Clifford Brown, No Max Roach, No Dexter Gordon, No Thelonious Monk.
> 
> - No East Coast Jazz at all, not even Gerry Mulligan and Chet Baker or Dave Brubeck.
> 
> - No Louis Armstrong, one of the most influential musicians of the 20th century who turned Jazz into a soloist art.
> 
> - No swing, you can't just skip over 20 years of jazz history. Count Basie and Duke Ellington should be included in that list with their own music, not just with Coltrane.
> 
> You are giving your students an example of the jazz you like, the blue note list really makes that obvious because most of the songs you included there are performed by the same artists.
> 
> I apologize if this comes across as a bit aggressive, that is not my intention.


Anyone heard of Nick Brignola?


----------



## starthrower

txtrnl341 said:


> Anyone heard of Nick Brignola?


Sure have. He's a baritone sax player.

NP:


----------



## Captainnumber36

Miles Davis - 'Round About Midnight.


----------



## Dorsetmike

Oscar getting happy


----------



## Luchesi

Dorsetmike said:


> Oscar getting happy


Slow it down to .25 and you can almost hear how his brain works.


----------



## Dorsetmike

Dodo Marmarosa, one of the first jazz records I ever purchased - father was not amused.


----------



## Luchesi

I didn't have interest in this back then. It seemed to lack everything we had found and loved in pop music. It grew on us, but then it morphed into the more popular forms of disco and rap.


----------



## Luchesi

Dorsetmike said:


> Dodo Marmarosa, one of the first jazz records I ever purchased - father was not amused.


I agree with your father. It's salacious!

..just kidding


----------



## Jay

Jimmy Heath's son...








txtrnl341 said:


> Anyone heard of Nick Brignola?


Yeah, he was out of Buffalo iirc. He did a burnin' two-bari LP with Pepper Adams called _Baritone Madness_ in the 70s and another with fellow bari players, Cecil Payne and the great Ronnie Cuber.


----------



## starthrower

I didn't realize Brignola has been dead for 18 years. He was from Albany, NY. 300 miles from Buffalo. I don't think I ever heard one of his records. I pretty much listened to Mulligan, and Pepper Adams for baritone. And a bit of Hamiet Bluiett.


----------



## Jay

Jay said:


> ...about DeFrancesco; there's no _there_ there.





Captainnumber36 said:


> I respectfully disagree!





Captainnumber36 said:


> I've also been turned onto Larry Goldings!


Now, on this one we agree.


----------



## millionrainbows

Found at Goodwill for $1.99, and I'm glad I got it. This is the best Pat Metheney I've heard in years, because he's part of an ensemble, with his ego in check, supporting a good tenor sax player. Some more of his "Jim Hall" roots can come through in his rhythm playing.
Charlie Haden on bass, and Billy Higgins on drums: Joshua Redman and Pat Metheney are very wise to procure these old-timers, before they die! This shows, more than anything, an "agreement" in approach: old-school jazz. Two 'live' cuts, sounding like a small club, also add to the vibe: no "live at the Fillmore East" concert stuff. This is "chamber jazz."


----------



## Jay




----------



## starthrower

Three mid 70s albums re-issued on a BGO 2 CD set. Great sound!


----------



## Biwa

George Benson: Body Talk


----------



## starthrower

millionrainbows said:


> Found at Goodwill for $1.99, and I'm glad I got it. This is the best Pat Metheney I've heard in years, because he's part of an ensemble, with his ego in check, supporting a good tenor sax player. Some more of his "Jim Hall" roots can come through in his rhythm playing.
> Charlie Haden on bass, and Billy Higgins on drums: Joshua Redman and Pat Metheney are very wise to procure these old-timers, before they die! This shows, more than anything, an "agreement" in approach: old-school jazz. Two 'live' cuts, sounding like a small club, also add to the vibe: no "live at the Fillmore East" concert stuff. This is "chamber jazz."


"Old timers, old school jazz" ? Haden and Higgins are modernists. And Metheny has never had a big ego to keep in check. Just a big ambition to be the best musician he can be. If he had a big ego he wouldn't do a sideman date with a young cat like Joshua Redman. I bought that CD years ago when it was a new release. It's a good one!


----------



## Biwa

Donald Byrd : Black Byrd


----------



## Jay




----------



## Bwv 1080




----------



## Barbebleu

starthrower said:


> "Old timers, old school jazz" ? Haden and Higgins are modernists. And Metheny has never had a big ego to keep in check. Just a big ambition to be the best musician he can be. If he had a big ego he wouldn't do a sideman date with a young cat like Joshua Redman. I bought that CD years ago when it was a new release. It's a good one!


I got the companion album - Blues for Pat. Live and first class.


----------



## starthrower

Barbebleu said:


> I got the companion album - Blues for Pat. Live and first class.


I've not heard of that one. And I haven't really followed Joshua's career. Would love to hear him play live. Same for Ravi Coltrane. Ravi was at the Vanguard when I was in Manhattan last time but I didn't make it there. Not enough time to do everything.


----------



## starthrower

I just read that Lyle Mays has died after a series of illnesses. So sad. He and Pat Metheny created something so special with the music of the Pat Metheny Group. RIP


----------



## jim prideaux

starthrower said:


> I just read that Lyle Mays has died after a series of illnesses. So sad. He and Pat Metheny created something so special with the music of the Pat Metheny Group. RIP


Travels....one of the great albums, never tired of it and have listened to it so many times and it has become part of the soundtrack of my life....'there's always Lyle' (San Lorenzo)


----------



## jim prideaux

jim prideaux said:


> Travels....one of the great albums, never tired of it and have listened to it so many times and it has become part of the soundtrack of my life....'there's always Lyle' (San Lorenzo)


Will celebrate both his contribution to music and my early finish from work by listening to Travels in the car on the way home......


----------



## Barbebleu

starthrower said:


> I just read that Lyle Mays has died after a series of illnesses. So sad. He and Pat Metheny created something so special with the music of the Pat Metheny Group. RIP


Sad news indeed. Just as important to the band as Metheny was.


----------



## starthrower

Barbebleu said:


> Sad news indeed. Just as important to the band as Metheny was.


No doubt about it. Pat is the first one to acknowledge this fact. I'm sorry he and the band lost their very special friend and musical collaborator.


----------



## millionrainbows

starthrower said:


> I just read that Lyle Mays has died after a series of illnesses. So sad. He and Pat Metheny created something so special with the music of the Pat Metheny Group. RIP


When I read the post, I thought it sounded unusual for anyone to have a "series of illnesse*s*" (implying a series of _different_ illnesses) unless they had a weakened immune system.

According to Wik, "On February 10, 2020, it was confirmed that Mays had died after a battle with *a "recurring illness".*


----------



## Jay




----------



## starthrower




----------



## erki

Although I like bepop mostly my recent discovery is Marius Neset seen live at JuuJääb Festival last summer.


----------



## millionrainbows

John Coltrane Expression


----------



## Jay




----------



## starthrower

Norwegian jazz drummer Jon Christensen has died at age 76. Considered one of the greatest jazz drummers of his generation with at least a hundred recording dates for ECM Records. Here's an obit from a Norwegian publication that can be translated to English.
https://www.dagbladet.no/kultur/jon-christensen-er-dod/72152885


----------



## Duncan




----------



## Duncan




----------



## millionrainbows

John Coltrane/Transition


----------



## Barbebleu

millionrainbows said:


> John Coltrane/Transition


On a little 'Trane kick are we, MR? Good choices. I love posts like this that remind of great albums that I haven't listened to in twenty odd years.


----------



## starthrower

Duncan said:


>


Mike Stern gets around! I was listening to him quite a bit back in those days. 25-30 years ago. But I didn't know he played with these two. Poor Arild Andersen. He's lost two of his favorite drummers now. Paolo Vinaccia died of cancer last year.


----------



## Jay




----------



## Tallisman

Beautiful solos.


----------



## Tallisman

starthrower said:


> Norwegian jazz drummer Jon Christensen has died at age 76. Considered one of the greatest jazz drummers of his generation with at least a hundred recording dates for ECM Records. Here's an obit from a Norwegian publication that can be translated to English.
> https://www.dagbladet.no/kultur/jon-christensen-er-dod/72152885


Those Keith Jarrett European Quartet records are just marvellous. I'm thinking 'Belonging' and 'Nude Ants' especially,


----------



## Tallisman

jim prideaux said:


> Travels....one of the great albums, never tired of it and have listened to it so many times and it has become part of the soundtrack of my life....'there's always Lyle' (San Lorenzo)


From 1981-83 the Pat Metheny Group was simply the best band in the world, full of youthful vigour and bursting with chops. That Travels album is a priceless record of that. Such a fresh sound, and I always thought that Lyle was as equally in love with classical music as with jazz, which gave this classical sweetness to their harmonies. They were at their peak as composers and especially as improvisers on that record. Love hearing Pat and Lyle tearing it up on Song for Bilbao. RIP.


----------



## starthrower

Why only from 1981-83? They got even better after that, imo.


----------



## millionrainbows

Sometimes Lyle Mays struck me curiously as an "old lady" with his long, fluffy, freshly-washed hair and those loose-fitting silk tops that he wore. His jazz seemed overly-fussy. How could he afford all those keyboards? His parents must have been rich.

Pat Metheney's facial expressions are over-the-top, and there is a certain arrogance about him, as when he does not attempt to explain the "secret" to his jazz except in terms of "being:" "Me & those cats like Jaco and Jack DeJohnette, we just "are" the cats, man. We just _live_ it, man."

I remember in a Guitar Player interview where he said "There's a lot of guys out there who want to _be_ me."

His frequent references to The Beatles being his (and everyone else's) inspiration to play the guitar, "then my brother brought home a Miles Davis record and I became a jazzer" strike me as subtly condescending, as if all rock were "pop" fodder. He never mentions whether or not he ever heard _Revolver_ or _Abbey Road._ Yet, while on tour with Mike Stern, he was "caught" by Stern secretly listening to...The Carpenters!

Also, I feel his past & origins are somewhat shrouded in mystery...what is this midwest religion he was raised in? "Missouri Uncompromised," and "Unity Village" song titles...what's behind all that? I get a certain "California Child of God" vibe from him.


----------



## millionrainbows

Barbebleu said:


> On a little 'Trane kick are we, MR? Good choices. I love posts like this that remind of great albums that I haven't listened to in twenty odd years.


Curiously, I missed a lot of the Impulse releases, and a crucial Atlantic release, "Coltrane's Sound."


Now: John Surman.


----------



## starthrower

If anything is arrogant it's your lame attempt to mischaracterize Metheny. And I'm pretty sure Lyle Mays made enough money on tour to buy his own keyboards. You certainly don't have anything positive or enlightening to bring to the table, just negativity and petty observations.


----------



## Jay




----------



## philoctetes

Count me as not a Metheny fan, and have spent the money to have the right to say so.. however that Coltrane's Sound is the cat's meow...

On my radar lately are the Avid jazz releases - typically 3-4 albums on 2 CDs of music that is typically 50-ish. I've picked up collecttions by Ike Quebec, Larry Young, Barney Kessel, Tal Farlow, and Jimmy Raney, all new music to my ears and some of it outstanding... honestly nothing is cooler than driving through town at 10 mph with Larry Young in the pocket...


----------



## philoctetes

I'd been interested in Tal Farlow but never took the dip until now... he played fast even on ballads which can get a bit annoying but his licks were way ahead of his time...


----------



## millionrainbows

starthrower said:


> If anything is arrogant it's your lame attempt to mischaracterize Metheny. And *I'm pretty sure Lyle Mays made enough money on tour to buy his own keyboards.*


And hair-care products.

I forgot to add: I can _certainly_ see the attraction of Metheney for Gary Burton. That boyish smile, that lush mane of hair...those orgasmic facial expressions.



> You certainly don't have anything positive or enlightening to bring to the table, just negativity and petty observations.


I guess I'm sticking my nose into places it doesn't belong. Perhaps there's a lesson to be learned here.


----------



## millionrainbows

philoctetes said:


> Count me as not a Metheny fan, and have spent the money to have the right to say so.. however that Coltrane's Sound is the cat's meow...
> 
> On my radar lately are the Avid jazz releases - typically 3-4 albums on 2 CDs of music that is typically 50-ish. I've picked up collecttions by Ike Quebec, Larry Young, Barney Kessel, Tal Farlow, and Jimmy Raney, all new music to my ears and some of it outstanding... honestly nothing is cooler than driving through town at 10 mph with Larry Young in the pocket...


I have the first album with Jaco, and that's quite enough. Too sweet to have too much. When I look at Pat Metheney, and compare him to John Scofield, it becomes that much more obvious how more expansive Scofield is, with his interactions with other players, and his hip-hop influences. Metheney's "explorations"? Well, there's that "Orchestron" project, which seems almost narcissistic by comparison. I thought jazz was interactive, but it seems this replaces players with machines.











Those Avid releases look very interesting.


----------



## philoctetes

"And hair-care products"

They all stole their coiff from Robert Plant... form a quartet with Metheny, Mays, Simon Rattle, and Stephen Pinker... call them Hairballs of the Gods...

Don't diss me for this cause I had the same hair...


----------



## Joe B

I missed school yesterday taking my wife to/from a doctor's appointment yesterday. At school, it was 80's retro day, so in honor of that I listened to some Pat Metheny Group while on the road:


----------



## millionrainbows

philoctetes said:


> "And hair-care products"
> 
> They all stole their coiff from Robert Plant... form a quartet with Metheny, Mays, Simon Rattle, and Stephen Pinker... call them Hairballs of the Gods...
> 
> Don't diss me for this cause I had the same hair...


We can call it "hair jazz."


----------



## starthrower

A favorite among my George Russell collection. I assume most Dolphy fans are familiar with this one.


----------



## millionrainbows

Oh yeah! This has 'Round Midnight' on it, with IMHO Dolphy's greatest solo, full of pathos and humor. One of the greatest solos of all time. The 'Nardis' is killer, too.


----------



## Bwv 1080

been on a 70s ECM kick


----------



## Bwv 1080

and


----------



## millionrainbows

I found a used copy of "Secret Story" by Metheney, and I got it. There he is on the back, his long hair blowing in the Missouri wind, like a healthy cocker spaniel. Good doggy!


----------



## starthrower

Million, Metheny is an accomplished and successful artist, and a man of integrity, and all you can do is make petty comments. Get a life.


----------



## millionrainbows

starthrower said:


> Million, Metheny is an accomplished and successful artist, and a man of integrity, and all you can do is make petty comments. Get a life.


That's debatable. True, he has been a success in doing his own "brand" of jazz, but it seems to lack something. He's so squeaky clean, maybe that's got something to do with it. He looks like a g*****n toothpaste commercial.


----------



## starthrower

He's done all kinds of music. If you want something edgy you can listen to Zero Tolerance For Silence. And being edgy isn't always interesting. John Zorn has been doing the edgy thing for 40 years and it's very predictable. And he's no where near the accomplished composer that Metheny is. But if making sputtering sounds through an Alto sax is innovative and avant garde then Zorn is your man.

But concerning Metheny, why don't you look past the surface and listen to the music. Secret Story has some great stuff, and it has a bit of fluff. But I think the good stuff far outpaces the fluff. And there are other more hard core improv albums to listen to including Song X, 80/81, and The Unity Sessions with Chris Potter. And there are some great sideman sessions he's done with Gary Thomas, Kenny Garrett, and Joshua Redman which you know about.


----------



## Bwv 1080

Although you don't have to diminish John Zorn to praise Metheny, both are great composers


----------



## starthrower

I just don't find Zorn to be an interesting composer. It's more about what a creative musician can do with his threadbare compositional sketches. But most of them are not very interesting from a harmonic aspect. I have the Metheny Book Of Angels which is fairly good, but after 5-6 spins I don't need to listen to it anymore.


----------



## Dorsetmike

For me this is real jazz, video quality may be below par, but sound is OK






and a play list for more Mel
[video]https://www.youtube.com/playlist?list=OLAK5uy_liBtNmbkrYDRWrks_MvWAkc6Q6Bq MPGug[/video]


----------



## Dorsetmike

More of my kind of jazz, Chet Baker


----------



## Jay




----------



## tortkis

Blue Bossa - McCoy Tyner featuring Claudio Roditi (1946-2020)









Roditi was a rotary trumpet player who fused jazz and Brazilian music. He died of prostatic cancer in January. I listen to this album with Tyner repeatedly these days. His warm sound and precise phrasing are excellent.


----------



## Bwv 1080




----------



## millionrainbows

starthrower said:


> He's done all kinds of music. If you want something edgy you can listen to Zero Tolerance For Silence. And being edgy isn't always interesting. John Zorn has been doing the edgy thing for 40 years and it's very predictable. And he's no where near the accomplished composer that Metheny is. But if making sputtering sounds through an Alto sax is innovative and avant garde then Zorn is your man.
> 
> But concerning Metheny, why don't you look past the surface and listen to the music. Secret Story has some great stuff, and it has a bit of fluff. But I think the good stuff far outpaces the fluff. And there are other more hard core improv albums to listen to including Song X, 80/81, and The Unity Sessions with Chris Potter. And there are some great sideman sessions he's done with Gary Thomas, Kenny Garrett, and Joshua Redman which you know about.


Okay, _Song X. _I can admire that album.

But mechanical interfaces and new age fluff? Nah. And he dares to criticize Kenny G. Hell, Metheney is just as responsible for that kind of "fluff" jazz.


----------



## starthrower

millionrainbows said:


> Okay, _Song X. _I can admire that album.
> 
> But mechanical interfaces and new age fluff? Nah. And he dares to criticize Kenny G. Hell, Metheney is just as responsible for that kind of "fluff" jazz.


No, he's never done any new age music. And comparing him to Kenny G is way off base. Some of Metheny's stuff may sound light and breezy on the surface but it's always musically solid with some intetesting and challenging content whether it's to your taste or not. Kenny G on the other hand is pure fluff with very little challenging musical content. Your comments prove that you are not familiar with Metheny's music in any significant way.


----------



## Jay

tortkis said:


> *Roditi* was a rotary trumpet player who fused jazz and Brazilian music.


----------



## gregorx

starthrower said:


> No, he's never done any new age music. And comparing him to Kenny G is way off base. Some of Metheny's stuff may sound light and breezy on the surface but it's always musically solid with some intetesting and challenging content whether it's to your taste or not. Kenny G on the other hand is pure fluff with very little challenging musical content. Your comments prove that you are not familiar with Metheny's music in any significant way.


I have a very strong aversion to what is generously referred to as "Smooth Jazz," which I see Mr. G as the poster boy for. I'm not a fan of Metheny (jazz guitar is a non-starter for me) but, let's not get confused here, he is a musician. Kenny G is just a guy whose dad bought him a saxophone when he was a kid, found a range he could play in, then rinsed and repeated it in a way that resulted in an insipid sound that caught on with people who don't demand much of the music they listen to.


----------



## starthrower

Yeah, that's what I already said in so many words.


----------



## Bigbang

gregorx said:


> I have a very strong aversion to what is generously referred to as "Smooth Jazz," which I see Mr. G as the poster boy for. I'm not a fan of Metheny (jazz guitar is a non-starter for me) but, let's not get confused here, he is a musician. Kenny G is just a guy whose dad bought him a saxophone when he was a kid, found a range he could play in, then rinsed and repeated it in a way that resulted in an insipid sound that caught on with people who don't demand much of the music they listen to.


Hmm, must pay the bills. Did I not hear recently that Kenny G got hired by Kayne West to do a special Valentine surprise? :lol:


----------



## philoctetes

Well, here is some cool new stuff for everybody except Kenny G fans... "edgy" with swing...


----------



## philoctetes

I think MR would be especially interested in this one, dunno about the rest of youse... Laubrock has one foot in Ornette and the other in Lutoslawski etc...


----------



## philoctetes

btw, we all have certain musicians that just don't rub us the way we like... even though some come real close or can't be avoided... sometimes there is no cure or influence that can change that... for me such names also include Joe Lovano, Tim Berne, Jan Garbarek- just to mention three horn players - hell I've seen Lovano twice live and can't stand how he plays but I go anyway to hear his partners... and Berne is everywhere on the Intakt Records label recording with some of my favorite musicians.. what's a music lover to do but shrug and keep listening?


----------



## starthrower

Garbarek's bright, piercing tone is not something I enjoy, although I do like some of his music. I saw Lovano last year playing in a quartet with Jack DeJohnette and I was very impressed. He's a great player with a sound I enjoy. And thank heaven he doesn't sound like a Brecker clone, as several white tenor players do. Berne plays a lot of very frenetic composed music that I can take only in small doses. I enjoy Lovano's first half dozen Blue Note albums from the first half of the 1990s, and the three albums with Scofield. I lost track after that. Other current tenor players I like include Michael Blake, and David Sanchez. There's a guy playing with Ron Carter who is great. He has a similar sound to Michael Brecker but without all the extraneous notes and calisthenics. I forget his name but there's a great quartet gig up on YouTube with Donald Vega on piano.


----------



## philoctetes

Almost any of these players we're talking about, when they perform as leaders or composers they expose themselves to a higher degree of scrutiny, so I sometimes enjoy someone like Garbarek more as a sideman or Lovano more when he's playing Monk... 

I've actually never clicked with Scofield either, and he's almost as popular as Metheny... Bill Frisell is another who I prefer as a sideman... I saw him, Lovano and Motian at the Vanguard... for me Motian was the best group leader of the three... Nils Cline also, I prefer as a sideman, especially with Scott Amendola... 

Another horn I can't stand i Chris Potter... I guess I'm a bit burned on big boned tenors with bop / blues tendencies, but then Berne cracks too many high notes... Laubrock is similar to Berne with a broader scope in style and more nuance in tone...


----------



## starthrower

Potter doesn't do much for me either. Lots of technique and muscular playing but it doesn't move me at all. Frisell I used to enjoy when he was playing jazz in the 80s and early 90s. Once he moved into the Americana thing I lost interest. I'm not as much of a hard core jazz listener as used to be. And I don't need to listen to new stuff all the time.

Paul Motian is somebody I admire. He makes playing the drums a work of art. I have the ECM box as well as a number of other albums. I go back and forth from listening to all kinds of ECM stuff to older artists like Bill Evans, Monk, Ellington, Mingus, etc.


----------



## tortkis

Chris Potter on Motian's Electric Bebop Band is fantastic. Circuits released last year is interesting, and I like his saxophone sound. Some years ago I often see Joe Lovano at high ranking in readers/critics polls, but I have not become enthusiastic about his playing. I feel it somehow lacks focus. Sax players I like recently are Tony Malaby, Mats Gustafsson, Ken Vandermark, Alexandra Grimal, Nick Mazzarella, Rob Brown, etc.


----------



## starthrower

Lovano has an inside/outside way of playing but he is a highly disciplined musician who I would never describe as lacking focus. He's quite versatile and can play any kind of music. I guess everyone hears things differently. Potter is a tremendous technician, but I don't hear a strong personal voice coming through his horn.


----------



## philoctetes

tortkis said:


> Chris Potter on Motian's Electric Bebop Band is fantastic. Circuits released last year is interesting, and I like his saxophone sound. Some years ago I often see Joe Lovano at high ranking in readers/critics polls, but I have not become enthusiastic about his playing. I feel it somehow lacks focus. Sax players I like recently are Tony Malaby, Mats Gustafsson, Ken Vandermark, Alexandra Grimal, Nick Mazzarella, Rob Brown, etc.


I knew I had contradicted myself a bit - but I have reason as follows:

I got Motian's Monk & Powell CD and it's a keeper, but at the time Potter was a new kid on the block. He's been on my radar a lot, and I've been astounded... he played with the Dave Douglas group which was a total dud, saw them live at Yoshi's with someone who knew him in high school, another friend of mine had the nerve to heckle Douglas that night  then a son of a friend went to Chicago to study with Potter which actually created a bit of drama between us when I refused to help him cheat school in his last term to qualify... we don't talk any more but I heard the son switched to composition and then returned home after a year... then I attended a concert with the lineup on his current CD - Holland and Hussein et al - and he was completely out of place in the eastern-influenced material. I'm catching up with some of the players you mentioned,.. Malaby and Vandemark are showing up on my screen a lot...

I actually agree with all the positive things anybody says about Lovano - he's unique, technically powerful (has chops), backs down from no challenge, and assembles some amazing groups to play with him... he also goes tippy-toe when he hits a high note... like some violin stars do... this was actually the topic of a thread back on Amazon... makes me squirm and look at something else... I think I recall Berne doing this too...


----------



## philoctetes

That Kris Davis CD I posted is quite a hodge-podge... reminds me of a John Zorn project, but with different influences... when listening to Rhizomes with Nils Cline I found myself back at the Roxy in 73... "and now, Ruthie is gonna do something really amazing" - it's gonna take a few more listens to identify where this is coming from, but it's all fun and very well executed...


----------



## starthrower

Speaking of high notes, David Murray goes there so often I had to stop listening to him. He created his own cliche which he falls back on far too often. But I don't want to whine about these idiosyncrasies too much. All of these players are great talents with a high level of musical skill and dedication to their art.


----------



## philoctetes

starthrower said:


> Speaking of high notes, David Murray goes there so often I had to stop listening to him. He created his own cliche which he falls back on far too often. But I don't want to whine about these idiosyncrasies too much. All of these players are great talents with a high level of musical skill and dedication to their art.


Murray is for me the last of the great tenor tradition... I love the first three octet albums... and his high notes don't bother me at all... I cannot recall if he's a tip-toer though

He's VERY good at squealing and I know the temptation, as playing high blow bends on the harmonica (think Jimmy Reed) is one of my specialties...


----------



## starthrower

Yeah, that squealing got to be too much for me. When he feels the need to do it in every solo it takes the element of surprise out of the music. Other than that I've enjoyed a good amount of his music over the years.


----------



## Red Terror

Bwv 1080 said:


> Although you don't have to diminish John Zorn to praise Metheny, both are great composers


I tried getting in to Zorn's music but ultimately could not. However, he does surround himself with good (and more interesting) musicians and artists.


----------



## tortkis

philoctetes said:


> That Kris Davis CD I posted is quite a hodge-podge... reminds me of a John Zorn project, but with different influences... when listening to Rhizomes with Nils Cline I found myself back at the Roxy in 73... "and now, Ruthie is gonna do something really amazing" - it's gonna take a few more listens to identify where this is coming from, but it's all fun and very well executed...


That album is very good. I need to listen to it more times. These posts reminded me of Malaby's Novela and I am listening it after a long time. Kris Davis's arrangements for wind instruments with piano & drums are intriguing.










Andrew Hadro (bs), Ben Gerstein (tb), Dan Peck (tba), Joachim Badenhorst (bcl), John Hollenbeck (d), Kris Davis (p), Michael Attias (as), Ralph Alessi (tp), Tony Malaby (ts)


----------



## Barbebleu

I’d love to get into the newer guys in jazz but at my age it’s too much of an investment in time. I can barely keep up with what I’ve got and some of my favourites are still releasing material even yet. Lloyd, Redman, Metheny usw. I’ve only just discovered Wadada Leo Smith’s back catalogue and that’s a rewarding time consumer!


----------



## philoctetes

Barbebleu said:


> I'd love to get into the newer guys in jazz but at my age it's too much of an investment in time. I can barely keep up with what I've got and some of my favourites are still releasing material even yet. Lloyd, Redman, Metheny usw. I've only just discovered Wadada Leo Smith's back catalogue and that's a rewarding time consumer!


I've seen WLS live 4 times now, since the early 90s... each in a different musical context. Among his newer CDs I like the one with Tania Chen and another called Najwa...

Malaby and Davis are also on this one... a more *quiet* chamber jazz session... I seem to be following the Michael Formanek crowd a lot right now... but these Intakt releases are expensive


----------



## philoctetes

tortkis said:


> That album is very good. I need to listen to it more times. These posts reminded me of Malaby's Novela and I am listening it after a long time. Kris Davis's arrangements for wind instruments with piano & drums are intriguing.
> 
> Andrew Hadro (bs), Ben Gerstein (tb), Dan Peck (tba), Joachim Badenhorst (bcl), John Hollenbeck (d), Kris Davis (p), Michael Attias (as), Ralph Alessi (tp), Tony Malaby (ts)


Ralph Alessi's latest CD with Ravi Coltrane is like a Miles Davis Quintet revival type session, in a good way that is fresh and up to date...


----------



## philoctetes

More on that Kris Davis CD... she has some killer piano technique that would make Cecil Taylor or Geri Allen smile... she does some kind of fist-chord thing where it sounds like she's slamming the lid on the piano... maybe she is... while Malaby explores the whole overtone arsenal on tenor... and yet the spirit of the whole project is upbeat, sunny almost... the overdubbed vocals stating a manifesto of musical purpose... 

The SuperBigmouth CD follows the "two of everything" Prime Time recipe that Ornette created... like "In All Languages" from a whole new generation of musicians with great chops... in their hands it no longer sounds too dense or dissonant but propulsive and harmonically rich... also with fairly upbeat results...


----------



## Barbebleu

philoctetes said:


> Ralph Alessi's latest CD with Ravi Coltrane is like a Miles Davis Quintet revival type session, in a good way that is fresh and up to date...


I've got this but ashamed to say I haven't got round to listening to it yet! Mea culpa.


----------



## starthrower

I'll have to check out that Formanek CD. I'm a fan of some of his other releases including Wide Open Spaces, and Low Profile on Enja. And his large ensemble record, The Distance on ECM. I had a cassette copy of Wide Open Spaces for years, but I found an affordable used copy of the CD last year.


----------



## philoctetes

starthrower said:


> I'll have to check out that Formanek CD. I'm a fan of some of his other releases including Wide Open Spaces, and Low Profile on Enja. And his large ensemble record, The Distance on ECM. I had a cassette copy of Wide Open Spaces for years, but I found an affordable used copy of the CD last year.


I just got The Distance recently and have tickets to see that group Kolossus in SF next month. Wondering if it will actually happen now... I also think that Mary Halvorson does some of her best work with him, esp in Thumbscrew...


----------



## starthrower

The Alessi record sounds really good. I just dialed up the tune Oxide on YT.


----------



## tortkis

Unfiltered - Tyshawn Sorey (Pi Recordings)









Nathan Reising, alto saxophone
Morgan Guerin, tenor saxophone
Lex Korten, piano
Sasha Berliner, vibraphone
Nick Dunston, bass
Tyshawn Sorey, drums, compositions

Powerful contemporary free/bop. 2 hours and 5 minutes, never a dull moment.


----------



## tortkis

philoctetes said:


> More on that Kris Davis CD... she has some killer piano technique that would make Cecil Taylor or Geri Allen smile... she does some kind of fist-chord thing where it sounds like she's slamming the lid on the piano... maybe she is...


Is it prepared piano? The beginning of Diatom Ribbons sounds like John Cage.


----------



## erki

Got this today(after some years of wait to appear on local auction site)

https://www.discogs.com/Ganelin-Čekasin-Tarasov-Poi-Segue/release/2818840


----------



## Barbebleu

The Alessi album is rather good. I’m glad I was reminded of its existence!:tiphat:


----------



## starthrower

I don't believe this one has ever gotten a CD re-issue. Too bad.


----------



## starthrower




----------



## tortkis

Jamie Saft, Steve Swallow, Bobby Previte - Ten Nights




The album with Iggy Pop is wonderful.


----------



## Jay

...with Wayne Escoffrey:


----------



## millionrainbows

I like Joe Lovano because of his connection to third stream and Gunther Schuller. 

The reason I mentioned Pat Metheney in relation to Kenny G is because of the scathing YouTube video of him dissing Kenny G. I suppose the mass criticism of KG is because it is perceived that he somehow doesn't express his "being" or personality through his horn, which Metheney has always touted that he himself does. This aspect of playing jazz would have as much to do with technical facility and more to do with this "X factor" of expressing one's being. The "true artist's" music would reflect this intent in many ways: the performance mainly.

What is "true expression" in jazz, and how is it we can supposedly perceive it in Metheney but not Kenny G?

Is it because Metheney "lacked" something in his identity or being, and was trying to reach it through jazz, and that Kenny G. did not "lack" anything personally, and was perfectly happy to play jazz which "did not struggle to express identity?" 

Should jazz always express "the suffering artist" in this respect? Is this why black jazz players are so good in this?


----------



## starthrower

Why do you bother raising these silly questions that you know are a load of nonsense? I'll agree that as right as Metheny was about Kenny G's lame attempt to associate himself with Louis Armstrong on that overdubbed with the dead recording, he looked a bit foolish getting on his high horse of contempt and vitriol. The recording speaks for itself as the crass marketing tool that it is. But I'll forgive Metheny due to the fact that he is very passionate about this American art form we call jazz, even if his passions got the best of him. And I don't believe he needs the jazz context to express himself as an artist. He can write catchy pop melodies with the best of them, or create an orchestral arrangement, movie soundtrack, etc. At the core he is an improvising guitarist, even though he has many other avenues of artistic expression at his disposal.


----------



## millionrainbows

starthrower said:


> *Why do you bother raising these silly questions that you know are a load of nonsense? *I'll agree that as right as Metheny was about Kenny G's lame attempt to associate himself with Louis Armstrong on that overdubbed with the dead recording, he looked a bit foolish getting on his high horse of contempt and vitriol. The recording speaks for itself as the crass marketing tool that it is. But I'll forgive Metheny due to the fact that he is very passionate about this American art form we call jazz, even if his passions got the best of him. And I don't believe he needs the jazz context to express himself as an artist. He can write catchy pop melodies with the best of them, or create an orchestral arrangement, movie soundtrack, etc. At the core he is an improvising guitarist, even though he has many other avenues of artistic expression at his disposal.





> Why do you bother raising these silly questions that you know are a load of nonsense?


These questions are central to every performing improviser, especially in jazz. They were:

What is "true expression" in jazz, and how is it we can supposedly perceive it in Metheney but not Kenny G?

Should jazz always express "the suffering artist" in this respect?

We all suffer, that's an undisputed fact. Who probably suffered more, Pat Metheney or Wes Montgomery? Is this what makes music good? What kind of a scale are we judging Kenny G. by? Why is Kenny G. not as good?


----------



## starthrower

I never think about the "suffering artist" when listening to jazz. What is being implied by that term? It can be interpreted in a dozen different ways. The only way I judge Kenny G is by my own instincts and taste. I don't like his music. I find it very boring and his playing sounds affected so it's a turn off. If other people enjoy it, that's fine. But to my ears it sounds like background music. I'm an active listener so I want something more challenging.


----------



## Luchesi

millionrainbows said:


> These questions are central to every performing improviser, especially in jazz. They were:
> 
> What is "true expression" in jazz, and how is it we can supposedly perceive it in Metheney but not Kenny G?
> 
> Should jazz always express "the suffering artist" in this respect?
> 
> We all suffer, that's an undisputed fact. Who probably suffered more, Pat Metheney or Wes Montgomery? Is this what makes music good? What kind of a scale are we judging Kenny G. by? Why is Kenny G. not as good?


I look at the scores to tell the difference, but I enjoy Kenny G's attempts to compose instrumentals that were popular.


----------



## jim prideaux

to start the day.....Keith Jarrett-the Lausanne section of the Bremen Lausanne concerts.


----------



## starthrower

Free viewing of new Charlie Haden documentary until April 5th.


----------



## shedshrine

I loved _Out to Lunch_, my introduction to Dolphy.

I recently picked up three more of his albums on vinyl. Two of which by virtue of their titles promise adventurous music, (_Out There_ (1961) and _Outward Bound_ (1964) but it was the third, _Iron Man, _that I really connected with.

After reading the liner notes it all made sense:

"This record was produced during the early part of 1964 (not released until 1968), when Eric Dolphy and producer Alan Douglas decided to experiment with Eric's original compositions.

Two approaches were agreed upon. One was of clear simplicity; Eric on reed instruments and Richard Davis on bass. The other was more involved - a ten piece orchestra of young men who understood and admired Eric's work.

The recording sessions took place late at night in a very relaxed studio for five successive nights. In this environment the playing of Eric Dolphy, Richard Davis and the other musicians was unbelievably inspired. So much was created, individual compositions went from 'almost commercial' to 'very far out.'

Two albums were produced from that beautiful week. The first, called 'Conversations,' was released through FM Records (now available through the Roulette Record catalogue). On this (Iron Man), the second, is incorporated performances that were considered too futuristic to put out at that time."


----------



## starthrower

Recorded 1974
Bob Cranshaw - electric bass, Mickey Roker - drums, Zita Carno - second piano
Excellent notes by Bob Blumenthal including a bio, track notes, and discography


----------



## Dorsetmike

Mary Lou with Stan Getz


----------



## starthrower

Mary Lou was a badass! She was playing great stuff before Monk, Bud, and most other more famous pianists. She even played with Duke before he had a big band.


----------



## philoctetes

Ha anybody ever seen Kenny G and Pat Metheny in the same room at the same time?


----------



## Barbebleu

philoctetes said:


> Ha anybody ever seen Kenny G and Pat Metheny in the same room at the same time?


Why?xxxxxxxxxxxxxxxxxxxx


----------



## starthrower

philoctetes said:


> Ha anybody ever seen Kenny G and Pat Metheny in the same room at the same time?


No, but I'm trying to imagine how much hair would be flying around the room after the brawl ensued.


----------



## philoctetes

Barbebleu said:


> Why?xxxxxxxxxxxxxxxxxxxx


To prove they aren't one and the same dude with big hair...


----------



## starthrower

Trumpeter Wallace Roney has succomned to Covid-19. Reports on FB mentioned his passing.


----------



## shedshrine

starthrower said:


> Free viewing of new Charlie Haden documentary until April 5th.


Passed that along to a friend. He quite enjoyed it (as did I). 
What a low-key, unassuming badass


----------



## shedshrine

Re: Spotify
Had been enjoying some Charlie Haden _Conference of the birds_ which led to that albums horn player Anthony Braxton which introduced me to the name Woody Shaw as they had a collaborative album with _The iron Men_. Which led to seeking out Shaw's highly regarded _Rosewood_. This working from home stuff is working out as far as getting some new music/long time no hear music going, but.. Hard to have good jazz (or any involved music) as background music, demands full attention.
..and then that Cecil McBee who played on Rosewood was on Journey In Satchidananda, except for the last track which was..Charlie Haden. Which brings us full circle. Oh wait, isn't that a Metheny album.


----------



## shedshrine

double post (plus additional words to get this posted)


----------



## tortkis

starthrower said:


> Trumpeter Wallace Roney has succomned to Covid-19. Reports on FB mentioned his passing.


This is a shocking news. I love his music. He died in New Jersey, where the number of new coronavirus cases is picking up. When I first heard his performance, it sounded very abstract, strongly resembling to the 60s Miles Davis, but as I listened to his recordings more, I became to think he was quite original. His small combo recordings are good, but one of the most memorable albums to me is Mistérios with an orchestra. (It includes a couple of Pat Metheny pieces.)


----------



## Jay

shedshrine said:


> Had been enjoying some Charlie Haden _Conference of the *irds*_


*

Dave Holland. Still my fave by him.*


----------



## starthrower

Some nice bass clarinet playing on this one.


----------



## starthrower

Ellis Marsalis is another victim of Covid-19. He was 85.


----------



## starthrower

Guitarist Bucky Pizzarelli dead at 94.
https://www.njarts.net/music/legendary-guitarist-bucky-pizzarelli-dies-at-94/


----------



## starthrower

Black Saint Records 1992


----------



## philoctetes

starthrower said:


> View attachment 132897
> 
> 
> Black Saint Records 1992


No long ago ago you said you were burned out on Murray, now you're wallowing in it


----------



## starthrower

philoctetes said:


> No long ago ago you said you were burned out on Murray, now you're wallowing in it


I burned out about 15 years ago so I've had enough time away. I decided to revisit my Murray collection which is only 9 or 10 albums. So far I'm enjoying the ride.


----------



## starthrower

David Murray: Speaking In Tongues
Featuring Fontella Bass
Justin Time Records 1999


----------



## philoctetes

starthrower said:


> I burned out about 15 years ago so I've had enough time away. I decided to revisit my Murray collection which is only 9 or 10 albums. So far I'm enjoying the ride.


OK I got catching up to do too...


----------



## starthrower

^^^
I haven't seen that one before, but who can keep up with this guy? I just ordered a couple more. And I'd like to pick up the duo album with Mal Waldron.


----------



## philoctetes

starthrower said:


> ^^^
> I haven't seen that one before, but who can keep up with this guy? QUOTE]
> 
> The Coleman track has Moffet, Harris and Roney sitting in... Roney and Allen were married, now they're both gone... so quick
> 
> *correction - that is actually their son Wallace Jr on the album...


----------



## starthrower

Yeah, that's a shame. I didn't listen to Roney much but I liked Geri Allen a lot.


----------



## philoctetes

starthrower said:


> Yeah, that's a shame. I didn't listen to Roney much but I liked Geri Allen a lot.


I have to catch up on Allen too... I did not even know about this CD until yesterday...


----------



## starthrower

Great record!


----------



## starthrower

This is actually the 1972 band with Joe Farrell and Airto. Pasted from the comments section but Spain is first. They also play Crystal Silence starting at 21:00.

*I tracked this down. It is Return to Forever, Molde Jazz Festival
, Molde, Norway, August 1972 (not 1973). Line up is, Chick Corea, Joe Farrell, Stanley Clarke, Airto Moreira and Billy Tragesser. Tragesser is filling in for Flora who was having a child. Songs are La Fiesta, Spain, 500 Miles High. Recorded by NRK TV.*


----------



## Joe B

Remembering Lyle Mays tonight:


----------



## starthrower

Blue Note Records 1987


----------



## starthrower

Verve 1998
Wallace Roney/Buster Williams/Lenny White/Robin Eubanks/Mino Cinelu/Vernon Reid/Ralphe Armstrong


----------



## starthrower

Exciting trio performance in Lugano 1997. Ralphe Armstrong is on bass.


----------



## starthrower

Either/Orchestra: Across The Omniverse
1996 Accurate Records
2 CD compilation of studio outtakes and live recordings from the band's first decade. I've always considered this release as essential as any of their other albums. It's loaded with great performances and superb music.


----------



## gregorx

Amazing the old film that survives. The notes say recorded at the Blue Note (Paris), 9 January 1960. Alice Coltrane.


----------



## Jay




----------



## Andante Largo

Eddie Higgins Quintet - Ghost of a Chance


----------



## HenryPenfold

I struggle to think of a better jazz album than this ........


----------



## gregorx

Yes! some Ornette Coleman! I think Shape was released in 1958 and he was still going strong at age 76 on this one. Recorded live in Germany in 2005. In addition to Alto, Coleman picks up the trumpet and does some violin sawing. Not sure exactly what he was doing there, but overall a great album.


----------



## HenryPenfold

gregorx said:


> Yes! some Ornette Coleman! I think Shape was released in 1958 and he was still going strong at age 76 on this one. Recorded live in Germany in 2005. In addition to Alto, Coleman picks up the trumpet and does some violin sawing. Not sure exactly what he was doing there, but overall a great album.


Love it!

Who's the bassist?


----------



## gregorx

HenryPenfold said:


> Love it!
> 
> Who's the bassist?


You picked up on that, huh? Pretty sharp. Two bassists, Greg Cohen picks his, and Tony Falanga bows his.


----------



## Jay

HenryPenfold said:


> I struggle to think of a better jazz album than this ........


_This Is Our Music_ and _Crisis_ come immediately to my mind, but, yeah, an important album.


----------



## starthrower

2001 independent release featuring Duane and Kevin Eubanks, George Colligan, Lonnie Plaxico, Billy Kilson, Dave Holland, Mino Cinelu, Gene Jackson


----------



## starthrower

Great album! I bought this one plus three other Steve Coleman albums for ten dollars!


----------



## starthrower

The original 1958 recording shelved until the year 2000 release.


----------



## norman bates

I'm listening to Dominique Gaumont's Energy and I really like it.
I suspect that those into Miles Davis in the seventies could appreciate it a lot. Too bad he died so young.


----------



## starthrower

Recorded June 1961

Ron Carter turned 83 a couple days ago. He pretty much looks the same as in this 59 year old photo but for some gray hair.


----------



## Andante Largo




----------



## philoctetes

2019 release with something for everybody, great lineup


----------



## starthrower

Amazing interpretation and performance of this bop classic.


----------



## Jay




----------



## philoctetes

Another Avid gem - the nearly forgotten Elmo was another one-of-a-kind pianist pursuing transitional (not traditional) styles...


----------



## starthrower

Recorded live at Yoshi's August 8, 1992
1994 ENJA 80542


----------



## starthrower

2012 Nonesuch Records










Excellent recording that I passed on when it was released 8 years ago. But after acquiring the DVD last year and really enjoying it, I decided to get the CD.


----------



## Andante Largo




----------



## Joe B

The Yellow Jackets recorded a good deal. And like all bands, they evolved as they spent time together and as new band members joined the group. For me, this is the pinnacle of their sound. Mark Russo's sax playing was always a draw for me. "Four Corners" is my favorite of their releases. There are some great tunes on this disc:


----------



## starthrower

Henry Threadgill-conductor
John Stubblefield-tenor & soprano sax
Booker T Williams-tenor sax
Ted Daniel-trumpet
E.J. Allen-trumpet
Craig Harris-trombone
Conrad Herwig-trombone
Leroy Jenkins-violin
Charles Burnham-violin
Terry Jenoure-violin
Bob Stewart-tuba
Diedre Murray-cello
Akua Turre-Dixon-cello
Brandon Ross-guitar
Donald Nicks-el. bass 
Reggie Nicholson-drums
Bobby Sanabria-percussion
Drew Richards-vocal
Sherry Scott-vocal


----------



## Andante Largo




----------



## starthrower

Great interview with Sonny Rollins in the NY Times.
https://www.nytimes.com/interactive/2020/02/24/magazine/sonny-rollins-interview.html


----------



## Jay

The criminally-neglected Bob Mover with the equally ignored drummer Bobby Ward:


----------



## Joe B




----------



## Andante Largo

Sam "The Man" Taylor - Mood Music for Otona
#TenorSaxophone


----------



## Andante Largo

Erroll Garner - Jazz 'round Midnight
#Piano


----------



## Joe B

A little earlier:


----------



## starthrower




----------



## Jay




----------



## gregorx

Miles Second Great Quintet. _Nefertiti_, a Wayne Shorter composition. Miles Davis (tpt); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (d)


----------



## Bwv 1080

gregorx said:


> Miles Second Great Quintet. _Nefertiti_, a Wayne Shorter composition. Miles Davis (tpt); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (d)


No solos!!!!!!!!!


----------



## starthrower

Swamp Sally 1996 Verve

This is a diverse and inspired collection of duo performances that features Barron and Cinelu playing a variety of instruments. They have a great rapport.


----------



## SanAntone

gregorx said:


> Miles Second Great Quintet. _Nefertiti_, a Wayne Shorter composition. Miles Davis (tpt); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (d)


This is also a favorite of mine - I LOVE the reversal of roles with the sax and trumpet playing the tune over and over as the rhythm section, especially the drums, solo behind them. Brilliant, IMO.


----------



## gregorx

SanAntone said:


> This is also a favorite of mine - I LOVE the reversal of roles with the sax and trumpet playing the tune over and over as the rhythm section, especially the drums, solo behind them. Brilliant, IMO.


It is a fantastic way to put that music together. It illustrates why I think that Miles' greatest strength was as a band leader: he knew how to put a ensemble together, he knew how to get the most out of a composition, and he never felt the need to overpower the music with his playing - unlike some people we know of that era. Also, not sure how well I know drummers, but I've always thought Tony Williams was the best.


----------



## Jay




----------



## Barbebleu

Thelonius Monk - Monk in Tokyo. Super stuff from one of the giants of modern jazz.


----------



## starthrower

I've been enjoying these jazz conversations at NYU. Mike Mainieri looks amazing for 80 years old. And his voice sounds like he's 25 or 30.


----------



## starthrower

Recorded 1989

Lew is great on both tenor sax and flute. His sound on the flute is unique and quite recognizable. Another jazzer who turned 80 this year.


----------



## jim prideaux

Bobo Stenson Trio-Serenity.


----------



## jim prideaux

jim prideaux said:


> Bobo Stenson Trio-Serenity.


Again this morning...….contains some of the most fragile and enigmatic music by a piano trio I have heard!


----------



## starthrower

Blast from the past!


----------



## Dorsetmike

Paul Quinichette plays Quincy Jones, Basie on Hammond


----------



## Barbebleu

starthrower said:


> Blast from the past!


Scary to think it was forty years ago! Where has time gone? I was only 31 when this was being played. Now I'm doing ninety miles an hour down a dead-end street!:lol:


----------



## SanAntone

jim prideaux said:


> Bobo Stenson Trio-Serenity.


Bobo Stenson usually puts out good stuff; one of my faves.


----------



## starthrower

Barbebleu said:


> Scary to think it was forty years ago! Where has time gone? I was only 31 when this was being played. Now I'm doing ninety miles an hour down a dead-end street!:lol:


Two years before I discovered Metheny. But I'm just a young buck. I wonder if Pat ever looks at any of these old performances on YT? He probably cringes at the idea. The band did get a lot better over the following 10-20 years.


----------



## Jay

Three tuff tenors...


----------



## tortkis

Giuseppi Logan (1935-2020)








This is a great album with Don Pullen, Eddie Gomez and Milford Graves, recorded in 1964.
He disappeard from the scene in the early 1970s but made a comaback in 2010.
I listened to a couple of recent albums. To be honest, I found that his sax playing had become much weaker, but it is wonderful to see a legendary musician coming back after such a long absent. He died from new coronavirus.


----------



## Jay

Bliss X 2...

https://www.newportjazz.org/mingus

https://www.newportjazz.org/max-roach


----------



## gregorx

The great Booker Little with Eric Dolphy.

"Booker's Waltz" 
Eric Dolphy (bass clarinet); Booker Little (trumpet); Mal Waldron (piano); Richard Davis (bass); Ed Blackwell (drums)


----------



## gregorx

And this one with Dolphy on flute.

"Left Alone", a Billie Holiday/Mal Waldron composition


----------



## starthrower

Released 1960


----------



## SanAntone

starthrower said:


> Released 1960


_Transfiguration of Hiram Brown_ is great, I had a three-CD re-issued set from the '90s with this one, _V-8 Ford Blues_ & _I Love the Life I Live_

View attachment 137845
View attachment 137846


But Hiram Brown is unique since it is a narrative suite. Great stuff!


----------



## starthrower

5 Disc Set

My order for the complete set got cancelled so I picked up a used copy of this earlier edition. Includes the expanded 2 CD Fort Yawuh, Treasure Island, Death And The Flower, and Backhand with some bonus tracks from each session. A great set!


----------



## Barbebleu

starthrower said:


> 5 Disc Set
> 
> My order for the complete set got cancelled so I picked up a used copy of this earlier edition. Includes the expanded 2 CD Fort Yawuh, Treasure Island, Death And The Flower, and Backhand with some bonus tracks from each session. A great set!


Couldn't agree more. I have the two individual sets too. I often think this is a much neglected part of Jarrett's oeuvre and people tend to concentrate on his vast ECM output. Rightly so but there is much gold to be found in the Impulse years


----------



## starthrower

I have a handful of Jarrett ECM albums including The Survivor's Suite, Nude Ants, Belonging, and a couple of trio albums. But the American Quartet is my favorite stuff. The bonus live Vanguard disc, and the Backhand album blow me away so I'm glad I bought the Impulse box. And I just ordered a copy of Bop-Be which I found at a good price.


----------



## Barbebleu

Being the ridiculous completist that I am it will be of no surprise to you that I have everything that he has ever released plus a fair few boots. A huge favourite since I first became aware of him through Charles Lloyd on the album Dream Weaver.


----------



## starthrower

I just missed out on a chance to buy the Sun Bear box pretty cheap. Someone just auctioned the set for 42 dollars on eBay. It was in nice shape too. Oh well, I've got Bop-Be, and Changeless on the way.


----------



## Barbebleu

Better luck next time! I have it on vinyl and download. My wife said I could buy the cds but only if I sold the vinyl. I was reluctant to do that so she compromised by letting me have the download which took up no space. Anything for a quiet life.


----------



## SanAntone

I too am a fan of *Keith Jarrett*, and for a long time I thought the *American Quartet* recordings what I liked best. But _Belonging_ was such a force of nature when it came out, I wore that one out. Nowadays I prefer the *Trio*, with the 6CD _At the Blue Note_ box being a DID for me.

View attachment 137960


----------



## Luchesi

Keith will be 75 on the 5th of August


----------



## starthrower

I think I'll go for the single CD Blue Note recording. I can listen to the rest on Spotify.


----------



## SanAntone

View attachment 138052


Bill Evans Trio - Waltz for Debby


----------



## starthrower

Luchesi said:


> Keith will be 75 on the 5th of August


I believe his birthday is May 8, 1945.


----------



## Luchesi

starthrower said:


> I believe his birthday is May 8, 1945.


Thanks, yes. Sorry. Youtube has changed its inner workings (just today, what a coincidence), so I can't go back and see why this mistake was in a video description. 

I guess this is famous now (below) but I hadn't heard about it. As a pianist myself, this is wild stuff. What a guy!!

HARFORD: Vera Brandes was this young girl, 17 years old, who had somehow managed to persuade Keith Jarrett, who was already a big star at the time, to come to Cologne. And she had persuaded the Cologne Opera House, which is a big venue, 1,400 seats, to host Keith Jarrett.
RAZ: Wow.
HARFORD: And she was just - she's just a kid, but she loves jazz. And so she's hugely ambitious, and her skills and her experience do not match up to make this happen.
RAZ: Yeah.
HARFORD: And there's some miscommunication, and when she takes Keith out onto the stage for the rehearsal to meet the piano, it's the wrong piano. It's a rehearsal model. It's from some little corner somewhere - wasn't even a grand piano. Vera said it was like half a piano. And the keys were sticking. The pedals didn't work. The felt was all worn away in the upper register, so the upper register sounded very harsh and tinny. And because it's not a grand piano, it's not loud enough. So there are a lot of reasons why this is a bad piano.
RAZ: So for people who don't know anything about Keith Jarrett, like, what do you know about the kind of person he is?
HARFORD: Well, he's famous for his perfectionism. I mean, in many ways, he's a very freethinking musician. He does these entirely improvised concerts. He walks out on the stage. He sits down at the piano, and he just plays whatever comes into his head. And so that sounds as though this is a very loose, freethinking, flexible person, but he has a reputation as insisting that everything be perfect. So the perfectionist meets the world's worst piano, and it's a sellout concert. Everyone's going to be there in a couple of hours. There is no way to get a replacement. It's pouring with rain in Cologne at the time. And basically Jarrett said, I won't play. I'm not going to play. So this is not going well - right? - for Vera.
RAZ: Yeah.
HARFORD: This is not going well at all. So she goes out. She finds Keith Jarrett. He's sitting in a car waiting to be driven back to the hotel. And she goes and knocks on the window, and he looks out, and he sees this 17-year-old kid drenched in the rain, and she just begs him to play. She begs him. And I think at that moment, he just feels sorry for her. And he realizes she's just a kid. Fourteen hundred people are about to show up at this concert, and there's going to be no concert. And he says, never forget. Only for you. And he agrees to play.
RAZ: Wow.
HARFORD: This is a man who hands out cough drops to the audience so they do not disturb the performance.
RAZ: (Laughter) Yes.
HARFORD: I don't know what exactly was going through his head, but, yeah, he sits down, and away he goes.
(SOUNDBITE OF KEITH JARRETT'S "KOLN, JANUARY 24, 1975, PT. I - LIVE")
HARFORD: And it's magic.
(SOUNDBITE OF KEITH JARRETT'S "KOLN, JANUARY 24, 1975, PT. I - LIVE")
HARFORD: It is an absolutely astonishing performance. And it's - within moments, it's apparent that he's producing something astonishing.
(SOUNDBITE OF KEITH JARRETT'S "KOLN, JANUARY 24, 1975, PT. I - LIVE"))
HARFORD: It was supposed to be a disaster. He's given this unplayable piano. And he doesn't just cope. He doesn't just produce a decent performance because he's a genius. He produces what many people think of as his best performance.

https://www.npr.org/transcripts/719557642


----------



## SanAntone

Your story inspired me to revisit this recording, which I haven't listened to in probably over 40 years. I certainly heard it when it first came out but I thought (as a working jazz bassist) that it was pretentious and dismissed it as a ego project (from a guy I knew to be conceited anyway) and never thought about it again.

Until today, of course.

My attitude about him has softened considerably, and I now consider him a musician I enjoy quite a lot.

View attachment 138112


----------



## Barbebleu

I’m listening to it now (22.30 GMT). Just a delight in every sense.


----------



## starthrower

Must be in the stars! I went record shopping today for the first time in three and half months. I found a nice second hand copy of The Koln Concert. And for less than any copies online. I've been on a Jarrett kick these past few weeks anyway so all I can say is, the universe provides!


----------



## Jay

gregorx said:


> The great Booker Little with Eric Dolphy.


A nice run here, 1961...


----------



## Jay

https://jazztimes.com/blog/newly-discovered-thelonious-monk-live-recording-due-out-july-31/


----------



## norman bates

Jay said:


> A nice run here, 1961...


nice run is a understatement, and Booker Little and friend is basically as good as Out front. I can't think of a jazz musician who did so much incredible things that year. Maybe Coltrane... and Booker Little was also on Africa Brass by the way. Everytime I think of him it makes me sad. He was such an amazing talent at 23, I can't even imagine how much more great music he could have made.


----------



## starthrower

Sonny brought this band to my hometown a few years after this show. The only time I got to see this jazz legend.


----------



## tortkis

2020 is also the 75th anniversary of Anthony Braxton's birth. Braxton's discography is huge and I have listened to only very small part of it. Currently listening to Trio (NYC) 2011 with Mary Halvorson and Taylor Ho Bynum.

This looks an interesting album to celebrate his 75th birthday, to be released on July 24. Thumbscrew plays Braxton's previously unrecorded or rarely recorded compositions.
The Anthony Braxton Project by Thumbscrew [Tomas Fujiwara / Mary Halvorson / Michael Formanek] (Cuneiform)
https://cuneiformrecords.bandcamp.com/album/the-anthony-braxton-project-2


----------



## SanAntone

_Moon Beams_ is a 1962 album by jazz musician *Bill Evans,* and the first trio album recorded by Evans after the death of Scott LaFaro.

View attachment 138243


*Bill Evans - piano
Chuck Israels - bass
Paul Motian - drums*

"Re: Person I Knew" (Bill Evans) - 5:44
"Polka Dots and Moonbeams" (Johnny Burke, Jimmy Van Heusen) - 5:01
"I Fall in Love Too Easily" (Sammy Cahn, Jule Styne) - 2:42
"Stairway to the Stars" (Matty Malneck, Mitchell Parish) - 4:53
"If You Could See Me Now" (Tadd Dameron) - 4:29
"It Might as Well Be Spring" (Richard Rodgers, Oscar Hammerstein II) - 6:05
"In Love in Vain" (Leo Robin, Jerome Kern) - 5:00
"Very Early" (Bill Evans) - 5:06



> Writing for Allmusic, music critic Thom Jurek wrote of the album "...selections are so well paced and sequenced the record feels like a dream... Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader."


----------



## starthrower

1984

Some superb original music from the trio.


----------



## tortkis

Ingrid Laubrock (sax) and Tom Rainey (drums) have been releasing home recordings series (name your price) called Stir Crazy. Although it is not studio recording quality, the sound is vivid and intimate, and the improvisations are solid and powerful. So far, 14 episodes were released.









https://ingrid-laubrock.bandcamp.com/album/stir-crazy


----------



## Dorsetmike

Mary Lou Williams and Stan Getz in concert 1978


----------



## Dorsetmike

Chet Baker - Almost Blue


----------



## Jay




----------



## Dorsetmike

Pete Johnson, 1946 Stomp


----------



## Dorsetmike

Albert Ammons - Alberts special boogie


----------



## Andante Largo

Erroll Garner - Again


----------



## starthrower

Of the three albums this trio recorded, Speak Of The Devil contains the strongest group interplay and improvisations. To my ears at least.


----------



## Andante Largo

Sam "The Man" Taylor - Summertime


----------



## Andante Largo

Paul Desmond - Imagination


----------



## Jay




----------



## tortkis

^ I love Canada Day but didn't know about this album. Very good compositions and creative players.


----------



## tortkis

Andante Largo said:


> Paul Desmond - Imagination


I started appreciating Paul Desmond only recently. I used to feel his sax is too light and fluffy but now I think it is beautiful. I am considering whether to buy Mosaic's complete 1975 Toronto recordings before it becomes unavailable.


----------



## starthrower

2015 Cam Jazz


----------



## Jay

tortkis said:


> I am considering whether to buy Mosaic's complete 1975 Toronto recordings before it becomes unavailable.


I have Mosaic's Desmond/Jim Hall box set; I didn't know about the Toronto set. That's with Ed Bickert, right? I have those on vinyl.


----------



## tortkis

Jay said:


> I have Mosaic's Desmond/Jim Hall box set; I didn't know about the Toronto set. That's with Ed Bickert, right? I have those on vinyl.


Yes, it is with Ed Bickert, 7-CD set. Many of the tracks are previously unissued, according to the info on Mosaic's site.

http://www.mosaicrecords.com/discography.asp?number=269-MD-CD&price=$119.00&copies=7 CDs


----------



## jim prideaux

Marcin Wasilewski Trio and Joe Lovano album 'Arctic Riff'.

The Trio only release albums infrequently so this new one is an event!


----------



## Jay




----------



## Andante Largo

Al Caiola - Blue in Night


----------



## gregorx




----------



## Andante Largo

Gabin - Sweet Sadness


----------



## Andante Largo

Montefiori Cocktail - Un Tempo Piccolo


----------



## Jay




----------



## starthrower

Miles fans unite!


----------



## jim prideaux

Keith Jarrett-Nude Ants (the European Quartet with Jan Garbarek)


----------



## SanAntone

Miles in Europe

View attachment 139410


Miles Davis - trumpet
George Coleman - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums


----------



## Jay




----------



## Joe B

On Friday I got my registration confirmation for Lincoln Center's "Summer Jazz Academy":

*Summer Jazz Academy is a free, interactive, 2-week virtual program designed and instructed by members of the Jazz at Lincoln Center Orchestra with Wynton Marsalis, as well as some of the world's most renowned jazz artists, including drummer Jeff Hamilton, pianist Eric Reed, and bassist Rodney Whitaker. Participants will attend virtual classes in all aspects of jazz pedagogy and advanced jazz performance. Jazz enthusiasts, musicians, and students of all ages and skill levels are welcome. Deepen your jazz knowledge, develop your skills, and strengthen your performance while building a community of peers. *

The class I am most interested in is the first one on the schedule:

*LISTENING CLASS
MON WED FRI, 10AM • LIVE
You don't have to be a musician to join Wynton Marsalis as he walks you through the 16 categories of listening. Utilizing recordings of jazz and other music across time and around the world, Wynton will show you how to painlessly improve your listening skills and deepen your experience hearing music. Open to all skill levels.*


----------



## Barbebleu

Joe B said:


> On Friday I got my registration confirmation for Lincoln Center's "Summer Jazz Academy":
> 
> *Summer Jazz Academy is a free, interactive, 2-week virtual program designed and instructed by members of the Jazz at Lincoln Center Orchestra with Wynton Marsalis, as well as some of the world's most renowned jazz artists, including drummer Jeff Hamilton, pianist Eric Reed, and bassist Rodney Whitaker. Participants will attend virtual classes in all aspects of jazz pedagogy and advanced jazz performance. Jazz enthusiasts, musicians, and students of all ages and skill levels are welcome. Deepen your jazz knowledge, develop your skills, and strengthen your performance while building a community of peers. *
> 
> The class I am most interested in is the first one on the schedule:
> 
> *LISTENING CLASS
> MON WED FRI, 10AM • LIVE
> You don't have to be a musician to join Wynton Marsalis as he walks you through the 16 categories of listening. Utilizing recordings of jazz and other music across time and around the world, Wynton will show you how to painlessly improve your listening skills and deepen your experience hearing music. Open to all skill levels.*


Enjoy and have a great time. Sounds like fun.


----------



## Joe B




----------



## Joe B

*Bob Berg - saxaphones
Mike Stern - guitars
Jim Beard - keyboards
Dennis Chambers - drums
Lincoln Goines - electric bass
Will Lee - electric bass (tracks 4 & 5)
Randy Brecker - muted trumpet (track 1)*


----------



## starthrower

^^^
I can hear what that album sounds like without listening. Poor guy got hit and killed by a concrete truck years ago.


----------



## Joe B

starthrower said:


> ^^^
> I can hear what that album sounds like without listening. Poor guy got hit and killed by a concrete truck years ago.


I believe his wife was with him at the time. What a tragedy.


----------



## Dorsetmike

2 hours of slow blues


----------



## Jay

This one sounds right out of 1971:


----------



## cheregi

my absolute favorite (john) coltrane


----------



## Jay




----------



## starthrower

2007


----------



## millionrainbows

John Coltrane/Giant Steps


----------



## Jay




----------



## Red Terror




----------



## Barbebleu

millionrainbows said:


> John Coltrane/Giant Steps


An absolute belter MR.


----------



## Luchesi

millionrainbows said:


> John Coltrane/Giant Steps


wiki says,
According to Quincy Jones, Coltrane was inspired by an example in Nicolas Slonimsky's _Thesaurus of Scales and Melodic Patterns, stating: "Everyone thinks Coltrane wrote that, he didn't. It's Slonimsky. That book started all the jazz guys improvising in _12-tone_. Coltrane carried that book around till the pages fell off"._[SUP][8]

Added
I hasten to add, what Coltrane did with the chord idea is the big [/SUP]*achievement.*


----------



## Barbebleu

Miles Davis - Bootleg Series Vol. 5; Freedom Jazz Dance. Great stuff.


----------



## SanAntone

I really like the Lincoln Center Jazz Orchestra and think they are preforming a valuable service in recording and preserving the music of the Jazz tradition.

*Live In Swing City - Swingin' With Duke*

View attachment 140093




> Powerfully rendered and enthusiastically received by the crowd at New York's Supper Club, this collection of Duke Ellington favorites is worthwhile for its buoyant spirit and execution. It's a session where, like most of Ellington's, multiple soloists get to sound off in a three-minute span, creating an atmosphere where economy in individual expression is a must. So on "C Jam Blues," long associated with Ellington's favorite alto saxophonist, Johnny Hodges, Wynton Marsalis yields the floor to fellow trumpeter Marcus Printup, who in turn yields to tenor saxophonist Walter Blanding, and so on. Further, the band avoids trying to echo Hodges's alto to make the tune more Ellingtonian. The group is content to shuffle through it in its own manner, sounding frequently more like a bluesy Basie band than an Ellington outfit. No matter, though, since this is ultimately a fun recording, packed with solid band workouts and even handsomely presenting vocalists Milt Grayson on "Multi Colored Blue" and Dianne Reeves on "Bli Blip." But it's not ultimately the swinging tunes, best of which here are "Cottontail" and "Harlem Air Shaft," that make this a genuinely important look at Ellington. It's the band's reflective take on Billy Strayhorn's "Chinoiserie," replete with Blanding's smart solo. Or maybe it is "Cottontail," with Illinois Jacquet's wingspread solo with its mix of gutbucket pocks and slurry wisps. JALC website


----------



## Jay




----------



## Jay




----------



## Barbebleu

Jay said:


>


Again with the good stuff Jay!


----------



## tortkis

Remember Trane and Bird - The Dynamic Duo








Rashied Ali (drums), Arthur Rhames (sax, piano)

Listening to Mr. PC. Non-stop intensity.


----------



## Luchesi

millionrainbows said:


> John Coltrane/Giant Steps


The odd sounds, the roots go up a minor third, then up a minor third. Resolve to G, then up a minor third, and again, up a minor third. And resolve back to the original B major.

I don't think this was thought of before in jazz as a melodic phrase. If it was it wasn't prominent.


----------



## tortkis

Luchesi said:


> The odd sounds, the roots go up a minor third, then up a minor third. Resolve to G, then up a minor third, and again, up a minor third. And resolve back to the original B major.
> 
> I don't think this was thought of before in jazz as a melodic phrase. If it was it wasn't prominent.


Giant Steps basically consists of 3 chords: B maj7, E-flat maj7, G maj7. The intervals between any pair of them are all major 3rd. This is interesting because you can move any chord to any chord among the 3 chords. Other chords are used as chord progression resolving to one of the 3 chords. For example, V7-Imaj7 (D7-Gmaj7) or IIm7-V7-Imaj7 (Fm7-Bb7-Ebmaj7). So, there are local resolutions but there is no overall resolution, and it can go on indefinitely.

I once did an experiment, making a long random sequence of 3 chords (Bmaj7, Ebmaj7, Gmaj7), occasionally inserting V7-(Imaj7) or IIm7-V7-(Imaj7). It still (sort of) sounded like Giant Steps.

According to wikipedia article about Coltrane changes, the B section of Have You Met Miss Jones? (1937) uses the modulation by major 3rd. (Bbmaj7 ~ Gbmaj7 ~ Dmaj7 ~ Gbmaj7)


----------



## gregorx

From Carla Bley's jazz opera Escalator Over the Hill. I would like to pick up a copy of this 2 CD set. But I need to find it somewhere that doesn't feed the monster that killed the little shop on the corner.


----------



## Barbebleu

I love this. I’ve got a great live version of it too. I still have my original vinyl set. Unique and captivating.


----------



## millionrainbows

Root movement by major thirds is a way of getting out of the circle of fifths. Also, since triads are based on thirds, a second "layer" can be created by those root movements, which outline chords.

To hear him really go fast, "Countdown" is the fast version of Giant Steps. That's a jaw-dropper. It also shows you how much Coltrane must have practiced; when playing this fast, there's no time to think. The patterns have to be in muscle-memory.


----------



## Barbebleu

gregorx said:


> From Carla Bley's jazz opera Escalator Over the Hill. I would like to pick up a copy of this 2 CD set. But I need to find it somewhere that doesn't feed the monster that killed the little shop on the corner.


https://www.ebay.co.uk/itm/CARLA-BL...548284?hash=item46b1e901bc:g:Rz0AAOSwn1dfGwwp

Here you go. EBay.


----------



## millionrainbows




----------



## Jay




----------



## Barbebleu

Cecil Taylor - Unit Structures and Conquistador. Brilliant stuff.


----------



## Dorsetmike

Going back a bit, Gerry Mulligan, Art Farmer,Bob Brookmeyer and others


----------



## starthrower

Pat Metheny's ECM Records Catalog is Now Available for the First Time as High Resolution Downloads and Streaming

The Full 11-Album Catalog Hits Quobuz, TIDAL, HDtracks, Acoustic Sounds, Prodstudiomaster, Apple, and Amazon.com


----------



## gregorx

_Down Beat_'s album of the year, 2001, Dusk by Andrew Hill


----------



## SanAntone

Art Pepper + Eleven

View attachment 140821


----------



## Barbebleu

Art Ensemble of Chicago - Tribute to Lester. Very AOEC! Very good.


----------



## starthrower

Barbebleu said:


> Art Ensemble of Chicago - Tribute to Lester. Very AOEC! Very good.


Roscoe Mitchell just turned 80!


----------



## Luchesi

Andante Largo said:


> Erroll Garner - Again


I never get tired of this album;


----------



## millionrainbows

I found this record in a tiny music store in Odessa, Tx which was "steel guitar centraL." They sold steel guitars and gave lessons.











(Odd Ogg eats frogs)


----------



## Jay




----------



## Dorsetmike

Mel Powell, Buck Clayton Jam Sessions 1954/5


----------



## SanAntone




----------



## Red Terror




----------



## tortkis

Kenny Dorham Swedish Sessions 1964 (Dragon)








track 1-3: Dorham, Sahib Shihab (flute, barytone sax), Bertil Lövgren (trumpet), Björn Alke (bass), Bosse Skoglund (drums), Lars Sjosten (piano)
track 4-8: Dorham, Göran Lindberg (piano), Göran Pettersson (bass), Leif Wennerström (drums)

The recording sound is vivid and Dorham is in very good shape.


----------



## Jay

Arthur Blythe, alto


----------



## vincula

It's cookin' in here right now...









Regards,

Vincula


----------



## SanAntone

vincula said:


> It's cookin' in here right now...
> 
> View attachment 141273
> 
> 
> Regards,
> 
> Vincula


That's a great one; his other "meets" albums are good too.


----------



## millionrainbows

Early John Scofield, Bar Talk. I got mine before the price went way up.


----------



## Barbebleu

Not Far From Here - Julia Hülsmann Quartet. Very ECM, very European, very good. Beautifully intricate compositions and the group interaction is superb. Well worth a listen.


----------



## Jay

Mark Whitecage, alto


----------



## tortkis

quoniam facta sum vilis, Brandon Lopez (Atral Spirits)








A superv solo bass album, from jazzy pizzicato improvisations to unusual sounds by using extended technique.


----------



## Luchesi

I like his stylings.


----------



## Jay

George Coleman Octet, featuring Frank Strozier on alto


----------



## starthrower

Strozier is a great alto player. I have his Long Night, and Fantastic F. S. CDs.


----------



## millionrainbows

Little David's Fugue. I FINALLY got this on CD. The CD has a different cover, and bonus tracks. I had to get it from Discogs.


----------



## Jay




----------



## Barbebleu

millionrainbows said:


> Little David's Fugue. I FINALLY got this on CD. The CD has a different cover, and bonus tracks. I had to get it from Discogs.


Thanks MR Now I've got to hunt down a copy of this! :lol:


----------



## Barbebleu

Bill Frisell - Valentine. Very cool. Very Bill Frisell!


----------



## Jay

RIP...


----------



## Barbebleu

Miles Davis - Miles Ahead. Grrrreat!


----------



## starthrower

Connoisseur cd series


----------



## Luchesi

Barbebleu said:


> Bill Frisell - Valentine. Very cool. Very Bill Frisell!


----------



## Barbebleu

Elvin Jones Jazz Machine - Live in Japan 1978. Fabulous.


----------



## starthrower

Jimmy Smith Trio with Donald Bailey and Quentin Warren. Hosted by Oscar Brown, Jr. What a great little film!


----------



## starthrower




----------



## SanAntone

Swallow Tales - John Scofield

View attachment 142275


----------



## starthrower

1987 CD re-issue with bonus tracks. This one sounds great!


----------



## Jay




----------



## starthrower

Recorded at the Van Gelder Studio, Englewood Cliffs, NJ on March 22, 1960.
Tracks 1-4 originally issued as "Open House";
Tracks 5-8 originally issued as "Plain Talk".
Blue Note ‎- CDP 7 84269 2

Alto Saxophone - Jackie McLean
Drums - Donald Bailey
Guitar - Quentin Warren
Tenor Saxophone - Ike Quebec
Trumpet - Blue Mitchell


----------



## Red Terror

Fire in the hole...


----------



## Joe B

Today's commute:


----------



## starthrower




----------



## Jay




----------



## starthrower

3 CD set containing five albums. Cookin' / That's It / Up And Down / Happy Frame Of Mind / Exultation


----------



## starthrower

Jack DeJohnette has reported on his Facebook page that the great bass player Gary Peacock died today, Sept 5th, 2020. He was 85.


----------



## Barbebleu

starthrower said:


> Jack DeJohnette has reported on his Facebook page that the great bass player Gary Peacock died today, Sept 5th, 2020. He was 85.


That's very sad. Another great gone. Fortunately he left a pretty fantastic recorded legacy with a whole drove of terrific musicians. I was wondering what to listen to next. Now I know.


----------



## starthrower

Now I'm reading reports that the news about Gary Peacock's death was fake. Pretty bizarre considering he's basically anonymous to non jazz fans which is probably 95 percent of humanity.


----------



## Jay




----------



## Barbebleu

starthrower said:


> Now I'm reading reports that the news about Gary Peacock's death was fake. Pretty bizarre considering he's basically anonymous to non jazz fans which is probably 95 percent of humanity.


Totally bizarre. Why would anyone say this if it wasn't true. There are some truly weird individuals out there. They really do walk among us. Mind you I've just seen a tweet from Dave Holland confirming it, so it might well be true!


----------



## starthrower

Dave Holland repeated it after Jack DeJohnette posted about but both have since deleted their statements. Even Peacock's ex-wife Annette made a post about the confusion. I have not seen an official obit from any major publication.


----------



## Joe B

*************wrong thread**************


----------



## starthrower

Official news on Gary Peacock's death.
https://www.npr.org/2020/09/07/9100...z-bassist-always-ahead-of-his-time-dies-at-85


----------



## Barbebleu

Listening to Sun Ship; The Complete Sessions - John Coltrane. Exquisite and stunning.


----------



## SanAntone

starthrower said:


> Official news on Gary Peacock's death.
> https://www.npr.org/2020/09/07/9100...z-bassist-always-ahead-of-his-time-dies-at-85


I had been hoping that the initial news was false. How sad, truly a fantastic bassist -


----------



## starthrower

Recorded 1961 w/ Eric Dolphy, Julian Priester, Ron Carter, Art Davis, Don Friedman


----------



## Dorsetmike

Oscar Peterson trio, Salute to Bach (well this is a classical forum)


----------



## starthrower

Listening to Back Hand


----------



## starthrower

Happy 90th Birthday Sonny Rollins! Sonny 2020!


----------



## Jay




----------



## SanAntone

Miles Davis Quintet - Freedom Jazz Dance: The Bootleg Series, Vol. 5

View attachment 142745


----------



## starthrower

Complete sessions originally recorded for Columbia re-issued on a Euro public domain label but the sound and packing is superb. A colorful release featuring four different combos. Hank Jones is on piano for 13 tracks and Jack McDuff on organ for the remaining five. Also features Illinois Jacquet and Eddie Bert.


----------



## starthrower

Another one I picked up. It also features a third album, Two Guitars with Jimmy Raney, Jackie McLean, and Mal Waldron.


----------



## starthrower

Just ordered this beautiful set!
https://shop.decca.com/British-Jazz-Explosion/*/The-Complete-Fontana-Albums-1961-1969/66FO0000144










If you haven't listened to Tubby Hayes give some of these albums a listen online. The playing and sound is superb! I bought it from Amazon for 30 dollars less than any other site.


----------



## Jay




----------



## starthrower

2 disc set includes the complete 1962 Village Gate recordings.


----------



## starthrower

I found this one at my local record store last year. A classic hard bop date!


----------



## starthrower

1977 Inner City 1020 / 2008 CD Re-issue

Not a very good recording but the music is a lot of fun. A 12 piece ensemble playing some upbeat and joyous music. Features John Gilmore, Marshall Allen, Craig Harris and others.


----------



## tortkis

Yardbird Suite - Alexey Kruglov & Krugly Band (Fancy Music)








Alexey Kruglov (alto ax), Artem Tretyakov (piano), Roman Plotnikov (bass), Pavel Timofeev (drums, percussion)

Now's the Time: 




Unique, experimental and beautiful interpretations of Charlie Parker's great compositions.


----------



## starthrower

1961


----------



## starthrower

1997


----------



## Jay




----------



## tdc

In my solitude...you haunt me...with memories...of days gone by.

Live at the Blue Note 1952. Perhaps the Duke's style was considered a little old fashioned at this point, but his band still sounded great.


----------



## Barbebleu

Chick Corea - Plays CD 1. New one from the incomparable Mr Corea. Just fantastic. Just actually listening to him playing a Latin-tinged version of Chopin’s Prelude Op. 28, #4, live in Paris 2018. Glorious stuff.


----------



## SanAntone

Barbebleu said:


> Chick Corea - Plays CD 1. New one from the incomparable Mr Corea. Just fantastic. Just actually listening to him playing a Latin-tinged version of Chopin's Prelude Op. 28, #4, live in Paris 2018. Glorious stuff.


Nice. Since you alerted me to this recording I am listening to it. Seems wonderful so far. Thanks.


----------



## SanAntone

*Stefano Bollani: Joy in Spite of Everything *

View attachment 143168


Mark Turner tenor saxophone
Bill Frisell guitar
Stefano Bollani piano
Jesper Bodilsen double bass
Morten Lund drums
Recorded June 2013 at Avatar Studios, New York

_"You just go and you see what happens." This is how pianist Stefano Bollani describes jazz in its purest form. And because so much happens on Joy In Spite Of Everything, his latest for ECM, you'll want to return to it time and again to puzzle through its many twists and turns. The band is accordingly something of an ad hoc congregation. The album documents the first time that saxophonist Mark Turner, guitarist Bill Frisell, bassist Jesper Bodilsen, drummer Morten Lund, have ever been in the same room, and with their charismatic leader armed at the helm with nine original tunes, the results are spectacular._ (Between Sound and Space: ECM Records and Beyond)


----------



## tdc

I saw Bill Frisell perform at the Edmonton Folk Fest around 10 years ago, it was a very good show and left quite an impression on me. He certainly stood out as a unique artist.


----------



## Barbebleu

SanAntone said:


> Nice. Since you alerted me to this recording I am listening to it. Seems wonderful so far. Thanks.


No problem. Chick is always eminently listenable.


----------



## Dorsetmike

Wes Montgomery


----------



## SanAntone

tdc said:


> I saw Bill Frisell perform at the Edmonton Folk Fest around 10 years ago, it was a very good show and left quite an impression on me. He certainly stood out as a unique artist.


He's just released an album _Valentine_






I think he's among the best.


----------



## SanAntone

View attachment 143196


*Black, Brown and Beige*

_"It sits alone in the history of jazz," Wynton Marsalis says of Duke Ellington's groundbreaking masterpiece Black, Brown & Beige. Since its 1943 debut at Carnegie Hall, the piece - a sprawling survey of African American history - has been heralded as one of the most significant compositions in American orchestral music. Now, the Jazz at Lincoln Center Orchestra with Wynton Marsalis is releasing a definitive, present-day recording of Black, Brown & Beige that conveys all the nuances and emotion of Ellington's grandest work.

Captured during a live, Rose Theater performance in 2018, Black, Brown & Beige is Marsalis's first recording of the work and Blue Engine's first release dedicated entirely to Ellington. As Marsalis explains, the piece "covers a mosaic of not just Afro-American but of American styles of music," and the expert musicians of the JLCO - not to mention special guests Brianna Thomas (vocals) and Eli Bishop (violin) - are perfectly equipped to tackle its stirring stylistic breadth. The JLCO's spirited take on Ellington's epic not only pays tribute to some of the maestro's most personal work but adds another important chapter to its enduring legacy._

Duke Ellington only recorded _Black, Brown & Beige_ twice, but one of those was not the original score. It is only from the Jan. 1943 Carnegie Hall Concert that we have the entire work as written by Ellington. Because critical response was negative and especially the classical reviewers trashed his attempt at a long form, Ellington chose to remove the score from his book and only performed selections, "Come Sunday" mostly. Then in 1958 he recorded a drastically revised and abridged version with his then band and featuring Mahalia Jackson. That recording is very good, but does not truly represent the work.

This recording by the Jazz at Lincoln Center Orchestra was made possible by painstakingly recreating the original score from existing parts and filling in the gaps by transcribing that Carnegie Hall recording.

It is a very valuable document of a major composition by one of America's great composers.


----------



## Dorsetmike

Some more bigband and stars from a great TV special from 1972 featuring Count Basie, Ella, Benny, Duke, Hampton, Gillespie, Krupa, Brubeck, Hines, Williams.
Enjoy!


----------



## Jay

RIP Stanley Crouch. Yeah, I know, but we didn't wish him _dead_!


----------



## SanAntone

Jay said:


> RIP Stanley Crouch. Yeah, I know, but we didn't wish him _dead_!


Very sad. He wasn't that old. His book on Charlie Parker was very good, but was just the first volume. I wonder if he finished the second before he passed.

He'll be remembered as a keeper of the flame.


----------



## Jay

https://jazztimes.com/features/tributes-and-obituaries/stanley-crouch-1945-2020/



SanAntone said:


> He'll be remembered as a keeper of the flame.


I doubt it. More likely as a jazz neo-con who outed Cecil Taylor and called Miles a pimp. Barry Harris is keeper of the flame


----------



## SanAntone

Jay said:


> https://jazztimes.com/features/tributes-and-obituaries/stanley-crouch-1945-2020/
> I doubt it. More likely as a jazz neo-con who outed Cecil Taylor and called Miles a pimp. Barry Harris is keeper of the flame


He was complicated cat. If you only know his writings, he comes across much more bombastic than sitting around talking about jazz. He was a very warm guy who knew a lot about the music (did you know he was a pretty good drummer?). Ironically when he was playing, he was in with the David Murray, out-camp. But then he had second thoughts about it. He might have had a career as a player but his real strength was writing. He was a very intelligent and a widely read guy, could hold his own with anybody talking about literature, music, and art.

Cecil Taylor, meh - as far as I am concerned his whole thing is not even jazz. Just because there is an element of improvisation does not make the music jazz. It was generally thought of by jazz musicians that the guys who played out couldn't play good enough to play bop changes. Hardly any were of the level of Coltrane. Even Ornette Coleman couldn't play changes. I know this because I toured with David Fathead Newman and James Clay who knew Coleman from Forth Worth and how he couldn't play tunes - or chose not to. They'd hide his horn at jam sessions. IMO, the entire free jazz thing is BS.

Miles's later electronic work turned off a lot of people, and it cannot be denied that Miles was motivated largely to make more money by playing rock venues. I know this first hand since I roomed with Bill Evans (sax) through the '80s and got it as it was going down. His electric stuff from 69-75 is okay, Bitches Brew, Live-Evil, Jack Johnson, On the Corner are good - not his best stuff, but solid. His post retirement stuff is pure cr*p, IMO - I mean gimme a break, Cindi Lauper? And I say this as a good friend of Bill Evans.

I basically agree with Crouch and Marsalis regarding the jazz tradition. Fusion and the avant-garde were a dead ends - detours from the tradition (ever wonder why Chick Corea, Herbie and Jarrett all went back to playing acoustic). I also think it took courage to talk about the issue of whiteness that was introduced to the music wholesale from the 60s-present day via ever expanding university jazz programs.

But I understand how he was a controversial cat. I still get tired of hearing him put down.

Barry Harris is definitely a keeper of the flame. I lived around the corner from the Jazz Cultural Theater on Eighth Ave for about ten years (my loft was on 29th between 7th & 8th and his place was on Eighth between 28th & 29th). Barry is a sweet guy who tirelessly passes along the tradition to anyone who is interested.


----------



## Jay

SanAntone said:


> (did you know he was a pretty good drummer?).


"pretty good" is being charitable; no one, not even the outcats, took him seriously as a player. I saw him sit in with people at the Tin Palace; he couldn't blow his nose.



> Cecil Taylor, meh - as far as I am concerned his whole thing is not even jazz.


Regardless, do you think it was Crouch's place to "out" him?



> It was generally thought of by jazz musicians that the guys who played out couldn't play good enough to play bop changes.


Perhaps they weren't interested in playing bebop?



> Hardly any were of the level of Coltrane.


Who was?



> Even Ornette Coleman couldn't play changes.


Neither can Crouch's erstwhile protege, David Murray. Like it or not, Ornette heard the music another way. He's a major figure in the music and deservedly so. Even Crouch dug him.



> Miles was motivated largely to make more money by playing rock venues.


He was also motivated to move beyond what he'd been playing, which is his right as an artist; some might assert that it's the imperative of artists--rather than mere artisans--to do so.



> ...Bitches Brew, Live-Evil, Jack Johnson, On the Corner are good


Agreed, particularly _Jack Johnson._



> Fusion and the avant-garde were a dead ends


Both are still played today and viably so. No more or less dead-ends than running changes.



> ...ever wonder why Chick Corea, Herbie and Jarrett all went back to playing acoustic.


I believe Chick and Herbie still occasionally play both. Jarrett never liked the electric thing....or so he claims; perhaps he was only in it for the money?



> university jazz programs.


It's what's keeping the music alive, or at least on life support. Some welcome it, some don't.


----------



## SanAntone

*The Savoy 10-inch LP Collection [4 Disc Deluxe Box Set] *

View attachment 143319


Just great.


----------



## SanAntone

View attachment 143322


*Louis Armstrong And His Hot Seven, Vol 2*

I wish I could find all of these classic, important, recordings in vinyl. This one I have had for a long time, and seems to be the only one available as a vinyl re-issue.


----------



## starthrower

1974

I've really been digging this double CD lately. If you don't have any MJQ this is a great CD to pick up.


----------



## Dorsetmike

Saw them live in Birmingham town hall back in the 60s, I'd rate it about the best concert I ever attended, and I saw a few over the years, Basie, Ellington, Herman, Shearing, Ella plus a couple of JATP on tour back in the 50s.


----------



## SanAntone

View attachment 143436


*Miles Davis - Porgy and Bess *[VINYL]


----------



## SanAntone

*Chris Connor Sings The George Gershwin Almanac Of Song* (1957)

View attachment 143490


Vinyl


----------



## vincula

SanAntone said:


> *The Savoy 10-inch LP Collection [4 Disc Deluxe Box Set] *
> 
> View attachment 143319
> 
> 
> Just great.


Congratulations. Got this one as a gift a fortnight ago. What a lovely edition!

I'm listening to something very different right now:









Regards,

Vincula


----------



## SanAntone

Complete Dean Benedetti Recordings - Charlie Parker

View attachment 143519


----------



## tortkis

SanAntone said:


> Complete Dean Benedetti Recordings - Charlie Parker


This is my favorite Mosaic set. Although Benedetti recorded only Parker due to the technical limitations, this is a wonderful collection to immerse myself in imaginative improvisations of the genius. I once thought about making tracks including only Parker's solos from some jam session recordings.


----------



## SanAntone

*Charles Mingus*: _Epitaph_

View attachment 143611


1990 recording. in 2020 the last piece of the puzzle was found, hopefully a new recording will come out.


----------



## starthrower

I found Joanne Brackeen's Invitation CD on Black Lion today at a used bookstore. It's a truly great collection of performances with Clint Houston and Billy Hart. Recorded in 1976. Features a beautiful rendition of Wayne Shorter's Iris, and a tune Joe Henderson recorded called Canyon Lady. Plus the title tune and three originals.


----------



## SanAntone

This morning's listening:

_Kind of Blue 
Ah Um
Time Out
The Shape of Jazz to Come_

1959 was a very good year.


----------



## Barbebleu

SanAntone said:


> This morning's listening:
> 
> _Kind of Blue
> Ah Um
> Time Out
> The Shape of Jazz to Come_
> 
> 1959 was a very good year.


Couldn't agree more.


----------



## SanAntone

*Mingus Ah Um [Vinyl] *

View attachment 143676


----------



## SanAntone

View attachment 143982


*Andrew Hill - Black Fire*

Andrew Hill
Joe Henderson
Richard Davis
Roy Haynes


----------



## SanAntone

Film about Monk


----------



## SanAntone

View attachment 144032


*The Verve & Philips Small Group Sessions*
Dizzy Gillespie


----------



## Dan Ante

I just started to reply re MJQ and suddenly lost the lot (I hate W10)


----------



## Captainnumber36

Can someone recommend me more Jazz albums based upon the ones I already enjoy?

Head Hunters
Thrust
Sextant
Romantic Warrior
Bitches Brew
In A Silent Way
Sketches of Spain
The Black Saint and the Sinner Lady

The theme that ties it all together is that it all creates a world to my ears that I find compelling.

Thanks in advance!


----------



## starthrower

Electric Jazz:

RTF - Hymn Of The Seventh Galaxy, Light As A Feather
Eddie Henderson - Realization, Inside Out 
Herbie Hancock - Crossings, Mwandishi
Weather Report - s/t, I Sing The Body Electric
George Duke - Solus, Inner Source
Les McCann - Invitation To Openess
Nucleus, a great British electric jazz group led by Trumpeter Ian Carr. Check out all their 70s albums in the Torrid Zone box set.
Pat Martino - Live!

Modern Big Band:

John Hollenbeck - Shut Up And Dance, Joys & Desires
Big Heart Machine - s/t , a great new band I discovered last year.
Michael Formanek - The Distance on ECM
Kenny Wheeler - Music For Large & Small Ensembles
Sun Ra - Jazz In Silhouette, Futuristic Sounds

Check Spotify or YouTube to give these a listen.


----------



## SanAntone

What I'm listening to:

View attachment 144040


----------



## Captainnumber36

starthrower said:


> Electric Jazz:
> 
> RTF - Hymn Of The Seventh Galaxy, Light As A Feather
> Eddie Henderson - Realization, Inside Out
> Herbie Hancock - Crossings, Mwandishi
> Weather Report - s/t, I Sing The Body Electric
> George Duke - Solus, Inner Source
> Les McCann - Invitation To Openess
> Nucleus, a great British electric jazz group led by Trumpeter Ian Carr. Check out all their 70s albums in the Torrid Zone box set.
> Pat Martino - Live!
> 
> Modern Big Band:
> 
> John Hollenbeck - Shut Up And Dance, Joys & Desires
> Big Heart Machine - s/t , a great new band I discovered last year.
> Michael Formanek - The Distance on ECM
> Kenny Wheeler - Music For Large & Small Ensembles
> Sun Ra - Jazz In Silhouette, Futuristic Sounds
> 
> Check Spotify or YouTube to give these a listen.


Thanks, I have Apple Music, I'll search on there.


----------



## Captainnumber36

I started with Inner Source by George Duke, it's brilliant thus far, I hope it keeps up. I'm sure it will, he was amazing.


----------



## SanAntone

View attachment 144044


*Mose Allison - I've Been Doin' Some Thinking*

Bass - Red Mitchell
Drums - Bill Goodwin
Piano, Vocals - Mose Allison


----------



## starthrower

Captainnumber36 said:


> I started with Inner Source by George Duke, it's brilliant thus far, I hope it keeps up. I'm sure it will, he was amazing.


There are some nice vocal versions of the second tune, Love Reborn. Check some of Flora Purim's 70s albums. George plays keyboards on several of her records. Actually, it's on her first album, Butterfly Dreams.

A few others I thought of:

Wayne Shorter - The Odyssey Of Iska





Catalyst, a Philly band that backed Pat Martino. They made four albums.





The Awakening - Hear, Sense and Feel




This one just got re-issued on CD.


----------



## Captainnumber36

The McCann did it for me big time, that was incredible.


----------



## starthrower

Captainnumber36 said:


> The McCann did it for me big time, that was incredible.


If you want that electric Miles sound listen to the Eddie Henderson albums. It's very similar to Herbie's Mwandishi band with that dark Miles voodoo vibe.


----------



## Captainnumber36

starthrower said:


> If you want that electric Miles sound listen to the Eddie Henderson albums. It's very similar to Herbie's Mwandishi band with that dark Miles voodoo vibe.


I have the Herbie on now.


----------



## starthrower

Captainnumber36 said:


> I have the Herbie on now.


Which one? The Mwandishi is a bit spacier. Crossings has a lot of percussion and is funkier.

A couple others you can probably stream are Electric Byrd, and Kofi by Donald Byrd. Both released around 1970.


----------



## Captainnumber36

starthrower said:


> Which one? The Mwandishi is a bit spacier. Crossings has a lot of percussion and is funkier.
> 
> A couple others you can probably stream are Electric Byrd, and Kofi by Donald Byrd. Both released around 1970.


Mwandishi, it was great!


----------



## Barbebleu

starthrower said:


> There are some nice vocal versions of the second tune, Love Reborn. Check some of Flora Purim's 70s albums. George plays keyboards on several of her records. Actually, it's on her first album, Butterfly Dreams.
> 
> A few others I thought of:
> 
> Wayne Shorter - The Odyssey Of Iska
> 
> 
> 
> 
> 
> Catalyst, a Philly band that backed Pat Martino. They made four albums.
> 
> 
> 
> 
> 
> The Awakening - Hear, Sense and Feel
> 
> 
> 
> 
> This one just got re-issued on CD.


The Odyssey of Iska. A wonderful album. I bought it on vinyl back in the day. I'll post a pic of it the next time I'm in the attic (where my vinyl is, in case anyone was wondering!).


----------



## Barbebleu

SanAntone said:


> What I'm listening to:
> 
> View attachment 144040


I have this on vinyl with a different cover and I'm pretty sure, if memory serves, it was on the Phillips label. I'll post a pic when I'm next in the attic.


----------



## starthrower

Barbebleu said:


> The Odyssey of Iska. A wonderful album. I bought it on vinyl back in the day. I'll post a pic of it the next time I'm in the attic (where my vinyl is, in case anyone was wondering!).


I just listened to it again today. It's a beautiful album. A good one to check out if you're a fan of In A Silent Way.


----------



## SanAntone

Barbebleu said:


> I have this on vinyl with a different cover and I'm pretty sure, if memory serves, it was on the Phillips label. I'll post a pic when I'm next in the attic.


I am not sure which album you have, but I'm pretty sure that's the original cover and it was recorded when the MJQ was on Atlantic.

In any event, it is a great record, one of my favorites, and in any format - you should listen to it!


----------



## Jay

SanAntone said:


> This morning's listening:
> 
> _Kind of Blue
> Ah Um
> Time Out
> The Shape of Jazz to Come_
> 
> 1959 was a very good year.


...and Sun Ra's _Jazz In Silhouette_


----------



## Dan Ante

starthrower said:


> 1974
> 
> I've really been digging this double CD lately. If you don't have any MJQ this is a great CD to pick up.





Dorsetmike said:


> Saw them live in Birmingham town hall back in the 60s, I'd rate it about the best concert I ever attended, and I saw a few over the years, Basie, Ellington, Herman, Shearing, Ella plus a couple of JATP on tour back in the 50s.


I have the last concert, the MJQ was one of the ens that I was into when I first found jazz and is still one of my favorites, I have some of the original vinyl and all the CDs that I know of.


----------



## Barbebleu

SanAntone said:


> I am not sure which album you have, but I'm pretty sure that's the original cover and it was recorded when the MJQ was on Atlantic.
> 
> In any event, it is a great record, one of my favorites, and in any format - you should listen to it!


https://www.discogs.com/The-Modern-Jazz-Quartet-Plays-The-Music-From-Porgy-And-Bess/release/9097672

It was released in the UK in 1965 on the Philips Label. I bought my copy in 1967. As you can see from the link above it had a different cover from the US release in the same year. And I have listened to it - many times thanks.  no need for the attitude.


----------



## SanAntone

Barbebleu said:


> https://www.discogs.com/The-Modern-Jazz-Quartet-Plays-The-Music-From-Porgy-And-Bess/release/9097672
> 
> It was released in the UK in 1965 on the Philips Label. I bought my copy in 1967. As you can see from the link above it had a different cover from the US release in the same year. And I have listened to it - many times thanks.  no need for the attitude.


Interesting; I didn't know you lived in the UK. Sorry if it seemed I had an attitude, I wasn't doubting that you had the record I was just saying it was a good time to listen to it again.


----------



## norman bates

Captainnumber36 said:


> Can someone recommend me more Jazz albums based upon the ones I already enjoy?
> 
> Head Hunters
> Thrust
> Sextant
> Romantic Warrior
> Bitches Brew
> In A Silent Way
> Sketches of Spain
> The Black Saint and the Sinner Lady
> 
> The theme that ties it all together is that it all creates a world to my ears that I find compelling.
> 
> Thanks in advance!


Julian Priester - Love Love (because you mentioned Sextant/Bitches brew)





Dizzy Gillespie - Perceptions (because you mentioned Sketches of Spain)





Duke Ellington - A tone Parallel to Harlem (for Black Saint and the Sinner lady)





Marion Brown - Sweet Earth flying (for In a Silent way)


----------



## Captainnumber36

norman bates said:


> Julian Priester - Love Love (because you mentioned Sextant/Bitches brew)
> 
> 
> 
> 
> 
> Dizzy Gillespie - Perceptions (because you mentioned Sketches of Spain)
> 
> 
> 
> 
> 
> Duke Ellington - A tone Parallel to Harlem (for Black Saint and the Sinner lady)
> 
> 
> 
> 
> 
> Marion Brown - Sweet Earth flying (for In a Silent way)


Thank you very much!


----------



## Captainnumber36

Love, Love was awesome. I'm going to try and get through all your picks tonight!


----------



## Captainnumber36

Perceptions hit the spot as well, you are nailing it on your selections!


----------



## Dan Ante

*Another ens I love...*


----------



## tortkis

One Night in Karlsruhe - Michel Petrucciani, Gary Peacock, Roy Haynes









Recorded 1988. I have most of Petrucciani's albums but didn't know about this recording. Excellent performance.

In a Sentimental Mood


----------



## Barbebleu

SanAntone said:


> Interesting; I didn't know you lived in the UK. Sorry if it seemed I had an attitude, I wasn't doubting that you had the record I was just saying it was a good time to listen to it again.


Well I would have thought that my location might have been an indicator!. I practically wore out my vinyl copy when I bought it so the music is lodged in my mind. My first MJQ album was European Concert Vol. 2 which I got in 1966. I finally got Vol.1 a few years later. I had to travel from Glasgow to London to get it though. :lol:


----------



## Dorsetmike

Some on this forum might find this a bit sacriligeous, I love it, some tracks Lewis plays Harpsichord.


----------



## starthrower




----------



## SanAntone

Dorsetmike said:


> Some on this forum might find this a bit sacriligeous, I love it, some tracks Lewis plays Harpsichord.


I remember buying that when it came out, and not being blow away. I haven't thought about or listened to it since, but will now.

Thanks.


----------



## starthrower

I just got the MJQ Bach album a couple weeks ago and I like it.


----------



## SanAntone

starthrower said:


> I just got the MJQ Bach album a couple weeks ago and I like it.


Yeah, but you also like fusion


----------



## starthrower

SanAntone said:


> Yeah, but you also like fusion


Ha! It's all music to me. Jazz/Bach fusion!


----------



## Captainnumber36

I'd say the Marion Brown is more like A Love Supreme than In a Silent Way, but I see what you mean.


----------



## starthrower

It's a cold rainy day so I'm staying in and spinning jazz records. Listening to Stick Up by Bobby Hutcherson with Joe Henderson, McCoy, and Billy Higgins.


----------



## Captainnumber36

starthrower said:


> It's a cold rainy day so I'm staying in and spinning jazz records. Listening to Stick Up by Bobby Hutcherson with Joe Henderson, McCoy, and Billy Higgins.


I love cold rainy days listening to music, indoors!

Crossings is sounding cool so far.


----------



## starthrower

RVG Edition CD


----------



## SanAntone

starthrower said:


> It's a cold rainy day so I'm staying in and spinning jazz records. Listening to Stick Up by Bobby Hutcherson with Joe Henderson, McCoy, and Billy Higgins.





starthrower said:


> RVG Edition CD


Those '60s Blue Note records are all great. Dialogue features Andrew Hill, one of my favorite pianists, but Stick UP with Joe Henderson trumps it. Henderson had three labels and the music he recorded during each period is very different. His BN years are classic, then his late career Verve is also fantastic. His mid career stuff is hit or miss, IMO, sometimes going in a fusion direction which is not to my taste.


----------



## starthrower

There's something weird going on during the piano solo on the last track from Dialogue. The tape slows down and speeds up for a couple seconds. At least it does on the RVG Edition.


----------



## Barbebleu

starthrower said:


> There's something weird going on during the piano solo on the last track from Dialogue. The tape slows down and speeds up for a couple seconds. At least it does on the RVG Edition.


Dialogue is a great album. You realise I'll have to listen to it now - and that means a trip to THE ATTIC!


----------



## starthrower

The tape problem is on the bonus track, Jasper. Maybe that's why it was left off the album.


----------



## SanAntone

starthrower said:


> The tape problem is on the bonus track, Jasper. Maybe that's why it was left off the album.


I didn't hear it on Spotify.


----------



## starthrower

SanAntone said:


> Those '60s Blue Note records are all great. Dialogue features Andrew Hill, one of my favorite pianists, but Stick UP with Joe Henderson trumps it. Henderson had three labels and the music he recorded during each period is very different. His BN years are classic, then his late career Verve is also fantastic. His mid career stuff is hit or miss, IMO, sometimes going in a fusion direction which is not to my taste.


I don't have much Hutcherson outside of Blue Note. I have a mid 80s Latin jazz album that is great but I forget the name. The ballad Summer Nights from Stick-Up sounds very close to the MJQ. I would have guessed them if I didn't know.


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## starthrower

Is spotify using the RVG Edition? I definitely heard it in my CD.


----------



## SanAntone

starthrower said:


> Is spotify using the RVG Edition? I definitely heard it in my CD.


It is not branded RVG, so maybe the problem is with the reissue ... or my ears.


----------



## Simon Moon

SanAntone said:


> Yeah, but you also like fusion


Hey now!

What's wrong with fusion?

It is: creative, boundary pushing, (usually) very fiery, complex, broader vocabulary, chops from hell, and a lot of it, is based on non-blues based music.


----------



## SanAntone

Simon Moon said:


> Hey now!
> 
> What's wrong with fusion?
> 
> It is: creative, boundary pushing, (usually) very fiery, complex, broader vocabulary, chops from hell, and a lot of it, is based on non-blues based music.


I don't like electric instruments, especially electric bass and keyboards. The only electric jazz I ever listen to is the *Miles* stuff from Bitches Brew and the early '70s. *Weather Report* made a few decent records (their first two or three) but after *Miroslav Vitouš* left, they became less interesting for me. *Return to Forever* was okay with their first two records, but when they went into the fantasy direction, and *Stanley Clarke* gave up the upright, they lost me. *Mahavishnu Orchestra* was interesting for a minute, but ultimately I thought *John Mclaughlin* did better work both before and after. *Herbie Hancock*'s stuff could be interesting or trite depending on the record, but his acoustic stuff is so great, I never listen to his fusion.

Aside from these bands, the rest of fusion is dreck, IMO.


----------



## starthrower

Great lesson on how jazz musicians improvise on the rhythm changes.


----------



## starthrower

SanAntone said:


> Aside from these bands, the rest of fusion is dreck, IMO.


I don't know what else you've listened to but Allan Holdsworth and Tribal Tech is not dreck. It's pretty phenomenal music. But you don't have to like it. The combination of instruments can make a big difference in the appeal of the sound. Metheny does a great job of combining acoustic and electric instruments to obtain an organic sound. And I prefer a trumpet with electric instruments compared to saxophone unless it's Wayne Shorter.


----------



## SanAntone

There would be no Miles Davis without Louis Armstrong. 

The four "apostrophe" records were essentially what that band played in their live performances, their "book." Those sessions were done in order to complete his contractual obligations to Prestige so he could move over to Columbia. 

Some great playing by a classic quintet.


----------



## starthrower

Which has nothing to do the the video. It's about the skill level required to improvise over a certain chord progression.


----------



## SanAntone

starthrower said:


> I don't know what else you've listened to but Allan Holdsworth and Tribal Tech is not dreck. It's pretty phenomenal music. But you don't have to like it. The combination of instruments can make a big difference in the appeal of the sound. Metheny does a great job of combining acoustic and electric instruments to obtain an organic sound. And I prefer a trumpet with electric instruments compared to saxophone unless it's Wayne Shorter.


I cannot stand Alan Holdsworth (empty technique, no swing) or Tribal Tech (a Weather Report copy) - that kind of stuff bores me to death - just a lot of notes.

Methany sometimes does some decent stuff - the Unity Band, but *John Scofield*, *John Abercrombie* (R.I.P.), *Adam Rogers*, *Lionel Loueke*, *Mike Moreno*, *Jonathan Kreisberg*, even *Kurt Rosenwinkel* make better records, IMO.


----------



## SanAntone

starthrower said:


> Which has nothing to do the the video. It's about the skill level required to improvise over a certain chord progression.


Yeah, well just an aside, some context for those records. I'm not dissing the video.


----------



## starthrower

You are dead wrong about Holdsworth. It is not empty technique. You really shouldn't comment on music you have no taste for and haven't spent any time with other than to say it's not you bag. Sure, Tribal Tech has some WR influence but there's a lot more to it than that. There's a ton of acoustic stuff on ECM that doesn't swing. Music evolves.


----------



## SanAntone

starthrower said:


> You are dead wrong about Holdsworth. It is not empty technique. You really shouldn't comment on music you have no taste for and haven't spent any time with other than to say it's not you bag. Sure, Tribal Tech has some WR influence but there's a lot more to it than that. There's a ton of acoustic stuff on ECM that doesn't swing. Music evolves.


Jazz without swing is no longer Jazz. It might be good improvised music, but it's not Jazz. The two requirements for Jazz are swing and a underlying basis in the Blues. I listen to a lot of music on ECM and much of it of I like, but also know its not Jazz, which is cool.

Just remember, Jazz = Blues + Swing - and a "voice" on your horn (horn means your instrument). Jazz is all about the individual telling a story on his horn, in the Tradition, while being part of the group swing dynamic. Guys like Holdsworth have nothing to do with Jazz.


----------



## starthrower

I wasn't arguing if it was jazz or not. But Allan Holdsworth wasn't revered by musicians and fans around the world for empty technique. I played guitar and I studied his book of transcriptions and the tunes are full of incredible chord voicings and beautiful melodies.


----------



## SanAntone

View attachment 144131


*Johnny Dodds on Paramount.*



> This double CD box features for the first time, the great clarinet player Johnny Dodds on all forty nine of his classic Paramount recordings. All gloriously sound restored and, at last, doing justice to the talents of Dodds alongside King Oliver, Lovie Austin, Freddie Keppard, Tiny Parham and other legends of the jazz age. *Frog Records*


----------



## SanAntone

View attachment 144152


*The Complete In A Silent Way Sessions *

Miles Davis - trumpet
Wayne Shorter - tenor saxophone (Disc 1: All), soprano saxophone
John McLaughlin - electric guitar (Disc 2: Tracks 4-7; Disc 3: All)
Chick Corea - electric piano
Herbie Hancock - electric piano
Joe Zawinul - organ (Disc 2; Disc 3)
Dave Holland - double bass
Tony Williams - drums
Jack DeJohnette - drums (Disc 2: Tracks 1-3)
Joe Chambers - drums (Disc 3: Tracks 1 and 2)


----------



## Barbebleu

We all have our opinions on what jazz is or isn’t. Personally I think if it has a vocal it’s pop music and not jazz. But I emphasise that is my opinion. There are plenty out there who will quickly disagree and they are perfectly entitled to do so. 

It doesn’t make them right though!

And before anyone says it, yes, that includes great pop singers like Ella Fitzgerald, Sarah Vaughan and Billie Holiday.


----------



## starthrower

But if a vocalist is scatting it's an improvisation so why wouldn't that be considered jazz? The voice is the original instrument which has been impersonated by instrumentalists.


----------



## SanAntone

starthrower said:


> But if a vocalist is scatting it's an improvisation so why wouldn't that be considered jazz? The voice is the original instrument which has been impersonated by instrumentalists.


Yep. It also matters what kind of band is backing up the singer. The album of Cannonball with Nancy Wilson is jazz 100%. Whereas the Ella songbook series is pop. Great pop, but pop nonetheless. However Ella with Duke is jazz, as is Billie Holiday with Lester Young. Anita O'Day made jazz records, Jimmy Rushing and Joe Williams with Basie, jazz.


----------



## SanAntone

I created a playlist of ten indispensable Blue Note recordings:

Something Else - Cannonball
Moanin'- Art Blakey
Cool Strutin' - Sonny clark
Blue Trane - John coltrane
Soul Station - Hank Mobley
Maiden Voyage - Herbie Hancock
Sidewinder - Lee Morgan
Song for My Father - Horace Silver
Speak No Evil - Wayne Shorter
Point of Departure - Andrew Hill

There are a lot of 60s Blue Note could create more playlists, but these make a nice mix.


----------



## starthrower

Jon Hendricks is for me the quintessential jazz singer. And I'm a big fan of Mark Murphy too.


----------



## Dan Ante

SanAntone said:


> I don't like electric instruments, especially electric bass and keyboards. .


I am also a (don't liker) of electric instruments my only exception is the Vibraphone.
I do not like computer generated (so called music) for me it has to be acoustic.


----------



## starthrower

The vibraphone is electric? People play electric instruments. Computer generated music is something else entirely.


----------



## Dorsetmike

Are there any instruments that have not been used in recorded jazz? Among the less common I can think of are John Lewis on Harpsichord, Oscar Peterson on Clavichord (Porgy & Bess with Joe Pass) Jimmy Buffington on french horn (on some Vanguard 1950s LPs with Mel Powell also some in Quincy Jones bands), a few on flugel horn, a harp; I don't recall hearing any bassoon, theorbo, ophicliede and a few others I've never heard of. We've all heard violin and double bass, how about cello?

I was going to include lute but found this





Makes me wonder what could be done with a theorbo! For those not familiar


----------



## SanAntone

starthrower said:


> The vibraphone is electric? People play electric instruments. Computer generated music is something else entirely.


The vibes are acoustic except for the tremolo motor.

The Fender Rhodes keyboard was the most common electric instrument until synthesizers began to be used in the 70s. As an upright bass player, who also doubled on electric, I preferred upright for jazz and roots music and electric bass for rock/pop/funk/r&b styles.

Matters not to me if you like to listen to fusion. It's just not for me.


----------



## Jay

norman bates said:


> Julian Priester - Love Love (because you mentioned Sextant/Bitches brew)


and...

Khan Jamal - _Drums To the Motherland_
Larry Young - _Lawrence of Newark_
Love Cry Want - s/t
Bennie Maupin - _The Jewel In the Lotus_


----------



## starthrower

SanAntone said:


> The vibes are acoustic except for the tremolo motor.
> 
> The Fender Rhodes keyboard was the most common electric instrument until synthesizers began to be used in the 70s. As an upright bass player, who also doubled on electric, I preferred upright for jazz and roots music and electric bass for rock/pop/funk/r&b styles.


I love the sound of the Rhodes piano. As far as bass there aren't too many electric players outside of fusion but I like Steve Swallow and Bob Cranshaw. Otherwise the acoustic has a fuller, richer sound.


----------



## starthrower

Released 1971 Featuring Bobby Hutcherson


----------



## starthrower

I picked up two Harold Land albums originally released in 1971 on Mainstream Records. Both feature Bobby Hutcherson. The other one is A New Shade Of Blue. A great album but unfortunately the sound is horrible so don't buy the CD re-issued on either label. Both sound like crap.


----------



## Dan Ante

starthrower said:


> The vibraphone is electric? People play electric instruments. Computer generated music is something else entirely.


Vibrato as in Vibraphone :tiphat:

https://www.britannica.com/art/vibraphone


----------



## Dan Ante

Barbebleu said:


> We all have our opinions on what jazz is or isn't. Personally I think if it has a vocal it's pop music and not jazz. But I emphasise that is my opinion. There are plenty out there who will quickly disagree and they are perfectly entitled to do so.
> 
> It doesn't make them right though!
> 
> And before anyone says it, yes, that includes great pop singers like Ella Fitzgerald, Sarah Vaughan and Billie Holiday.


*What makes a jazz singer?? Perhaps its not what you do but the way that you do it.
Here is George Melly with a version of Frankie and Johnny it should mage you smile, George was bisexual*


----------



## SanAntone

Playlists from four of the greatest Blues singers

*Ma Rainey
Bessie Smith
Big Joe Turner
Jimmy Rushing*


----------



## Barbebleu

Great blues singers indeed!


----------



## Dan Ante

Dorsetmike said:


> Are there any instruments that have not been used in recorded jazz? Among the less common I can think of are John Lewis on Harpsichord, Oscar Peterson on Clavichord (Porgy & Bess with Joe Pass) Jimmy Buffington on french horn (on some Vanguard 1950s LPs with Mel Powell also some in Quincy Jones bands), a few on flugel horn, a harp; I don't recall hearing any bassoon, theorbo, ophicliede and a few others I've never heard of. We've all heard violin and double bass, how about cello?
> 
> I was going to include lute but found this
> 
> 
> 
> 
> 
> Makes me wonder what could be done with a theorbo! For those not familiar


Mike, I was in two minds as to whether or not to make this post as I cant recall the details, but here goes at a concert I attended some 20-25 years ago a String Quintet consisted of St Qt plus French Horn they blended together perfectly. I am sorry but I cant remember the details.


----------



## tortkis

Dorsetmike said:


> We've all heard violin and double bass, how about cello?


Ron Carter played cello on Where? (and maybe other albums but I don't know.) Contemporary jazz cellists I like are Daniel Levin and Erik Friedlander. Tomeka Reid seems interesting.

Daniel Levin, Looken





Erik Friedlander, Artemisia





Tomeka Reid, Old New


----------



## starthrower

Cello? Erik Friedlander for cutting edge modern jazz. I recommend Prowl on the Cryptogramophone label And Diedre Murray who has worked with Henry Threadgill and the late Fred Hopkins.

NP:


----------



## SanAntone

*Oscar Pettiford* played cello on some recordings as a leader.

I consdier Wynton Marsalis the most important jazz musician in the last forty years. His work with his small groups is some of the finest post bop, and then there's his work with the JALC Orchestra. He has written several long form jazz compositions and is dedicated to preserving the history of early jazz and seminal jazz composers.

This is a nice suite from 1991 _Levee Low Moan_, part of a three part series called Soul Gestures in Southern Blue.

View attachment 144244


The performers include Marcus Roberts on piano, Bob Hurst or Reginald Veal on bass, Jeff "Tain" Watts or Herlin Riley on drums, Todd Williams and Wes Anderson on saxophones, and Wycliffe Gordon on trombone, with special appearances, on THICK IN THE SOUTH, by two of jazz's greatest virtuosos, drummer Elvin Jones and tenor saxophonist Joe Henderson.


----------



## starthrower

Just ordered this one.









Sun Ra, 2020 Modern Harmonic re-issue


----------



## SanAntone

Great Coltrane set

View attachment 144248


*The Atlantic Years In Mono*


----------



## SanAntone

Some West Coast jazz.

View attachment 144259


*Curtis Counce Quintet - Landslide*

Curtis Counce - Bass
Jack Sheldon - Trumpet
Harold Land - Tenor Sax
Carl Perkins - Bass
Frank Butler - Drums


----------



## SanAntone

View attachment 144275


*Big Joe Turner & Pete Johnson*


----------



## Jay

Dorsetmike said:


> french horn









> how about cello?


----------



## starthrower

1987 Concord
Terence Blanchard/Branford Marsalis/Cecil McBee/Al Foster


----------



## SanAntone

"It don't mean a thing if it ain't got that swing."






*Bessie Smith & Louis Armstrong - St. Louis Blues*






*Louis Armstrong - West End Blues*






*LESTER LEAPS IN Count Basie Kansas City 7 FEATURING LESTER YOUNG*






*Bird plays Lester Leaps In*


----------



## SanAntone

View attachment 144458


*Wynton Marsalis - Big Train*

JAZZ musicians all used to tour by train, and if Wynton had his way - here's a little secret, he hates flying - they still would. With Duke Ellington, Count Basie, and the late 20th century's big Trane - John Coltrane, that is - as spiritual engineers and conductors, Wynton and the Lincoln Center Jazz Orchestra invite you to join their gang of rail riders on a journey that crisscrosses the landscape of America transported by its greatest art form, jazz. (*WM website*)


----------



## Dan Ante

SanAntone said:


> View attachment 144458
> 
> 
> *Wynton Marsalis - Big Train*
> 
> JAZZ musicians all used to tour by train, and if Wynton had his way - here's a little secret, he hates flying - they still would. With Duke Ellington, Count Basie, and the late 20th century's big Trane - John Coltrane, that is - as spiritual engineers and conductors, Wynton and the Lincoln Center Jazz Orchestra invite you to join their gang of rail riders on a journey that crisscrosses the landscape of America transported by its greatest art form, jazz. (*WM website*)


Thanks for the link I had a quick listen "Night Train" that's my kind of jazz will listen more tonight :tiphat:


----------



## SanAntone

View attachment 144475


*Johnny Hodges ‎- Collates *

Alto Saxophone - Johnny Hodges
Bass - Lloyd Trotman (2)
Drums - Sonny Greer
Piano - Billy Strayhorn, Leroy Lovett
Tenor Saxophone - Al Sears
Trombone - Lawrence Brown
Trumpet - Emmett Berry


----------



## Jay




----------



## Barbebleu

Stride Right - Johnny Hodges and Earl Hines. Delightful.


----------



## SanAntone

View attachment 144486


*Louis Armstrong Plays W.C. Handy*

Louis Armstrong - trumpet, vocals
Trummy Young - trombone
Barney Bigard - clarinet
Billy Kyle - piano
Arvell Shaw - double bass
Barrett Deems - drums
Velma Middleton - vocals


----------



## SanAntone

View attachment 144526


Bessie Smith: The Complete Recordings, Vol. 1


----------



## Jay




----------



## SanAntone

View attachment 144550


*Gerry Mulligan Meets Johnny Hodges*

Gerry Mulligan - baritone saxophone - except track 2
Johnny Hodges - alto saxophone
Claude Williamson - piano
Buddy Clark - bass
Mel Lewis - drums



> The Allmusic site awarded the album 4 stars stating "Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve... Throughout the date, the two saxophonists blend beautifully and complement one another's efforts, even though this was their only opportunity to record together in the studio".


----------



## SanAntone

View attachment 144554


*Count Basie and the Kansas City 7*

Count Basie - piano, organ
Thad Jones - trumpet
Frank Wess - flute, alto flute (tracks 2, 6 & 8)
Frank Foster - tenor saxophone, clarinet (tracks 1, 3-5 & 7)
Eric Dixon - tenor saxophone, flute, clarinet
Freddie Green - guitar
Eddie Jones - bass
Sonny Payne - drums
JJ Johnson-trombone



> The AllMusic review by Scott Yanow awarded the album 4 stars stating "One of Count Basie's few small-group sessions of the '60s was his best". In a contemporaneous review in the October 11, 1962 issue of Down Beat magazine, Leonard Feather rated the album at 4.5 stars.


----------



## flamencosketches

SanAntone said:


> Cecil Taylor, meh - as far as I am concerned his whole thing is not even jazz. Just because there is an element of improvisation does not make the music jazz. It was generally thought of by jazz musicians that the guys who played out couldn't play good enough to play bop changes. Hardly any were of the level of Coltrane. Even Ornette Coleman couldn't play changes. I know this because I toured with David Fathead Newman and James Clay who knew Coleman from Forth Worth and how he couldn't play tunes - or chose not to. They'd hide his horn at jam sessions. IMO, the entire free jazz thing is BS.


Wow!! That is shocking coming from an open minded guy like yourself. Suffice it to say that I disagree


----------



## starthrower

Doesn't sound too open minded to me. Who cares if Ornette couldn't play over changes? He created his own music and will be remembered long after a thousand other jazzers are forgotten. I love David Newman but does anyone think he'll be remembered for any of his albums or tunes? I doubt it. Sun Ra's band played a lot of free stuff but they could play standards and be-bop as well. Same with Sam Rivers, and the members of the Art Ensemble. I'm beginning to realize that SanAntone is a trad jazz snob who enjoys dismissing music he doesn't like.


----------



## SanAntone

starthrower said:


> Doesn't sound too open minded to me. Who cares if Ornette couldn't play over changes? He created his own music and will be remembered long after a thousand other jazzers are forgotten. I love David Newman but does anyone think he'll be remembered for any of his albums or tunes? I doubt it. Sun Ra's band played a lot of free stuff but they could play standards and be-bop as well. Same with Sam Rivers, and the members of the Art Ensemble. I'm beginning to realize that SanAntone is a trad jazz snob who enjoys dismissing music he doesn't like.


LOL :lol:

For the record, I enjoy listening to Ornette, his early records, sometimes. And he does have a strong blues undercurrent running through his music. I must have been in a bad mood that day, although most of what I said about free jazz I still stand by. However, I was harsher concerning early Ornette Coleman than I should have been. But by the time of his _Free Jazz_ album, I stopped listening to him.

I definitely have an idea of where the boundaries of jazz are, and do not wish to include certain styles that I sense do not reflect the important elements which I think define jazz. But it doesn't mean that I don't respect the musicians who play those styles or do not enjoy the some of the music. Much of the music in the ECM catalog falls into this category and it is some of my most favorite music.

That said, the music I like to listen to the most is jazz from the 20s-50s, some of the 60s as well, but by then the music began to become more dissonant and devoid of what I look for in jazz.

The kind of music I listen to from the classical side, new music and 20th century experimental music has nothing to do with the music I enjoy from other genres. I love old-time and bluegrass music but do not care for any form of bluegrass which departs significantly from the stylistic attributes which defined bluegrass from the outset.

I get my free-form-dissonant fix from classical music and don't want to hear jazz bands trying to imitate that kind of music. Blues/swing based jazz does something very unique and valuable that is not found in classical or any other genre. I don't want that to be lost in an attempt to "classicalisize" the music.


----------



## SanAntone

View attachment 144561


*Stan Getz Quartets*

"There's a Small Hotel" (Richard Rodgers, Lorenz Hart) - 2:56
"I've Got You Under My Skin" (Cole Porter) - 3:16
"What's New?" (Bob Haggart, Johnny Burke) - 3:21
"Too Marvelous for Words" (Richard A. Whiting, Johnny Mercer) - 2:56
"You Stepped Out of a Dream" (Nacio Herb Brown, Gus Kahn) - 2:54
"My Old Flame" (Sam Coslow, Arthur Johnston) - 2:44
"My Old Flame" [alternate take] (Coslow, Johnston) - 2:44 Bonus track on CD reissue
"Long Island Sound" (Stan Getz) - 2:58
"Indian Summer" (Victor Herbert, Al Dubin) - 2:50
"Mar-Cia" (Getz) - 2:43
"Crazy Chords" (Getz) - 2:36
"The Lady in Red" (Allie Wrubel, Mort Dixon) - 3:16
"The Lady in Red" [alternate take] (Wrubel, Dixon) - 3:17 Bonus track on CD reissue
"Wrap Your Troubles in Dreams" (Harry Barris, Ted Koehler, Billy Moll) - 3:02

Recorded in New York City on June 21, 1949 (tracks 8-11), January 6, 1950 (tracks 1-4) and April 14, 1950 (tracks 5-7 & 12-14)

Stan Getz - tenor saxophone
Tony Aless (tracks 5-7 & 12-14), Al Haig (tracks 1-4 & 8-11) - piano
Percy Heath (tracks 5-7 & 12-14), Tommy Potter (tracks 1-4), Gene Ramey (tracks 8-11) - bass
Roy Haynes (tracks 1-4), Don Lamond (tracks 5-7 & 12-14), Stan Levey (tracks 8-11) - drums


----------



## starthrower

Is the dissonant "classical" stuff really free form? Did free jazz musicians set out to copy this. I don't think so.


----------



## SanAntone

starthrower said:


> Is the dissonant "classical" stuff really free form? Did free jazz musicians set out to copy this. I don't think so.


John Cage used a completely different process to compose _Music of Changes_ but it sounds similar to Pierre Boulez's first piano sonata, a total serial work.

Just because the avant-garde jazz musicians may not consciously wished to copy what was being done by European classical avant-garde composers does not mean that the end result won't sound similar, or at least have the same kind of surface.

Look, I don't want to argue with you about the kind of jazz you like and I don't.


----------



## Dan Ante

SanAntone said:


> LOL :lol:
> 
> That said, the music I like to listen to the most is jazz from the 20s-50s, some of the 60s as well, but by then the music began to become more dissonant and devoid of what I look for in jazz.


I have similar tastes perhaps because that was what first got me interested in jazz in the late 50s, I still love trad jazz


----------



## Barbebleu

Ornette Coleman - The Shape of Jazz To Come. Wonderful album. Sixty one years on it can now be considered easy listening!:lol:


----------



## norman bates

SanAntone said:


> LOL :lol:
> 
> For the record, I enjoy listening to Ornette, his early records, sometimes. And he does have a strong blues undercurrent running through his music. I must have been in a bad mood that day, although most of what I said about free jazz I still stand by. However, I was harsher concerning early Ornette Coleman than I should have been. But by the time of his _Free Jazz_ album, I stopped listening to him.
> 
> I definitely have an idea of where the boundaries of jazz are, and do not wish to include certain styles that I sense do not reflect the important elements which I think define jazz. But it doesn't mean that I don't respect the musicians who play those styles or do not enjoy the some of the music. Much of the music in the ECM catalog falls into this category and it is some of my most favorite music.
> 
> That said, the music I like to listen to the most is jazz from the 20s-50s, some of the 60s as well, but by then the music began to become more dissonant and devoid of what I look for in jazz.
> 
> The kind of music I listen to from the classical side, new music and 20th century experimental music has nothing to do with the music I enjoy from other genres. I love old-time and bluegrass music but do not care for any form of bluegrass which departs significantly from the stylistic attributes which defined bluegrass from the outset.
> 
> I get my free-form-dissonant fix from classical music and don't want to hear jazz bands trying to imitate that kind of music. Blues/swing based jazz does something very unique and valuable that is not found in classical or any other genre. I don't want that to be lost in an attempt to "classicalisize" the music.


I think that kind of argument was used even in the thirties for Duke Ellington or Bix Beiderbecke. What you're saying sounds exactly like the kind of things Stanley Crouch said. But what I never understood is, exactly as for classical, why respecting a set of rules or expectations should make the music better than something that does something different.


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## SanAntone

Barbebleu said:


> Ornette Coleman - The Shape of Jazz To Come. Wonderful album. Sixty one years on it can now be considered easy listening!:lol:


Arnold Schoenberg should be so lucky. After all he wrongly predicted that people would be whistling his music "in fifty years."

What saved Ornette Coleman's early recordings from being lost in the high grass, was his continued commitment to swing and the blues. He later lost his way along with the rest of the free jazz avant-garde.

Jazz emerged from free jazz in the 1980s when Wynton and Branford Marasalis (via Art Blakey) and the "new traditionalists" came on the scene: Donald Harrison, Marcus Roberts, Terrence Blanchard (now mainly writing film music), Kenny Garrett, Joe Lovano, Cyrus Chestnut, Mulgrew Miller, Joshua Redman, Chris Potter, Scott Colley, and others.

The formation of the Jazz at Lincoln Center is now an institution dedicated to the preservation and promotion of the real jazz tradition. *Albert Murray *and Wynton Marsalis were the guiding lights at the outset and Marsalis is still leading the program.

The Jazz at Lincoln Center Orchestra is producing some of the best music out there - not least of which is reconstructing great jazz compositions like _Black, Brown and Beige_ and the music of Charles Mingus which was in danger of being lost.


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## SanAntone

norman bates said:


> I think that kind of argument was used even in the thirties for Duke Ellington or Bix Beiderbecke. What you're saying sounds exactly like the kind of things Stanley Crouch said. But what I never understood is, exactly as for classical, why respecting a set of rules or expectations should make the music better than something that does something different.


I am not saying that what free jazz musicians are doing "is not music" I am saying to the extent it leaves out swing and the blues, it is no longer is jazz. It might be very good improvised music, some is - but it ain't jazz. Some of Cecil Taylor stays within a blues/swing tradition, some doesn't. Same with Ornette Coleman. I am not opposed to the free jazz avant-garde, I am just saying that Jazz has specific qualities that no other music has, and they define the music. I suppose my argument is the same as those who say that new music is not classical music.

I generally don't put much importance on labels, and in fact Duke Ellington, Louis Armstrong and Charlie Parker and others did not care for the label "jazz." Ellington called his music black American music, Charlie Parker called it "our music," Louis Armstrong just called it good music. I'm fine with calling it whatever you want, as long as the music doesn't change beyond recognition.


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## SanAntone

Blues was the response of the African American experience in the United States. While there are black communities all over the world, Blues came out of the the specific black experience in the US. Other kinds of music developed in other countries, but the Blues is a product of the cultural mix only found in the US from 1890-1920. It then developed from there into various styles of Jazz, swing, bebop, post bop - but the Blues and swing were always a part of the music until the avant-garde/free scene decided to do away with those elements.

Blues is dance music. Jazz is also dance music. Nothing wrong with that, dance is the response to swing. To the extent jazz divorces itself from dance it is on the way out of the tradition. A complaint against bebop was that you couldn't dance to it. Well, Dizzy did.

Stanley Crouch was a student of *Albert Murray*, so was Wynton Marsalis. Albert Murray provided the historical and intellectual groundwork in his books and articles. _Stomping the Blues_ is one. _Albert Murray Talks Music_ is a book assembled from his interviews, speeches and articles.

Murray is the most important commentator on Jazz, IMO.


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## norman bates

SanAntone said:


> I am not saying that what free jazz musicians are doing "is not music" I am saying to the extent it leaves out swing and the blues, it is no longer is jazz. It might be very good improvised music, some is - but it ain't jazz.


even if so (but as said, it's an argument used all eras of jazz, Ellington was already seen as a traitor because he was using sophisticated harmonies and was trying to make something complex, bebop was seen as "chinese music" by Louis Armstrong and those into traditional jazz etc), why one should care
if something has to be called as jazz or not if it's good? As with all these kind of discussions, the point seems to me that "this is not what I like, therefore is not jazz".


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## norman bates

SanAntone said:


> Blues was the response of the African American experience in the United States. While there are black communities all over the world, Blues came out of the the specific black experience in the US. Other kinds of music developed in other countries, but the Blues is a product of the cultural mix only found in the US from 1890-1920. It then developed from there into various styles of Jazz, swing, bebop, post bop - but the Blues and swing were always a part of the music until the avant-garde/free scene decided to do away with those elements.
> 
> Blues is dance music. Jazz is also dance music. Nothing wrong with that, dance is the response to swing. To the extent jazz divorces itself from dance it is on the way out of the tradition. A complaint against bebop was that you couldn't dance to it. Well, Dizzy did.


while there's a lot of early jazz that is made to dance, it's not true for all produced in that era. There's a lot of jazz produced by Ellington that is not made as danceable music. Bebop was often a lot less danceable. It's hard to dance to Skip James. And jazz is not only a black music, it was always music that was a product of elements of different cultures. Strayhorn's music for instance was clearly influenced by european impressionists. Ellington was compared to Delius. Charlie Parker was looking to Stravinsky. Herbie Nichols to Bartok, and Mingus too, and I'm mentioning on purpose only black musicians. And music genres evolve over time. Using this kind of arguments, Koko of Charlie Parker already is not jazz at all because it sounds completely different from Potato head blues.

To me, what's at the core of jazz is improvisation. While I love the richness of swing and blues, I think that is improvisation that defines the genre. And at the end of the day my enjoyment of music is not tied to the fact that music is improvised or not. Even Ellington or Bud Powell were writing music that is completely written.


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## SanAntone

norman bates said:


> while there's a lot of early jazz that is made to dance, it's not true for all produced in that era. There's a lot of jazz produced by Ellington that is not made as danceable music. Bebop was often a lot less danceable. It's hard to dance to Skip James. And jazz is not only a black music, it was always music that was a product of elements of different cultures. Strayhorn's music for instance was clearly influenced by european impressionists. Ellington was compared to Delius. Charlie Parker was looking to Stravinsky. Herbie Nichols to Bartok, and Mingus too, and I'm mentioning on purpose only black musicians. And music genres evolve over time. Using this kind of arguments, Koko of Charlie Parker already is not jazz at all because it sounds completely different from Potato head blues.
> 
> To me, what's at the core of jazz is improvisation. While I love the richness of swing and blues, I think that is improvisation that defines the genre. And at the end of the day my enjoyment of music is not tied to the fact that music is improvised or not. Even Ellington or Bud Powell were writing music that is completely written.


Ellington is quoted as saying that he never abandoned the dance tunes in his book, for every one "listening" song he'd play two dance tunes. While it is true that Parker and others listened to European classical composers, their music was influenced primarily by blues and other jazz music. Jazz is a mix of European and African American influences, from Celtic mountain music as well as european classical music - but those influences were subsumed and transformed through the blues and swing.

Improvisation has been a part of many musics throughout history, from Bach to Cage. What separates the improvisation in jazz and makes it unique are the qualities I cited, blues and swing.


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## norman bates

SanAntone said:


> Ellington is quoted as saying that he never abandoned the dance tunes in his book, for every one "listening" song he'd play two dance tunes.


the point is, are his listening songs worse than his dance tunes? I'm tempted to even say it's the opposite.



SanAntone said:


> While it is true that Parker and others listened to European classical composers, their music was influenced primarily by blues and other jazz music. Jazz is a mix of European and African American influences, from Celtic mountain music as well as european classical music - but those influences were subsumed and transformed through the blues and swing.
> 
> Improvisation has been a part of many musics throughout history, from Bach to Cage. What separates the improvisation in jazz and makes it unique are the qualities I cited, blues and swing.


I agree that those aspects makes a lot of jazz indeed unique and valuable. But there's a lot of jazz (or whatever you want to call it) that is valuable too even without having swing or blues influences. 
I know that white people has taken away through history the merits (and the money) of black musicians, but I think also there's been a opposite reaction (and Crouch was the perfect example of that) that tried to put down the contributions of white musicians.
And that's how I read the "if there's not swing or blues does not belong to the tradition and it's less valuable".


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## SanAntone

norman bates said:


> the point is, are his listening songs worse than his dance tunes? I'm tempted to even say it's the opposite.


Concert hall Jazz is one aspect of the music, and Ellington's compositions are some of the best examples. I am not saying one is better than the other, but Jazz can survive without written long form works, but not without improvised blues/swing.



> I agree that those aspects makes a lot of jazz indeed unique and valuable. But there's a lot of jazz (or whatever you want to call it) that is valuable too even without having swing or blues influences.
> I know that white people has taken away through history the merits (and the money) of black musicians, but I think also there's been a opposite reaction (and Crouch was the perfect example of that) that tried to put down the contributions of white musicians.
> And that's how I read the "if there's not swing or blues does not belong to the tradition and it's less valuable".


There has to be a recognition of who created the music. There can be no denying of where the music came from, it came from the black experience in the United States, primarily the Southern United States. White musicians can and have made contributions, but it is the black experience which is the defining element of blues and jazz. To the extent a white musician has absorbed that black experience will define his stature in the jazz community.

Muddy Waters said that many white musicians play fantastic blues guitar, but no white musician can or will ever sing like him. Charlie Parker said if you haven't lived it, it won't come out of your horn. No white musician can ever have the black experience of living in the United States.


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## norman bates

SanAntone said:


> Concert hall Jazz is one aspect of the music, and Ellington's compositions are some of the best examples. I am not saying one is better than the other, but Jazz can survive without written long form works, but not without improvised blues/swing.


I'm not talking only of large form works, but also of his small blues swing tunes. Blue light is a truly magnificent blues tune, I don't know how someone could dance to it onestly.



SanAntone said:


> There has to be a recognition of who created the music. There can be no denying of where the music came from, it came from the black experience in the United States, primarily the Southern United States. White musicians can and have made contributions, but it is the black experience which is the defining element of blues and jazz. To the extent a white musician has absorbed that black experience will define his stature in the jazz community.
> 
> Muddy Waters said that many white musicians play fantastic blues guitar, but no white musician can or will ever sing like him. Charlie Parker said if you haven't lived it, it won't come out of your horn. No white musician can ever have the black experience of living in the United States.


I don't think I agree with the idea that jazz has to be necessarily the sound of pain and misery, which it seems that is what you're saying (actually a lot of jazz is quite uplifting or happy). And most importantly I disagree that those things are related only to black people. Maybe white musicians didn't experience racism (altough italians for instance were called "white *******" and there's a famous remark of Mingus who said that white musicians weren't able to play, and someone asked him why he had Charlie Mariano in his band and he replied "but he's not white, he's italian) but seeing the dark side of life wasn't certainly something that only black people experienced.
About what Muddy Waters said, I'm not sure what his point was.


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## starthrower

SanAntone said:


> John Cage used a completely different process to compose _Music of Changes_ but it sounds similar to Pierre Boulez's first piano sonata, a total serial work.
> 
> Just because the avant-garde jazz musicians may not consciously wished to copy what was being done by European classical avant-garde composers does not mean that the end result won't sound similar, or at least have the same kind of surface.
> 
> Look, I don't want to argue with you about the kind of jazz you like and I don't.


That wasn't part of the exchange. I like the same stuff you like. But I also like the stuff you don't. When it comes to the free stuff I approach it like any other jazz material. Some of it sounds great to my ears and others doesn't. The torturous honk and squeal fests are not something I enjoy. For example on the Metheny/Coleman Song X album I always skip Endangered Species. But the rest of the album sounds great to my ears


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## SanAntone

starthrower said:


> That wasn't part of the exchange. I like the same stuff you like. But I also like the stuff you don't. *When it comes to the free stuff I approach it like any other jazz material.* Some of it sounds great to my ears and others doesn't. The torturous honk and squeal fests are not something I enjoy. For example on the Metheny/Coleman Song X album I always skip Endangered Species. But the rest of the album sounds great to my ears


I went to the Song X concert at Carnegie Hall. I was into that back then much more than I am today; I also thought the extreme amplification hurt the music. That bolded sentence is where we depart from each other - I approach free jazz more like I do with avant-garde classical music. And like you, I like some and dislike other - but I do not think of it as jazz.

Jazz constitutes the majority of all of my listening, something like this Jazz 40%, Blues/Old-time/Bluegrass 35%, classical 20%, other world music 5%.


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## starthrower

I have a fairly large jazz and classical collection. It's usually 90/10 percent listening ratio either way depending on what I'm compelled to listen to at any point during the year. I don't listen my blues records much anymore. I went through a heavy listening phase 30 years ago. I also attended one of the Song X shows but I don't remember a lot about it other than Metheny's guitar playing seemed like he had done a lot of woodshedding. His chops were pretty amazing.


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## Simon Moon

SanAntone said:


> I went to the Song X concert at Carnegie Hall. I was into that back then much more than I am today; I also thought the extreme amplification hurt the music. That bolded sentence is where we depart from each other - I approach free jazz more like I do with avant-garde classical music. And like you, I like some and dislike other - but I do not think of it as jazz.


All through the history of jazz, whatever the next movement/advancement/progression/change has been, has always been decried by the previous tradition, as not being jazz.

I'm sure there were members of the New Orleans tradition, that did not consider what followed, Big Band Swing, as jazz, just as there were members of the Big Band era that did not consider Be Bop jazz.

And don't even get me started on Wynton and Jazz at the Lincoln Center...

Jazz is not a museum piece, as much as Wynton and JatLC want to treat it that way. It is a living breathing, evolving art form, even if some forms of jazz don't meet Wynton's approval.


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## SanAntone

Simon Moon said:


> All through the history of jazz, whatever the next movement/advancement/progression/change has been, has always been decried by the previous tradition, as not being jazz.
> 
> I'm sure there were members of the New Orleans tradition, that did not consider what followed, Big Band Swing, as jazz, just as there were members of the Big Band era that did not consider Be Bop jazz.
> 
> And don't even get me started on Wynton and Jazz at the Lincoln Center...
> 
> Jazz is not a museum piece, as much as Wynton and JatLC want to treat it that way. It is a living breathing, evolving art form, even if some forms of jazz don't meet Wynton's approval.


No, jazz is not a museum piece, and there is no danger of it becoming that since there is a current generation of jazz musicians playing the music in the tradition. But you are wrong about previous generations. There is no bigger representative of the New Orleans tradition than Louis Armstrong, and he was revered by Dizzy Gillespie, Miles Davis and Wynton Marsalis - and he returned the respect for how they played the music. No one questioned Count Basie, Fletcher Henderson, Duke Ellington, or even the white bands. You are simply misinformed or thinking wrong about this issue.

The only real break was when Ornette Coleman played the Five Spot and the current generation of musicians scratched their heads. The free jazz groups in his wake, and finally even John Coltrane, abandoned the tradition that swing, bebop and hard bop all maintained: swing and the blues.

No, I don't want to get you started on Jazz at Lincoln Center since it would appear you don't appreciate what that group is doing. And it sounds like you don't hold Wynton Marsalis in high regard, either.


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## Dorsetmike

Methinks that if everybody liked the same things be it music, art, theatre whatever, then the world would be a dull old place; just imagine only one make of car and they only make one model, like Henry Ford is reputed to have said "any colour you want as long as it's black" - only one type of musical instrument? 
Yes, ridiculous ain't it - we need variety, diversity in everything, its often said variety is the spice of life?
This proverbial expression comes from William Cowper's poem The Task (1785): Variety's the very spice of life, That gives it all flavors.
So stop your arguing and play nicely - as mum used to say!


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## Simon Moon

SanAntone said:


> No, jazz is not a museum piece, and there is no danger of it becoming that since there is a current generation of jazz musicians playing the music in the tradition.


I guess it all depends on how one is defining the tradition. I define it to allow: avant-garde, free jazz, fusion, M-BASE, chamber jazz (as one would find in ascetic of ECM label), jazz-metal, as forms of jazz.



> But you are wrong about previous generations. There is no bigger representative of the New Orleans tradition than Louis Armstrong, and he was revered by Dizzy Gillespie, Miles Davis and Wynton Marsalis - and he returned the respect for how they played the music. No one questioned Count Basie, Fletcher Henderson, Duke Ellington, or even the white bands. You are simply misinformed or thinking wrong about this issue.


NO!

That's not what I was saying. Of course new generations revere what came before. What I was referring to was the previous generations not accepting the new evolutions of jazz. Tommy Dorsey claimed, "Bebop has set music back 20 years." And Louis Armstrong complained that beboppers were playing wrong chords. Cab Calloway and Eddie Condon were also pretty dismissive.



> The only real break was when Ornette Coleman played the Five Spot and the current generation of musicians scratched their heads. The free jazz groups in his wake, and finally even John Coltrane, abandoned the tradition that swing, bebop and hard bop all maintained: swing and the blues.


And that's what I was originally referring to. The current generation dismissing changes that the next generation evolve the music into. And you can bet all those musicians that are responsible for the changers, revere the musicians that came before.

Listen, my uncle (Al Lerner) was the pianist for the Harry James Big Band. He played all piano for Tyrone4 Power in the movie, "The Eddy Duchin Story". He was also responsible for all the big band revival shows on PBS back in the 90's. He was pretty dismissive of bebop, so I don't think it was such a stretch to think the same was true of many more big band musicians.



> No, I don't want to get you started on Jazz at Lincoln Center since it would appear you don't appreciate what that group is doing. And it sounds like you don't hold Wynton Marsalis in high regard, either.


You are correct, I should probably not have talked down the Lincoln Center. I am not up on everything they do.

And about Wynton. I love his early albums. A massive talent or sure. I saw his very first tour ever, at the Roxy in LA. It was phenomenal. My problems started when he began to get notoriety, and he became kind of the jazz expert for the non-jazz fan.

It's his jazz dogma that I find problems with.

His statements like (I'm paraphrasing): "if it doesn't swing, it's not jazz", or when he dismissed all European contributions to jazz.

He's basically his generation's Eddie Condon or Louis Armstrong or Tommy Dorsey, but instead of dismissing Bebop, he's dismissing all other jazz that he feels is not really jazz.


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## SanAntone

Simon Moon said:


> I guess it all depends on how one is defining the tradition. I define it to allow: avant-garde, free jazz, fusion, M-BASE, chamber jazz (as one would find in ascetic of ECM label), jazz-metal, as forms of jazz.


Good for you.



> NO!
> 
> That's not what I was saying. Of course new generations revere what came before. What I was referring to was the previous generations not accepting the new evolutions of jazz. Tommy Dorsey claimed, "Bebop has set music back 20 years." And Louis Armstrong complained that beboppers were playing wrong chords. Cab Calloway and Eddie Condon were also pretty dismissive.


Louis Armstrong and Dizzy Gillespie were good friends and would often show up at each others gigs. Louis Armstrong played his music and Dizzy played his music, both are styles of jazz and they each had respect for the other.



> And that's what I was originally referring to. The current generation dismissing changes that the next generation evolve the music into. And you can bet all those musicians that are responsible for the changers, revere the musicians that came before.


I was only saying the respect went both ways. However, many of the free jazz guys don't show respect to the previous generations and are more dismissive than any musicians I've ever been around.



> Listen, my uncle (Al Lerner) was the pianist for the Harry James Big Band. He played all piano for Tyrone4 Power in the movie, "The Eddy Duchin Story". He was also responsible for all the big band revival shows on PBS back in the 90's. He was pretty dismissive of bebop, so I don't think it was such a stretch to think the same was true of many more big band musicians.


I worked with at every major jazz club in the US with dozens of jazz musicians you've heard of. So, I have a good idea of what most jazz musicians think.

The big bands produced most of the bebop players, Dizzy, Bird, Kenny Clark, John Lewis, Milt Jackson, and so on. The big bands died out for economic reasons, and some of the musicians were dismissive of bebop because they couldn't play it. But, and here's what I'm talking about, big bands and bebop all played jazz with the same basis of the blues and swing phrasing. It doesn't matter if some musicians who were having trouble getting gigs complained about the kind of music other than the style they had mastered.

Coleman Hawkins respected bebop, but he never changed his style. But he hired Thelonious Monk and caught a bunch of flak for it. Coleman Hawkins playing next to Sonny Rollins is an instructive record. You should check it out. Hawk is playing his style and Sonny is playing his style, with the same rhythm section and it swings and has the blues running through it.

There is a difference when an older musician complains about a newer style than the one he is comfortable with and Wynton Marsalis saying that much of the avant-garde is not jazz. The reality is that the two scenes don't have much to do with each other, are not interested in what the other is doing and have different audiences.

The free jazz guys I've met don't want to be considered jazz since they think of that label as a straight jacket. In fact a lot of jazz players don't use the term either. But the term does define something that they all agree on: the blues and swing are essential to the music.

Miles's quintet in 65-68 played free but not entirely. They called it playing the form but not the changes. But, they always swung and still had a basis in the blues.



> You are correct, I should probably not have talked down the Lincoln Center. I am not up on everything they do.
> 
> And about Wynton. I love his early albums. A massive talent or sure. I saw his very first tour ever, at the Roxy in LA. It was phenomenal. My problems started when he began to get notoriety, and he became kind of the jazz expert for the non-jazz fan.
> 
> It's his jazz dogma that I find problems with.
> 
> His statements like (I'm paraphrasing): "if it doesn't swing, it's not jazz", or when he dismissed all European contributions to jazz.
> 
> He's basically his generation's Eddie Condon or Louis Armstrong or Tommy Dorsey, but instead of dismissing Bebop, he's dismissing all other jazz that he feels is not really jazz.


To the extent that free jazz abandons a blues foundation and the rhythmic swing pulse, it is no longer jazz since those are the components which have defined jazz since it began. I'm not saying free jazz is lousy music. It is often very creative and the musicians playing it are mostly very good players. But what they are playing is improvised music, not jazz.

And you know what - it doesn't matter what you call it. Bottom-line: it's all music. I just want to nail down what makes jazz what it is and not call everything that is improvised jazz.


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## Jay

Simon Moon said:


> He's basically his generation's Eddie Condon


He was a "moldy fig" at 18.


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## SanAntone

View attachment 144630


*Live At Yoshi's Volume One*
Mulgrew Miller Trio (Karriem Riggins, drums; Derrick Hodge, bass)

View attachment 144631


*Alone With Three Giants*: Thelonious Monk, Duke Ellington, and Jelly Roll Morton 
Marcus Roberts


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## SanAntone

Some recent productions from Jazz at Lincoln Center. The descriptions are from the JALC website, not my words.

*THE EVER FONKY LOWDOWN*
Jazz at Lincoln Center Orchestra with Wynton Marsalis

View attachment 144632


"You really just want to be entertained," says Mr. Game, the sly hustler-narrator played by acclaimed actor Wendell Pierce (The Wire, Treme, Jack Ryan) who presides over Wynton Marsalis's The Ever Fonky Lowdown. Combining droll commentary with soulful, big band-backed vocals, the Lowdown is definitely entertaining-but it also brilliantly reveals Marsalis's incisive view of modern society.

Featuring the Jazz at Lincoln Center Orchestra and guest vocals from Camille Thurman, Ashley Pezzotti, Christie Dashiell, and Doug Wamble, the Lowdown is a funky jazz parable for 2020. It covers terrain from football to politics, from power to poverty, from love to betrayal; it will make you dance and think.

CHRISTOPHER CRENSHAW'S
*THE FIFTIES: A PRISM*
Jazz at Lincoln Center Orchestra with Wynton Marsalis

View attachment 144633


"All jazz is modern," says Wynton Marsalis-and we owe the 1950s for that. The momentous decade became the crucible in which modern jazz was formed, as styles like modal, hard bop, and third stream melted together and artists like Miles Davis, Duke Ellington, and Ornette Coleman reached the height of their powers. Now, Jazz at Lincoln Center Orchestra trombonist Chris Crenshaw has taken inspiration from the era to create The Fifties: A Prism.

"When I was presented with the idea of coming up with a suite dealing with the 1950s, I immediately realized this was going to cover all the genres of jazz, from bebop to freedom music," Crenshaw says. Recorded live at The House of Swing by the JLCO with Wynton Marsalis in February 2017, The Fifties does exactly that, refracting all the energy from a creatively supercharged era through a 21st-century lens.

*THE MUSIC OF WAYNE SHORTER*
Jazz at Lincoln Center Orchestra with Wynton Marsalis

View attachment 144635


"He's at the highest level of our music-you can't get any higher than him." So says Wynton Marsalis of the legendary saxophonist Wayne Shorter. The 11-time GRAMMY award winner has released countless classic records and amassed a canon of lyrical music that stands up to the greatest jazz composers.

In 2015, the formidable 81-year-old joined the Jazz at Lincoln Center Orchestra with Wynton Marsalis onstage for three unforgettable nights; the result is The Music of Wayne Shorter.

*BLACK, BROWN, AND BEIGEe*
Jazz at Lincoln Center Orchestra with Wynton Marsalis

View attachment 144634


"It sits alone in the history of jazz," Wynton Marsalis says of Duke Ellington's groundbreaking Black, Brown & Beige. Since its 1943 debut, the piece-a sprawling survey of African American history-has been heralded as one of the most significant compositions in American orchestral music.

Now, the Jazz at Lincoln Center Orchestra with Wynton Marsalis has released a definitive, present-day recording of Black, Brown & Beige that conveys all the nuances and emotion of Ellington's grandest work.


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## SanAntone

*Lester Young with the Oscar Peterson Trio* (Full Album)

Lester Young - tenor saxophone, vocals on Two to Tango
Oscar Peterson - piano
Barney Kessel - guitar
Ray Brown - double bass
J. C. Heard - drums

01 Ad Lib Blues 0:00
02 I Can't Get Started 5:54
03 Just You, Just Me 9:35
04 Almost Like Being in Love 17:16
05 Tea for Two 20:51
06 There Will Never Be Another You 28:36
07 (Back Home Again In) Indiana 32:05
08 On the Sunny Side of the Street 39:09
09 Stardust 42:37
10 (I'm) Confessin' (That I Love You) 46:13
11 I Can't Give You Anything But Love 49:55
12 These Foolish Things 53:18
13 (It Takes) Two to Tango 56:52
14 I Can't Get Started 1:03:00



> Defying what has become conventional wisdom, tenor saxophonist Lester Young cut some of his greatest recordings in the 1950s -- that is, when he was reasonably healthy. On this wonderful effort with pianist Oscar Peterson, guitarist Barney Kessel, bassist Ray Brown, and drummer J.C. Heard, Prez performs definitive versions of "Just You, Just Me" and "Tea for Two," and plays a string of concise but memorable ballad renditions: "On the Sunny Side of the Street," "Almost Like Being in Love," "I Can't Give You Anything But Love," "There Will Never Be Another You," and "I'm Confessin'." This is essential music from a jazz legend. [Some reissues augment the original dozen songs with a version of the good-humored "It Takes Two to Tango," which features Young's only recorded vocals, plus a rather unnecessary false start (on "I Can't Get Started," ironically), along with some studio chatter.]


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## SanAntone

*Wynton Marsalis - Jazz in Marciac 2009*

Wycliffe Gordon - trombone
Dan Nimmer - piano
Carlos Henriquez - bass
Ali Jackson - drums, tambourine
Bob Wilber - soprano sax
Olivier Franc - soprano sax
Victor Goines - tenor sax, soprano sax, clarinet, bass clarinet
Wynton Marsalis - trumpet


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## starthrower

1960 / 1957


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## Jay




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## SanAntone

View attachment 144654


*Art Blakey & the Jazz Messengers - Moanin'*

Art Blakey - drums
Lee Morgan - trumpet
Benny Golson - tenor saxophone
Bobby Timmons - piano
Jymie Merritt - bass



> The album stands as one of the archetypal hard bop albums of the era, for the intensity of Blakey's drumming and the work of Morgan, Golson and Timmons, and for its combination of old-fashioned gospel and blues influences with a sophisticated modern jazz sensibility. The album was identified by jazz critic Scott Yanow as one of "17 Essential Hard Bop Recordings".
> 
> AllMusic gives it a five-star review, stating: "Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. ... ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond."


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## SanAntone

> Jazz is not a museum piece, as much as Wynton and JatLC want to treat it that way. It is a living breathing, evolving art form, even if some forms of jazz don't meet Wynton's approval.


First, I don't think Wynton Marsalis wants to treat jazz as a museum anymore than classical performers wish to do that as they play Beethoven, and earlier music, over and over. We have in the classical genre the historical canon as well as new music being written and performed. I happen to really enjoy early jazz. I like the swing syncopation, the funky soloing, and the collective polyphonic improvisation. When Wynton Marsalis performs early jazz he does it as a performer playing great music from the past, and he performs it much like a HIP classical ensemble approaches playing Haydn with Period instruments and performance practice.

I think he has softened his stance on the jazz avant-garde, and the JALC Orchestra has incorporated examples of the "new thing," "free jazz," or the jazz avant-garde somewhat in recent projects. The latest edition of the Smithsonian Jazz Anthology added a final disc to include musicians left out in the first set from the avant-garde.

However, I think Marsalis is primarily interested in performing and teaching a new generation how to perform and value earlier periods of jazz and composers and not letting any of it be forgotten. He also has his jazz groups (quartet, quintet and sextet) playing his current original music.

He is happy to let others develop the next "new thing."


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## SanAntone

_Nocturne_ is an album by American saxophonist *Oliver Nelson* and vibraphonist Lem Winchester. It was originally released in 1961 on Prestige Records, as part of the "Moodsville Series". As the title implies, _Nocturne_ is a collection of mellow songs with relaxed, late-night feeling.

View attachment 144696


Oliver Nelson is a bit underrated, IMO, despite the popularity of _Blues and the Abstract Truth_. His compositions and arrangements are first rate, as is his distinctive sax sound and spare but bluesy soloing. In the manner of how he constructs a solo I hear a deliberate and classical conciseness, while he still manages to build the solo with rhythmic energy.


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## starthrower

Keith Jarrett's performing career finished after suffering two strokes in 2018.
https://www.nytimes.com/2020/10/21/arts/music/keith-jarrett-piano.html


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## SanAntone

starthrower said:


> Keith Jarrett's performing career finished after suffering two strokes in 2018.
> https://www.nytimes.com/2020/10/21/arts/music/keith-jarrett-piano.html


Very sad news. Stroke victims often recover abilities that they initially lost over time and with physical therapy. I sincerely wish him the best and hope that he will once again consider himself a piano player.


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## SanAntone

_Beauty Is a Rare Thing_ is a compilation box set collecting all the master recordings made for Atlantic Records between 1959 and 1961 by the American jazz composer and saxophonist *Ornette Coleman*.

View attachment 144722


I bought this box set as soon as it came out, even though I had already owned the original records. This is the only period of Ornette Coleman's career that I listen to regularly, although Science Fiction and Skies of America also are ones I think are really good.



> The Allmusic review by Thom Jurek states "this is, along with John Coltrane's Atlantic set and the Miles and Coltrane box, one of the most essential jazz CD purchases".


I would agree with that assessment.

The thing about Ornette Coleman which separates him from many of the later free jazz musicians was his consistent commitment to melody. There was also a strong core of the blues running throughout his entire career.

Here's a nice concert tribute to his music by the JALC Orchestra, led by Ted Nash the alto saxophonist.






*Celebrating Ornette Coleman*
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Rose Theater
May 18, 2018

3:40 - Una Muy Bonita (Composer: Ornette Coleman; Arranger: Ted Nash)
13:05 - Peace (Comp.: Ornette Coleman; Arr.: Wynton Marsalis)
23:46 - Feet Music (Comp.: Ornette Coleman; Arr.: Vincent Gardner)
34:41 - What Reason Could I Give (Comp.: Ornette Coleman; Arr.: Ted Nash)
44:18 - Free (Comp.: Ornette Coleman; Arr.: Wynton Marsalis)
1:01:39 - W.R.U. (Comp.: Ornette Coleman; Arr.: Carlos Henriquez)
1:12:25 - The Blessing (Comp.: Ornette Coleman; Arr.: Chris Crenshaw)
1:22:12 - Honeymooners (Comp.: Ornette Coleman; Arr.: Remy Le Boeuf)
1:31:05 - Sleep Talk (Comp.: Ornette Coleman; Arr.: Ted Nash)
1:37:48 - Kaleidoscope (Comp.: Ornette Coleman; Arr.: Ted Nash)



> The Jazz at Lincoln Center Orchestra with Wynton Marsalis celebrate one of jazz's great original geniuses: composer, Pulitzer Prize winner, and alto saxophonist Ornette Coleman (1930-2015). One of the all-time best melodists-regardless of musical tradition-this groundbreaking visionary left us with a profound body of work that demands ongoing exploration.
> 
> With virtuosic big band arrangements of seminal works like "Una Muy Bonita," "Lonely Woman," and "Peace," the Orchestra forays deep into Coleman's incomparable musical world. 2017 Grammy Award-winning composer, arranger, saxophonist, and bandleader Ted Nash serves as music director for the evening, utilizing the orchestra's many colors to bring this music to life.
> 
> Personnel
> REEDS
> Sherman Irby - alto & soprano saxophone, flute, piccolo, Bb clarinet
> Ted Nash - alto & tenor saxophones, flute, alto flute, piccolo, Bb clarinet
> Victor Goines - tenor saxophone, Bb & Eb clarinets
> Walter Blanding - tenor & soprano saxophone, Bb clarinet
> Paul Nedzela - baritone & alto saxophone, bass clarinet
> 
> TRUMPETS
> Ryan Kisor
> Kenny Rampton
> Marcus Printup
> Wynton Marsalis
> 
> TROMBONES
> Vincent Gardner
> Chris Crenshaw
> Jeffery Miller
> 
> RHYTHM
> Dan Nimmer - piano
> Carlos Henriquez - bass
> Jason Marsalis - drums


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## starthrower

Ornette has written some great tunes! Lonely Woman, Law Years, among others.


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## SanAntone

View attachment 144731


*Sherman Irby's Inferno*



> Hell's never sounded as suave and soulful as it does on Sherman Irby's Inferno by the Jazz at Lincoln Center Orchestra (JLCO) with Wynton Marsalis. Irby, the lead alto saxophonist for the JLCO, cleverly interprets Dante Alighieri's epic poem from "The Divine Comedy" to create a sweeping work that takes listeners on a lyrically swinging tour of the underworld's nine circles.
> The epic composition, recorded live in 2012, lets the JLCO's all-star improvisers give life to the colorful denizens of hell and casts the late, legendary baritone saxophonist Joe Temperley as the voice of Dante. Irby's Inferno both stands alone as an irresistible musical narrative and sheds new light on Dante's classic; this unique exploration of the epic poem captures its timeless quality and ingeniously places it in conversation with the jazz canon.


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## norman bates

SanAntone said:


> _Beauty Is a Rare Thing_ is a compilation box set collecting all the master recordings made for Atlantic Records between 1959 and 1961 by the American jazz composer and saxophonist *Ornette Coleman*.
> 
> View attachment 144722
> 
> 
> I bought this box set as soon as it came out, even though I had already owned the original records. This is the only period of Ornette Coleman's career that I listen to regularly, although Science Fiction and Skies of America also are ones I think are really good.
> 
> I would agree with that assessment.
> 
> The thing about Ornette Coleman which separates him from many of the later free jazz musicians was his consistent commitment to melody. There was also a strong core of the blues running throughout his entire career.
> 
> Here's a nice concert tribute to his music by the JALC Orchestra, led by Ted Nash the alto saxophonist.
> 
> 
> 
> 
> 
> 
> *Celebrating Ornette Coleman*
> Jazz at Lincoln Center Orchestra with Wynton Marsalis
> Rose Theater
> May 18, 2018
> 
> 3:40 - Una Muy Bonita (Composer: Ornette Coleman; Arranger: Ted Nash)
> 13:05 - Peace (Comp.: Ornette Coleman; Arr.: Wynton Marsalis)
> 23:46 - Feet Music (Comp.: Ornette Coleman; Arr.: Vincent Gardner)
> 34:41 - What Reason Could I Give (Comp.: Ornette Coleman; Arr.: Ted Nash)
> 44:18 - Free (Comp.: Ornette Coleman; Arr.: Wynton Marsalis)
> 1:01:39 - W.R.U. (Comp.: Ornette Coleman; Arr.: Carlos Henriquez)
> 1:12:25 - The Blessing (Comp.: Ornette Coleman; Arr.: Chris Crenshaw)
> 1:22:12 - Honeymooners (Comp.: Ornette Coleman; Arr.: Remy Le Boeuf)
> 1:31:05 - Sleep Talk (Comp.: Ornette Coleman; Arr.: Ted Nash)
> 1:37:48 - Kaleidoscope (Comp.: Ornette Coleman; Arr.: Ted Nash)


it's strange to see Wynton playing Ornette. Maybe after all he's really mellowing a bit his opposition to free musicians after all.


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## Jay

norman bates said:


> it's strange to see Wynton playing Ornette. Maybe after all he's really mellowing a bit his opposition to free musicians after all.


...or he's just following Crouch, who was a fan.


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## SanAntone

norman bates said:


> it's strange to see Wynton playing Ornette. Maybe after all he's really mellowing a bit his opposition to free musicians after all.


According to Stanley Crouch, from the beginning Wynton Marsalis excepted Ornette Coleman, Don Cherry, Dewey Redman and Bobby Bradford from his criticism of the free jazz camp.



> "As he developed his vision, Marsalis took a position against-with the exceptions of Ornette Coleman, Don Cherry, Dewey Redman, and Bobby Bradford-most of what was considered avant-garde jazz because it reminded him too much of the twentieth-century concert music he had played in orchestras under the batons of men like Gunther Schuller."
> 
> - Considering Genius: Writings on Jazz by Stanley Crouch


TD

View attachment 144751


*Alvin Alcorn - Southland Sessions*


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## norman bates

Wadada Leo Smith - Song of humanity (1977)

A musician who doesn't get the recognition he deserves I think.


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## norman bates

Jay said:


> ...or he's just following Crouch, who was a fan.


It must be said that Crouch for his conservative ideas had nice things to say about other avantgarde jazz musicians, like Andrew Hill, Sun Ra, Albert Ayler, Cecil Taylor, Eric Dolphy, the Art ensemble of Chicago to name a few.


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## Jay

norman bates said:


> It must be said that Crouch for his conservative ideas had nice things to say about other avantgarde jazz musicians, like Andrew Hill, Sun Ra, Albert Ayler, Cecil Taylor, Eric Dolphy, the Art ensemble of Chicago to name a few.


But _when_ did he have nice things to say? After all, he was an out cat before his conversion. He turned decisively against Taylor when he (Taylor) refused to hire him for his group; subsequently, Crouch--a real class act--outed Taylor.


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## SanAntone

*Louis Armstrong: "Columbia & RCA Victor Live Recordings"* (Mosaic 257)

View attachment 144785




> Through a combination of intricate research and unbridled enthusiasm, Ricky Riccardi has become the 21st century's foremost expert on Louis Armstrong. His book "What a Wonderful World" called for a re-evaluation of Armstrong's later years, and a new Mosaic set, "Columbia and RCA Victor Live Recordings of Louis Armstrong and the All-Stars", acts as a companion volume, amplifying Riccardi's fervent opinions through the music itself. Riccardi wrote a 27,000 word essay for this 9-CD set, and he researched the original tapes and sessions with the assistance of Armstrong's Columbia producer, George Avakian. While the set is dedicated to Avakian, Riccardi undoes most of the editing and post-production work that Avakian did on these recordings. Riccardi reasons that most of the music is available online, so the Mosaic set offers the opportunity to hear the sessions as they went down, and Riccardi's extensive notes explain how the pieces were eventually issued. At over 11 hours of music, the set is a huge chunk of Armstrong, even for seasoned fans. The time limits of CDs caused Riccardi and co-producer Scott Wenzel to shuffle the order of the sessions, but since very few fans will listen to this set in one session, it makes sense to break the music into sections. Fortunately, the full-length concerts in this set act as mileposts, with the smaller sessions filling up the discs.


As is the case with all of the Mosaic box sets I've heard/handled, the production values are very high. This Mosaic #257 - some later career live dates with Louis Armstrong and his All Stars - offers some great jazz performances.



> In the final analysis, this Mosaic set will certainly validate Riccardi's assertions that Louis Armstrong's All-Star recordings rate with his early masterpieces. Riccardi's liner notes are simultaneously joyful and informative. While I can't agree with all of Avakian's editing decisions or his history of deceptive practices, there is little doubt that he produced some of Armstrong's finest performances. The remarkable consistency of Armstrong and the All-Stars gave Avakian a lot of freedom in selecting performances, and we can be thankful that so much of the raw material has survived despite years of turbulence in the recording industry. As usual, Mosaic has done a brilliant job in bringing this music to the public. Perhaps as an encore, Mosaic could collect the complete session reels of the Armstrong/Avakian Columbia studio sessions, including all of the urviving material from the Handy, Waller and Lotte Lenya albums. The excerpts released so far all hint at another treasure trove of Armstrong gems.


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## SanAntone

More Louis ...

*Satchmo: A Musical Autobiography*

View attachment 144796




> Louis Armstrong's Satchmo: A Musical Autobiography was recorded as an oral memoir (with overdubbed background piano by Billy Kyle) combined with re-creations of many of his memorable recordings, as well as a few of the originals. Although such a project had the potential to become trite, the effort comes off very well indeed. This three-CD reissue has a few improvements as well. Almost every track that was previously edited to fit onto LPs has been restored to its original length. Louis Untermeyer's original liner notes have been augmented by excellent updated text by Joshua Berrett. And in spite of the warning about sound problems from using some deteriorated tapes and worn discs as source material, the audio experience is quite pleasing.
> 
> While these re-creations aren't meant to take the place of Armstrong's historic recordings from earlier decades with King Oliver, Earl Hines, and other greats, they have stood the test of time rather well, except for the, at best, average vocals of Velma Middleton; Armstrong's furor with the suggestion that he omit the plump singer from his set during the 1957 Newport Festival is described in detail in Berrett's notes. While this collection isn't the initial purchase a neophyte jazz fan would pick up from Armstrong's immense catalog, his interesting narrative and the enjoyable renditions of tunes closely associated with him make this a very worthwhile purchase.


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## SanAntone

Here's a wonderful concert by the *JALC Orchestra* playing a work called _Untamed Elegance_, a suite of pieces celebrating the 1920s, the Jazz Age, composed and arranged by *Victor Goines*, from October 28, 2016.

It features a young saxophonist, *Jon Irabagon*, who despite his age has obviously taken up the torch of *Coleman Hawkins* and *Sonny Rollins*.






There appears to have been no CD recording issued of this work, which is unfortunate.


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## SanAntone

Since *Stanley Crouch* has come under some attack in this thread, I thought I'd post a link and excerpt from a article posted by *Wynton Marsalis*.

*Crouch*



> Stanley and I spoke almost every day for over 35 years. Although many of our conversations ended in argument, speaking with him was one of the most fascinating and richly rewarding experiences of my life. It was impossible to converse with him and not learn something-even if you only learned what you didn't agree with. Stanley, on the other hand, could be incited to new thoughts and ruminations by a strongly argued position and would later acknowledge and even expound on his changed point of view.
> 
> He believed in rigorous study and in very direct engagement, preferably in person. It could, on very, very few occasions, end pugilistically. There it is, and there it was. Stanley once called me late at night and announced, "Man, I just wasted two hours listening to another long, boring piece you wrote. Why do you write those long-*** interminable pieces?" I asked him, "What long music do you like?" and went on to give a roll call of great extended compositions. He replied, "None. I don't like ANY of it." We both had to laugh at the absurdity of it all.
> 
> [...]
> 
> Stanley Crouch was a writer and a poet of uncommon depth and feeling. Don't listen to what is said about what he was saying. Read him if you want to know him. When I was a kid, he used to tell me, "Learn stuff for yourself. Don't take other people's opinions because you might end up slapping yourself… and won't even know that's what you're doing."



View attachment 144805


All I know is that the world, especially the insular world of Jazz, was a better place for having had Stanley Crouch in it.


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## starthrower




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## norman bates

SanAntone said:


> Since *Stanley Crouch* has come under some attack in this thread, I thought I'd post a link and excerpt from a article posted by *Wynton Marsalis*.
> 
> *Crouch*
> 
> View attachment 144805
> 
> 
> All I know is that the world, especially the insular world of Jazz, was a better place for having had Stanley Crouch in it.


I agree and I love reading him talking about jazz. He had a great insight about the things he understood. But as anyone else, he had his limitations and he had prejudices against white music (his disdain for long forms tells something about it). But I appreciate that he expressed his unfiltered opinion, even when I disagree with him.

By the way, the other day I was reading this interesting old article of him:https://www.villagevoice.com/2019/09/03/black-music-bringing-atlantis-up-to-the-top/


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## SanAntone

norman bates said:


> By the way, the other day I was reading this interesting old article of him:https://www.villagevoice.com/2019/09/03/black-music-bringing-atlantis-up-to-the-top/


Nice read. I am glad he mentioned *Olu Dara*, I think an under-appreciated musician.

TD

_Thelonious in Action: Recorded at the Five Spot Cafe_ is a 1958 album by jazz musician *Thelonious Monk*. The album was recorded live at the Five Spot Cafe on August 7, 1958 at the same sessions that produced _Misterioso_. It featured the debuts of Monk's compositions "Light Blue" and "Coming on the Hudson".

View attachment 144856


And some of what Stanley Crouch said about the recording ending his article about Monk (he commented in detail about each song), he also quotes Albert Murray:

"In closing, I would like to say that you have in your hands the documentation of a wonderful musical unit and some of the best improvising ever captured in performance. It is part of the legacy of one of the finest of American and world artists, a man whose gifts to the spirit, the mind, and the emotions of the mass of strangers all over the world who listen to him have been given unselfishly. The work of Thelonious Monk personifies one of the closing passages in Albert Murray's masterwork on Afro-American music, Stomping the Blues:

_'What it all represents is an attitude toward the nature of human experience (and the alternatives of human adjustment) that is both elemental and comprehensive. It is a statement about confronting the complexities inherent in the human situation and about improvising or experimenting or riffing or otherwise playing with (or even gambling with) such possibilities as are also inherent in the obstacles, the disjunctures, and the jeopardy. It is also a statement about perseverance and about resilience and thus also about the maintenance of equilibrium despite precarious circumstances and about achieving elegance in the very process of coping with the rudiments of subsistence.'_

For those who would experience the wisdom, courage, and clarity of a great twentieth-century artist, listen closely."


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## SanAntone

_Thelonious Monk at the Blackhawk _is an album by jazz pianist *Thelonious Monk*.

View attachment 144859


Joe Gordon - trumpet
Harold Land - tenor saxophone
Charlie Rouse - tenor saxophone
Thelonious Monk - piano
John Ore - bass
Billy Higgins - drums



> Thelonious Monk's 1960 quartet (which also includes tenor saxophonist Charlie Rouse, bassist John Ore and (for a brief period) drummer Billy Higgins is augmented on this live session by two guests: trumpeter Joe Gordon and the tenor of Harold Land. The extra horns uplift the date and add some surprising moments to what otherwise might have been a conventional but still spirited live session. Highlights include "Let's Call This," "Four in One" and a swinging version of "I'm Getting Sentimental over You."


This album is underappreciated, undeservedly, IMO. Some really good playing here.


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## SanAntone

*The Piano Scene of Ahmad Jamal *

View attachment 144861


Ahmad Jamal - piano
Ray Crawford - guitar
Israel Crosby - double bass

*Ahmad Jamal *is often dismissed as a cocktail lounge pianist, unjustly. Not so. He is an accomplished improviser and his conceptual innovations for the small jazz group were very influential. These early recordings, before he hired Vernel Fournier as his drummer, nicely demonstrate the best qualities of his style.


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## starthrower

Svart Records


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## norman bates

SanAntone said:


> Nice read. I am glad he mentioned *Olu Dara*, I think an under-appreciated musician.


which is kind of strange, considering how revered his son is.


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## starthrower

SanAntone said:


> *The Piano Scene of Ahmad Jamal *
> 
> View attachment 144861
> 
> 
> Ahmad Jamal - piano
> Ray Crawford - guitar
> Israel Crosby - double bass
> 
> *Ahmad Jamal *is often dismissed as a cocktail lounge pianist, unjustly.


I can't say I've ever read that before. I've read many complimentary remarks from other musicians.


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## SanAntone

norman bates said:


> which is kind of strange, considering how revered his son is.


Didn't know anything about his son. I knew him in NYC and then kept up with what he was doing, I especially liked his mash-up of Delta blues gumbo with other genres.



starthrower said:


> I can't say I've ever read that before. I've read many complimentary remarks from other musicians.


Really? It was heard pretty regularly, but I guess after Miles Davis cited him as an influence, people stopped saying it.

TD *Benny Carter*

View attachment 144868


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## starthrower

People say a lot of stupid things like "jazz sucks" and the like.


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## starthrower

Recorded Nov 24, 1974
I stumbled onto a used CD at the local record shop. I didn't have to think twice. Mulligan's Song For Strayhorn is a beauty! The rhythm section is Ron Carter and Harvey Mason, with Bob James, John Scofield, Dave Samuels, and Ed Byrne on trombone. Very well recorded too!


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## SanAntone

_Used to Be Duke_ is a 1954 studio album by *Johnny Hodges* accompanied by several members of Duke Ellington's orchestra.

View attachment 144919


Johnny Hodges - alto saxophone
Lawrence Brown - trombone
Shorty Baker - trumpet
Jimmy Hamilton - clarinet, tenor saxophone (tracks 1, 6)
Harry Carney - baritone saxophone
*John Coltrane* - tenor saxophone (tracks 1-3)
Call Cobbs, Jr. (tracks 1-5), Richie Powell (track 6) - piano
John "Buddy" Williams - double bass
Louie Bellson - drums

"No musician of Coltrane's era was better prepared to extend the jazz aesthetic. Born September 23, 1926, he had worked with many masters, learning the particulars of their music from the inside. Everything he drew from Eddie "Cleanhead" Vinson, Dizzy Gillespie, Earl Bostic, Tadd Dameron, *Johnny Hodges*, Miles Davis, and Thelonious Monk was put to specific use with such expanding facility that saxophone technique was revolutionized. Coltrane wanted to have every register, corner, fingering, overtone, and possible note on call at will. By working through blues, swing, bebop, and the architecture of Monk, as well as the precise ensemble conceptions of Miles Davis, Coltrane synthesized a broad range of music with an inherent scope missing from almost all so-called avant-garde jazz."

- Considering Genius: Writings on Jazz by Stanley Crouch


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## SanAntone

The great reed men.

You have to start with *Sidney Bechet*.

Then we get two distinct styles - bluesy/melodic : harmonic/muscular - begin to develop:

Lester Young/Ben Webster : Coleman Hawkins
Johnny Hodges : Charlie Parker
Stan Getz : John Coltrane

With *Sonny Rollins* the two styles began to merge, which led to Wayne Shorter, Charles Lloyd, and Joe Henderson.

All jazz saxophonists (even Ornette Coleman) can be traced back to one of these lines of descent, masters that dominated their generation of musicians.


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## Jay




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## norman bates

SanAntone said:


> _Used to Be Duke_ is a 1954 studio album by *Johnny Hodges* accompanied by several members of Duke Ellington's orchestra.
> 
> View attachment 144919
> 
> 
> Johnny Hodges - alto saxophone
> Lawrence Brown - trombone
> Shorty Baker - trumpet
> Jimmy Hamilton - clarinet, tenor saxophone (tracks 1, 6)
> Harry Carney - baritone saxophone
> *John Coltrane* - tenor saxophone (tracks 1-3)
> Call Cobbs, Jr. (tracks 1-5), Richie Powell (track 6) - piano
> John "Buddy" Williams - double bass
> Louie Bellson - drums
> 
> "No musician of Coltrane's era was better prepared to extend the jazz aesthetic. Born September 23, 1926, he had worked with many masters, learning the particulars of their music from the inside. Everything he drew from Eddie "Cleanhead" Vinson, Dizzy Gillespie, Earl Bostic, Tadd Dameron, *Johnny Hodges*, Miles Davis, and Thelonious Monk was put to specific use with such expanding facility that saxophone technique was revolutionized. Coltrane wanted to have every register, corner, fingering, overtone, and possible note on call at will. By working through blues, swing, bebop, and the architecture of Monk, as well as the precise ensemble conceptions of Miles Davis, Coltrane synthesized a broad range of music with an inherent scope missing from almost all so-called avant-garde jazz."
> 
> - Considering Genius: Writings on Jazz by Stanley Crouch


see what I mean that Crouch had something against white musicians? He mentioned Coltrane's influences but not one of the most important ones: his teacher, the legendary Dennis Sandole... who happened to be white.


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## SanAntone

norman bates said:


> see what I mean that Crouch had something against white musicians? He mentioned Coltrane's influences but not one of the most important ones: his teacher, the legendary Dennis Sandole... who happened to be white.


Here's what Wikipedia has to say, "He was John Coltrane's mentor from 1946 until the early 1950s, introducing him to music theory beyond chords and scales and exposing him to the music of other cultures."

I don't see it as evidence that Crouch was "anti-white" by not mentioning Dennis Sandole's contribution regarding John Coltrane's development as a jazz musician and bandleader. Coltrane played with a lot of master bandleaders after his period of study with Sandole, and I think any reasonable observer would acknowledge that his stints with Miles Davis and Thelonious Monk, to name two, were arguably more important for his development than the time he spent with Sandole. This does not even take into account Coltrane's solitary obsessive study of scales and instrumental exercises which ultimately led to the creation of his mature style, nearly a decade after his time with Sandole.


----------



## norman bates

SanAntone said:


> Here's what Wikipedia has to say, "He was John Coltrane's mentor from 1946 until the early 1950s, introducing him to music theory beyond chords and scales and exposing him to the music of other cultures."
> 
> I don't see it as evidence that Crouch was "anti-white" by not mentioning Dennis Sandole's contribution regarding John Coltrane's development as a jazz musician and bandleader. Coltrane played with a lot of master bandleaders after his period of study with Sandole, and I think any reasonable observer would acknowledge that his stints with Miles Davis and Thelonious Monk, to name two, were arguably more important for his development than the time he spent with Sandole. This does not even take into account Coltrane's solitary obsessive study of scales and instrumental exercises which ultimately led to the creation of his mature style, nearly a decade after his time with Sandole.


Sandole is probably the most important jazz teacher in the history of the genre. He had an incredible knowledge about harmony and he pushed his pupils to check out the music of other traditions. Which is basically the portrait of Coltrane. Where do you think he started with his obsessive study of scales?


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## SanAntone

norman bates said:


> Sandole is probably the most important jazz teacher in the history of the genre. He had an incredible knowledge about harmony and he pushed his pupils to check out the music of other traditions. Which is basically the portrait of Coltrane. Where do you think he started with his obsessive study of scales?


Jazz musicians learn from playing with musicians, and not mainly from any teacher or study/practicing. Yes, that kind of study can help broaden and develop technique, but the impotant skills are learned, and can only be learned, on the bandstand or jam sessions.

You are free to think that Coltrane was formed by Sandole and that Crouch is anti-white for not saying so. Sounds to me you are locked into thinking that no matter what I might say.


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## norman bates

SanAntone said:


> Jazz musicians learn from playing with musicians, and not mainly from any teacher or study/practicing. Yes, that kind of study can help broaden and develop technique, but the impotant skills are learned, and can only be learned, on the bandstand or jam sessions.
> 
> You are free to think that Coltrane was formed by Sandole and that Crouch is anti-white for not saying so. Sounds to me you are locked into thinking that no matter what I might say.


Well, because the importance of Sandole as a teacher is well known. He was basically the equivalent of Nadia Boulanger in jazz. Also, George Russel, the other important jazz guru had a huge influence on jazz and not as a player. Or do you think that even Russell wasn't influential?


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## SanAntone

norman bates said:


> Well, because the importance of Sandole as a teacher is well known. He was basically the equivalent of Nadia Boulanger in jazz. Also, George Russel, the other important jazz guru had a huge influence on jazz and not as a player. Or do you think that even Russell wasn't influential?


No, I don't think he was very important, I mean not compared to Armstrong, Ellington, Basie, Lester Young, Coleman Hawkins, Parker, Miles and so on.


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## norman bates

SanAntone said:


> No, I don't think he was very important, I mean not compared to Armstrong, Ellington, Basie, Lester Young, Coleman Hawkins, Parker, Miles and so on.


Let's put it this way: without Russell, no modal revolution. No Kind of blue, no second quintet, the music of Coltrane and Shorter would have been radically different. To me that's one of the most crucial contributions in the history of the genre (and in terms of innovation way more important than Basie, who had an amazing swing band but wasn't as groundbreaking as other musicians for what I know).


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## SanAntone

norman bates said:


> Let's put it this way: without Russell, no modal revolution. No Kind of blue, no second quintet, the music of Coltrane and Shorter would have been radically different. To me that's one of the most crucial contributions in the history of the genre (and in terms of innovation way more important than Basie, who had an amazing swing band but wasn't as groundbreaking as other musicians for what I know).


You are ignoring what is really important. All the major innovations that made jazz what it is were already created long before George Russell. The entire concept of swing phrasing, the rhythmic syncopation of New Orleans brass bands which took Sousa marches and "ragged" them into what became New Orleans parade music. The blues tradition, which dates from the field hollers and which along with music from the black church, was the seedbed for the jazz of Buddy Bolden and Joe Oliver.

These are the critical contributions that created jazz.

Regarding your claim, "No Kind of blue, no second quintet ..."

Miles Davis did not need George Russell to make Kind of Blue, in fact Miles did not work with him when he had the chance to make _Miles Ahead_ (at least two years prior to KoB). He was offered George Russell to do the arrangements instead of Gil Evans, but chose Gil Evans.

You are beginning to sound a little bit like Nick LaRocca:



> "My contention is that the ******* learned to play this rhythm and music from the whites," LaRocca said. "The negro did not play any kind of music equal to white men at any time."


It's absurd and pathetic.


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## norman bates

SanAntone said:


> You are ignoring what is really important. All the major innovations that made jazz what it is were already created long before George Russell. The entire concept of swing phrasing, the rhythmic syncopation of New Orleans brass bands which took Sousa marches and "ragged" them into what became New Orleans parade music. The blues tradition, which dates from the field hollers and which along with music from the black church, was the seedbed for the jazz of Buddy Bolden and Joe Oliver.
> 
> These are the critical contributions that created jazz.


If the modal revolution isn't one of the most crucial things in jazz history (to me, as important as bebop and free jazz), how Charlie Parker and bebop should be more important? After all, swing and syncopation existed already.



SanAntone said:


> Regarding your claim, "No Kind of blue, no second quintet ..."
> 
> Miles Davis did not need George Russell to make Kind of Blue, in fact Miles did not work with him when he had the chance to make _Miles Ahead_ (at least two years prior to KoB). He was offered George Russell to do the arrangements instead of Gil Evans, but chose Gil Evans.


Miles Davis aknowledged the importance of Russell, and hired another musician influenced by Russell, Bill Evans.



SanAntone said:


> You are beginning to sound a little bit like Nick LaRocca:
> 
> It's absurd and pathetic.


I would never say something like that, which is incredibly stupid. And I absolutely love blues ( meant in the wide way used by Crouch-Marsalis-Murray etc) and swing music and their uniqueness. I know that black musicians were the creators and the ones with the biggest contributions to the genre. But what is absurd is to deny the importance of a figure like Russell. Or the fact that even the most important black musicians were influenced by white music (like Coltrane looking at Sandole or Slonimsky , or Miles Davis looking at Bill Evans, Gil Evans, flamenco music, and I could go on with examples). Or that white musicians could not be amazing jazz musicians. I think that a Pee Wee Russell was as great as a improviser as Louis Armstrong or a Sidney Bechet.

LaRocca was clearly showing racism in that statement. The problem is, that there's also the opposite reaction to that.


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## SanAntone

norman bates said:


> If the modal revolution isn't one of the most crucial things in jazz history (to me, as important as bebop and free jazz), how Charlie Parker and bebop should be more important? After all, swing and syncopation existed already.


Yes, swing and the blues already existed long before bebop and Russell - but they were the product of black creativity - and are the definitive basis of jazz, and what make jazz a unique genre.

What you call the modal revolution was relatively short-lived and ultimately not an innovation really, more just a focus on fewer chord changes, a move away from the bebop template. Where jazz went after the period of preoccupation with modal playing was to written originals like Wayne Shorter's compositions and funk jazz like Cannonball Adderley and albums like Sidewinder. Hard bop, post bop - its all more connected to bop than modal playing.

For a long time now jazz musicians have gone back to playing changes.



> Miles Davis aknowledged the importance of Russell, and hired another musician influenced by Russell, Bill Evans.


Bill Evans was important for _Kind of Blue_, but not more important than Miles himself. All the sidemen who worked with Miles all say that Miles was the primary creator of his sound and those records. His editing and arrangement of a tune was critical. Even the originals Wayne Shorter brought in were changed by Miles. And Bill Evans played with Miles less than a year, and after his time with Miles he played standards in a be-bop style. Bill Evans biggest contribution was in the creation of his trio sound, which was also largely a product of Scott LaFaro's bass style.



> I would never say something like that, which is incredibly stupid. And I absolutely love blues ( meant in the wide way used by Crouch-Marsalis-Murray etc) and swing music and their uniqueness. I know that black musicians were the creators and the ones with the biggest contributions to the genre. But what is absurd is to deny the importance of a figure like Russell. Or the fact that even the most important black musicians were influenced by white music (like Coltrane looking at Russell, Sandole, Slonimsky, or Miles Davis looking at Russell, Bill Evans, Gil Evans, flamenco music, and I could go on with examples). Or that white musicians could not be amazing jazz musicians. I think that a Pee Wee Russell was as great as a improviser as Louis Armstrong or a Sidney Bechet.


I don't deny there have been some great white jazz musicians. But I will never agree that they had an equal part in creating jazz.

I've said all along that blues and jazz were the product of the black experience in America. So, of course blacks in America were influenced by the culture around them. But the music they made from the influence of the larger culture was entirely of their own creation.

Blues and jazz developed over a long time without any white involvement. Whites showed up long after the style was formed and learned it from blacks. That's it in a nutshell.


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## SanAntone

I'll make it easy for you.

A musician can work as a jazz musician without knowing anything about the Lydian Chromatic Concept of Tonal Organization. But if he can't swing or know how to play the blues, no one will hire him.

And I will go further. George Russell, like all theorists, came after the fact to describe in a theoretical model what jazz soloists had been doing since Charlie Parker. He created a pedagogical tool. 

And I believe that teaching jazz from that kind of source does more damage than good. It creates musicians who have not learned the music as a apprentice and instead use theoretical knowledge to attempt to parrot the music.


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## norman bates

SanAntone said:


> Yes, swing and the blues already existed long before bebop and Russell - but they were the product of black creativity - and are the definitive basis of jazz, and what make jazz a unique genre.
> 
> What you call the modal revolution was relatively short-lived and ultimately not an innovation really, more just a focus on fewer chord changes, a move away from the bebop template. Where jazz went after the period of preoccupation with modal playing was to written originals like Wayne Shorter's compositions and funk jazz like Cannonball Adderley and albums like Sidewinder. Hard bop, post bop - its all more connected to bop than modal playing.


the two things (bop and modal, and free too I would add) were never like "one or the other". Musicians like Miles Davis, Coltrane, Shorter, Hancock and many others after them have kept using those things in their music. Also, how the fact that "being the product of black creativity" could be in itself something that gives more importance? 
You're basically saying that yes, bebop was after swing and blues were already there, but it's more important than modal since it was created by black musicians without the contributions of white ones. Do you realize what you're saying, and how it's the essence of what I was saying about that anti-white attitude?



SanAntone said:


> For a long time now jazz musicians have gone back to playing changes.


It depends what musicians you're considering. I know contemporary jazz musicians playing in a lot of different ways, and modal elements (that had an influence on rock music too by the way) are certainly still there.



SanAntone said:


> Bill Evans was important for _Kind of Blue_, but not more important than Miles himself. All the sidemen who worked with Miles all say that Miles was the primary creator of his sound and those records. His editing and arrangement of a tune was critical. Even the originals Wayne Shorter brought in were changed by Miles.


actually, according to Herbie Hancock who was there, the tunes of Shorter were very rarely touched. And Davis, who was an absolutely amazing musician, tends to receive often a lot of the merits that should be given to his collaborators. Simply put, Shorter is a genius, Davis saw that, stole him from Blakey, and some modification to a tune doesn't change the fact that Shorter was the main composer of that band and not just another sideman.



SanAntone said:


> And Bill Evans played with Miles less than a year, and after his time with Miles he played standards in a be-bop style. Bill Evans biggest contribution was in the creation of his trio sound, which was also largely a product of Scott LaFaro's bass style.


I'm not sure where you're going with this. My point was the George Russell is an absolutely crucial figure in the history of jazz and Kind of blue, and the music of Coltrane's quartet, and the second quintet (and even the electric period of Davis), and all the musicians who used and still use modal concepts in their music would have not existed withotu Russell. Who by the way, wasn't even truly white (I suspect that now you could accept his merits more easily )



SanAntone said:


> I don't deny there have been some great white jazz musicians. But I will never agree that they had an equal part in creating jazz.
> 
> I've said all along that blues and jazz were the product of the black experience in America. So, of course blacks in America were influenced by the culture around them. But the music they made from the influence of the larger culture was entirely of their own creation.


I disagree with the "entirely". Even going back to the swing era, Ellington and Strayhorn and Tatum were looking at the impressionists (Strayhorn in particular was clearly deeply influenced by Debussy/Ravel etc). The rhyhtm and the blues elements were black. But the harmony clearly involved european elements as well, not to mention the fact that the songs of the great american songbook, that means the standards, the bread and butter of jazz played from Armstrong to Coltrane (Giant steps changes were inspired by Slonimsky or by Have you met miss Jones?) and every other musician were mainly written by white songwriters.


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## SanAntone

> You're basically saying that yes, bebop was after swing and blues were already there, but it's more important than modal since it was created by black musicians without the contributions of white ones. Do you realize what you're saying, and how it's the essence of what I was saying about that anti-white attitude?


I am saying that blues + swing IS jazz. Those are what make jazz, Jazz. Without them you don't have jazz. It doesn't matter what chord changes or mode are being played, if they are not being played with the underlying basis of blues and swing, then it is not jazz.

It is not "anti-white" to say this. It is just a fact about the history of the development of the music.



> the tunes of Shorter were very rarely touched.


Footprints is different on Miles Smiles from how Wayne Shorter played it on Adam's Apple. It is faster, the phrasing is straight eights and there are no repeats of the last descending phrase. It is an edgier version. The point is Miles knew the sound he wanted to get, and hired the musicians he thought would give it to him.

We just basically disagree about the importance of someone like George Russell. I don't see any point in continuing to argue over it.



> that means the standards of jazz played by Armstrong and every other musician were mainly written by white songwriters.


I'm not talking about the harmony being created by blacks, but the WAY they played these songs was a black approach.


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## norman bates

SanAntone said:


> I am saying that blues + swing IS jazz. Those are what make jazz, Jazz. Without them you don't have jazz. It doesn't matter what chord changes or mode are being played, if they are not being played with the underlying basis of blues and swing, then it is not jazz.
> 
> It is not "anti-white" to say this. It is just a fact about the history of the development of the music.


you dismissed modal (and George Russell) saying that he wasn't important as Charlie Parker (between others). And then you said that the most important things in jazz are blues and swing. And then I replied that if blues and swing are the real important things, than even Parker should not be considered so important for that same reason.



SanAntone said:


> Footprints is different on Miles Smiles from how Wayne Shorter played it on Adam's Apple. It is faster, the phrasing is straight eights and there are no repeats of the last descending phrase. It is an edgier version. The point is Miles knew the sound he wanted to get, and hired the musicians he thought would give it to him.


Footprints on Miles Smiles is a total masterpiece no doubts about it, and I think too that it's superior to the Adam's apple version.
But still, without denying the fact that Davis had a vision, I hate the fact that he seems to take all merits, this idea that he took some raw talent and he was the main brain. 
To me it's more like this: Davis was sure a brilliant musician and mind, but he was also in a position of being very successful, charismatic and good looking and that's why he had the ability to took those other brilliant musicians with him. But the change of rhythm in Footprints is because of Tony Williams (and I don't think that Davis changed the harmony written by Shorter). Those incredible tunes were written by Shorter. Davis was the leader but he was just an element in that band.


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## SanAntone

norman bates said:


> you dismissed modal (and George Russell) saying that he wasn't important as Charlie Parker (between others). And then you said that the most important things in jazz are blues and swing. And then I replied that if blues and swing are the real important things, than even Parker should not be considered so important for that same reason.


George Russell is irrelevant; Charlie Parker is not. In fact, all white participation in jazz is irrelevant. There are no white musicians whose presence among the jazz genre is necessary, all white contribution could be erased with no damage done to the music. I am talking about first-hand participation. I am not talking about how blacks assimilated the majority culture of which they were a member. *The manner in how blacks played white music is the critical component which created jazz.*

What is irrelevant is something like George Russell's theories about jazz improvisation.

The crucial components of jazz have little to do with scales and harmony. Jazz is primarily the expression of the individual personality. Great jazz musicians have a *sound* on their horn, they do things with the notes, dirty them up, use growls, slurs, vocal inflections, animal sounds, etc. in order to create a distinctive sound, which is immediately recognizable. *Swing* phrasing; The *Blues*; and *how blacks interpret the standards* from Tin Pan Alley. Just because a black jazz musician played a song written by a white songwriter does not mean he was "influenced" by that white composer. The way a black musician played that song was very different from how the songwriter would play it, or could hope to play it. That is the point you are missing.

Will Marion Cook graduated from Oberlin University and studied with Dvorák who told him to use his native folk sources for his music. Which he did, and wrote blues and ragtime based black American music (mostly theater works) and was an inspiration for Duke Ellington.

*The debt owed to blacks for their contribution to American music (which has gone on to impact the entire world) is incalculable. * A black musician _directly_ taught Bill Monroe, Hank Williams, Earl Scruggs, A.P. Carter, Jimmie Rogers, as well every white jazz or blues musician. Without black involvement those genres of music would not exist. The direct black influence on what are normally thought of as white musical genres, bluegrass, country & western, rock, is huge. Their influence on this "white" music is far more important and crucial than anything any white musician did for jazz.



> Footprints on Miles Smiles is a total masterpiece no doubts about it, and I think too that it's superior to the Adam's apple version.
> But still, without denying the fact that Davis had a vision, I hate the fact that he seems to take all merits, this idea that he took some raw talent and he was the main brain.
> To me it's more like this: Davis was sure a brilliant musician and mind, but he was also in a position of being very successful, charismatic and good looking and that's why he had the ability to took those other brilliant musicians with him. But the change of rhythm in Footprints is because of Tony Williams (and I don't think that Davis changed the harmony written by Shorter). Those incredible tunes were written by Shorter. Davis was the leader but he was just an element in that band.


I can't prove it but suspect that it was Miles who arranged "Nefertiti" as a rhythm section solo around which the theme was repeated by the horns; the same with "Pinocchio". There are countless examples of Miles re-arranging a tune brought into his band, but I will admit that he probably changed with Shorter's the least.


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## SanAntone

_*Masterpieces by Ellington*_ is the first LP album by American pianist, composer, and bandleader *Duke Ellington*, recorded for the Columbia label in 1950.

View attachment 144964


The album features full-length versions of Ellington's classics "Mood Indigo" (1930), "Sophisticated Lady" (1933), and "Solitude" (1934). No longer constrained by the limitations of 78s, these arrangements range from 8 to 15 minutes in length. The first two feature vocals by Eve Duke, recording under the name Yvonne Lanauze, and the third includes a climactic solo by trombonist Lawrence Brown. The newest composition, "The Tattooed Bride" (1948), gives extended space to clarinetist Jimmy Hamilton in almost concerto-like fashion. The lengthy arrangements were created by both Ellington and his longtime collaborator Billy Strayhorn.


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## norman bates

SanAntone said:


> George Russell is irrelevant;


if so, then Kind of blue is irrelevant. Coltrane's modal period is irrelevant.
There are no ways around this: If Miles and Coltrane's modal period are relevant (and they are hugely relevant), then George Russell is hugely relevant, because their music in that form exists because of his contribution. If Russell is irrelevant, so is the music produced by the musicians who were influenced by him.



SanAntone said:


> Charlie Parker is not. In fact, all white participation in jazz is irrelevant. There are no white musicians whose presence among the jazz genre is necessary, all white contribution could be erased with no damage done to the music. I am talking about first-hand participation. I am not talking about how blacks assimilated the majority culture of which they were a member. *The manner in how blacks played white music is the critical component which created jazz.*
> 
> What is irrelevant is something like George Russell's theories about jazz improvisation.
> 
> The crucial components of jazz have little to do with scales and harmony. Jazz is primarily the expression of the individual personality.


I think that if musicians like Ellington, Strayhorn, Monk, Shorter, Herbie Nichols, Andrew Hill, Mingus, Silver etc (that means, some of the greatest jazz musicians ever) are recognized is also because of the music they wrote, and not just because of their improvisations (in fact, Strayhorn wasn't even particularly relevant as a player). Sure jazz is about improvisation. But the originality of jazz compositions is certainly not a marginal detail and deserves to be appreciated much more.



SanAntone said:


> Great jazz musicians have a *sound* on their horn, they do things with the notes, dirty them up, use growls, slurs, vocal inflections, animal sounds, etc. in order to create a distinctive sound, which is immediately recognizable. *Swing* phrasing; The *Blues*; and *how blacks interpret the standards* from Tin Pan Alley. Just because a black jazz musician played a song written by a white songwriter does not mean he was "influenced" by that white composer. The way a black musician played that song was very different from how the songwriter would play it, or could hope to play it. That is the point you are missing.


I'm not missing any of that. I'm saying that I disagree with your theory that scales and harmony are irrelevant. If Ellington or Monk or Shorter are relevant as musicians, is (also) because the way they composed, and their use of harmony, and not just for their playing.



SanAntone said:


> I can't prove it but suspect that it was Miles who arranged "Nefertiti" as a rhythm section solo around which the theme was repeated by the horns; the same with "Pinocchio". There are countless examples of Miles re-arranging a tune brought into his band, but I will admit that he probably changed with Shorter's the least.


The fact that Miles decided that Nefertiti was played that way, with the head repeated over and over and the rhyhtm section improvising is definitely not something that proves that he was more important than Shorter on his own material. Actually for what I know there was an amazing regular take, that was perfect and for some reason the recorded tape was lost or didn't work. Then he decided to play it that way. But the head is pure Shorter, is just... repeated over and over.
And the fact is even more evident listening to the Lee Morgan's album The procrastinator. The two tunes written by Shorter for it (Dear sir and Rio, Dear sir in particular is one of the greatest things ever written by him) sound exactly as something taken from the album Nefertiti.


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## SanAntone

View attachment 144966


*Duke Ellington ‎- The Private Collection: Volume 1, Studio Sessions, Chicago 1956 *


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## SanAntone

> I'm not missing any of that. I'm saying that I disagree with your theory that scales and harmony are irrelevant. If Ellington or Monk or Shorter are relevant as musicians, is (also) because the way they composed, and their use of harmony, and not just for their playing.
> 
> I think that if musicians like Ellington, Strayhorn, Monk, Shorter, Herbie Nichols, Andrew Hill, Mingus, Silver etc (that means, some of the greatest jazz musicians ever) are recognized is also because of the music they wrote, and not just because of their improvisations (in fact, Strayhorn wasn't even particularly relevant as a player). Sure jazz is about improvisation. But the originality of jazz compositions is certainly not a marginal detail and deserves to be appreciated much more.


Louis Armstrong is arguably the most important and influential jazz musician. Every jazz musician that came after him (and many outside of jazz) were influenced by Armstrong. But his importance does not end there, he also had an influence on American society in a way not often acknowledged.

While a student at the University of Texas at Austin Charles I. Black attended a concert by Louis Armstrong in 1931. Black went on to become a lawyer was was part of Thurgood Marshall's legal team and had a large contribution in the Brown v. Board of Education landmark Supreme Court case.

Here's some of what he has said about the impact of Louis Armstrong.

_He was the first genius I had ever seen...The moment of first being, and knowing oneself to be, in the presence of genius, is a solemn moment; it is perhaps the moment of final and indelible perception of man's utter transcendence of all else created. It is impossible to overstate the significance of a sixteen-year-old Southern boy's seeing genius, for the first time, in a black.

You don't get over that. You stay young awhile longer, with the hesitations, the incertitudes, the half-obedience to crowd-pressure, of the young. But you don't forget. The lies reel, and contradict one another, and simper in silliness, and fade into shadow. But the seen truth remains.

Through many years now, I have felt that it was just then that I started toward the Brown case, where I belonged. … Louis opened my eyes wide, and put to me a choice. Blacks, the saying went, were 'all right in their place.' What was the 'place' of such a man, and of the people from which he sprung?_

~ Charlie Black

I am quoting this to show you that Louis Armstrong's impact was based almost entirely *on his manner of playing the music he heard around him*. Not because of what he composed, and not because of any scales he learned. And certainly not because of anything George Russell said or wrote.

You are looking at jazz through the prism of western classical music, with its priorities of composition, its harmonic, melodic and structural paradigms which are not the priorities for jazz. Yes those elements exist in jazz but how jazz treats these elements is different than how they are handled in classical music. And jazz does things classical music does not and is what makes jazz important.

It was said by someone, like Herbie Hancock, that they once heard Monk play "Happy Birthday" and it sounded like a Monk tune. There was something in how he struck the keys, his time, his way with playing the trite song that made it uniquely his sound.

*What is true for Armstrong is true for all great jazz musicians: it is how they play the music (whether original tunes or 32-bar songs or 12-bar blues) that is important. It is how they play the notes of a scale, not the scale that is important. It is how they interpret time, that is important: The pulse they create by playing in between and around the beats, the interaction between how the drummer is playing time with the bassist that creates the swing pulse.*

I've said all I mean to say about this, in some cases more than once or even twice. So, that's it for me.


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## norman bates

SanAntone said:


> Louis Armstrong is arguably the most important and influential jazz musician. Every jazz musician that came after him (and many outside of jazz) were influenced by Armstrong. But his importance does not end there, he also had an influence on American society in a way not often acknowledged.
> 
> While a student at the University of Texas at Austin Charles I. Black attended a concert by Louis Armstrong in 1931. Black went on to become a lawyer was was part of Thurgood Marshall's legal team and had a large contribution in the Brown v. Board of Education landmark Supreme Court case.
> 
> Here's some of what he has said about the impact of Louis Armstrong.
> 
> _He was the first genius I had ever seen...The moment of first being, and knowing oneself to be, in the presence of genius, is a solemn moment; it is perhaps the moment of final and indelible perception of man's utter transcendence of all else created. It is impossible to overstate the significance of a sixteen-year-old Southern boy's seeing genius, for the first time, in a black.
> 
> You don't get over that. You stay young awhile longer, with the hesitations, the incertitudes, the half-obedience to crowd-pressure, of the young. But you don't forget. The lies reel, and contradict one another, and simper in silliness, and fade into shadow. But the seen truth remains.
> 
> Through many years now, I have felt that it was just then that I started toward the Brown case, where I belonged. … Louis opened my eyes wide, and put to me a choice. Blacks, the saying went, were 'all right in their place.' What was the 'place' of such a man, and of the people from which he sprung?_
> 
> ~ Charlie Black
> 
> I am quoting this to show you that Louis Armstrong's impact was based almost entirely *on his manner of playing the music he heard around him*. Not because of what he composed, and not because of any scales he learned. And certainly not because of anything George Russell said or wrote.
> 
> You are looking at jazz through the prism of western classical music, with its priorities of composition, its harmonic, melodic and structural paradigms which are not the priorities for jazz. Yes those elements exist in jazz but how jazz treats these elements is different than how they are handled in classical music. And jazz does things classical music does not and is what makes jazz important.


I'm not looking at jazz throught the prism of western classical music (in fact, I had a passion for jazz a lot before than for classical music), it's just my point of view due to what I like to listen. 
And while I recognize the importance of all the subtleties of improvisation (I basically talked about it few days ago in a thread where we were talking about new complexity) I think that composition is important too. And it's not just a personal opinion. Those musicians I've mentioned are important for their compositions, for the harmony and scales they used. Harmony and scales that were essential also to improvisers: the interest of Miles Davis for the modal theory of Russell was because he allowed him to improvise differently and more melodically and in a more expressive way, instead of having to go after super fast changes all the time, as you probably well know and for some reason you're choosing to ignore.
And the history of jazz doesn't end with Louis Armstrong.



SanAntone said:


> It was said by someone, like Herbie Hancock, that they once heard Monk play "Happy Birthday" and it sounded like a Monk tune. There was something in how he struck the keys, his time, his way with playing the trite song that made it uniquely his sound.
> 
> *What is true for Armstrong is true for all great jazz musicians: it is how they play the music (whether original tunes or 32-bar songs or 12-bar blues) that is important. It is how they play the notes of a scale, not the scale that is important. It is how they interpret time, that is important: The pulse they create by playing in between and around the beats, the interaction between how the drummer is playing time with the bassist that creates the swing pulse.*
> 
> I've said all I mean to say about this, in some cases more than once or even twice. So, that's it for me.


You're listening to Duke Ellington right now: do you think he's famous because of his playing? I mean, I consider him a super underrated pianist, I totally love his playing (and much more than some of the most technically gifted pianists like Tatum). But I'd say he's more famous for his compositions, his way to arrange and consider the voice of his musicians, his harmonies (The Tattoed bride above for instance was extremely progressive for its time in terms of harmony). I think you're deliberately dismissing those aspects to deny the fact that elements of european music were there already in the swing era and even before to see jazz, instead as a product produced by cross-pollination of different cultures, as something made uniquely by black musicians.
If Coltrane was obsessively learning scales there was a reason. If Parker learned to play the extensions of the chords of Cherokee there was a reason. If Ellington, Strayhorn, Monk, Nichols, Shorter, Hill, Silver, Mingus etc are famous for their tunes there's a reason. If Miles was so interested in western classical music and in the modal harmony there's a reason. If jazz musicians preferred to play jazz standards with interesting sophisticated changes instead of the most harmonically bland songs there's a reason. 
And the reason is jazz is not just rhythm, swing and blues like some black critics want to make people believe (a thing that is understandable considering the cultural context of racism, discrimination and unrecognized merits), but also a matter of harmony and scales and intervals and compositions.


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## SanAntone

> You're listening to Duke Ellington right now: do you think he's famous because of his playing?


He chose musicians who had very distinctive instrumental voices which is what he wrote for. His parts were labeled not by instrument but by the name of the musician. Bubber Miley, Johnny Hodges, Ben Webster, Harry Carney, Laurence Brown, Barney Bigard, these musicians made up his band, and it is how they played Ellington's music which made him famous. If you've ever heard a different band play his music you will hear the difference. There is a Naxos recording of a symphony orchestra playing his music; entirely misses the point. He was smart enough to choose those musicians. All great band leaders have that same skill.

The Count Basie band used a lot of head arrangements of 12-bar blues. Just as great a band as Ellington's. You continue to stress what does not define jazz.



> If Coltrane was obsessively learning scales there was a reason.


He wanted to learn his instrument so well he could play whatever he heard in his head without any technical limitations. He mainly practiced a lot of violin method exercises. However, Coltrane was somewhat unique and in his late career I think he lost his way. There are many, many saxophonists, instrumentalists who are great jazz musicians who didn't practice like Coltrane did. In fact he was generally thought to be odd in that regard.

A good jazz musician can play one note and swing. Just listen to Monk or Basie or Armstrong.


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## norman bates

SanAntone said:


> He chose musicians who had very distinctive instrumental voices which is what he wrote for. His parts were labeled not by instrument but by the name of the musician. Bubber Miley, Johnny Hodges, Ben Webster, Harry Carney, Laurence Brown, Barney Bigard, these musicians made up his band, and it is how they played Ellington's music which made him famous. If you've ever heard a different band play his music you will hear the difference. There is a Naxos recording of a symphony orchestra playing his music; entirely misses the point. He was smart enough to choose those musicians. All great band leaders have that same skill.


I've heard amazing versions of his music. Which is even natural, considering that he composed more standards than any other jazz musician. Still you're deliberately ignoring the fact that he's know as a composer who wrote sophisticated harmonies and melodies.



SanAntone said:


> The Count Basie band used a lot of head arrangements of 12-bar blues. Just as great a band as Ellington's. You continue to stress what does not define jazz.


I think that if some of the most important jazz musicians are famous for their use of scales and harmonies, scales and harmonies are a central part of what makes jazz, even if that part doesn't come from black tradition.



SanAntone said:


> He wanted to learn his instrument so well he could play whatever he heard in his head without any technical limitations. He mainly practiced a lot of violin method exercises. However, Coltrane was somewhat unique and in his late career I think he lost his way.


even if you want to ignore the free jazz part of his career (which is the part where interestingly, the importance of harmony diminished) he studied harmony and scales because harmony and scales were important in his music (the fact that McCoy Tyner was playing quartal harmony is a huge part of the feel of the music), and his certainly not unique in that, considering all the other musicians I've mentioned. All black musicians.


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## SanAntone

norman bates said:


> I've heard amazing versions of his music. Which is even natural, considering that he composed more standards than any other jazz musician. Still you're deliberately ignoring the fact that he's know as a composer who wrote sophisticated harmonies and melodies.


Duke Ellington is known as a bandleader, first; then as a composer. And like I said his compositions were written for a specific group of players to interpret. Other jazz musicians play his music well. But the example I used was of a symphony orchestra playing his music as if he were a classical composer. He wasn't, and those recordings are pointless.



> I think that if some of the most important jazz musicians are famous for their use of scales and harmonies, scales and harmonies are a central part of what makes jazz, even if that part doesn't come from black tradition.


No jazz musician is famous for "for their use of scales and harmonies" and scales and harmonies are a not central part of what makes jazz. Again - it is HOW the jazz musician plays those scales and harmonies, NOT the scales and harmonies themselves.



> even if you want to ignore the free jazz part of his career (which is the part where interestingly, the importance of harmony diminished) he studied harmony and scales because harmony and scales were important in his music (the fact that McCoy Tyner was playing quartal harmony is a huge part of the feel of the music), and his certainly not unique in that, considering all the other musicians I've mentioned. All black musicians.


Oh, I certainly do ignore his free jazz period. His best work as a leader was probably from 1961-1963, but of course all the years he was a sideman were great as well.

A scale is a series of notes. It is more important HOW a jazz musician plays, no matter WHAT he plays.

I get the feeling that you think that a jazz musician learns a bunch of scales and when they solo they are applying a scale to a chord progression. But that is not what happens, or only happens with a beginning student who hasn't assimilated the style and tradition. Some mediocre jazz musicians never do. The ONLY reason a jazz musician practices scales and arpeggios is the same reason a classical musician does: to become technically proficient on his instrument.

When he is on the bandstand and playing, he is responding to the musicians around him and playing improvised melodic content which often is based on the head tune, or other melodic content which he hears over the harmonies - which after the first couple of choruses change and are constantly moving around. It is a reactive skill that moves too fast for someone to be thinking about what scale fits a harmony.

Monk played off of the tune and used a whole tone scale for dramatic fillers to connect ideas. Most of his featured soloists, including Coltrane did the same thing when they played with him. Partly because his accompaniment almost forced them to, but also it was the most natural way to play his music.


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## SanAntone

Norman, it sounds to me like you are describing jazz as an outsider, a listener, a fan, who's read some books about jazz and some of the major names. But as someone who made my living for two decades as a jazz bassist I can tell you, what you believe is not really what goes on among jazz musicians, at least not most of the working bands. 

Sure in university jazz programs you hear a lot about George Russell and scales, etc. But most of that kind of thinking never leaves the university.


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## norman bates

SanAntone said:


> Duke Ellington is known as a bandleader, first; then as a composer.


Ellington was a bandleader AND a composer. Compositions is, for whoever is not in bad faith, probably the thing that made him remembered as one of the greatest jazz musicians ever.



SanAntone said:


> And like I said his compositions were written for a specific group of players to interpret.


yes, and still they played the heads he wrote. And he even wrote pieces with no improvisation. It's not like they played crappy material but since they were a great band they elevated him. The quality of the material (that means: the harmonies, the melodies) was important.



SanAntone said:


> No jazz musician is famous for "for their use of scales and harmonies" and scales and harmonies are a not central part of what makes jazz.


I've already made tons of examples of the opposite. Just ignoring those examples does not make them not valid.



SanAntone said:


> Again - it is HOW the jazz musician plays those scales and harmonies, NOT the scales and harmonies themselves.


go tell to those (like all the other jazz musicians) who think that Ellington was a great composer. Tell them who he wrote crap, but since he had a fantastic band, the music was awesome, only because of the interpretation of that crappy compositions.



SanAntone said:


> Oh, I certainly do ignore his free jazz period. His best work as a leader was probably from 1961-1963, but of course all the years he was a sideman were great as well.


I was just thinking it's fascinating that you dismiss the period where the harmony ended to be important, and the music was exactly based on expression, and slurs, growls, and intonation etc.



SanAntone said:


> A scale is a series of notes. It is more important HOW a jazz musician plays, no matter WHAT he plays.


I suspect it's simply that you don't have a taste for harmony, considering what you said about classical music too.



SanAntone said:


> I get the feeling that you think that a jazz musician learns a bunch of scales and when they solo they are applying a scale to a chord progression.


no, it's not what I'm saying. And as I said already few comments ago, I've even talked about all the subtleties of improvisation the other day. What I'm saying is that jazz is a genre produced by the mix of black and white elements. That harmony is a crucial element as swing and blues (blues is already a part of harmony, I'm not sure how you are even considering blues as it's just something else). And that dismissing that as not important is basically an attempt to dismiss the merits of white culture, seeing jazz only as black music (which is the anti-white attitude I was talking about).
And that's why a composer like Herbie Nichols wrote pieces called "Bartok" and Charlie Parker loved Stravinsky.



SanAntone said:


> But that is not what happens, or only happens with a beginning student who hasn't assimilated the style and tradition. Some mediocre jazz musicians never do. The ONLY reason a jazz musician practices scales and arpeggios is the same reason a classical musician does: to become technically proficient on his instrument.


then ***** that: free jazz is the only jazz that really matters, since it liberated the genre from the tyranny of european harmony. According to your way of thinking. Just put some swing in it, and that's the perfect jazz.



SanAntone said:


> Monk played off of the tune and used a whole tone scale for dramatic fillers to connect ideas. Most of his featured soloists, including Coltrane did the same thing when they played with him. Partly because his accompaniment almost forced them to, but also it was the most natural way to play his music.


You keep mentioning Monk, as his tunes weren't a big part of what it made him Monk. Sure, he was a great original improviser, but again his tunes are what made him the second most covered composer.


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## norman bates

SanAntone said:


> Norman, it sounds to me like you are describing jazz as an outsider, a listener, a fan, who's read some books about jazz and some of the major names. But as someone who made my living for two decades as a jazz bassist I can tell you, what you believe is not really what goes on among jazz musicians, at least not most of the working bands.
> 
> Sure in university jazz programs you hear a lot about George Russell and scales, etc. But most of that kind of thinking never leaves the university.


Actually I was thinking you sound as someone who's regurgitating Stanley Crouch (or Murray, or both) without having an understanding (in terms of pleasure I mean, I don't know in technical terms) of harmony. What did you said about classical music before the twentieth century?


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## SanAntone

norman bates said:


> Actually I was thinking you sound as someone who's regurgitating Stanley Crouch (or Murray, or both) without having an understanding (in terms of pleasure I mean, I don't know in technical terms) of harmony. What did you said about classical music before the twentieth century?


I don't know what you are referring to about classical music before the 20th century.

As to the rest of your comments, it seems to me like we're talking past each other, since you frame things as all or nothing and imply things I never said.


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## SanAntone

View attachment 144974


*Duke Ellington & John Coltrane *

Duke Ellington - Piano
John Coltrane - Tenor (all but #3) and Soprano (#3) Saxophone
Jimmy Garrison - Bass (#2, #3, #6)
Aaron Bell - Bass (#1, #4, #5, #7)
Elvin Jones - Drums (#1-3, #6)
Sam Woodyard - Drums (#4, #5, #7)


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## SanAntone

*Wallace Roney - Mistérios*

View attachment 144981


_Mistérios_ is an interesting album of jazz and Brazilian originals, and a song by Dolly Parton, "I Will Always Love You".


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## SanAntone

_A Tale of God's Will _ (2007) by *Terence Blanchard*.

View attachment 144984


Terence Blanchard - conductor, trumpet, orchestration, producer, liner notes,
Brice Winston - soprano sax, tenor sax, liner notes
Derrick Hodge - double bass, bass guitar, liner notes
Aaron Parks - piano, orchestration, liner notes,
Kendrick Scott - drums, percussion, orchestration
Zach Harmon - tabla and happy apple


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## SanAntone

Some great New Orleans brass band music.

View attachment 144989


*Olympia Brass Band, Harold Dejan*


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## SanAntone

*Newk's Time* is an album by *Sonny Rollins*. It was his third album for Blue Note Records, recorded in 1957 and released in 1959. The title of the album is a reference to Rollins' nickname "Newk", which is apparently based on his resemblance to Don Newcombe, a pitcher for the Brooklyn Dodgers.

View attachment 144997


"Tune Up" (Miles Davis) - 5:44
"Asiatic Raes" [also known as "Lotus Blossom"] (Kenny Dorham) - 5:57
"Wonderful! Wonderful!" (Sherman Edwards-Ben Raleigh) - 5:59
"The Surrey with the Fringe on Top" (Richard Rodgers-Oscar Hammerstein II) - 6:32
"Blues for Philly Joe" (Sonny Rollins) - 6:44
"Namely You" (Gene de Paul-Johnny Mercer) - 3:18

Sonny Rollins - tenor saxophone
Wynton Kelly - piano (1-3, 5-6)
Doug Watkins - bass (1-3, 5-6)
Philly Joe Jones - drums

Great band and blowing.


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## SanAntone

Dipping into the great series of compilations, *Jazz Foundations*. Somewhere north of 70 installments, although Spotify only has some of these, about a third of the total - still they range from the earliest New Orleans bands to bebop. Small groups as well as big bands, and stride piano players.

Which made me come to realize the dilemma raised by my discussion with Norman Bates. I cannot help but feel that NB begins with a premise, that jazz is the blending of African and European influences, and in particular he seems to begin his exploration in the 1950s. I can only surmise that this is because it is post-50s jazz that appeals to him the most, culminating with the free jazz of Ornette Coleman, late John Coltrane and the musicians that followed in their wake.

Whereas, I do not come to the idea of jazz with a hypotheses to prove but I think a appreciation of jazz beginnings, how the music went from brass bands playing marches to then "ragging" those marches and creating the New Orleans parade band style of playing, i.e. with swing phrasing and blues idiomatic collective improvisation.

Okay, so yes, one can say that this was a blending of European music, i.e. the march band music, with the African, the swinging syncopation and blues improvising. But my primary point is the alteration of the marches by the swinging rhythm and the blues idiom of soloing is the jazz part of that equation.

For example -



> ALPHONSE PICOU: "Now let me finish telling you about the band. So I was invited down to the rehearsal that night and I went to the place and I said to him, "What do you want me to do?" I said, "Do you want me to play my instrument? Is there any music?" He said, "Music? You don't need none." I said, "How am I going to play?" He said, "You're going to come in on the choruses." I said, "All right," and then I tuned up; we all tuned up our instruments. He said that when I couldn't come in, to stay out and listen until I could come in. I did just what he told me and we got into it, and through with it, and the whole band shook my hand and told me I was great. That was on a Thursday night, the rehearsal, and on the Saturday night following they had an engagement to play a ball (at that time the dances were called balls) on Liberty Street. So I went there and I got there at about eight. The hall was jam-packed. I was not really satisfied about their not having any music but I thought I would try anyway. I went and took a few drinks and the first thing you know I was playing more than them! Every number we played the people just clapped their hands. We had to play them two or three times and that's the way I started with a band. That particular style of playing without music was very new to me. I think it was impossible to me! It seemed a sort of style of playing without notes. I remember when we got a new piece of music we would get the music and play the tunes with the music, then, after that we didn't need that music no more. We'd go "out of the way" with it. That was ragtime."
> 
> DANNY BARKER: "Lots of the bands couldn't read too much music. So they used a fiddle to play the lead-a fiddle player could read-and that was to give them some protection. The banjo then was strictly a rhythm instrument. Buddy Bolden would say, "Simmer down, let me hear the sound of them feet." The New Orleans bands, you see, didn't play with a flat sound. They'd shade the music. After the band had played with the two or three horns blowing, they'd let the rhythm have it. That's what Buddy Bolden meant when he said that. The rhythm then often would play that mixture of African and Spanish syncopation-with a beat-and with just the rhythm going. They'd let the people use their imagination for the other sounds. The marching brass bands used more instruments than the dance bands. And those brass bands could play legitimate marches, the same marches the Army Band of the United States would play for the President if he died. They could play beautiful hymns and marches, like Nearer My God to Thee and Maryland, My Maryland. But when they came back from the funeral-and the band, by the way, never went into the cemetery when the band played for a funeral-well, on the way back, they'd put their music in their pockets and everybody started wailing.
> 
> - Hear Me Talkin' to Ya (Dover Books on Music) by Nat Shapiro, Nat Hentoff


So that my basic point is that Jazz is primarily a way of playing music - and a way of playing that was 100% Black. How a brass band went from playing the "Stars and Stripes Forever" straight - to ragging it, creating a jazz interpretation of that march. The same is true with spirituals like "A Closer Walk with Thee", "When the Saints", or Tin Pan Alley 32-bar songs or Ravel inspired harmonic arrangements of a 12-bar Blues.

All future styles of jazz came out of that original Black style of playing. With major contributions along the way by White musicians. That is, until the advent of free jazz, which in some examples intentionally abandoned the way jazz had been done for the previous more than 50 years.

I also do not buy into the theory of a "progressive improvement or evolution" of jazz. I do not see Bebop replacing Swing which replaced New Orleans jazz, and I certainly don't see Free Jazz replacing the various kinds of Bop. All of this music , from the earliest through the latest, retains its validity and currency and I think can be experienced contemporaneously.

So when I say that someone like George Russell is "irrelevant" I am not saying he didn't influence _some_ jazz musicians and _some_ music was created in response to the theories George Russell promulgated. What I am saying is that the _essence_ of jazz is far older and deeper, and predates his contribution, along with all others. Meaning that much of jazz history played out irrespective of George Russell, and the essential characteristics were already long in place before all the future styles. And this is the basis of how I define Jazz.

So, I get tired of people stressing the avant-garde and ridicule early New Orleans jazz, referring to anyone playing it as displaying a museum approach to jazz. That music is still current, and to paraphrase Schoenberg there is still a lot of Jazz to play in a New Orleans style.

I gratefully appreciate the work Wynton Marsalis is doing with Jazz at Lincoln Center. An institution which is documenting the entire history of jazz from early N.O. music to Ornette Coleman.

I fail to see anything to criticize in that body of work.

View attachment 145003


*Roy Eldridge*


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## SanAntone

*Marching, Ragging & Mourning: Brass Band Music of New Orleans 1900-1920*
Louisiana Repertory Jazz Ensemble

View attachment 145007


A pretty good re-creation of the music described in those quotes from _Hear Me Talkin' to Ya_ - although I wish the JALC Orchestra would focus on this period. They may have and I just haven't found it yet. But this group, the Louisiana Repertory Jazz Ensemble, has several recordings out. But I don't know how active they are, they do have a FaceBook page.


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## julide

I've been enjoying Vijay Iyer Sextet's Far From Over. Any fans of the album?


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## SanAntone

julide said:


> I've been enjoying Vijay Iyer Sextet's Far From Over. Any fans of the album?


I've enjoyed many of his records, not sure if I've heard that one.


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## SanAntone

I figure it's about time for me to watch this again -

View attachment 145016


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## starthrower

20 year old Italian guitar virtuoso, Matteo Mancuso.


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## norman bates

SanAntone said:


> Dipping into the great series of compilations, *Jazz Foundations*. Somewhere north of 70 installments, although Spotify only has some of these, about a third of the total - still they range from the earliest New Orleans bands to bebop. Small groups as well as big bands, and stride piano players.
> 
> Which made me come to realize the dilemma raised by my discussion with Norman Bates. I cannot help but feel that NB begins with a premise, that jazz is the blending of African and European influences, and in particular *he seems to begin his exploration in the 1950s.*
> 
> I can only surmise that this is because it is post-50s jazz that appeals to him the most, culminating with the free jazz of Ornette Coleman, late John Coltrane and the musicians that followed in their wake.
> 
> Whereas, I do not come to the idea of jazz with a hypotheses to prove but I think a appreciation of jazz beginnings, how the music went from brass bands playing marches to then "ragging" those marches and creating the New Orleans parade band style of playing, i.e. with swing phrasing and blues idiomatic collective improvisation.


I'm not sure where you have taken this idea that I ignore the jazz before the fifties. While it's true that period from the fifties to the late sixties is my favorite era in the genre my single favorite jazz improviser ever is probably Pee Wee Russell, who's a (white) dixieland musician. As I have a big love for Duke Ellington, Sidney Bechet, Henry Red Allen, Red Norvo, Jack Teagarden, Teddy Wilson, Coleman Hawkins, Dizzy Gillespie, Bud Powell, Monk, Teddy Bunn, Mary Lou Williams, Fats Waller, Django Reinhardt, George Van Eps, Clarence Profit, Hot Lips Page to name a few.



SanAntone said:


> Okay, so yes, one can say that this was a blending of European music, i.e. the march band music, with the African, the swinging syncopation and blues improvising. But my primary point is the alteration of the marches by the swinging rhythm and the blues idiom of soloing is the jazz part of that equation.
> 
> For example -
> 
> So that my basic point is that Jazz is primarily a way of playing music - and a way of playing that was 100% Black. How a brass band went from playing the "Stars and Stripes Forever" straight - to ragging it, creating a jazz interpretation of that march. The same is true with spirituals like "A Closer Walk with Thee", "When the Saints", or Tin Pan Alley 32-bar songs or Ravel inspired harmonic arrangements of a 12-bar Blues.
> 
> All future styles of jazz came out of that original Black style of playing. With major contributions along the way by White musicians. That is, until the advent of free jazz, which in some examples intentionally abandoned the way jazz had been done for the previous more than 50 years.
> 
> I also do not buy into the theory of a "progressive improvement or evolution" of jazz. I do not see Bebop replacing Swing which replaced New Orleans jazz, and I certainly don't see Free Jazz replacing the various kinds of Bop. All of this music , from the earliest through the latest, retains its validity and currency and I think can be experienced contemporaneously.
> So when I say that someone like George Russell is "irrelevant" I am not saying he didn't influence _some_ jazz musicians and _some_ music was created in response to the theories George Russell promulgated. What I am saying is that the _essence_ of jazz is far older and deeper, and predates his contribution, along with all others. Meaning that much of jazz history played out irrespective of George Russell, and the essential characteristics were already long in place before all the future styles. And this is the basis of how I define Jazz.


I don't think I've said that George Russell invented jazz (his first album was in the fifties, his first experiment was with Dizzy Gillespie in the forties). I just said that he's an important and influential figure, unless one wants to believe that after Buddy Bolden and Louis Armstrong there have not been no more influential figures in the genre.



SanAntone said:


> So, I get tired of people stressing the avant-garde and ridicule early New Orleans jazz, referring to anyone playing it as displaying a museum approach to jazz.


I'm not sure if that is your experience in your life, but I don't think I've said anything to ridicule early jazz.



SanAntone said:


> I gratefully appreciate the work Wynton Marsalis is doing with Jazz at Lincoln Center. An institution which is documenting the entire history of jazz from early N.O. music to Ornette Coleman.


the problem with Wynton is that it's him who does the Boulez of the situation (ok, he's sort of the opposite of Boulez, but still he represents the academia), talking against a lot of modern jazz (that he doesn't even know well, as it was apparent in his interview he did years ago, I think with Ethan Everson... at least Crouch had a good knowledge of the music, having played it himself, since he learned drums from Sunny Murray). If I remember correctly since we were talking of Russell, Marsalis actively acted to exclude his music, where there was an occasion dedicated to him.
His music is fine when he's playing bebop, I really enjoyed for instance his Live at the house of tribes (a lot less when he tries to emulate Shorter and the second quintet in a very bland way like in Black codes from the underground, but that's another story).


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## SanAntone

View attachment 145015


*Wynton Marsalis - Bolden*

I was disappointed with the movie, a bit too gauzy for my taste, but the music was excellently chosen and well done by Marsalis & Co.


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## SanAntone

> I don't think I've said that George Russell invented jazz (his first album was in the fifties, his first experiment was with Dizzy Gillespie in the forties). I just said that he's an important and influential figure, unless one wants to believe that after Buddy Bolden and Louis Armstrong there have not been no more influential figures in the genre.


I do not deny that George Russell had an influence, as did many other musicians along the long history of jazz. However, I think where we depart is how much emphasis to place on any contribution after the 1920s.

By then the primary attributes that make jazz the unique art form it is were already established.

It was an exaggeration and reductive for me to say that George Russell was irrelevant. However, I never heard his name or any reference to his theories outside the university throughout all my years as a working jazz musician.

The innovations of the successive decades expanded the harmonic framework, some new formal ideas, and more emphasis on original jazz composition, including long form works. But, none of these were as definitive, IMO, as the developments that occurred from 1890-1925.

What occurred in these early decades were the foundational jazz style: a swinging rhythmic pulse, incorporation of the blues idiom, both melodically and harmonically, as well as vocal inflections such as shaking notes, slurs, growls, and the rest of dirtying up the notes, and finally codifying the dominance of a solo improvising voice interacting with the rest of the band.

It was during this time that the word "jazz" went form being a verb, i.e.. musicians went from jazzing or ragging the music, to a noun, playing Jazz.

At least that is my opinion.


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## SanAntone

View attachment 145019


*Freddy Keppard: The 1923-1926 Recordings - Complete Set *

_There are pitifully few proven recordings by this legendary early New Orleans pioneer jazz cornettist, whose career started before World War I and who pre-dates the great King Oliver, so this CD is an irreplaceable part of jazz history containing, as it does, his complete known recorded output. _

Excellent transfers showing off Keppard in the best remastered sound.

It is really too bad that Freddie Keppard turned down the opportunity to record his music in 1915, fearful that other cornetists would steal his ideas. That miscalculation led to the Original Dixieland Jazz Band in 1917 earning the distinction of being the first jazz band to be recorded. And allowed Nick LaRocca to make the disgraceful claim that whites invented the music, and that blacks had copied jazz from whites


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## norman bates

SanAntone said:


> I do not deny that George Russell had an influence, as did many other musicians along the long history of jazz. However, I think where we depart is how much emphasis to place on any contribution after the 1920s.
> 
> By then the primary attributes that make jazz the unique art form it is were already established.
> 
> It was an exaggeration and reductive for me to say that George Russell was irrelevant. However, I never heard his name or any reference to his theories outside the university throughout all my years as a working jazz musician.


I suspect that's because unlike Davis and Coltrane he did not have "le physique du role". Davis has always been the cool, badass guy. Even today, when young people think that jazz is "grandpa and granda music" they often change their mind watching Davis. And Coltrane on the other hand had the aura of a sort of saint, basically (if we don't consider Sun Ra, maybe some Ellington stuff like Come Sunday) he was the one that started the spiritual jazz subgenre. And while both had much more challenging music, they also had the warm, accessible hits, like Kind of blue or My favorite things that are known and appreciated even by those who are not very into jazz. Russell had stopped playing, he looked like a scientist and his music has always been quite cerebral and he never had a hit. That's why he's rarely discussed. But still it should be recognized that if the modal music of Davis and Coltrane (and others) exists in that form is because of Russell.


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## SanAntone

norman bates said:


> I suspect that's because unlike Davis and Coltrane he did not have "le physique du role". Davis has always been the cool, badass guy. Even today, when young people think that jazz is "grandpa and granda music" they often change their mind watching Davis. And Coltrane on the other hand had the aura of a sort of saint, basically (if we don't consider Sun Ra, maybe some Ellington stuff like Come Sunday) he was the one that started the spiritual jazz subgenre. And while both had much more challenging music, they also had the warm, accessible hits, like Kind of blue or My favorite things that are known and appreciated even by those who are not very into jazz. Russell had stopped playing, he looked like a scientist and his music has always been quite cerebral and he never had a hit. That's why he's rarely discussed. *But still it should be recognized that if the modal music of Davis and Coltrane (and others) exists in that form is because of Russell.*


Of course you can credit George Russell with this extravagant claim, but I think there were more direct antecedents from much further back. What I hear on Kind of Blue reminds me of Delta blues performances: A melismatic vocal over an ostinato drone of the guitar, both sliding around each other in a call and response and loose pentatonic and often modal style.

Also, going back to the music from the mid-19th century in Congo Square, the slave drumming - drones, chants and rhythmic syncopation all were around long before the specific sources you cite.


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## Jay




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## SanAntone

_Oh Yeah_ is a studio album by American jazz bassist and composer *Charles Mingus*, released in April 1962 by Atlantic Records. It was recorded in 1961, and features Mingus (usually known to play bass) singing on three of the cuts and playing piano throughout.

View attachment 145040


Charles Mingus - piano and vocals
Rahsaan Roland Kirk - flute, siren, tenor saxophone, manzello, and stritch
Booker Ervin - tenor saxophone
Jimmy Knepper - trombone
Doug Watkins - bass
Dannie Richmond - drums

Unique in Mingus's catalog - but "Oh Lord Don't Let Them Drop That Atomic Bomb on Me" is worth the price of the recording by itself. If Mingus is not going to play bass, *Doug Watkins* is a good substitute. Overall a good band, but Roland Kirk is not among my favorite reed men, mainly because of his inconsistency, and I'm not a big fan of the multi-instrument thing.


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## starthrower

The title track to their 1990 album composed by bandleader Russ Gershon to feature the altoist, Charlie Kohlhase.


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## SanAntone

_Live at the It Club (Complete)_ (1998) is a *Thelonious Monk* album recorded October 31 and November 1, 1964 at the "It" Club in Los Angeles, California.

View attachment 145051


Thelonious Monk (piano)
Larry Gales (bass)
Charlie Rouse (tenor saxophone)
Ben Riley (drums)


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## SanAntone

*Passion Flower 1940-46 *

View attachment 145055




> For 42 years (with a four-year interruption), altoist *Johnny Hodges* was the top soloist in the Duke Ellington Orchestra. This excellent CD reissue has the eight selections (plus an alternate take) from Hodges's two Bluebird sessions from 1940-41; among the sidemen on such classics as "Day Dream," "Good Queen Bess," "Passion Flower," and "Things Ain't What They Used to Be" are either Cootie Williams or Ray Nance on trumpet, trombonist Lawrence Brown, and Ellington himself. In addition there are 13 selections by the Duke Ellington Orchestra from 1940-46 that feature Hodges including "Don't Get Around Anymore," "In a Mellotone," "Warm Valley," "I Got It Bad," and "Come Sunday." This is classic music that has been intelligently repackaged.


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## SanAntone

Landmark recordings

View attachment 145063


*Louis Armstrong - The Complete Hot Five and Hot Seven Recordings*



> AllMusic Review by Cub Koda
> 
> This four-CD set brings together all the recordings made during the period of the Hot Five and Hot Sevens along with all the attendant recordings that Armstrong was involved in during this breakthrough period. Although this material has been around the block several times before -- and continues to be available in packages greatly varying in transfer quality -- this is truly the way to go, and certainly the most deluxe packaging this material has ever received with the greatest sound retrieval yet employed. In addition to sounding better than the competition, it also sensibly lays out all the recordings Satchmo made during this period, grouping all the original Hot Five recordings from 1925 to 1927 (and all attendant material) together on the first two discs, all of the Hot Sevens on disc three, with the final disc devoted to the second coming of the Hot Five in 1928 along with the attendant material from the following year. There are also several categories of "bonus tracks" aboard this deluxe set, including the "Lil's Hot Shots" 1926 Hot Five Vocalion recordings, a 1927 Johnny Dodds session that became the prototype for the Hot Seven recordings that soon followed, and the only known alternate take of "I Can't Give You Anything but Love." You can't have a Louis Armstrong collection without this historic set. Come to think of it, you can't have any kind of respectable jazz collection without it, either. Beyond indispensable.


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## SanAntone

Another set I think should be in every jazz fan's collection.

_*Never No Lament: The Blanton-Webster Band*_ is a 2003 three-disc compilation combining the master takes of all the recordings by Duke Ellington's Orchestra during the years of 1940 to 1942 with an additional nine tracks, including five alternative takes and four new masters. While essentially an expanded re-release of 1990s The Blanton-Webster Band, the packaging, sound and updated notes make this, according to Allmusic, "truly worth either an initial investment or reinvestment". All About Jazz: New York noted that these performances, from what is often considered "the band in its prime", "not only set the standard for big bands and jazz orchestras, but created an ideal near insurmountable to improve upon".

View attachment 145076


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## SanAntone

As a result of the Ken Burns JAZZ series documentary over twenty single volume compilations of prominent jazz artists were released. I do not place any emphasis on the criticism this documentary has received and consider it the best introduction to jazz: it is accurate, comprehensive and instructive of the primary components that make jazz the unique art form it is.

The following albums were released by Verve:

Count Basie 
Art Blakey 
John Coltrane 
Ella Fitzgerald 
Dizzy Gillespie 
Coleman Hawkins 
Billie Holiday 
Charlie Parker 
Sonny Rollins 
Sarah Vaughan 
Lester Young 

The following albums were released by Columbia/Legacy:

Louis Armstrong 
Sidney Bechet 
Dave Brubeck 
Ornette Coleman 
Miles Davis 
Duke Ellington 
Benny Goodman 
Herbie Hancock 
Fletcher Henderson 
Charles Mingus 
Thelonious Monk 

Most of these are available on Spotify or other streaming platforms. Unfortunately the ones missing are some of the best: Miles Davis, Charles Mingus, Art Blakey, Sarah Vaughan, Coleman Hawkins and Herbie Hancock, I would easily trade the Benny Goodman, Dave Brubeck and Ornette Coleman volumes for any three of the missing installments. 

In any event, these recordings were expertly collated and produced with SOTA sound and would constitute a fine basic collection of the important artists and bandleaders of jazz.


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## starthrower

I have a few of the Ken Burns Jazz comps. They did a good job producing these volumes. I picked the Ornette only because I was on vacation in Florida about 18 years ago and I wanted something to play on the rental car stereo. And I have Count Basie, and Billie Holiday.


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## Barbebleu

Live in Newport - McCoy Tyner


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## SanAntone

View attachment 145123


*Gerry Mulligan - Original Quartet with Chet Baker*

I've always liked piano-less trios and quartets. Sonny Rollins's recordings with a piano-less trio are among my favorite of all music - and this Gerry Mulligan group with Chet Baker is also very enjoyable.


----------



## Jay




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## SanAntone

I reached the end of the Ken Burns JAZZ film. Episode Ten which includes the avant-garde made one thing clear, which I agree with. The practitioners Art Ensemble of Chicago, Cecil Taylor and others did not consider what they did was jazz and in some cases called it something else - Great Black Music.

So, I'm wondering what the debate is?


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## starthrower

SanAntone said:


> I reached the end of the Ken Burns JAZZ film. Episode Ten which includes the avant-garde made one thing clear, which I agree with. The practitioners Art Ensemble of Chicago, Cecil Taylor and others did not consider what they did was jazz and in some cases called it something else - Great Black Music.
> 
> So, I'm wondering what the debate is?


I don't think anybody cares at this point. The film was released over 20 years ago.


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## SanAntone

starthrower said:


> I don't think anybody cares at this point. The film was released over 20 years ago.


Yeah, well, the only I brought it up was because *norman bates* has been arguing with me about this for several pages here.

And anyway, it wasn't Ken Burns saying that, it was the avant-garde musicians themselves. Which is a welcome message, IMO - and one that does not have an expiration date.

Ken Burns JAZZ series is the best serious historical survey of jazz I've ever seen. Anyone interested in this music would benefit from watching it.


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## starthrower

I have a bunch of Art Ensemble albums but I don't listen to them much. They don't have any tunes other than Odwalla. I've always felt they were a band you had to experience live to get what they were about. The humor, body language and theatrics don't translate on record. However I still bought the ECM box because I like some of those records and many others by related artists including the Lester Bowie, Leo Smith, and Jack DeJohnette albums. Fans of this stuff can seek out George Lewis's book if they want to read the history.


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## SanAntone

Lester Bowie was the one out of that crowd that I listened to the most.

TD

*Horace Silver - Further Explorations*

View attachment 145146


_Further Explorations _by the *Horace Silver Quintet* is an album by jazz pianist Horace Silver, released on the Blue Note label in 1958 and containing performances by Silver with *Art Farmer*, *Clifford Jordan*, *Teddy Kotick*, and *Louis Hayes*. The AllMusic review by Steve Leggett awards the album 4 stars and states: "Further Explorations is a solid, even striking outing, and if it isn't maybe quite as flashy as some of its predecessors, it is no less substantive and revealing."

To those who complain that the Ken Burns JAZZ did not mention enough white jazz musicians, I just like to point out that a major figure like Horace Silver was also not mentioned except in passing during the focus on Art Blakey.

When putting together a historical documentary covering such a long period and addressing a variety of styles and innovations, it would be impossible to include everything that might have been something one segment of the audience would have stressed over something else.


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## norman bates

SanAntone said:


> Yeah, well, the only I brought it up was because *norman bates* has been arguing with me about this for several pages here.
> 
> And anyway, it wasn't Ken Burns saying that, it was the avant-garde musicians themselves. Which is a welcome message, IMO - and one that does not have an expiration date.
> 
> Ken Burns JAZZ series is the best serious historical survey of jazz I've ever seen. Anyone interested in this music would benefit from watching it.


For what I know a lot of jazz musicians didn't care for the label jazz, Duke Ellington included. Musicians hate to be pigeonholed, because they know that they will be judged for the prejudices tied to being part or not of a certain genre and its "rules" and not on their own merits. 
Think about your own tastes: you like to hear a lot of avantgarde music, but if that kind of sound arrives from a black musician that is considered is some way as jazz you don't like it because "it's not jazz, is too european".
The art ensemble probably to avoid people saying "your music is not jazz" decided to say "ok, we're not jazz, we make great black music". 
Besides this, if I remember correctly the Ken Burns series used a lot the point of view of Wynton Marsalis and Stanley Crouch, so surprise surprise they stressed this point.


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## SanAntone

_Like Someone in Love_ is an album by *Art Blakey and The Jazz Messengers*. It was recorded in August 1960, at the same sessions which produced A Night in Tunisia, but was released on Blue Note only in August 1967.

View attachment 145155


Art Blakey - drums
Lee Morgan - trumpet, flugelhorn
Wayne Shorter - tenor saxophone
Bobby Timmons - piano
Jymie Merritt - bass

Art Blakey is arguably the most important bandleader in the last half of the 20th century. The *Jazz Messengers* was a veritable graduate school for musicians who went on to become some of the most important soloists, stylists and bandleaders on their own. Just to name two who I think are especially important were *Wayne Shorter* and *Wynton Marsalis*.


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## Jay

SanAntone said:


> So, I'm wondering what the debate is?


Jism magazine critic: _"Isn't jazz, as we know it, dead?"_

Lester Bowie: "_Well, it all depends on what you know."_


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## SanAntone

_The Big Beat_ is an album by *Art Blakey* and his group *The Jazz Messengers* recorded on March 6, 1960 and released on the Blue Note label.

View attachment 145158


Art Blakey - drums
Lee Morgan - trumpet, flugelhorn
Wayne Shorter - tenor saxophone
Bobby Timmons - piano
Jymie Merritt - bass

This is probably my favorite line-up of the Jazz Messengers. The combination of Lee Morgan and Wayne Shorter produced some great blowing, and of course the Shorter originals. Bu right up to the end of his life, Blakey put together great bands.



> Jism magazine


Porn?


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## SanAntone

*LOUIS ARMSTRONG - The complete RCA Victor Recordings*

View attachment 145159


This very attractively boxed set of four CD's, comes with a comprehensive discography and excellent sleeve notes written by Dan Morgenstern, Director of Jazz Studies at Rutgers University in the USA. The music covers a very important period in the life of Louis Armstrong, 1932 to 1958.


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## SanAntone

_BBB & Co._ (subtitled Benny, Ben & Barney) is an album by swing musicians *Benny Carter*, *Ben Webster *and *Barney Bigard* recorded in 1962 and originally released by the Swingville label.

View attachment 145161


*Benny Carter* is one of the great alto sax players, arranger, and bandleader that is somewhat neglected when jazz giants are mentioned. This album where he is joined by two other giants, *Ben Webster *and *Barney Bigard*, features some great blowing which is plenty enough.


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## SanAntone

norman bates said:


> Think about your own tastes: you like to hear a lot of avantgarde music, but if that kind of sound arrives from a black musician that is considered is some way as jazz you don't like it because "it's not jazz, is too european".


I am interested in the classical music being written today but often don't repeat listen to most of what I hear. I might listen to a lot of it for a while then go months, maybe even years, before I listen to it again. But I haven't listened to any avant-garde jazz for decades.

Your conclusions about my thinking are off the mark.


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## SanAntone

View attachment 145167


*Bennie Moten - 1923-1932*

Pianist and bandleader Bennie Moten was an important figure as one of the primary pioneers and architects of the Kansas City sound, playing a style that developed from the orchestral ragtime popular in the region, with a stomping beat and an emphasis on informal riff-based arrangements of a broad, but often blues-flavoured repertoire which left plenty of room for improvisation.

His was the most prominent of the early territory bands, and he was able to attract a stream of talented young musicians to his Kansas City Orchestra, notable among them *Count Basie*, *Hot Lips Page*, *Walter Page*, *Ben Webster*, *Eddie Durham* and the great blues shouting vocalist *Jimmy Rushing*. His career was short, curtailed by his untimely death in 1935 at the age of 40, at which point his band became the core of Count Basie's first ensemble.

This great value 48-track 2-CD collection draws recordings, presented in chronological order, from the majority of the recording sessions which he undertook during the decade before the Depression took its toll on many bands' recording activities, Moten's among them, and it's a thoroughly enjoyable and entertaining look at an important niche in the annals of the genre.


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## SanAntone

_Basie Reunion_ is an album by Count Basie Orchestra members led by jazz saxophonist *Paul Quinichette* featuring tracks recorded in 1958 and released on the Prestige label.

View attachment 145172


Paul Quinichette - tenor saxophone
Buck Clayton - trumpet
Shad Collins - trumpet
Jack Washington - baritone saxophone
Nat Pierce - piano
Freddie Green - guitar
Eddie Jones - bass
Jo Jones - drums

Really nice swinging blowing session with members of the Basie band.


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## SanAntone

"He told one interviewer that his orchestra played "unadulterated *American Negro music*," not jazz or swing. Ellington was acutely conscious of art's responsibility to represent experience and of the *inability of European forms of music and media to represent the particular experiences of his life*. The forms of his music and the sounds of his orchestra presented an alternative system of representation based in sound, form, and social function on *the blues*."

- The Ellington Century by David Schiff

It doesn't matter if it is called jazz. The point is that this music was created out of the blues and by American *******. There is a universality about it, though, and musicians who are not black can participate - if they assimilate and master the skills required to play the music.


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## norman bates

SanAntone said:


> "He told one interviewer that his orchestra played "unadulterated *American Negro music*," not jazz or swing. Ellington was acutely conscious of art's responsibility to represent experience and of the *inability of European forms of music and media to represent the particular experiences of his life*. The forms of his music and the sounds of his orchestra presented an alternative system of representation based in sound, form, and social function on *the blues*."
> 
> - The Ellington Century by David Schiff
> 
> It doesn't matter if it is called jazz. The point is that this music was created out of the blues and by American *******. There is a universality about it, though, and musicians who are not black can participate - if they assimilate and master the skills required to play the music.


the thing is, that even those black musicians are interested in european music and made those parts of jazz. While Ellington had said that, Jazz critics in their time accused Ellington to not being jazz for "being too classical" (and even that his blues pieces weren't true blues, which is absurd in my opinion). Like classical critics accused composers like Bartok for using popular material. My problem with these kind of positions based on purity, is the idea of judging the music not because of its own value but on the fact of respecting certain requirements. Also, while I love blues and swing and I think that they have absolutely a place in contemporary jazz, I also think that music, as alway has done, changes and evolves. Like rock, that at first was essentialy swinging jazz music with boogie woogie elements (rock'n'roll), that lost (well, not entirely fortunately) the swing element, the "roll", and still produced interesting music. Like classical music that went from Perotinus to Monteverdi to Bach to Beethoven to Stravinsky to Ligeti.
Jazz existed even before swing, and it was already a melting pot of influences (the "spanish tinge" for instance) so I don't understand why it should not be also something besides blues and swing (and I repeat, I LOVE blues and swing) if it's done well. I guess it's more a matter of expectations. Sometimes we go to a genre expecting a certain sound, and no matter how good the result is, if what we listen is not we were expecting to listen.


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## SanAntone

I remember liking *Henry Threadgill* back in the early 1980s, his writing for the sextet I found very interesting and quirky.






*Gateway*

I had to search a little to find this clip, since I couldn't remember the title but did recall the cover photograph and approximate time period. There was a follow-up but this album was the only one that I liked enough to listen to more than once.


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## SanAntone

What are your favorite books about jazz?

Some of mine

Stomping the Blues - Albert Murray
Hear Me Talkin' to Ya - Nat Hentoff
Kansas City Lighting - Stanley Crouch
Swing That Music - Louis Armstrong
Satchmo: The Genius of Louis Armstrong - Gary Giddins
The Jazz Tradition - Martin Williams


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## SanAntone

*JALC Orchestra plays the music of Miles Davis*

Some great charts and blowing on this nicely put together concert of music by Miles Davis.


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## SanAntone

Some really nice jazz released in 2019 by the *Eric Reed Quartet* - _Everybody Gets the Blues_

View attachment 145262


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## SanAntone

View attachment 145286


_The Stylings of Silver_ is an album by jazz pianist *Horace Silver* released on the Blue Note label in 1957 featuring performances by Silver with *Art Farmer*, *Hank Mobley*, *Teddy Kotick*, and *Louis Hayes*.


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## Barbebleu

Marion Brown - Three For Shepp. An Impulse classic.


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## Barbebleu

Don Cherry - Symphony for Improvisers. Great album. I saw this band at the Berlin Jazz Festival in 1968. My first trip abroad. Saw some fabulous bands. Muddy Waters, Elvin Jones, Art Blakey, Sunny Murray, Barney Wilen, Don Ellis et al. Three amazing days. I managed to get autographs from Elvin, Sunny and Art when they did a drum clinic. Ah, to be twenty again.


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## SanAntone

_Quiet Nights_ is a studio album by jazz musician *Miles Davis*, and his fourth album collaboration with *Gil Evans*, released in 1964 on Columbia Records. It is the final album by Davis and Evans, and released without Miles Davis's approval.

View attachment 145299


Because of the controversy associated with its release, and with the title referring to an "easy listening" Jobim song, I never put _Quiet Nights_ at the same artistic level as _Miles Ahead_, _Porgy & Bess_ and _Sketches of Spain_. But it is actually pretty good.

"Once Upon a Summertime," "Wait Till You See Her" and "Summer Night" are brilliant examples of Miles's slow burning way with a ballad. "Song #1" and "Song #2" are Gil Evan's showcases, and bonus track "The Time of the Barricudas" could have fitted nicely on _Sketches of Spain_. "Aos Pés da Cruz" and "Corcovado" appear to be a nod towards Bossa Nova in the wake of the Getz/Gilberto splash, the weakest songs on the album, and possibly what bothered Miles.

So we have four solid David/Evans collaborations after all.


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## SanAntone

Speaking of Miles, I created chronological playlists on Spotify:

Early: 1951-1955 and 1956-1959
Mid: 1960-1964 and 1965-1968

(I also created one of his electric period but in a separate folder from these).

I've decided that his best period was *1956-1959*.

This span of years included all but the first recording, _Miles: The New Miles Davis Quintet_, of his first great quintet and the two of that band on Columbia, _'Round About Midnight_ and _Milestones_.

This period also saw his sextet recordings of _Kind of Blue_, _1958 Miles_ and his film score _Ascenseur pour l'échafaud_ as well as his primary collaborations with Gil Evans: _Miles Ahead_, _Porgy and Bess_ and _Sketch of Spain_.

1960-1964 is good, the _Live at the Blackhawk_ recordings and the beginnings of the second quintet are interesting and often some of his best playing - e.g. _My Funny Valentine _and _Four & More_. And then, of course, his second great quintet, mainly the four records from 1965-1967 - which for a long time was my favorite period of Miles. However, once he began dismantling that band in 1968 things begin to sour, at least IMO.


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## SanAntone

Another great concert by the JALC Orchestra: *Duke, Dizzy, Trane & Mingus: Jazz Titans*


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## norman bates

SanAntone said:


> What are your favorite books about jazz?
> 
> Some of mine
> 
> Stomping the Blues - Albert Murray
> Hear Me Talkin' to Ya - Nat Hentoff
> Kansas City Lighting - Stanley Crouch
> Swing That Music - Louis Armstrong
> Satchmo: The Genius of Louis Armstrong - Gary Giddins
> The Jazz Tradition - Martin Williams


some books that I remember interesting:
all the volumes written by Gunther Schuller
Crouch - "Considering genius"
Whitney Balliett - everything I've read by him
Ted Gioia - "Jazz standards " "the history of jazz" and "West coast jazz"
Gary Giddins - "Weather bird" and "Jazz"
Martin Williams "The jazz tradition"


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## norman bates

SanAntone said:


> And then, of course, his second great quintet, mainly the four records from 1965-1967 - which for a long time was my favorite period of Miles. However, once he began dismantling that band in 1968 things begin to sour, at least IMO.


I think that Filles de Kilimanjaro should be still considered part of that phase (altough Gil Evans had a big part in it), and it's an amazing album. Not to mention some of the stuff of that period that emerged later, like the fantastic Circle in the round.


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## SanAntone

norman bates said:


> some books that I remember interesting:
> all the volumes written by Gunther Schuller
> Crouch - "Considering genius"
> Whitney Balliett - everything I've read by him
> Ted Gioia - "Jazz standards " "the history of jazz" and "West coast jazz"
> Gary Giddins - "Weather bird" and "Jazz"
> Martin Williams "The jazz tradition"


I have two by Gunther Schuller, _Early Jazz_ and _The Swing Era_. They are incredibly well researched and sourced, but I reject some of his conclusions concerning early jazz (I haven't read The Swing Era yet), i.e. it is only interesting from a historical standpoint and has no current interest musically. I also reject his idea about Third Stream music. I may have posted about this before, can't keep track.

I also have the Crouch _Considering Genius_, but find it less interesting than his book on Charlie Parker (I really wished he could have finished the follow-up book). But I did pick up a few artists that I hadn't listened to much before reading his articles about them.

I am beginning a book of essays by *Ralph Ellison*, whom I did not know started out studying music composition planning on a career in classical music, trumpet, but switched to literature while at college. He has written about jazz as well. I have a book of letters between he and Albert Murray, they were close friends throughout their lives - although the correspondence only covers a decade or so, 50s-60s, since they ended up talking on the phone and then lived close, Boston/NYC, and didn't write letters.

I prefer autobiographies and biographies over critical writing, except for Miles' autobiography which I think is a waste of time. And prefer reading about early jazz above all. It is too bad that technology was not developed to capture the real early music, or that Buddy Bolden never was recorded at all.


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## norman bates

SanAntone said:


> It is too bad that technology was not developed to capture the real early music, or that Buddy Bolden never was recorded at all.


It could be a legend (well, as basically everything connected to a musician who is not much more concrete than a legend) some (I think one of his musicians) says he made a recording once. It would be great to see it resurfacing one day. It would be certainly one of the holy grails of the genre, at least for its historical value (the other ones for me would be listening to the lost material of Herbie Nichols and Red Norvo and hearing Ike Day playing )


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## SanAntone

norman bates said:


> It could be a legend (well, as basically everything connected to a musician who is not much more concrete than a legend) some (I think one of his musicians) says he made a recording once. It would be great to see it resurfacing one day. It would be certainly one of the holy grails of the genre, at least for its historical value (the other ones for me would be listening to the lost material of Herbie Nichols and Red Norvo and hearing Ike Day playing )


If you read some of the quotes from Bunk Johnson and others, Buddy Bolden was absolutely a real person, trumpet player, no doubt about that. Also, I've got a book that documents through census records when and where he lived, and something of a biography. I've never heard or read that he recorded anything.

I've never gotten on the Herbie Nichols band wagon (I dutifully bought the boxes), not sure what all the hoopla is about. And also never liked Red Norvo's sound on the vibes, that fast tremolo bothers me. Milt Jackson, Bobby Hutcherson, and one of my quirky faves, Gary McFarland, are the vibes players I listen to the most. Never heard of Ike Day.


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## norman bates

SanAntone said:


> If you read some of the quotes from Bunk Johnson and others, Buddy Bolden was absolutely a real person, trumpet player, no doubt about that


yes I know that, but still we knew him only for a photo and through stories, sometimes with a story that contradicts another and some of them look like legends or fairytales (like the fact that it was possible to hear him playing from absurd distances. 
So even if we know he existed to us is more of a legend than a real person, that's what I mean.



SanAntone said:


> I've never gotten on the Herbie Nichols band wagon (I dutifully bought the boxes), not sure what all the hoopla is about.


well, he simply was a composer of the same level of a Ellington or Monk or Shorter or Andrew Hill and as them completely original. I would recommed to listen to the three albums of the Herbie Nichols project (but also to some Mary Lou Williams stuff) that recorded some of his best material that he wasn't able to record (at least, considering the material that wasn't lost in the flood of his apartment) but I'm not sure you would appreciate it.



SanAntone said:


> And also never liked Red Norvo's sound on the vibes, that fast tremolo bothers me. Milt Jackson, Bobby Hutcherson, and one of my quirky faves, Gary McFarland, are the vibes players I listen to the most.


Bobby Hutcherson is a huge favorite of mine too. Personally I like Norvo also as a player (the trio with Mingus and Tal Farlow has the most beautiful version of September song I've ever heard), but the stuff I was referring too is the music he wrote in the vein of Dance of the octopus that after being discouraged he destroyed. That music was incredibly ahead of its time (early thirties) and so playful. I'm not sure it's the kind of music you would appreciate.



SanAntone said:


> Never heard of Ike Day.


like Buddy Bolden he's more a legend than a real person (again I mean, he existed, there are a couple of photos on the internet and he even recorded a couple of tracks, but the quality of the recording is so bad that it's like he's not there). Basically all stories about him describe him as one of the greatest drummers ever, if not the greatest drummer ever. He's described in the same way a Charlie Parker is described. I'm not saying they were similar obviously, I mean that reading about him you feel that level of admiration and respect for him.


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## SanAntone

> I would recommed to listen to the three albums of the Herbie Nichols project


I've got those and will listen to them again, or at least some of them. I really like those musicians. Kimbrough's Monk box is really good, one of the best things that has come out recently, and I think most of those guys played on that box.

While I of course appreciate jazz originals, I think you place much more importance on them than I. I am more interested in blowing. I mean for small groups; big band stuff is primarily about the composition or arrangement - but I am still more interested in the solos. To me the written part is just something to play over, and not really important on its own except to the extent it offers good options for blowing.


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## norman bates

SanAntone said:


> I've got those and will listen to them again, or at least some of them. I really like those musicians. Kimbrough's Monk box is really good, one of the best things that has come out recently, and I think most of those guys played on that box.
> 
> While I of course appreciate jazz originals, I think you place much more importance on them than I. I am more interested in blowing. I mean for small groups; big band stuff is primarily about the composition or arrangement - but I am still more interested in the solos. To me the written part is just something to play over, and not really important on its own except to the extent it offers good options for blowing.


yes I suspect I'm a quite strange jazz listener. I've started to listening seriously to classical music probably because I liked so much jazz compositions. I guess I have a natural inclination for that. But at the end of the day what matters to me is the whole thing: if the tune is awesome but the execution is not that great, obviously the result is not that memorable. And a great improvisation can rescue even the most banal material. But yes, I love jazz composition and I think it's a seriously underrated aspect of the genre (which is underrated only in a curious way, since guys like the ones I've mentioned were and are hugely admired for their abilities as composers).

In all this the weirdest thing is that I like free jazz and you don't, when it should be the opposite :lol:


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## SanAntone

The jazz musicians I listen to the most were known for their writing: Ellington, Monk, Mingus, Shorter - but they also led great bands and except for Ellington the writing never over shadowed the soloing. But I am happiest listening to a great band playing blues changes. Most of the greats played blues and standards, not originals. Sonny Rollins is someone I think perfectly represents the kind of player I enjoy the most. 

The reason I don't like free jazz is because there is no form for the soloing, and also there is a lot of extra-musical political stuff associated with it or the main practitioners. It's like that Stravinsky quote about playing tennis without the net.


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## norman bates

SanAntone said:


> The reason I don't like free jazz is because there is no form for the soloing, and also there is a lot of extra-musical political stuff associated with it or the main practitioners. It's like that Stravinsky quote about playing tennis without the net.


I've never cared too much for the political aspect of free jazz, to me the main point has always been the music. And to me the best free jazz is still that where it's possible to recognize a personal style (exactly like Picasso, Kandinsky, Klee and Mirò had perfectly recognizable styles even in their abstractions). Sometimes the rules of the past are not there anymore, but the musicians have the personality to create something that sound as personal as normal jazz (exactly as jazz musicians playing the blues can make something unique even using the most banal form) . Not to mention that many of them often were not playing just free madness but had a sense of form and composition (I've mentioned Andrew Hill, but it's true also for Sun Ra, Eric Dolphy, Ornette Coleman, early Cecil Taylor, Leo Smith and others).


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## SanAntone

I don't consider Andrew Hill as playing free jazz, except maybe his solo piano stuff later in his career. At one time his Blue Note records was my favorite stuff, and I listened to a lot more of the avant-garde jazz - David Murray, Ronald Shannon Jackson, James Blood Ulmer, and Vernon Reid, and of course Ornette and his crowd. But I haven't listened to that stuff hardly at all in the last 30 years.

Over the years my listening has distilled down to jazz which I now hear as being far more interesting than any of the free stuff.

I have grown to really appreciate early jazz and that from the 20s, 30s, 40s and 50s much more than I ever had.


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## norman bates

SanAntone said:


> I don't consider Andrew Hill as playing free jazz, except maybe his solo piano stuff later in his career. At one time his Blue Note records was my favorite stuff, and I listened to a lot more of the avant-garde jazz - David Murray, Ronald Shannon Jackson, James Blood Ulmer, and Vernon Reid, and of course Ornette and his crowd. But I haven't listened to that stuff hardly at all in the last 30 years.


full disclosure: If I had to pick just one discography in all music and genres to listen in a desert island, I would pick Hill's discography. Like Shorter, he's one of my all time favorite musicians (but I like his discography much more). If I had to pick my favorite musician, the one I've listened the most in my life, it would be Hill. Well, the thing with him is that he wasn't afraid to put a lot of free jazz elements in his music based on very strong compositions. And it's not just his solo piano stuff (onestly, probably my least favorite part of his music): just look at albums like Andrew, Compulsion, the amazing music on Mosaic select (there's stuff that is wild as Sun Ra when he's in wild mode), Change (the one with Sam Rivers), The day the world stood still, Summit conference (this is way more out than a lot of Ornette Coleman stuff, for instance) just to name a few. Even the stuff played by Dolphy on Point of Departure is basically free. He's a perfect demostration of what I was saying, that free jazz doesn't mean just pure skronk, but it's perfectly possible to use that freedom and at the same time have a very recognizable sound and those rules you were talking about. Same thing could be said for Sun ra, who was able to go from the pure freak out to the most melodic. There are people to see free jazz as a thing that is completely outside of jazz tradition, but musicians like them show that reality is much more nuanced.


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## SanAntone

As I said, I used to listen to Andrew Hill a LOT. A pianist I worked with n NYC was a student and we played some of his tunes. I have everything he's recorded and some live tapes done that are not in the market. I never considered him a free player.

There is one of the tan LP two-fers, Andrew Hill and Sam Rivers, I think, where Hill wrote for a string quartet that was one of my all time favorite things.

But today I'd rather listen to Louis Armstrong's Hot Five and Seven recordings.


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## norman bates

SanAntone said:


> As I said, I used to listen to Andrew Hill a LOT. A pianist I worked with n NYC was a student and we played some of his tunes. I have everything he's recorded and some live tapes done that are not in the market. I never considered him a free player.


And do you consider Sun Ra as a free jazz musician?






(for instance the closest thing to this one I can think of is Lil Darlin of Count basie)



SanAntone said:


> There is one of the tan LP two-fers, Andrew Hill and Sam Rivers, I think, where Hill wrote for a string quartet that was one of my all time favorite things.


the album was One for one (altough later that stuff ended on the Mosaic select compilation).

About the live recordings you have I'm curious, what stuff did he played on it? Do you know the titles of the tunes?


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## Dorsetmike

What an awful noise!!!!!!!! Andrew Hill is not for me, to me that is not music, just a succession of unconnected instrumental noises.


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## norman bates

Dorsetmike said:


> What an awful noise!!!!!!!! Andrew Hill is not for me, to me that is not music, just a succession of unconnected instrumental noises.


personally I love that tune and I consider it very memorable but not everyone is into free jazz as I've said. In any case he made also more accessible music. He was an amazing composer.


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## SanAntone

norman bates said:


> And do you consider Sun Ra as a free jazz musician?


I have never listened to Sun Ra. I dunno he just seemed like looney tunes to me, that space $h!t, and what's with Arkestra? Way too pretentious for me to take seriously. The clip you posted doesn't do it for me - bass player is out of tune and the drummer doesn't swing. Sounds like a high school band.



> the album was One for one (altough later that stuff ended on the Mosaic select compilation).


Yeah, I figured that out after looking through my old vinyl.



> About the live recordings you have I'm curious, what stuff did he played on it? Do you know the titles of the tunes?


I said "I have," but really, had is more accurate - there were a couple of cassette tapes this pianist friend gave me. It's been too long, this would have been the early 80s, and I don't have them anymore, along with all my other cassette tapes.


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## norman bates

SanAntone said:


> I have never listened to Sun Ra. I dunno he just seemed like looney tunes to me, that space $h!t, and what's with Arkestra? Way too pretentious for me to take seriously. The clip you posted doesn't do it for me - bass player is out of tune and the drummer doesn't swing. Sounds like a high school band.


lol, Sun ra was exactly the absolute opposite of being pretentious. He played doo ***, he played swing, he played disney tunes, he liked disco music. He made also highly complex music and he certainly was a weird character, but definitely his music was not pretentious at all.
But in any case, I was just showing how the so called free jazz musicians were not always playing skronk, but they kept many elements of the tradition (and if you think that's out of tune, I guess that you would find guys like Ron Carter, Betty Carter, Von Freeman or Jackie Mclean completely unbearable)


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## SanAntone

norman bates said:


> lol, Sun ra was exactly the absolute opposite of being pretentious. He played doo ***, he played swing, he played disney tunes, he liked disco music. He made also highly complex music and he certainly was a weird character, but definitely his music was not pretentious at all.
> But in any case, I was just showing how the so called free jazz musicians were not always playing skronk, but they kept many elements of the tradition (and if you think that's out of tune, I guess that you would find guys like Ron Carter, Betty Carter, Von Freeman or Jackie Mclean completely unbearable)


No, Ron Carter does not play out of tune. It's not his music, but his creating an entire mythology about himself, such as:



> My whole body changed into something else. I could see through myself. And I went up... I wasn't in human form... I landed on a planet that I identified as Saturn... they teleported me and I was down on [a] stage with them. They wanted to talk with me. They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop [attending college] because there was going to be great trouble in schools... the world was going into complete chaos... I would speak [through music], and the world would listen. That's what they told me.


So, yeah, what I would call pretentious. Similar to the claims of Karlheinz Stockhausen, another pretentious composer.


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## norman bates

SanAntone said:


> No, Ron Carter does not play out of tune.


look, I think that most of the time people talking about musicians playing out of tune is them downplaying without understanding how pitch does not always mean being out of tune but it's a choice related to the personality of the musician and that blues itself is about microtones (not to mention the fact that equal temperament is ALL out of tune). But Ron Carter sometimes plays A LOT out of tune. I remember tracks of him playing on the cello where I was thinking that maybe he wasn't able to hear his instrument for some reason. And just check out Ron Carter "out of tune" on google and you will see a world opening for you.
You will see stories of people (like Benny Carter) avoiding to hire him because of it.



SanAntone said:


> It's not his music, but his creating an entire mythology about himself, such as:


I've never seen that as pretentious. Certainly unusual and strange, even laughable, but not pretentious. His mythology, that looks more childish and inspired by tacky sci-fi comics of the era than anything else, was (I suspect) the way a black (and probably homosexual) guy who probably had psychological problems (and also some physical problem between his legs for what I've read, but I'm not sure about it) to cope with a reality of a racist/homophobic/intolerant world that he found horrible in a... well, creative way. At least that's my interpretation. I think that some of his lyrics reveal this more clearly:

"Is this a planet of life? 
Then why do people die? 
This is not life, this is death. 
Can't you understand?

You're only dreaming. 
You're not real here. 
You're only dreaming 
You did all the things 
you did before you died.

You're asleep. 
Wake up before it's too late 
and you die in a dream.

This world is not the real world. 
It's all illusion. It's not real. 
Can't you feel that this world is not real? 
Someone cast a magic spell 
on the people of planet Earth. 
II.-
If you do right they put you in jail. 
If you do wrong they put you in jail. 
You can't win. 
You got to do something else. 
You got to get away from here.

You make death your master. 
You're not free. 
If you're free, why do you bow to death? 
Is that what you mean by liberty? 
Stop bowing down to your master called death. 
If you're free, prove it. "


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## Dan Ante

Dorsetmike said:


> What an awful noise!!!!!!!! Andrew Hill is not for me, to me that is not music, just a succession of unconnected instrumental noises.


Hi Mike, I am with you but we are of a different generation and music lovers :wave:


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## norman bates

Dan Ante said:


> Hi Mike, I am with you but we are of a different generation and music lovers :wave:


I don't think it has to do with being old or young. After all that is music made in the sixties by a musician who died 13 years ago.


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## Barbebleu

I’m 72 and love music from players like Andrew Hill, Archie Shepp, Albert Ayler, Cecil Taylor et al. Nothing to do with age, just temperament and being a music lover.


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## Dorsetmike

> Nothing to do with age, just temperament and being a music lover.


As I said for me that was not music as I know it.


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## Barbebleu

It’s the same for every type of music, you hear it or you don’t. No harm, no foul! Doesn’t mean you have better or worse taste. Just different. To my ears trad jazz is just a noisy cacophony but that in no way invalidates it.


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## SanAntone

View attachment 145345


*Duke Ellington & His Orchestra with Mahalia Jackson - Black, Brown and Beige*

This is not the complete work, which only was recorded once at the Carnegie Hall Concert, January 1943. Because most of the critical response was harsh, and an undisguised racist response, IOW, "leave this kind of composing to your betters, boy." Ellington never performed the work in its complete form again, but only choosing selections.

This version recorded in 1958 reduced the 57 minute work down to 36 minutes. Ellington decided to pick six sections, re-written, from the work that could still represent his conception of telling the history of the Negro people in America, but in an abbreviated manner. He decided to focus on the significance of the black church, and chose Mahalia Jackson to sing two numbers, "Come Sunday" (which appears in various guises throughout the recording) and the "Twenty-Third Psalm".

Even though the work has been drastically cut, essentially creating a new work - it still has the power of the original, and the presence of Mahalia Jackson lends it stature on its own.


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## SanAntone

Full Concert: *The Fantastic Mr. Jelly Lord* - Jazz at Lincoln Center Orchestra with Wynton Marsalis

The Jazz at Lincoln Center Orchestra with Wynton Marsalis celebrates New Orleans legend Jelly Roll Morton with both classic and never-before-heard arrangements of essential tunes like "King Porter Stomp," "Jungle Blues," "Black Bottom Stomp," and "The Pearls." Watch as the JLCO showcases the contemporary power of jazz's first great composer, musical intellect, and piano virtuoso. In addition to the JLCO's own resident pianist Dan Nimmer, this performance will feature the celebrated pianist Aaron Diehl, rising star Sullivan Fortner, and two promising young Juilliard jazz students from the Midwest and the West: Micah Thomas and Joel Wenhardt. Enjoy this timeless concert, celebrating the life and legacy of Jelly Roll Morton, the self-proclaimed "King of Jazz," who gave us the musical blueprint of an eternal New Orleans and jazz as we know it today.

REEDS
Sherman Irby - alto & soprano saxophone, flute, piccolo, Bb clarinet
Ted Nash - alto & tenor saxophones, flute, alto flute piccolo, Bb clarinet
Victor Goines - tenor saxophone, Bb & Eb clarinets
Walter Blanding - tenor & soprano saxophone, Bb clarinet
Paul Nedzela - baritone & alto saxophone, bass clarinet

TRUMPETS
Greg Gisbert
Wynton Marsalis
Kenny Rampton
Marcus Printup

TROMBONES
Vincent Gardner
Elliot Mason
Chris Crenshaw

RHYTHM
Dan Nimmer - piano
Carlos Henriquez - bass
Marion Felder - drums

FEATURING
Aaron Diehl - Piano
Sullivan Fortner - Piano
Micah Thomas - Piano
Joel Wenhardt -Piano


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## Jay




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## norman bates

Dorsetmike said:


> As I said for me that was not music as I know it.


in any case it must be said that it's all but just "unconnected instrumental noise". If you listen to it carefully (altough I suspect you will not torture yourself again with it) you would see that under the harsh noises (I tend to see a lot of african influence in it) there's a memorable melody with very interesting and sophisticated harmony.


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## norman bates

Jay said:


>


very interesting, it reminds me of McCoy Tyner in a good way. A lot of energy for sure. I'm curious to listen the rest of the album now.


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## Dan Ante

norman bates said:


> I don't think it has to do with being old or young. After all that is music made in the sixties by a musician who died 13 years ago.


Yes you are correct, I was in the jazz game in the UK at that time, but never came across his music, even at Ronny Scot's club which I only visited 3-4 times it was all just std jazz but that is not to say that type of jazz was never played there, however I realise I am just an old stick in the mud, I must have melody, rhythm and harmony in any music jazz, classical or whatever.


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## SanAntone

norman bates said:


> look, I think that most of the time people talking about musicians playing out of tune is them downplaying without understanding how pitch does not always mean being out of tune but it's a choice related to the personality of the musician and that blues itself is about microtones (not to mention the fact that equal temperament is ALL out of tune). But Ron Carter sometimes plays A LOT out of tune. I remember tracks of him playing on the cello where I was thinking that maybe he wasn't able to hear his instrument for some reason. And just check out Ron Carter "out of tune" on google and you will see a world opening for you.
> You will see stories of people (like Benny Carter) avoiding to hire him because of it.


Ron Carter is probably the most used bassist for several decades. He and Benny Carter are from different generations and there are many explanations why Ron Carter did not record with Benny Carter. I can say with confidence it is not because Ron Carter played "out of tune" - he does use a lot of slides and "messing" with the notes - but that is different from someone just playing a straight part, but out of tune. Ron Carter is one of the premier bassists in jazz, for over four decades, that track record does not happen by accident.

And your comparing a bass player playing as part of a rhythm section, like the one on the Sun Ra clip I heard, to blues microtones is a non sequitur, since there is no comparison between a bassist playing within a group and what a blues singer does.

As is often the case with the avant-garde players, they are not very competent on their instruments and hide behind the veil of "free jazz."

The only people I hear talking (raving) about Herbie Nichols and Sun Ra are white guys on Internet forums.


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## norman bates

SanAntone said:


> The only people I hear talking (raving) about Herbie Nichols and Sun Ra are white guys on Internet forums.


yeah sure.

This is from a guy who was an inspiration to Coltrane (and hey look, he's talking of intervals and harmony):






And between the fans of Herbie Nichols there were Thelonious Monk and Mary Lou Williams, but whatever. Then I'm not sure why being white should be something that should make my opinion worse. Hey, but it's not an anti-white position


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## norman bates

Dan Ante said:


> Yes you are correct, I was in the jazz game in the UK at that time, but never came across his music, even at Ronny Scot's club which I only visited 3-4 times it was all just std jazz but that is not to say that type of jazz was never played there, however I realise I am just an old stick in the mud, *I must have melody, rhythm and harmony *in any music jazz, classical or whatever.


but Hill was really a master of those things. He had one of the most original harmonic ideas in the genre, his melodies are extremely memorable even being quite difficult to sing and he had also a very original conception of rhyhtm.


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## SanAntone

************** deleted ***************


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## Dan Ante

norman bates said:


> but Hill was really a master of those things. He had one of the most original harmonic ideas in the genre, his melodies are extremely memorable even being quite difficult to sing and he had also a very original conception of rhyhtm.


Really? well it was sadly lacking in what I heard of the Capital Vaults recording.


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## SanAntone

Dan Ante said:


> Really? well it was sadly lacking in what I heard of the Capital Vaults recording.


I also think highly of *Andrew Hill*. It is somewhat difficult music - but he was always someone I liked to listen to, he had great bands - and his writing was unique and his Blue Note records are really very good.


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## SanAntone

*JLCO - Wayne Shorter*


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## SanAntone

*Clifford Brown* underrated?


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## SanAntone

_Native Dancer_ is the fifteenth album by *Wayne Shorter*. It is a collaboration with Brazilian musician *Milton Nascimento*, featuring some of his most acclaimed compositions, including "Ponta de Areia" and "Miracle of The Fishes".

Aong with Shorter's great Blue Note albums, this one ranks pretty high, IMO.

View attachment 145372


----------



## Dan Ante

norman bates said:


> in any case it must be said that it's all but just "unconnec.ted instrumental noise". If you listen to it carefully (altough I suspect you will not torture yourself again with it) you would see that under the harsh noises (I tend to see a lot of african influence in it) there's a memorable melody with very interesting and sophisticated harmony.


Where about is this memorable melody? I must have missed it. I am not being provocative.


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## norman bates

Dan Ante said:


> Where about is this memorable melody? I must have missed it. I am not being provocative.


Right at the beginning. The first 56 seconds is the head of the tune. Admittedly it's not a pretty melody, and I posted that to show how he used elements of free jazz in his music (more precisely, I see that tune as something that could have been part of his album Compulsion, where he was experimenting also with elements of african music). That means, it's not the kind of tune I would use to introduce someone to Hill if he hates free jazz. It's a bit like using the Olatunji Concert to introduce Coltrane's music instead of let's say, Crescent or My favorite things.
But in general Hill's music was very rarely pretty. It was generally angular, chromatic, intense, elusive, quite dark, contemplative. He had also a gift to make complex things that after a while are earworms like diatonic themes. But definitely he didn't write pretty music (with few exceptions, like Hermano frere or the head of Faded beauty). I've said other times that I see his music as a jazz equivalent of brutalism, and a lot of people just hate brutalism.
In any case if you have any interest, some more accessible Hill's albums are Black fire, Passing ships (with a nonet) and Grass roots (which is more in a soul bop vein, probably its most accessible, altough it's not an album I particularly love).

Or tunes like this:


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## norman bates

SanAntone said:


> _Native Dancer_ is the fifteenth album by *Wayne Shorter*. It is a collaboration with Brazilian musician *Milton Nascimento*, featuring some of his most acclaimed compositions, including "Ponta de Areia" and "Miracle of The Fishes".
> 
> Aong with Shorter's great Blue Note albums, this one ranks pretty high, IMO.
> 
> View attachment 145372


my favorite tune of that one is certainly Ana Maria. That one is a classic.


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## Barbebleu

Smoke Stack - Andrew Hill. Wonderful album, but that holds true for pretty well all of his Blue Note output.


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## starthrower

Mark Murphy's excellent rendition of Shorter's Beauty And The Beast.


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## SanAntone

*Andrew Hill - Point of Departure: "Dedication"*

Great album.


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## SanAntone

I'm gonna listen to my Desert Island Discs in reverse order, starting with this one:

_A Night at the Village Vanguard_ is a live album by tenor saxophonist *Sonny Rollins *released on Blue Note Records in 1958. It was recorded at the Village Vanguard in New York City in November 1957 from three sets, two in the evening and one in the afternoon with sidemen. For the afternoon set, Rollins played with Donald Bailey on bass and Pete LaRoca on drums; in the evening they were replaced respectively by *Wilbur Ware* and *Elvin Jones*.

View attachment 145379


Why would I take this recording (originally two separate releases) to my island?

1. I really like piano-less trios
2. Rhythm section of Wilbur Ware and Elvin Jones is arguably my all time favorite.
3. Great, great blowing


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## SanAntone

_Misterioso_ is a 1958 live album by American jazz ensemble the *Thelonious Monk Quartet*. By the time of its recording, pianist and bandleader Thelonious Monk had overcome an extended period of career difficulties and achieved stardom with his residency at New York's Five Spot Café, beginning in 1957. He returned there the following year for a second stint with his quartet, featuring drummer *Roy Haynes*, bassist *Ahmed Abdul-Malik*, and tenor saxophonist *Johnny Griffin*. Along with _Thelonious in Action_ (1958), _Misterioso_ captured portions of the ensemble's August 7 show at the venue.

View attachment 145381


Love this band! Johnny Griffin was an effective foil to Monk's spare piano playing, and the rhythm section really swings hard.


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## Barbebleu

SanAntone said:


> 2. Rhythm section of Wilbur Ware and Elvin Jones is arguably my all time favorite.


Other great rhythm sections - Jimmy Garrison and Elvin Jones, Eugene Wright and Joe Morello, David Izenzon and Charles Moffet and Charlie Haden and Billy Higgins and virtually everyone else that Charlie ever worked with.


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## SanAntone

Barbebleu said:


> Other great rhythm sections - Jimmy Garrison and Elvin Jones, Eugene Wright and Joe Morello, David Izenzon and Charles Moffet and Charlie Haden and Billy Higgins and virtually everyone else that Charlie ever worked with.


Louis Hayes/Sam Jones
Connie Kay/Percy Heath
Philly Joe Jones/Paul Chambers
Tony Williams/Ron Carter
Paul Motian/Scott Lafaro
Jack Dejohnette/Gary Peacock


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## SanAntone

Next up on the desert island:

_Thelonious Monk with John Coltrane_ is a 1961 album by Thelonious Monk issued on Jazzland Records, a subsidiary of Riverside Records. It consists of material recorded four years earlier when Monk worked extensively with John Coltrane, issued after Coltrane had become a leader and jazz star in his own right.

The original LP was assembled by the label with material from three different sessions. The impetus for the album was the discovery of three usable studio tracks recorded by the Monk Quartet with Coltrane in July 1957 at the beginning of the band's six-month residency at New York's legendary Five Spot club near Cooper Square. To round out the release, producer Keepnews included two outtakes from the Monk's Music album recorded the previous month, and one additional outtake from Thelonious Himself recorded in April.

View attachment 145385


----------



## SanAntone

Off the island.

_These are My Roots: Clifford Jordan Plays Leadbelly_ is an album featuring jazz saxophonist *Clifford Jordan* performing tunes associated with *Huddie "Lead Belly" Ledbetter* which was recorded in 1965 and released on the Atlantic label

View attachment 145396


Clifford Jordan - tenor saxophone
Roy Burrowes - trumpet
Julian Priester - trombone
Cedar Walton - piano
Chuck Wayne - banjo
Richard Davis - bass
Albert Heath - drums
Sandra Douglas - vocals (tracks 3 & 8)

I've always liked Clifford Jordan's playing. This is a great album of blues.


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## Dan Ante

norman bates said:


> Right at the beginning. The first 56 seconds is the head of the tune. Admittedly it's not a pretty melody


OK, I have different expectation of what a tune is.


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## SanAntone

_Big Band_ is a 1997 album by jazz saxophonist *Joe Henderson*, the fourth of the five albums he recorded with Verve Records during the end of his career.

View attachment 145407


Joe Henderson - tenor saxophone, arranger (tracks 1, 2, 5, 8)
Slide Hampton - conductor, arranger (tracks 3, 7))
Dick Oatts - soprano saxophone, alto saxophone
Pete Yellin, Steve Wilson, Bobby Porcelli, John O'Gallagher - alto saxophone
Craig Handy, Rich Perry, Tim Ries, Charles Pillow - tenor saxophone
Joe Temperley, Gary Smulyan - baritone saxophone
Freddie Hubbard, Raymond Vega, Idrees Sulieman, Jimmy Owens, Jon Faddis, Lew Soloff, Marcus Belgrave, Nicholas Payton, Tony Kadleck, Michael Mossman, Virgil Jones, Earl Gardner, Byron Stripling - trumpet
Conrad Herwig, Jimmy Knepper, Robin Eubanks, Keith O'Quinn, Larry Farrell, Kiane Zawadi - trombone
David Taylor, Douglas Purviance - bass trombone
Chick Corea, Helio Alves, Ronnie Mathews - piano
Christian McBride - bass
Joe Chambers, Al Foster, Lewis Nash, Paulinho Braga - drums
Michael Mossman - arranger (track 9)
*Bob Belden* - arranger (tracks: 4, 6))
Richard Seidel, Don Sickler - producers

I was at North Texas State University (as it was called then, 1977) for a semester with *Bob Belden*, and we also played gigs in Denton and Dallas. Belden was a huge Miles collector, his apartment was filled with vinyl and bootleg tapes. It was only natural that eventually he would be involved with those complete sessions boxes in the late 1990s and early 2000s.

Joe Henderson was the saxophone player that guys of my generation were listening to and emulating.

This big band date is unique in Henderson's discography, but is excellent.


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## SanAntone

_Jazz Goes to College_ is a 1954 album documenting the North American college tour of the *Dave Brubeck Quartet*. It was Dave Brubeck's first album for Columbia Records. He was joined by alto saxophonist *Paul Desmond*, double bassist *Bob Bates*, and drummer *Joe Dodge*.

View attachment 145429


Early album by Brubeck, before the classic quartet was together. Some good West Coast cool jazz.


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## Dan Ante

*Stan the man was all the rage in my teens*


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## Barbebleu

So if Stan was doing his thing in the mid 1940s and you were in your teens that would make you in your mid to late 90s. Kudos for being alive and alert at your age!:tiphat:

Stan was all the rage when my dad was in his teens and I’m 72.


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## Dorsetmike

Stan was still going strong in the '50s which is when I first heard his records in '52, I'm 86. Peanut Vendor, Intermission Riff were favourites as was Maynard Ferguson's What's New.


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## SanAntone

Wow, I am a youngster at 68, will be 69 in a couple of months.


----------



## Jay

Barbebleu said:


> Other great rhythm sections


Richard Davis/Alan Dawson
Charlie Haden/Ed Blackwell
Fred Hopkins/Steve McCall
Mingus/Danny Richmond
Ronnie Boykins/Sunny Murray
Buster Williams/Ben Riley


----------



## Dan Ante

Barbebleu said:


> So if Stan was doing his thing in the mid 1940s and you were in your teens that would make you in your mid to late 90s. Kudos for being alive and alert at your age!:tiphat:
> 
> Stan was all the rage when my dad was in his teens and I'm 72.


As Mike said he was the thing in the 50s and 60s along with the English big band Ted Heath, and just for the record I am 83.


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## SanAntone

_Sonny's Crib_ is an album by jazz pianist *Sonny Clark* recorded for the Blue Note label. It features Donald Byrd, Curtis Fuller, John Coltrane, Paul Chambers, and Art Taylor. The first half of the album comprises three jazz standards, while the second half contains two original compositions by Clark. One writer has compared the album to Coltrane's Blue Train, recorded a fortnight later and which features Fuller and Chambers, as the epitome of the Blue Note sound in the late 1950s.

View attachment 145451


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## Barbebleu

Mode for Joe - Joe Henderson. Classic Blue Note from 1966. Joe’s last until the release 20 years later of State of the Tenor.


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## SanAntone

_Sonny Side Up_ is an album by trumpeter *Dizzy Gillespie*, and the tenor saxophonists *Sonny Stitt* and *Sonny Rollins*, recorded in December 1957 in New York City. It was released in 1959 on producer Norman Granz's newly launched Verve label.

View attachment 145460


----------



## tortkis

Jay said:


> Richard Davis/Alan Dawson
> Charlie Haden/Ed Blackwell
> Fred Hopkins/Steve McCall
> Mingus/Danny Richmond
> Ronnie Boykins/Sunny Murray
> Buster Williams/Ben Riley


I would add:
William Parker and Hamid Drake
Ingebrigt Håker Flaten and Paal Nilssen-Love


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## Dan Ante




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## SanAntone

View attachment 145467


*Alberta Hunter Vol. 3 (1924-1927)*
with Louis Armstrong, Sidney Bechet, Buster Bailey and more


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## starthrower

SanAntone said:


> _Sonny Side Up_ is an album by trumpeter *Dizzy Gillespie*, and the tenor saxophonists *Sonny Stitt* and *Sonny Rollins*, recorded in December 1957 in New York City. It was released in 1959 on producer Norman Granz's newly launched Verve label.
> 
> View attachment 145460


I picked up this one in the used bin at my local store. They got a bunch of nice Verve gatefold master editions in on trade and I bought them. Max Roach / Clifford Brown, Oscar Peterson, Johnny Hodges, etc.


----------



## SanAntone

starthrower said:


> I picked up this one in the used bin at my local store. They got a bunch of nice Verve gatefold master editions in on trade and I bought them. Max Roach / Clifford Brown, Oscar Peterson, Johnny Hodges, etc.


Except for the Oscar Peterson (I've never been a fan) those are some great recordings. Johnny Hodges/Duke Ellington _Side by Side_ and _Back to Back_, I think, are part of that Verve series.


----------



## SanAntone

I find myself listening more and more to jazz prior to the introduction of "bebop." Sidney Bechet, Armstrong, Bessie Smith, mostly the New Orleans style of jazz.

It's funny how my evolution as a listener has proceeded in retrograde historical motion. I started out listening to some avant-garde and free jazz along with the post-bop music of the 60s. And over time my taste has excluded almost all of the free stuff and much of the dissonant post-bop.

These days I hardly listen to any recordings after 1959, and more and more focusing on the 20s and 30s.

Has your listening habits changed significantly since when you first got interested in jazz?


----------



## Barbebleu

I would have to say no. The stuff I liked in the sixties I still like and I’m always keen to hear new guys on the scene like Kamasi Washington.


----------



## norman bates

SanAntone said:


> I find myself listening more and more to jazz prior to the introduction of "bebop." Sidney Bechet, Armstrong, Bessie Smith, mostly the New Orleans style of jazz.
> 
> It's funny how my evolution as a listener has proceeded in retrograde historical motion. I started out listening to some avant-garde and free jazz along with the post-bop music of the 60s. And over time my taste has excluded almost all of the free stuff and much of the dissonant post-bop.
> 
> These days I hardly listen to any recordings after 1959, and more and more focusing on the 20s and 30s.
> 
> Has your listening habits changed significantly since when you first got interested in jazz?


I went basically the same path, from rock to stuff like Albert Ayler and albums like Bitches brew and with time I started appreciating more and more older forms of jazz. The difference is as you probably already know is that I kept loving more modern stuff (and the sixties remain my absolute favorite decade for the genre)


----------



## Acadarchist

Sun Ra is probably a bit daunting, but a lot of his earlier material is surprisingly accessible.


----------



## Jay

Barbebleu said:


> _State of the Tenor_


.... in which Henderson showed the over-hyped "young lions" how it's done.


----------



## Jay

Barbebleu said:


> ... I'm always keen to hear new guys on the scene like Kamasi Washington.


I found all the attention he got more compelling that his actual playing; just not a strong enough player, imo.


----------



## SanAntone

Barbebleu said:


> I would have to say no. The stuff I liked in the sixties I still like and I'm always keen to hear new guys on the scene like Kamasi Washington.


I too keep up with new jazz artists, and there are a lot of great recordings since the neoclassical period of jazz performance ensued which I date with the homecoming of Dexter Gordon in 1976, but really taking off in the early 80s on, and culminating with the creation of the Jazz at Lincoln Center venue.



> I went basically the same path, from rock to stuff like Albert Ayler and albums like Bitches brew and with time I started appreciating more and more older forms of jazz. The difference is as you probably already know is that I kept loving more modern stuff (and the sixties remain my absolute favorite decade for the genre)


There is a lot of great music from the 60s, but you're right I stopped listening the free jazz guys, including Coltrane's recordings from the demise of his quartet. But as I wrote above, there has been a renaissance of jazz made up of the generation that came of age in the 80s.

Lots of good jazz from the last forty years.


----------



## SanAntone

What I enjoy about early jazz, which is what was primarily recorded in the 20s and 30s:

1. Solos are embellishments of the melody and not harmonic improvisations over the chord changes
2. Developing a personal style is a hallmark. A style could include an instrumental style of playing in a distinctive manner using growls, swoops, shaking the notes, all kinds of methods of "dirtying up" the notes, or an "attitude" of coolness (Lester Young) or muscularity (Ben Webster, Coleman Hawkins).
3. A real emphasis on the blues
4. The swing and "strolling" phrasing
5. Whatever originals there are they are created out of standard forms and harmonic patterns found in folk traditions

Major artists and bands: Sidney Bechet, Louis Armstrong, Joe Oliver, Kid Ory, Johnny Dodds, and others from New Orleans and Chicago in the 20s. Then the Kansas City bands, Blue Devils, Basie (featuring Lester Young), Bennie Moten, Jay McShann, and other territory bands, and NYC bands like Fletcher Henderson in the 30s. Also, vocalists like the Smiths: Bessie, Mamie and Clara, Alberta Hunter, Ma Rainey and other blues singers that used a jazz band accompaniment from the 20s. Jimmy Rushing and Joe Turner from the 30s.


----------



## SanAntone

*Congo Square*

Congo Square, a ground-breaking new work written by Wynton Marsalis with Ghanaian drum master Yacub Addy, debuted in Katrina-ravaged New Orleans in the spring of 2006 before a wildly enthusiastic audience in Congo Square (inside Louis Armstrong Park).

Congo Square was the only place in America where African slaves were allowed to perform their own music and dance in the 1700s-1800s, establishing the roots of American music.

Now this joyful and collaborative testament to the power of Congo Square-performed by two world-class ensembles-is available on two exquisitely recorded CDs. Enjoy this confluence of cultures and traditions converging to make a uniquely contemporary musical statement about the wellspring of jazz for those with ears to hear.






*Wynton Marsalis* has written a number of long form works. _Congo Square _is one of his that I think is truly amazing. This clip only includes about one-fourth of the entire work. There is an excellent recording available.

*Congo Square* (Place Congo) is a legendary parcel of land in New Orleans, now called Louis Armstrong Park, where in the decades prior to the Civil war, slaves were allowed to congregate and play their music, and dance, and sing. Many musicologists believe that the roots of jazz came out of the music and African traditions of Congo Square.

View attachment 145496


----------



## starthrower

SanAntone said:


> Except for the Oscar Peterson (I've never been a fan) those are some great recordings. Johnny Hodges/Duke Ellington _Side by Side_ and _Back to Back_, I think, are part of that Verve series.


It's the Night Train album which is one of his better ones, imo.


----------



## SanAntone

starthrower said:


> It's the Night Train album which is one of his better ones, imo.


When I was first getting started playing upright bass I listened to a lot of Oscar Peterson trio because of *Ray Brown*. Peterson's style got old fairly quickly and I moved on.

TD

View attachment 145518


*Mary Lou Williams Story*


----------



## Dorsetmike

You mention Mary Lou Williams - here goes






Some solid bass work throughout by Ed Safranski. I also like that the soloists are named.


----------



## Dorsetmike

Followed by a short history of jazz piano by Mary Lou, followed by more Mary Lou (Just happened to be on the same You tube page)


----------



## SanAntone

Dorsetmike said:


> You mention Mary Lou Williams - here goes
> 
> 
> 
> 
> 
> 
> Some solid bass work throughout by Ed Safranski. I also like that the soloists are named.





Dorsetmike said:


> Followed by a short history of jazz piano by Mary Lou, followed by more Mary Lou (Just happened to be on the same You tube page)


Great stuff - Mary Lou Williams is first class.


----------



## SanAntone

*Anita O'Day: The Complete Anita O'Day Verve/Clef Sessions*



> In the world of song, there are clearly stylists and then there are true jazz vocalists. To the latter category, Anita O'Day has to be counted as one of the few who have built a recorded legacy as important as that of any jazz instrumentalist. A discriminating artist with a solid musical background, word has it that there's no easier way to put off O'Day than to hand her a lead sheet with just the printed lyrics, as she wants to see the entire score in relation to how her part fits within the arrangement. This attention to detail pervades every note put on tape over the course of the 198 performances (spanning the years 1952 to1962) preserved on this 9-CD boxed set.



View attachment 145545


----------



## Dan Ante

This is putting me in a good mood, 11:20pm a glass or two of red and fine music.


----------



## Barbebleu

Ornette Coleman - Chappaqua Suite. Coleman’s fine trio of himself, David Izenzon and Charlie Moffet and a small orchestra with a drop in from Pharaoh Sanders. Challenging music but eminently accessible and rewarding.


----------



## Barbebleu

Cannonball Adderley - Alto Giant (live in Italy 1969). Terrific album with Brother Nat on cornet and Joe Zawinul on piano.


----------



## SanAntone

*Unforgivable Blackness - The Rise and Fall of Jack Johnson*



> Trumpeter Wynton Marsalis' soundtrack to Ken Burns' documentary Unforgivable Blackness: The Rise and Fall of Jack Johnson is a compelling and rootsy mix of blues and swing. Having worked with Burns on the PBS "Jazz" series, Marsalis' Unforgivable Blackness soundtrack seems like a natural progression of a fruitful partnership. Not dissimilar to such past Marsalis projects as the Jelly Roll Morton album Mr. Jelly Lord, the album features Marsalis in various small-group settings along with such longtime Lincoln Center Jazz Orchestra regulars as drummer Herlin Riley, pianist Eric Lewis, saxophonist Wessell Anderson, bassist Reginald Veal, trombonist Wycliffe Gordon, and others, including guitarist Doug Wamble, who adds his unique blend of old-time blues, folk, and jazz to Marsalis' own signature updating of '20s and '30s jazz. Although four previously released tracks appear here, two off Standard Time, Vol. 6: Mr. Jelly Lord and two from Marsalis' Reeltime, the majority of the album is newly recorded and all of it sounds of a piece. Ironically, Marsalis' deepest musical influence and aesthetic nemesis, trumpeter Miles Davis, also recorded an album for a film about the troubled boxing champ Johnson, 1970's fusion classic Tribute to Jack Johnson. However, where Davis' album seemed to reflect the counterculture and Black Power movements of the time, Marsalis is more traditionally cinematic in his approach, with each track evoking the pride, urbanity, strength, and tragedy of the legendary Johnson.



View attachment 145761


----------



## millionrainbows

Eric Dolphy: Musical Prophet. A reissue of the "Iron Man" and "Conversations" albums, plus alternate takes and rarities from Dolphy's own reels.


----------



## starthrower

Million, you've been released from solitary confinement! Anybody know why Dolphy had that big lump on his forehead?


----------



## NoCoPilot

starthrower said:


> Anybody know why Dolphy had that big lump on his forehead?





metaljazz.com said:


> Prior to 1964, the first thing you'd notice about Dolphy's head was a bump, forming the peak of a triangle with his gentle, penetrating eyes. A Hindu seer might claim clairvoyance emanating from an invisible third eye; with Dolphy, you could actually see the thing. It was no deformity, it was a sign. He'd even written a tune called "The Prophet" (though that referred to the pseudonym of painter Richard Jennings, portraitist on Dolphy's first two albums).
> 
> Just before Dolphy went to Europe with Mingus, the bump vanished. Alan Saul's useful Dolphy web site includes audio of Dolphy's mother, Sadie, telling the story: Her son went to a dentist in New York, and the next thing he knew he'd been shuttled to a clinic at Columbia University, where they did a Polyphemus on him. Sadie says Dolphy didn't actively desire that his lump be lanced. Who knows, though -- he was about to set up housekeeping with his ballerina fiancee in Europe, and he might have thought she'd approve. On the Jazz Icons DVD, the healed incision is plainly visible, the bump gone. Soon, Dolphy too would be gone. Gone, as he once said, like music, in the air.
> 
> Maybe Dolphy couldn't live a future he could no longer see. But the extraction doesn't affect his present magic on "Live in '64." He takes off like a rocket every time he gets the nod, making the other members of this extremely talented band (excluding Mingus himself) look old-fashioned


https://www.metaljazz.com/2007/10/observation_and_dvd_review_eri.php


----------



## starthrower

1974 ECM

Another good find in the used jazz bins at my local store.


----------



## millionrainbows

starthrower said:


> Million, you've been released from solitary confinement! Anybody know why Dolphy had that big lump on his forehead?


The liner notes of the CD set I posted say that it was due to diabetes.

Now, I'm listening to latin jazz, specifically these four titles cited by Steve Khan as his biggest influences.


----------



## Jay




----------



## Barbebleu

Jay said:


>


I'm thinking this band might want to rethink their name!


----------



## starthrower

millionrainbows said:


> Now, I'm listening to latin jazz, specifically these four titles cited by Steve Khan as his biggest influences.


Seems as though Steve Khan gets overshadowed by the popularity of Metheny, Scofield, and Frisell. I have at least ten of his albums and he is a fine player. His more recent CDs on Tone Center are excellent productions with great arrangements.


----------



## SanAntone

*Sonny Rollins: The Freelance Years*
The Complete Riverside and Contemporary Recordings

View attachment 145865




> When Sonny Rollins' contract with Prestige expired in late 1956, he went through a period of recording for several labels before beginning a three-year sabbatical in 1959. Besides Riverside and Contemporary, he also worked with Blue Note, Verve and Period during this freelance phase. During the entire period from '54 to '59, Rollins is like Lester Young in the '30s: never less than excellent and often great. This complete set includes sideman appearances for Riverside, on Thelonious Monk's monumental Brilliant Corners, Abbey Lincoln's That's Him and four tracks from Kenny Dorham's Jazz Contrasts. The Rollins-led records are Way Out West, Sonny Rollins Meets the Contemporary Leaders, the additional material that appeared later on Contemporary as Alternate Takes, The Sound of Sonny, Freedom Suite and three tracks from a Period record that also features a Thad Jones group.


----------



## millionrainbows

Rollins is on three tracks here, "Let's Call This" and "Think of One" (takes 1 & 2).

Steve Kahn does a nice cover of "Let's Call This."


----------



## millionrainbows

Kahn does a killer version of "Out of This World." His playing is deceptively simple, easy to listen to but hard to copy.


----------



## millionrainbows




----------



## SanAntone

Steve Khan is the son of songwriter Sammy Cahn. I wonder why he changed the spelling of his surname. Ron Carter and Al Foster is a good rhythm section.


----------



## starthrower

SanAntone said:


> Steve Khan is the son of songwriter Sammy Cahn. I wonder why he changed the spelling of his surname.


I think he alluded to the fact that he didn't want any preferential treatment as the son of a famous songwriter. He wanted to go to New York and make it on his own. He's a pretty humble guy. I've had a few email exchanges with him over the years and he's a very gracious individual.


----------



## SanAntone

*Wynton Marsalis Plays Blue Note Jazz At Lincoln Center Orchestra*


----------



## millionrainbows

Re: Steve Khan: his albums usually use this formula: A Sammy Cahn song, a Thelonious Monk song, and an Ornette Coleman song; and most of the time, a Wayne Shorter tune.


----------



## starthrower

He's getting heavier into the Latin thing and featuring even more percussion. Of his last 3-4 albums I like Subtext the most, but they're all good. And he's interpreting other jazz composers including Keith Jarrett, Freddie Hubbard, Greg Osby, along with his usual Shorter, Monk, Ornette tunes. And I'm glad to hear it.


----------



## SanAntone

*Miles Davis - Miles In The Sky (1968)*


----------



## Barbebleu

Watching a very fine documentary on Netflix - Bill Evans: Time Remembered. Well worth a watch. Need to revisit Bill Evans in the next few days.


----------



## SanAntone

Barbebleu said:


> Watching a very fine documentary on Netflix - Bill Evans: Time Remembered. Well worth a watch. Need to revisit Bill Evans in the next few days.


I watched it previously and agree it is a good documentary.


----------



## SanAntone

My wife had to clean out her mother's home prior to selling it and found a bunch of vinyl. Mostly original copies from the 40s and 50s and 60s.

Playing this one right now, in pretty good shape.

View attachment 146195


----------



## starthrower

2013


----------



## Jay




----------



## starthrower

I'm not familiar with this trio but they're very good and the pianist is superb! And as bonus there's some bouncing boobies for visual entertainment.


----------



## Dan Ante

starthrower said:


> I'm not familiar with this trio but they're very good and the pianist is superb! And as bonus there's some bouncing boobies for visual entertainment.


I enjoyed that here is a similar type of thing with Zaz I doubt that it would classify as jazz but I enjoy it.


----------



## starthrower

Features classic footage of Fats Waller, Count Basie, Jimmy Rushing, etc.


----------



## Barbebleu

McCoy Tyner - Supertrios. Great album with McCoy working with Ron Carter and Tony Williams then Eddie Gómez and Jack DeJohnette.


----------



## Bella33

For those who love Jazz like me and during Christmas season I just love this Collection!!! It's the best Relaxing Christmas Jazz Piano. Enjoy! And I wish everyone Joy, Happiness and Peace. Merry Christmas!!!


----------



## Dorsetmike

Can this be counted as jazz? I definitely like the Boogie piano, inthe opinions of this forum how does this British band compare with the big bands of the past?











Followed by some pure Boogie, Dr John and Jools Holland Boogie duet


----------



## Dorsetmike

Wossup? Has my Boogie woogie post blocked up the Jazz hole?


----------



## starthrower

Not to be confused with the Glenn Miller Story. This movie is from 1942. Features an uncredited small roll by Jackie Gleason as well as starring Harry Morgan, Cesar Romero, and the Glenn Miller Orchestra.


----------



## starthrower

Sings Lover Man (Columbia 8530) 1961 / Carmen McRae (Bethlehem 1023) 1954


----------



## SanAntone

One of the best constructed solos is Oliver Nelson's alto solo on this tune.


----------



## starthrower




----------



## SanAntone

Listening to some *ERROLL GARNER*. Just random playing - GREAT stuff. It's been a long time, for some reason.


----------



## starthrower

76 minute film


----------



## Kyler Key

Kyler Key - Delight


----------



## Jay




----------



## WNvXXT




----------



## starthrower

Sounds great on guitar!


----------



## WNvXXT




----------



## starthrower

There's a whole series of these concert CDs to listen to if you type in European Jazz Legends at YouTube.


----------



## edge

Blue Note is going to reissue Somethin' Else on vinyl in February in the Classic Vinyl series. These are high quality, all analog pressings.


----------



## jim prideaux

Keith Jarrett-Budapest Concert.


----------



## Dorsetmike

Buck Clayton/Mel Powell 1950s jam session


----------



## Dan Ante

Dorsetmike said:


> Buck Clayton/Mel Powell 1950s jam session


*Love it Mike.*..................


----------



## starthrower




----------



## Jay




----------



## jegreenwood

A friend of mine, who is not into classical music, directed me to the jazz music of Misha Mullov-Abbado. The name caught my attention.


----------



## SanAntone

jegreenwood said:


> A friend of mine, who is not into classical music, directed me to the jazz music of Misha Mullov-Abbado. The name caught my attention.


His parents are Viktoria Mullova and Claudio Abbado, which would give him musical genes, and judging from what I've heard the most interesting thing about him.


----------



## jegreenwood

SanAntone said:


> *His parents are Viktoria Mullova and Claudio Abbado*, which would give him musical genes, and judging from what I've heard the most interesting thing about him.


(I knew that . . .)


----------



## MelodicOne

Thank you!! Yes, we released a second album of my jazz compositions titled Frogs Playing Backgammon in 2013. It is not up on iTunes or amazon yet, but will be soon. Right now all of the tracks are on my youtube channel.

Here is my favorite one from the new album:


Beautiful piece Adam and guessing it is the lovely Newbury Street in Boston you are referring to(as i see you studied at Berklee). Brings back many wonderful memories... Thanks for sharing and hoping to hear more great tunes from you! :tiphat:


----------



## vincula

Trying to get this one right in my humble attempt of blowin' together with Lester on my baritone sax. I've listened to it many many many times. Almost there now, though not quite -won't ever be, I know, but he teaches me so much anyway, so I'll soldier on behind ya Prez :tiphat:!






Regards,

Vincula


----------



## starthrower

1965


----------



## Dan Ante

starthrower said:


> 1965


This brought back memories of my early days into jazz when I first found the George Shearing Quintet with Peggy Lee


----------



## starthrower




----------



## WNvXXT




----------



## Dan Ante

*The origina*l... ......................


----------



## Jay




----------



## SanAntone

New jazz suite by *Wynton Marsalis* will be released tomorrow, Jan. 15 - _The Democracy! Suite_









One track is available for streaming now - "Sloganize, Patronize, Realize, Revolutionize" (Black Lives Matters)











I really like his sextet recordings, and this one is above average.


----------



## Dorsetmike

Some Mel Powell with various others including Ruby Braff and Paul Quinichette, from the 1950s Vanguard series


----------



## WNvXXT




----------



## Luchesi




----------



## Dorsetmike

Getting back to the roots?


----------



## Jay




----------



## Jay

RIP


----------



## WNvXXT




----------



## Dorsetmike

George Chiisholm & Bert Weedon Honky tonk


----------



## Jay

RIP Milford Graves


----------



## Dorsetmike

Mel Powell, Easy swing, 1950s Vanguard series (Jimmy Buffington french horn solo about 2.40)


----------



## starthrower

Great sounding gig!


----------



## Barbebleu

Jay said:


> RIP Milford Graves


I didn't know that. Another sad loss. There's a very interesting documentary about him on Amazon Prime called Full Mantis. He was a real renaissance man.


----------



## jim prideaux

Thought ( after nearly 40 years) I understood the positive impact that Keith Jarrett could have on my head.......And then came across On Green Dolphin Street/Joyride from Blue Note recordings......one of the most uplifting, exuberant and lyrical pieces of music I have heard in years!.....Goodness me!


----------



## starthrower

Barbebleu said:


> I didn't know that. Another sad loss. There's a very interesting documentary about him on Amazon Prime called Full Mantis. He was a real renaissance man.


Thanks for the heads up, Barb! This looks cool.


----------



## jim prideaux

Charlie Haden and Sharon Freeman-Speak Low.

Evocative!


----------



## jim prideaux

Keith Jarrett-Staircase.


----------



## Jay




----------



## jim prideaux

Since buying an amazonia alexa thing and then upgrading my amazonia music account I have realised I can now access loads of stuff for little outlay ie Celibidache Stuttgart Brahms cycle.....However I am increasingly 'blown away' by Jarrett's Blue Note recordings. I do have a number of the Trio albums but this is in a different place.................Today's discovery is I fall love too easily which very quickly evolves into one of Jarrett's originals ( not sure of the title) but goodness me, so good!


----------



## Barbebleu

Charles Lloyd - Montreux 82. Rather good album from the revitalised Lloyd after his sabbatical. Petrucciani persuaded him to start playing and recording again.


----------



## Dorsetmike

Jan Akkerman at Viersen Jazz Festival 2001, "Streetwalker"


----------



## vincula

Going through the records of one of my favorite saxophonist today: Benny Golson.









Benny Golson, Charles Rouse and Lucky Thompson have in common their airy velvety -though powerful- sound and an incredible talent to navigate the changes with fluid phrases. Perhaps that's why they usually go under the radar. Golson was a hugely talented composer and arranger too. Listen to _Whisper not_ and _Stablemates_ alone and you'll see what I mean.

Regards,

Vincula


----------



## Jay




----------



## Dorsetmike

George Shearing with Toots Thielemans - the Man I love


----------



## Dan Ante

Dorsetmike said:


> George Shearing with Toots Thielemans - the Man I love


I think I was weaned on Shearing,and he still sounds great


----------



## starthrower

Amazing playing from Toots on that track! Love his guitar work and whistling too.


----------



## WNvXXT

Barbebleu said:


> ...There's a very interesting documentary about him on Amazon Prime called Full Mantis. He was a real renaissance man.


Added to my watchlist - thanks!



Dorsetmike said:


> George Shearing with Toots Thielemans - the Man I love


Looked up in allmusic and added the CD Cole Sings: Shearing Plays / Swingin's Mutual to my wishlist.


----------



## Captainnumber36

Dave Brubeck Trio & Gerry Mulligan - Live at the Berlin Philharmonie

So very good.


----------



## Captainnumber36

Captainnumber36 said:


> Dave Brubeck Trio & Gerry Mulligan - Live at the Berlin Philharmonie
> 
> So very good.


Have you heard it Barbeleu? I just picked up a copy from Half Price Books blind, as I usually do with Jazz/Classical. I have a lot of faith in certain performers/composers!


----------



## Barbebleu

Yes. I have it and have heard it. I actually bought my copy while in Berlin. It’s really a Dave Brubeck Quartet but with Mulligan instead of Desmond, Jack Six instead of Gene Wright and Alan Dawson instead of the mighty Joe Morello. I like it but then I’ve always been a big Brubeck fan. Gerry Mulligan I can take or leave because I’m not massively keen on the baritone sax. But he is never less than good on this album.


----------



## SanAntone

Barbebleu said:


> Yes. I have it and have heard it. I actually bought my copy while in Berlin. It's really a Dave Brubeck Quartet but with Mulligan instead of Desmond, Jack Six instead of Gene Wright and Alan Dawson instead of the mighty Joe Morello. I like it but then I've always been a big Brubeck fan. Gerry Mulligan I can take or leave because I'm not massively keen on the baritone sax. But he is never less than good on this album.


That is the late career Brubeck group. When I was in college, 1970s, and playing with the local symphony, a version of that group came and performed one of Brubeck's works for quartet and orchestra. But instead of Jack Six, Chris Brubeck his son, was playing bass.

I actually prefer Mulligan to Desmond.


----------



## Barbebleu

It wouldn't do if we all liked the same stuff! I love Desmonds light, fluid playing which suited the Brubeck Quartet to a T.

I've been listening to this album over the last couple of days. It's clearly a compilation but there are scant details for it on the net. I have it as a download. It's actually very good.

https://www.amazon.co.uk/gp/product/B08F3FNF9N/ref=dm_ws_sp_ps_dp


----------



## Barbebleu

SanAntone said:


> That is the late career Brubeck group. When I was in college, 1970s, and playing with the local symphony, a version of that group came and performed one of Brubeck's works for quartet and orchestra. But instead of Jack Six, Chris Brubeck his son, was playing bass.
> 
> I actually prefer Mulligan to Desmond.


I was having a think about the sax players I tend to listen to a lot and strangely they mostly seem to be alto players. Parker, Desmond, Ornette, Jimmy Lyons, James Spaulding, Jackie McLean, Cannonball, Johnny Hodges, Charles McPherson et al. I love tenor players too but I tend to gravitate to the alto sound.


----------



## SanAntone

Barbebleu said:


> I was having a think about the sax players I tend to listen to a lot and strangely they mostly seem to be alto players. Parker, Desmond, Ornette, Jimmy Lyons, James Spaulding, Jackie McLean, Cannonball, Johnny Hodges, Charles McPherson et al. I love tenor players too but I tend to gravitate to the alto sound.


James Spaulding is a name you don't hear mentioned a lot, the two albums he did with Wayne Shorter and really good.

I don't have a preference concerning the horn, I have my favorites on each one: bari, tenor, alto, soprano.


----------



## starthrower

Spaulding recorded several albums for the Muse label. I picked up three of them from Dusty Groove several years back. I tend to listen to more alto players than tenors. And I like all the multi reed players like Spaulding, Rivers, Dolohy, Nelson, Moody, Roland Kirk, etc. Bud Shank, Frank Strozier, Herb Geller, and Phil Woods are some of the other alto players I'm into. I used to listen to Kenny Garrett but for some reason I don't like his sound anymore.


----------



## Barbebleu

SanAntone said:


> James Spaulding is a name you don't hear mentioned a lot, the two albums he did with Wayne Shorter and really good.
> 
> I don't have a preference concerning the horn, I have my favorites on each one: bari, tenor, alto, soprano.


Spaulding is on an absolutely cracking Max Roach album - The Drum Also Waltzes.


----------



## starthrower

Early 60s album. Toots sticks to guitar and whistling.


----------



## Jay

Barbebleu said:


> I tend to gravitate to the alto sound.


----------



## Captainnumber36

Miles Davis - Birth of the Cool


----------



## SanAntone

*Lester Young with Count Basie*



> His eccentricities alone were earthshaking, from his love of porkpie hats to his skewed playing stance to his self-invented slang (from which we probably get the term "cool"). It's the music, though, that continues to resonate the most, much of it still as contemporary today as it was in the 1930s, when Young was at his peak.



View attachment 153645


This 4 volume set is a well-done collection of Young in the early Basie band. Along with the Decca set from the period just prior to these recordings, Lester Young and the Basie band offer some top notch jazz.


----------



## starthrower

I had no idea he died over 15 years ago. I was enjoying some concerts on YouTube last week.


----------



## SanAntone

My Jazz Mount Rushmore:

*Armstrong

Ellington

Lester Young

Monk*


----------



## WNvXXT

SanAntone said:


> My Jazz Mount Rushmore:
> *Lester Young*


Thanks! for that. ^


----------



## Barbebleu

SanAntone said:


> My Jazz Mount Rushmore:
> 
> *Armstrong
> 
> Ellington
> 
> Lester Young
> 
> Monk*


Mine would be 
Ornette
'Trane 
Miles
Monk

But I have no problem with your four. The only one of yours I saw live was Ellington when he brought a band to Glasgow back in the seventies. The only one of mine was Ornette when he visited Edinburgh I think in the nineties. My memory is not what it was.


----------



## SanAntone

Barbebleu said:


> Mine would be
> Ornette
> 'Trane
> Miles
> Monk
> 
> But I have no problem with your four. The only one of yours I saw live was Ellington when he brought a band to Glasgow back in the seventies. The only one of mine was Ornette when he visited Edinburgh I think in the nineties. My memory is not what it was.


I almost saw Ellington, had tickets to a sacred concert - but he died before the date. I did see Ornette, during the Song X tour, Carnegie Hall.


----------



## Barbebleu

SanAntone said:


> I almost saw Ellington, had tickets to a sacred concert - but he died before the date.


How inconsiderate of him!:lol:


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## starthrower

Was it the occasion of Duk'e 70th birthday for that celebration at Yale? I remember reading about it in Willie Ruff's superb autobiography, A Call To Assembly. Highly recommended if you haven't read it. I couldn't put it down. It's filled with so many amazing stories and experiences. Time for a re-read.


----------



## SanAntone

Miles Davis Meets Thelonious Monk






Miles Davis - trumpet
Milt Jackson - vibraphone
Thelonious Monk - piano 
Percy Heath - bass
Kenny Clarke - drums


----------



## SanAntone

starthrower said:


> Was it the occasion of Duk'e 70th birthday for that celebration at Yale? I remember reading about it in Willie Ruff's superb autobiography, A Call To Assembly. Highly recommended if you haven't read it. I couldn't put it down. It's filled with so many amazing stories and experiences. Time for a re-read.


No, it was a sacred concert to be performed in Dallas, TX which was about 180 miles from my home in Shreveport, LA.


----------



## Dan Ante

SanAntone said:


> Miles Davis Meets Thelonious Monk
> 
> 
> 
> 
> 
> 
> Miles Davis - trumpet
> Milt Jackson - vibraphone
> Thelonious Monk - piano
> Percy Heath - bass
> Kenny Clarke - drums


Fantastic jazz and a superb line up, The good old days


----------



## SanAntone

Stan Getz - The Cool Sound of Stan Getz






Original Album Produced By Norman Granz 
Recorded August 26th, 1958, Stockholm, Sweden 
Originally Released On Verve Records (MGV-8331)

Personnel: 
Stan Getz - Tenor Saxophone 
Erik Nordstrom - Tenor Saxophone 
Bjarne Nerem - Tenor Saxophone 
Benny Bailey - Trumpet 
Ake Persson - Trombone 
Lars Gullin - Bars 
Bengt Hallberg - Piano 
Gunnar Johnson - Bass 
William Schiopffe - Drums


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## SanAntone

Bill Evans - Moon Beams (1962 Album)






Personnel: Bill Evans (p) Chuck Israels (b) Paul Motian (dr)
Released: Mid December 1962
Recorded: May 17, 1962 (#5,9) May 29, 1962 (#1, 8) June 2, 1962 (#2-4, 6-7) June 5, 1962 (#10-11)
Label: Riverside RLP-428
Producer: Orrin Keepnews


----------



## fluteman

SanAntone said:


> I almost saw Ellington, had tickets to a sacred concert - but he died before the date. I did see Ornette, during the Song X tour, Carnegie Hall.


I can't compete with you guys, but I did see Dave Brubeck live, and Chick Corea, and a few other well known jazzers, but my favorite live performance was "little" Jimmy Scott. He was a revelation. This was when he was touring and promoting his Mood Indigo album. I saw him again a few years later, but by that time he definitely was slowing down and had to sit on a stool. Still great. One of the sidemen that second time was a friend of a friend and I got to go backstage and chat with him afterwards, though not with Mr. Scott. Still a memorable evening.


----------



## Jay

Dan Ante said:


> Fantastic jazz and a superb line up, The good old days


The famous "Bag's Groove" date; Miles was less than thrilled with Monk.


----------



## SanAntone

*The Lost Septet*
Miles Davis






Miles Davis - trumpet
Gary Bartz - soprano & alto sax
Keith Jarrett - electric piano, organ
Michael Henderson - electric bass
Ndugu Leon Chancler - drums
Charles Don Alias - percussion
James Mtume Foreman - percussion


----------



## mikeh375

fluteman said:


> I can't compete with you guys, but I did see Dave Brubeck live, and Chick Corea, and a few other well known jazzers, but my favorite live performance was "little" Jimmy Scott. He was a revelation. This was when he was touring and promoting his Mood Indigo album. I saw him again a few years later, but by that time he definitely was slowing down and had to sit on a stool. Still great. One of the sidemen that second time was a friend of a friend and I got to go backstage and chat with him afterwards, though not with Mr. Scott. Still a memorable evening.


I got to see Oscar Peterson with Pederson on bass and Belson on drums.
I'll never forget their rendition of 'That 'Ol' Black Magic'. In the middle of the song on an offbeat (at an absurdly fast tempo), Peterson and Pederson suddenly stopped and walked off stage leaving Belson to an imaginative 10 minute solo that kept up the frantic tempo, he even played a few tunes by using an elbow to tune the skins whilst playing! Eventually they casually walked back on stage and with a nod from Peterson literally picked up from where they left off from the same syncopated place....bloody marvellous.


----------



## WNvXXT

SanAntone said:


> Bill Evans - Moon Beams (1962 Album)
> 
> 
> 
> 
> 
> 
> Personnel: Bill Evans (p) Chuck Israels (b) Paul Motian (dr)
> Released: Mid December 1962
> Recorded: May 17, 1962 (#5,9) May 29, 1962 (#1, 8) June 2, 1962 (#2-4, 6-7) June 5, 1962 (#10-11)
> Label: Riverside RLP-428
> Producer: Orrin Keepnews


----------



## Faramundo

What great record, really !


----------



## Jay




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## Faramundo

Almost too marvellous for words !


----------



## WNvXXT




----------



## SanAntone

*Dewey Redman* & *Ed Blackwell* - _Red and Black in Willisau_


----------



## Jay

....featuring the criminally-neglected Hassan Ibn Ali on piano


----------



## SanAntone

"In an essay linking the slave dances in Congo Square to the development of brass band parades, Samuel Floyd locates "all of the defining elements of black music" in the ring shout, including "call-and-response devices; additive rhythms and polyrhythms;… timbral distortions of various kinds; musical individuality within collectivity;… and the metronomic foundational pulse that underlies all Afro-American music."

- _Roll With It: Brass Bands in the Streets of New Orleans_ (Refiguring American Music) by Matt Sakakeeny

Slaves gathering in Congo Square was banned in 1840.

The next historical event that helped create jazz was the Plessy vs Ferguson 1896 U.S. Supreme Court decision that upheld the constitutionality of racial segregation under the "separate but equal" doctrine, instituting the system of institutionalized discrimination called Jim Crow. In practical terms what this did was classify Creoles as Black, changing overnight a social hierarchy which had been in place for more than two centuries.

For decades Creoles ("free persons of color") had been educated in European classical music, and when they were forced to socialize and join bands previously made up of African Americans, the blending of the African, European and Spanish styles developed into jazz.


----------



## norman bates

Jay said:


> ....featuring the criminally-neglected Hassan Ibn Ali on piano


that album is great. It's so sad that we have just that recording, amazing pianist. The sad thing is that we don't even know how many brilliant obscure figures like him there are or were. I remember reading interviews of pianists like Andrew Hill, Denny Zeitlin (who's quite overlooked himself), Herbie Hancock talking about a lot of pianists just in Chicago that were phenomenal and ahead of their time, and there's basically nothing that we can listen.


----------



## Jay

SanAntone said:


> The next historical event that helped create jazz was the Plessy vs Ferguson 1896 U.S. Supreme Court decision that upheld the constitutionality of racial segregation under the "separate but equal" doctrine, instituting the system of institutionalized discrimination called Jim Crow. In practical terms what this did was classify Creoles as Black, changing overnight a social hierarchy which had been in place for more than two centuries.
> 
> For decades Creoles ("free persons of color") had been educated in European classical music, and when they were forced to socialize and join bands previously made up of African Americans, the blending of the African, European and Spanish styles developed into jazz.


This is the accepted jazz creation myth, promulgated originally by Alan Lomax, followed by Sam Charters and others. But, Charters got it wrong in citing a Louisiana Legislative Code that, while it did mandate separate train cars for black & white passengers, it did _not_ mandate residential segregation. Furthermore, the Jim Crow laws passed in the 1890s were not systematically enforced until WWI, by which time jazz had already developed.

But, while racial discrimination was a factor in the blending of Creole and black musical styles, the "uptown/downtown" theory is over-determined for ignoring the general popularity of the new "hot" music with audiences, and musicians--black or Creole--who couldn't or wouldn't play it were at a competitive disadvantage.



norman bates said:


> that album is great. It's so sad that we have just that recording,


----------



## norman bates

wow, that's great news, and basically it was released a month ago! Thank you Jay


----------



## SanAntone

Jay said:


> This is the accepted jazz creation myth, promulgated originally by Alan Lomax, followed by Sam Charters and others. But, Charters got it wrong in citing a Louisiana Legislative Code that, while it did mandate separate train cars for black & white passengers, it did _not_ mandate residential segregation. Furthermore, the Jim Crow laws passed in the 1890s were not systematically enforced until WWI, by which time jazz had already developed.
> 
> But, while racial discrimination was a factor in the blending of Creole and black musical styles, the "uptown/downtown" theory is over-determined for ignoring the general popularity of the new "hot" music with audiences, and musicians--black or Creole--who couldn't or wouldn't play it were at a competitive disadvantage.


I did I say anything about residential segregation, although it is true that Creole neighborhoods and Black neighborhoods were in different areas of New Orleans, but not because of official segregation. The Creoles were long established before the Black population arrived, and housing developed differently as a result.

It is no myth that Creoles were a much older demographic group in New Orleans, dating back to the 17th century and had a starkly different culture than the Black population which by and large came from rural areas from the surrounding plantations to New Orleans about 200 years later, the earliest from around the time of Reconstruction. The Creoles were literate, received music lessons and studied, played and emulated European culture and classical music.

Whereas the Black musicians were by and large illiterate, did not read music, and played vernacular forms of Tin Pan Alley tunes, blues, a crude kind of Ragtime or Cakewalks, and a version of brass band music which they learned by ear and "ragged" or later "jazzed".

After Plessy, the Creoles were classified as Black, because of the Jim Crow "one drop rule". I know this for a fact, coming from Louisiana and having first hand knowledge. It is also no myth that after this new classification, Creoles and Blacks began playing in bands together more than that they had ever done in the past.

The kind of revisionist history you are putting forward seems appears to be a backlash against Albert Murray, Wynton Marsalis and Stanley Crouch - which is a myth of itself.


----------



## Jay

> wow, that's great news


Just ordered it!


----------



## SanAntone

Wooden Joe Nicholas - All The Whores (go crazy 'bout the way I ride)


----------



## Bwv 1080

SanAntone said:


> I did I say anything about residential segregation, although it is true that Creole neighborhoods and Black neighborhoods were in different areas of New Orleans, but not because of official segregation. The Creoles were long established before the Black population arrived, and housing developed differently as a result.
> 
> It is no myth that Creoles were a much older demographic group in New Orleans, dating back to the 17th century and had a starkly different culture than the Black population which by and large came from rural areas from the surrounding plantations to New Orleans about 200 years later, the earliest from around the time of Reconstruction. The Creoles were literate, received music lessons and studied, played and emulated European culture and classical music.
> 
> Whereas the Black musicians were by and large illiterate, did not read music, and played vernacular forms of Tin Pan Alley tunes, blues, a crude kind of Ragtime or Cakewalks, and a version of brass band music which they learned by ear and "ragged" or later "jazzed".
> 
> After Plessy, the Creoles were classified as Black, because of the Jim Crow "one drop rule". I know this for a fact, coming from Louisiana and having first hand knowledge. It is also no myth that after this new classification, Creoles and Blacks began playing in bands together more than that they had ever done in the past.
> 
> The kind of revisionist history you are putting forward seems appears to be a backlash against Albert Murray, Wynton Marsalis and Stanley Crouch - which is a myth of itself.


The other aspect that gets ignored is the Caribbean ties of New Orleans and the clave present in early Jazz, ragtime and country. This clave comprises what just commonly gets called syncopation. Syncopation is a European term misapplied to African music as it refers to suspending expectations of traditional European meters, whereas African music has no meter, just polyrhythms over a set cycle (like the 2 bars of the traditional son clave)

https://wayneandwax.com/?p=9638






https://online.ucpress.edu/jpms/art...time-CountryRhythmically-Recovering-Country-s


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## Faramundo

Unforgettable genius


----------



## Jay




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## SanAntone

Freddie Keppard's Jazz Cardinals - Salty Dog Blues






Recorded in Chicago on July 26th 1926 featuring Papa Charlie Jackson (banjo & vocals), *Freddie Keppard* (cornet), Eddie Vincent (trombone), *Johnny Dodds* (clarinet), Arthur Campbell (piano), and Jasper Taylor (wood blocks).


----------



## jim prideaux

working with ear bud things stuck in my head......

listening to various tracks from Jarrett's Live at the Blue Note recordings.......

giving me a similar lift to Harnoncourts COE recordings of the early Schubert symphonies.


----------



## SanAntone

*Tchavolo Schmitt *- _Live In Paris_

View attachment 154668







Gypsy Jazz or Jazz Manouche is a subset of Jazz with the most famous exponent being Django Reinhardt. But there has been a revival ongoing for two decades at least.


----------



## starthrower

1963

I had never heard of this album before I spotted it in a local used bin yesterday. The music is lovely but unfortunately Webster's beautiful tenor sound is marred by a silly echo effect. Something I wouldn't expect from a label like Riverside.


----------



## Jay




----------



## SanAntone

*Careless Love / Bunk Johnson's Band*






Bunk Johnson(tp) Jim Robinson(tb) George Lewis(cl) Lawrence Marrero(bj) Alcide "Slow Drag" Pavageau(b) Baby Dodds(d)
San Jacinto Hall, New Orleans, 
Wednesday, August 2, 1944


----------



## Dan Ante

SanAntone said:


> *Careless Love / Bunk Johnson's Band*
> 
> 
> 
> 
> 
> 
> Bunk Johnson(tp) Jim Robinson(tb) George Lewis(cl) Lawrence Marrero(bj) Alcide "Slow Drag" Pavageau(b) Baby Dodds(d)
> San Jacinto Hall, New Orleans,
> Wednesday, August 2, 1944


This takes me back to the late 50s, great stuff.


----------



## SanAntone

*Gary Bartz* - _I've Known Rivers_






Recorded in performance at the Montreux Jazz Festival; July 7, 1973.

Gary Bartz (Alto Saxophone, Soprano Saxophone, Vocals)
Hubert Eaves (Piano, Electric Piano)
Stafford James (Bass, Electric Bass)
Howard King (Drums)


----------



## starthrower

^^^
Great album except for Gary's singing. Andy Bey sang a number of those tunes on the studio versions.


----------



## SanAntone

Listening to Charlie Parker - there is no jazz artist that trumps Bird.

*The Savoy 10-inch LP Collection *

View attachment 154882


----------



## Jay




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## SanAntone

*ron carter & jim hall | telepathy*


----------



## Bwv 1080




----------



## Jay




----------



## Shaughnessy

Ironically even more relevant now than then...


----------



## Jay




----------



## Shaughnessy

The Complete Blue Note Andrew Hill Sessions (1963-66)

7 CD Box Set






Track One - Disc One


----------



## SanAntone

Sunburst Finish said:


> View attachment 155235
> 
> 
> The Complete Blue Note Andrew Hill Sessions (1963-66)
> 
> 7 CD Box Set
> 
> 
> 
> 
> 
> 
> Track One - Disc One


Great stuff! *Andrew Hill* is a phenomenal composer and pianist, and a favorite of mine for decades. I have that box as well as the Mosaic Select 3CD set - both mandatory IMO.


----------



## Barbebleu

Mahavishnu Orchestra - Live at the Berkeley Community Theatre, 9 November 1972. Spectacular stuff from the classic lineup. Part of the ‘ Inner Mounting Flame’ tour.


----------



## Shaughnessy

Barbebleu said:


> Mahavishnu Orchestra - Live at the Berkeley Community Theatre, 9 November 1972. Spectacular stuff from the classic lineup. Part of the ' Inner Mounting Flame' tour.


----------



## Shaughnessy

*The Complete Blue Note Andrew Hill Sessions (1963-66)

7 CD Box Set*






Smoke Stack is a studio album by American jazz pianist Andrew Hill, recorded in 1963 and released in 1966 on Blue Note Records. It was his second recording as leader on the label. "Ode to Von" is dedicated to saxophonist Von Freeman, whilst "Verne" is dedicated to Hill's first wife, Laverne Gillette. 30 Pier Ave. is the address of The Lighthouse, a jazz club in Hermosa Beach, CA. The album is notable for its use of two basses playing simultaneously.


----------



## Barbebleu

Smokestack was the first Andrew Hill album I ever heard and bought. Stunning music that set me on the path of listening to everything he did.


----------



## Barbebleu

Mahavishnu Orchestra - the Music Hall, Cleveland, 21 April 1972. Another stunning gig from the Inner Mounting Flame tour. They were really cooking on this one.


----------



## SanAntone

Barbebleu said:


> Smokestack was the first Andrew Hill album I ever heard and bought. Stunning music that set me on the path of listening to everything he did.


_Point of Departure_ is my favorite, that one along with _Judgment! _and _Black Fire_ were the first three AH LPs I heard and based on those, I got all the Blue Note records from the 60s. I really loved his time and melodies, also he always had a great band. It took me longer to warm to his 70s albums. His late career records were a return to form, but for me the best stuff are those BN records.


----------



## Barbebleu

SanAntone said:


> _Point of Departure_ is my favorite, that one along with _Judgment! _and _Black Fire_ were the first three AH LPs I heard and based on those, I got all the Blue Note records from the 60s. I really loved his time and melodies, also he always had a great band. It took me longer to warm to his 70s albums. His late career records were a return to form, but for me the best stuff are those BN records.


I heartily concur. Blue Note from the mid fifties to the very early seventies was practically untouchable in its output of sensational albums by a myriad of great artists.


----------



## SanAntone

"The Sound of Jazz" is a 1957 edition of the CBS television series Seven Lively Arts, and was one of the first major programs featuring jazz to air on American network television.






Overview
The one-hour program aired on Sunday, December 8, 1957, at 5 p.m. Eastern Time, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City. The show was hosted by New York Herald-Tribune media critic John Crosby, directed by Jack Smight, and produced by Robert Herridge. Jazz writers Nat Hentoff and Whitney Balliett were the primary music consultants.

The Sound of Jazz brought together 32 leading musicians from the swing era including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry "Red" Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots (see the song list below), but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on "Fine and Mellow".

The show's performance of "Fine and Mellow" reunited Billie Holiday with her estranged long-time friend Lester Young for the final time. Jazz critic Nat Hentoff, who was involved in the show, recalled that during rehearsals, they kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday.

During the performance of "Fine and Mellow", Webster played the first solo. "Then", Hentoff remembered:

Lester got up, and he played the purest blues I have ever heard, and (he and Holiday) were looking at each other, their eyes were sort of interlocked, and she was sort of nodding and half-smiling. It was as if they were both remembering what had been-whatever that was. And in the control room we were all crying. When the show was over, they went their separate ways.

Within two years, both Young and Holiday had died.


----------



## Jay




----------



## Jay

R.I.P


----------



## 89Koechel

Great, SanAntone ... and I think the late The New Yorker critic - Whitney Balliett - was at least partly-responsible for putting this broadcast together, in the first place. Yep, Billie termed Lester Young - "Prez" (as in President, an allusion to President Franklin Roosevelt) ... as Lester was her favorite accompanist (along, maybe, with Teddy Wilson, of course.) Even though Lester had slowed down by this time (for different reasons) his lyricism was still intact.


----------



## SanAntone

*wynton marsalis | blood on the fields*






_Blood on the Fields_ is a two-and-a-half-hour jazz oratorio, by *Wynton Marsalis*. It was commissioned by Lincoln Center and treats the history of slavery and its aftermath in the United States of America. The oratorio tells the story of two slaves, Jesse and Leona, as they traverse the difficult journey to freedom. The narrative suggests that the individual freedom and agency of its protagonists is necessarily and inextricably intertwined with the empowerment of the community and nation as a whole. The work received the 1997 Pulitzer Prize for Music, being the first time the prize was ever given for a jazz music composition, an honor that had previously been reserved for classical composers.


----------



## juliante

SanAntone said:


> *wynton marsalis | blood on the fields*
> 
> 
> 
> 
> 
> 
> _Blood on the Fields_ is a two-and-a-half-hour jazz oratorio, by *Wynton Marsalis*. It was commissioned by Lincoln Center and treats the history of slavery and its aftermath in the United States of America. The oratorio tells the story of two slaves, Jesse and Leona, as they traverse the difficult journey to freedom. The narrative suggests that the individual freedom and agency of its protagonists is necessarily and inextricably intertwined with the empowerment of the community and nation as a whole. The work received the 1997 Pulitzer Prize for Music, being the first time the prize was ever given for a jazz music composition, an honor that had previously been reserved for classical composers.


Do you like it?


----------



## SanAntone

juliante said:


> Do you like it?


Yes, very much. I wouldn't post it if I didn't.


----------



## vincula

Spinnin' this great Monk vinyl right now









Regards,

Vincula


----------



## julide

I had an amazing time listening to bitches brew...on to live-evil and dark magus. Whats your favorite miles albums?


----------



## SanAntone

julide said:


> I had an amazing time listening to bitches brew...on to live-evil and dark magus. Whats your favorite miles albums?


Those are all good, but from his electric period. During his career Miles was at the forefront of several major Jazz styles. His quintet with John Coltrane from 1955-1957 is one of his great bands; then his quintet from 1965-1968 with Wayne Shorter is another great band.

His orchestral records with Gil Evans, Porgy & Bess, Sketches of Spain and Miles Ahead show a different side of his playing and are extremely well done.

Just prior to the albums you've already listened to he made some early electric stuff, Miles in the Sky, Filles de Kilimanjaro, Jack Johnson, In a Silent Way, and one of my favorites, On the Corner.

This isn't everything, but for me the highlights.


----------



## Jay




----------



## julide

Any fans of dave holland.... i love conference of the birds and the live at birdland... i love how bouncy and fun their playing is


----------



## Jay




----------



## Jay

R.I.P Mark Whitecage (alto):


----------



## SanAntone

julide said:


> Any fans of dave holland.... i love conference of the birds and the live at birdland... i love how bouncy and fun their playing is


Big fan, here. He first made his name as a member of Miles Davis's bands from 1968-1970 - but the groups he has led are his real legacy. If you are interested, the Wiki article gives an excellent overview of his career and importance.


----------



## Barbebleu

julide said:


> Any fans of dave holland.... i love conference of the birds and the live at birdland... i love how bouncy and fun their playing is


His solo albums are excellent, in particular Emerald Tears and Life Cycle.


----------



## SanAntone

_Sonny Rollins and the Big Brass_ is an album by jazz saxophonist *Sonny Rollins*, recorded for the MetroJazz label, later reissued on Verve Records as Sonny Rollins/Brass - Sonny Rollins/Trio.

One side of the original LP featured performances by Rollins with a big band including *Nat Adderley*, *Reunald Jones*, *Ernie Royal*, *Clark Terry*, *Billy Byers*, *Jimmy Cleveland*, *Frank Rehak*, *Don Butterfield*, *Dick Katz*, *René Thomas* and *Roy Haynes*, which was conducted by *Ernie Wilkins *and the other side had three tracks by Rollins with *Henry Grimes* and *Specs Wright* and an unaccompanied solo performance.

View attachment 155491


Sonny Rollins is probably my favorite tenor sax player.


----------



## WNvXXT




----------



## Portamento

*Max Roach / Anthony Braxton: One in Two - Two in One [1979]*






I love this album; it barely lets up. Both are on top form here. Really makes me appreciate how much of a versatile and progressive artist Max Roach was. Imagine being able to sound equally at home with Coleman Hawkins as you are with Anthony Braxton. If I had to provide a rating at gunpoint, it'd be a solid 9/10. Give it a listen if you're open to this kind of stuff.


----------



## WNvXXT




----------



## Jay




----------



## Gargamel

Is there a section in this thread where people discuss their favorite jazz standard composers? Being a former jazz hater, I've found exploring songs by the same composer more appealing than listening to songs by the same ensemble or performer.


----------



## SanAntone

IMO four of the best Jazz composers are:

*Duke Ellington* - 
Sophisticated Lady
Come Sunday
Prelude to a Kiss
Mood Indigo
In a Sentimental Mood

*Thelonious Monk* - 
'Round Midnigh
Ruby, My Dear
Crepuscule with Nellie
Pannonica

*Charles Mingus* - 
Goodbye Pork Pie Hat
Better Git Hit In Your Soul
Self-Portrait in Three Colors
My Jelly Roll Soul

*Wayne Shorter* - 
Speak No Evil
Virgo
Tom Thumb
Footprints

They write more than good "heads" for blowing, although their songs are good vehicles for soloing - they have formal, harmonic and melodic intricacies.


----------



## starthrower




----------



## norman bates

Gargamel said:


> Is there a section in this thread where people discuss their favorite jazz standard composers? Being a former jazz hater, I've found exploring songs by the same composer more appealing than listening to songs by the same ensemble or performer.


my personal top five would be:

Wayne Shorter
Andrew Hill
Herbie Nichols
Duke Ellington
Billy Strayhorn

Thelonious Monk and Mingus are absolutely essential too. Other favorites are Horace Silver, Mary Lou Williams, Dizzy Gillespie, Carla Bley, Don Grolnick, Grachan Moncur, Sun Ra, George Russell. I think that Booker Little and Eric Dolphy had a lot of potential (their last few albums are a good demonstration of that). There are actually also a lot of writers of standards that weren't actually jazz musicians: the composers of the Great american songbook (Gerswhin, Richard Rodgers, Vernon Duke, Hoagy Carmichael, Jerome Kern and many others) or guys like Bronislaw Kaper, Earl Zindars. Even some jazz critic like Leonard Feather wrote some really interesting tunes ("Midnight on cloud 69" comes to mind)

Adding to the tunes listed by SanAntone:

Shorter
Footprints
Sanctuary
Dear Sir
Teru
Iris
This is for Albert
Night dreamer
Dance Cadaverous (basically all the tunes from Speak no Evil)
Mahjong
Pinocchio
Nefertiti
Albatross
Ana Maria
Night dreamer
Black Nile
Sidney
Penelope
Prince of Darkness
ESP
Fall
Midnight in Carlotta's hair
Three Marias
On a Milky Way express
Rio
Children of the night

Andrew Hill
New Monastery
Subterfuge
Simmetry
Black Monday
Flea Flop
Oriba
Awake
Ode to infinity
Judgment
Le serpent qui danse
Nicodemus
Reconciliation
Land of nod
Refuge
Premonition
Griots
Pumpkin
Alfred
Cantarnos
Tired Trade
McNeil Island
Illusion

Herbie Nichols
a change of season
strange city
the bebop waltz
sunday strolling
house parting starting
my first date with you
idh
bartok
the spinning song
infatuation eyes
delight

Ellington
Warm Valley
Fleurette Africaine
Blue Light
Cafe au lait
On a turquoise cloud
Daybreak express
The single petal of a rose
Le sucrier velour
Air conditioned jungle
Self portrait of the bean

Strayhorn
Daydream (check out the version of Johnny Hodges)
Blood count
Chelsea Bridge
Star crossed lovers
Hearsay
Lush life
Isfahan
UMMG
Lotus Blossom
Johnny Come Lately
Rain Check
(he's also the guy who wrote Take the A train, which is not one of my favorites but even if you hated, seriously, it's a very good and interesting tune)

Thelonious Monk
Light blue
Evidence
trinkle tinkle
Humph
Monk's dream
Rhythm-a-ning
Well you needn't
Hackensack
(but if you like those above, there's a good chance you will like all his 80 compositions)

Mingus
fables of faubus
goodbye pork pie hat
this subdues my passion
Duke Ellington's sound of love
profile of jackie
vasserlean
moods in mambo
far wells, mill valley
half-mast inibition

mary lou williams
ghost of love
what's your story morning glory
cancer (especially the version with ben webster)
roll em
tisherhome
cloudy
in the land of ooh bla dee

Horace Silver
Shirl
Senor Blues
Nutville
Silver's serenade
Peace
Ecaroh

Sun Ra
Friendly Galaxy
Lights on a satellite
Saturn
Tiny Pyramids
Lady with golden stockings
Ancient Aiethopia

Don Grolnick
Pools
Nothing personal
Persimmons

Carla Bley
Jesus Maria
Vashkar
Beast blues

Grachan Moncur
Love and hate
Blue free
Air raid
Ghost town

other musicians who wrote great tunes: Bill Evans, Joe Henderson, Benny Golsom, Gigi Gryce, Tadd Dameron, Cal Massey, Henry Threadgill, Muhal Richard Abrams, Freddie Redd, Cedar Walton, Ornette Coleman, Bud Powell, Django Reinhardt, Coltrane, John Lewis, Clare Fischer, Denzil Best, Mulgrew Miller, Ralph Burns, Jimmy Rowles, Anthony Braxton, Anthony Davis, Pat Metheny, Tim Berne... the list could be long.


----------



## WNvXXT

*Lee Morgan*

Search For The New Land 
Cornbread
The Sidewinder

*Stan Getz & Charlie Byrd*

Jazz Samba

*Zoot Sims and the Gershwin Brothers* *

*Cannonball Adderley*

Somethin' Else **

*Art Blakey & The Jazz Messengers*

Just Coolin'
A Night At Birdland, Volume 2
Moanin' *
Caravan

*Charles Mingus*

Pithecanthropus Erectus *

The Quintet - Jazz at Massey Hall 1953

* essential


----------



## starthrower

Mingus: East Coasting with Bill Evans, Shafi Hadi, Jimmy Knepper, Clarence Shaw, Dannie Richmond
1957

BTW, next month Rhino is releasing a deluxe edition of Mingus at Carnegie Hall with 80 minutes of addition material.


----------



## starthrower

Sun Ra's Enlightenment certainly deserves to be listed among his great compositions. The recording and performance on Jazz In Silhouette is a masterpiece, imo.


----------



## SanAntone

starthrower said:


> Sun Ra's Enlightenment certainly deserves to be listed among his great compositions. The recording and performance on Jazz In Silhouette is a masterpiece, imo.


I've never gotten into Sun Ra. The costumes and space mythology seemed like BS. IMO, if the music was the thing, then why all the window dressing?


----------



## starthrower

Maybe you should listen to some of it? As far as the bands' attire is concerned, it's a lot more attractive than a bunch of guys in business suits? You do realize Sun Ra spent his life and career celebrating the heritage and culture of his African ancestors and what they contributed to the world? Should they have performed in Brooks Brothers suits purchased from white store owners?


----------



## SanAntone

starthrower said:


> Maybe you should listen to some of it? As far as the bands' attire is concerned, it's a lot more attractive than a bunch of guys in business suits? You do realize Sun Ra spent his life and career celebrating the heritage and culture of his African ancestors and what they contributed to the world? Should they have performed in Brooks Brothers suits purchased from white store owners?


It worked for the Modern Jazz Quartet.

According to Wikipedia "Sun Ra" was born Herman Blount on May 22, 1914, in Birmingham, Alabama, and he claimed to have visited Saturn. Wearing a dashiki was popular during the 60s and 70s, he was not the only one, but he was unique in that he incorporated "extraterrestriality in his stage show, sometimes playing regular cocktail lounges dressed in space suits and ancient Egyptian regalia."

As I said, I get a strong whiff of gimmicktry.


----------



## starthrower

Good for the MJQ. I enjoy their music on records but watching them is a snooze fest. Sun Ra did something different. He was a completely autonomous black bandleader with his own record label starting in the 1950s. He was way ahead of the pack.


----------



## Dorsetmike

Golden oldie time


----------



## SanAntone

starthrower said:


> Good for the MJQ. I enjoy their music on records but watching them is a snooze fest. Sun Ra did something different. He was a completely autonomous black bandleader with his own record label starting in the 1950s. He was way ahead of the pack.


I am glad you enjoy his music.


----------



## starthrower

SanAntone said:


> I am glad you enjoy his music.


I think you would too. Especially some of the early records. Unfortunately, all of the bootleg labels have made his discography very confusing for new fans. I started with the legit re-issues on the Evidence label. Jazz In Silhouette, Super Sonic Jazz, and Futuristic Sounds on Savoy.


----------



## Barbebleu

I don’t think John Gilmore would have worked with him if he was a charlatan.


----------



## norman bates

Barbebleu said:


> I don't think John Gilmore would have worked with him if he was a charlatan.


just because you mentioned him, a fantastic blues with a great solo of Gilmore


----------



## SanAntone

Barbebleu said:


> I don't think John Gilmore would have worked with him if he was a charlatan.


I never said he was a charlatan. I find all the extra-musical stuff a distraction, and for me, it compromises his credibility. There are so many other great Jazz musicians who are just about the music, that I feel no need to involve myself with his cheesy shtick.


----------



## starthrower

Why does wearing traditional African garb and having a bit of fun onstage compromise his credibility? And what exactly is Sun Ra's schtick? Encouraging people to be true to themselves and not conform is the right message as far as I'm concerned? What about Miles with his clothes and big shades? Was he compromising his credibility? And his chip on the shoulder attitude and aloofness act?


----------



## SanAntone

starthrower said:


> Why does wearing traditional African garb compromise his credibility? And what exactly is Sun Ra's schtick? Encouraging people to be true to themselves and not conform is the right message as far as I'm concerned? What about Miles with his clothes and big shades? Was he compromising his credibility? And his chip on the shoulder attitude and aloofness act?


The whole space thing. If you don't have a problem with this ridiculous mythology he created about himself, okay. But don't act like others, e.g. Miles Davis, did anything remotely similar.



> Sun Ra soon left college because, he claimed, he had a visionary experience as a college student that had a major, long-term influence on him. In 1936 or 1937, in the midst of deep religious concentration, Sun Ra claimed that a bright light appeared around him, and, as he later said:
> 
> My whole body changed into something else. I could see through myself. And I went up... I wasn't in human form... I landed on a planet that I identified as Saturn... they teleported me and I was down on [a] stage with them. They wanted to talk with me. They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop [attending college] because there was going to be great trouble in schools... the world was going into complete chaos... I would speak [through music], and the world would listen. That's what they told me.[16]
> 
> Sun Ra said that this experience occurred in 1936 or 1937. According to Szwed, the musician's closest associates cannot date the story any earlier than 1952. (Sun Ra also said that the incident happened when he was living in Chicago, where he did not settle until the late 1940s). Sun Ra discussed the vision, with no substantive variation, to the end of his life. His trip to Saturn allegedly occurred a full decade before flying saucers entered public consciousness with the 1947 encounter of Kenneth Arnold. It was earlier than other public accounts: about 15 years before George Adamski wrote about contact with benevolent beings; and almost 20 years before the 1961 case of Barney and Betty Hill, who recounted sinister UFO abductions. Szwed says that, "even if this story is revisionist autobiography... Sonny was pulling together several strains of his life. He was both prophesizing his future and explaining his past with a single act of personal mythology."


Do you expect everyone to be a fan? I won't because I find this kind of extra-musical clap-trap hokem, side-show stuff, just silly.

I'm done.


----------



## starthrower

The music is really all that matters. And Sun Ra wrote a lot of good stuff. Miles dug him too. He used to go hear the band when he came through Chicago in the 50s. And Sonny may as well come from outer space because being a black citizen in America didn't help any. Just ask Miles. He got beat on the head by a cop at his own gig.


----------



## norman bates

SanAntone said:


> The whole space thing. If you don't have a problem with this ridiculous mythology he created about himself, okay. But don't act like others, e.g. Miles Davis, did anything remotely similar.


talking of mythology I'm tempted to talk about religion and all those artists in the history of humanity (and in jazz too) who made great art about imaginary beings. Someone (myself included) would consider that silly too, but that doesn't deny the greatness of a lot of that art. 
Not to mention crazy figures like Scriabin or Stockhausen (born on Sirius according to him).
Yes, it's not difficult to see that his mythology that seems to come out from a sci fi b-movie is quite ridiculous (even if I'm not sure if that should be taken literally) , but at the end of the day on the album there's music and not crazy costumes. Ok, here and there there are lyrics about those themes, but there's mostly music.


----------



## starthrower

SanAntone said:


> The whole space thing. If you don't have a problem with this ridiculous mythology he created about himself, okay. But don't act like others, e.g. Miles Davis, did anything remotely similar.
> 
> Do you expect everyone to be a fan? I won't because I find this kind of extra-musical clap-trap hokem, side-show stuff, just silly.
> 
> I'm done.


No, but I wouldn't expect non fans to come to that conclusion based on non musical aspects.


----------



## norman bates

starthrower said:


> And Sonny may as well come from outer space because being a black citizen in America didn't help any.


yes, I read all his mythology the same way. He was black in a racist world, and he was probably homosexual too. The fact that he felt that discrimination is really apparent in his lyrics.
I'm not sure about Miles liking him, are you sure? I remember a blindfold test where he wasn't exactly kind with a track of Sun Ra (it must be said, his discography is very uneven, which is not too strange for someone who produced so much music)


----------



## Jay

...with John Hicks!


----------



## WNvXXT




----------



## SanAntone

*charlie parker | complete savoy & dial master takes*

View attachment 155643


Afer the Louis Armstrong Hot Five and Seven Complete Recordings, these Savoy and Dial sessions are the next great Jazz collection. But that would leave out the Basie Decca and Vocalian sides with Lester Young. And of course Ellington and Jelly Roll Morton.

So, I'd say here's the beginning of the Jazz "canon":

Jelly Roll Morton & His Hot Chili Peppers (the chronological recordings)
Armstrong Hot Five and Seven Sessions
Duke Ellington Blanton-Webster Band
Count Basie Decca and Columbia/Vocalian Recordings with Lester Young
Charlie Parker Complete Savoy & Dial Master Takes


----------



## Jay

SanAntone said:


> Jelly Roll Morton & His Hot Chili Peppers


This must be what Morton meant by the "Spanish tinge," but I'm guessing it sounds awful.


----------



## Craveoon

Curtis' - Five Spot After Dark


----------



## SanAntone

*Original Jelly Roll Blues - Jelly Roll Morton's Red Hot Peppers*






Chicago, 16/12/1926
His Master's Voice B.9848, Swing Music 1949 Series - No. 48
Matrix: OA.37256

Jelly Roll Morton (p), George Mitchell (c), Edward "Kid" Ory (tb), Omer Simeon (cl), Johnny St. Cyr (bj), John Lindsay (sb), Andrew Hilaire (d).


----------



## SanAntone

*Sidney Bechet " Petite fleur"*


----------



## SanAntone

*celestin's original tuxedo jazz orchestra | i'm satisfied you love me*






From *The Syncapated Times*


> The Original Tuxedo Jazz Orchestra was named for Tuxedo Dance Hall in New Orleans. The band played there from 1910 to 1913, when the club was closed after a shooting. Papa Celestin , the leader of the band, continued to lead a brass band in the city under the name of the Tuxedo Brass Band after the ballroom closed.
> 
> In 1917 Celestin formed an earlier version of the orchestra that is represented by these recordings. The Original Tuxedo Jazz Orchestra continued to play throughout the Gulf Coast states until the early 1930s, when the Depression forced Celestin to leave the music business until after World War II. During the Dixieland revival of the late 1940s his music career was revitalized and he continued to play music until his death in 1954. Louis Armstrong, Johnny St. Cyr, and Zutty Singleton all played in Celestin's bands early in their careers.


----------



## SanAntone

*doc cheatham & nicholas payton*

View attachment 155660


Fantastic meeting of the 91 year old master with the much younger one.


----------



## SanAntone

BLUE LIGHT by Duke Ellington






Great Ellington song and arrangement from 1937-1939 - which is not that well known. Great Barney Bigard (clarinet) and Sam Nanton (trombone) solos.


----------



## SanAntone

Bix Beiderbecke, Wolverine Orchestra - I Need Some Pettin' (1924)






Good example of why Beiderbecke is considered one of the great trumpeters. His solo anticipates Miles Davis's cool style, only 30 years prior.


----------



## Jay




----------



## SanAntone

*joe oliver | stingaree blues*






Note included with the YouTube clip:



> It is generally accepted among jazz connoiseurs that Joe "King" Oliver's Creole Jazz Band was the finest Black jazz band ever to make public appearances. With relatively few changes in personnel, it functioned brilliantly and very succesfully at the Royal Gardens in Chicago for about 6 years between 1918 and 1934. All their recordings were made in 1923.
> 
> We listen here to the "Riverside Blues" recorded on October 26, 1923 on the Okeh label and this of course is a collecors item
> 
> Next to King Oliver on cornet, we also hear Louis Armstrong cornet, Johnny Dodds clarinet, Honore Dutray trombone, Lil Hardin piano, Johnny St. Cyr banjo and Baby Dodds drums.


Looks like a typo, should probably read 1918-1924, not '34. In any event, the music speaks for itself.


----------



## Jay




----------



## Craveoon

:trp::trp::trp:


----------



## SanAntone

Joe Pass - "Ain't Misbehavin'"


----------



## SanAntone

Sidney Bechet - Blues My Naughty Sweetie Gives To Me


----------



## norman bates

Spider Johnson and His Popeye Band - Doin' the Popeye (1962)





Spider Johnson and his popeye band were actually Cannonball and Nat Adderley with pianist Harold Battiste and bassist James Black. A lovely sunny tune. New Orleans, but it reminds me a lot of the kind of things played by Hugh Masekela (and other south african jazz musicians)


----------



## SanAntone

Django Reinhardt - Nagasaki






I've got this entire 20CD box "Djangologie" - one of my better purchases a while back.


----------



## Dan Ante

SanAntone said:


> Django Reinhardt - Nagasaki
> 
> 
> 
> 
> 
> 
> I've got this entire 20CD box "Djangologie" - one of my better purchases a while back.


Magnificent stuff SanAntone I have some of Django's on the label "Jazz in Paris"


----------



## SanAntone

_Art of Love: Music of Machaut _is an album by *Robert Sadin*, released in 2009.

View attachment 155774


*From Wikipedia, the free encyclopedia*



> Sadin "conceived, produced, and served as mixer for the album, arranged the music and texts of the songs by Guillaume de Machaut, as well as singing and playing clarinet and organ on some of the tracks." Each of the tracks is partly improvised. Two tracks are by different composers: "Brad's Interlude" by Brad Mehldau and "Evocation" by Milton Nascimento.


Fascinating recording.


----------



## SanAntone

*Arild Andersen* | _Lifelines_

Arild Andersen double bass
Kenny Wheeler fluegelhorn, cornet
Steve Dobrogosz piano
Paul Motian drums
Recorded July 1980 at Talent Studio, Oslo

View attachment 155779


*Review from Between Sound and Space: ECM Records and Beyond*


> After an explosive introduction, Arild Andersen's Lifelines kicks us like a soccer ball down the field of "Cameron," where we are intercepted by Steve Dobrogosz's swirling keys. Into this hammered storm, Andersen drops his bass, keeping us centered in this staggering opener. And staggering this album most certainly is, resting on a fine edge of airtight cohesion and loosened seams. We find more of the same in the loveliness of "Dear Kenny" and in "A Song I Used To Play," both teetering on a line drawn to Andersen's careful scale. Even the ballads seem to flirt with a great precipice. Falling from the haloed clouds of "Prelude" and into the depths of the two-part title piece, we find ourselves smack dab in Enrico Rava territory. The album's highlight comes in the form of "Landloper," a 50-second bass solo that sparks the inner fire of "Predawn." In keeping with his penchant for optimistic endings, Andersen gives us "Anew." Paul Motian is delightfully frenetic here and matched by Dobrogosz's erratic song, veiled only by the sustain pedal's illusory veneer.
> 
> What moves me most about Andersen's approach to the bass is his ability to hold onto a quiet heart even at his most ecstatic moments. Like ECM's other great veteran, Charlie Haden, he always keeps himself firmly rooted in the melody. Wheeler and Motian prove loyal allies, regaling us like wizened elders with tales of old. The real star of this date, however, is Dobrogosz. In his only ECM appearance, the American-born pianist (now a longtime resident of Stockholm) seems as if he could expound for hours upon every motif and never repeat himself. He is the kindling that keeps this music burning, slow-roasting it to irresistible succulence.


----------



## Jay




----------



## SanAntone

*dans la nuit | music by louis sclavis | for the silent movie | by charles vanel*

View attachment 155804


Louis Sclavis Clarinets
Dominique Pifarély Violin
Vincent Courtois Violoncello
François Merville Drums, Marimba
Jean-Louis Matinier Accordion


----------



## SanAntone

_Rambler_ is the second album by *Bill Frisell *to be released on the ECM label. It was released in 1985 and features performances by Frisell, Kenny Wheeler, Bob Stewart, Jerome Harris and Paul Motian.

View attachment 155808


----------



## SanAntone

*keith jarrett | gary peacock | paul motian | tribute*

View attachment 155851


*Excerpt from review by Tyran Grillo*



> No one makes live records quite like the Keith Jarrett Trio, whose inimitable skills and synergy ensure us that every tune breathes with all the life it deserves. As one of the few groups that can draw in a crowd thousands of miles and years away into that indefinable moment of expression, it transcends the confines of the concert hall, of the jazz club, of the audience's adoration. All of these recede the moment you put this music on and let it fill your own space and time with the love and passion what bore it. We hear this especially in the balladry, of which Jarrett proves an adept exponent in "Lover Man." Dedicated (as all pieces on Tribute are to those who once performed them, hereafter in parentheses) to Lee Konitz, the piece expands such notions of genre to begin with, unraveling from characteristically somber piano intros a world of sentiment. Peacock is especially notable in his first solo of the night, tracing an outline that DeJohnette is more than happy to color in. Jarrett maintains enviable subtlety in his improvisations, working in a clever nod to "The Girl from Ipanema." He dances on air, even as he plunges his hands into a watery keyboard and mixes the sediments until they shine. DeJohnette, meanwhile, works wonders with his snare, unfolding a ponderous yet somehow buoyant solo: a drop of melancholy in an otherwise joyful sea. All this in the opening number? Yes, it's that good.


The site Between Sound and Space: ECM Records and Beyond is an excellent site devoted to reviews of every ECM recording. Tyran Grillo has done an admirable job.


----------



## Barbebleu

Gato Barbieri - The Complete Flying Dutchman Recordings CD 6. I really love Gato. Very distinctive tenor sound. I must say this is a very nice box.


----------



## SanAntone

Barbebleu said:


> Gato Barbieri - The Complete Flying Dutchman Recordings CD 6. I really love Gato. Very distinctive tenor sound. I must say this is a very nice box.


I also used to be a huge Gato Barbieri fan, had a number of his records, probably in the '70s.


----------



## SanAntone

*louis sclavis | lost on the way | bain d'or*






I love Jazz, it is the greatest music, ever.


----------



## Jay




----------



## SanAntone

*marcin wasilewski trio | live*

View attachment 155905


*Description from ECM Records*



> Recorded at the Jazz Middelheim Festival in Antwerp, Belgium, in August 2016, it captures the trio in energetic, extroverted mode, fanning the flames of their Spark of Life repertoire and drawing on the deep understanding Marcin Wasilewski, Slawomir Kurkiewicz and Michal Miskiewicz have established in the course of a quarter century of shared musical endeavour.


----------



## SanAntone

*marcin wasilewski trio | joakim milder | spark of life*

View attachment 155906


*marcin wasilewski trio | live*

View attachment 155907


Two excellent ECM albums today.


----------



## Jay




----------



## SanAntone

Jay said:


>


Drew Gress is one of the better bass players of his generation.


----------



## SanAntone

*wynton marsalis | united we swing*






A really great compilation of "Best of the Lincoln Center Galas" featuring a variety of artists:

They include *Lenny Kravitz *performing Marsalis's New Orleans-inflected arrangement of Kravitz's own song, "Are You Gonna Go My Way"; *Susan Tedeschi and Derek Trucks* uniting for a take on Civil Rights anthem "I Wish I Knew How It Would Feel to Be Free"; *Bob Dylan* adding harmonica licks to a rendition of "It Takes a Lot to Laugh, It Takes a Train to Cry"; and *Ray Charles* taking the stage for one of his final performances to play "I'm Gonna Move to the Outskirts of Town."


----------



## Barbebleu

SanAntone said:


> *wynton marsalis | united we swing*
> 
> 
> 
> 
> 
> 
> A really great compilation of "Best of the Lincoln Center Galas" featuring a variety of artists:
> 
> They include *Lenny Kravitz *performing Marsalis's New Orleans-inflected arrangement of Kravitz's own song, "Are You Gonna Go My Way"; *Susan Tedeschi and Derek Trucks* uniting for a take on Civil Rights anthem "I Wish I Knew How It Would Feel to Be Free"; *Bob Dylan* adding harmonica licks to a rendition of "It Takes a Lot to Laugh, It Takes a Train to Cry"; and *Ray Charles* taking the stage for one of his final performances to play "I'm Gonna Move to the Outskirts of Town."


Thanks SA. That's now downloaded!


----------



## SanAntone

ralph towner | gary burton | matchbook | good bye pork pie hat

View attachment 156028


----------



## Jay




----------



## SanAntone

*dave holland quintet | jumpin' in*

View attachment 156033


David Holland - bass, cello
Steve Coleman - alto saxophone, flute
Kenny Wheeler - trumpet, pocket trumpet, cornet, fluegelhorn
Julian Priester - trombone
Steve Ellington - drums


----------



## Barbebleu

Embodying The Light - Tommy Smith. Terrific album by Tommy dedicated to the memory and music of John Coltrane.


----------



## SanAntone

two great versions of a great tune

*workin' | miles davis quintet | it never entered my mind*

View attachment 156055


*oscar peterson | the singers unlimited | | in tune | it never entered my mind*

View attachment 156056


----------



## starthrower

Great conversation.


----------



## starthrower

An epic four way conversation with many funny stories and reminiscences of the maestro, Chick Corea.


----------



## Barbebleu

Epistrophy - Bill Frisell and Thomas Morgan. Fabulous duo and delightful interplay.


----------



## SanAntone

Barbebleu said:


> Epistrophy - Bill Frisell and Thomas Morgan. Fabulous duo and delightful interplay.


- great record. I have his latest trio release, _Valentine_ - also with Morgan, but I bought the 180 gram vinyl. Frisell is someone whose work I usually find very interesting.


----------



## starthrower

I was streaming some of this last night. Sounds so good! Found a used copy for 9 dollars. A 3 CD set!


----------



## Dorsetmike

Shearing and Thielemans, the man I love


----------



## Dorsetmike

Marty Paich big band


----------



## Jay




----------



## Dorsetmike

Going back a bit!


----------



## Dorsetmike

Holly Hofman/Mike Wofford - "Speedball"


----------



## starthrower

2020 Edition Records

Chris Potter: Winds, keyboards, bass, guitar, and drums

Just got this one. Recorded at home last year and Chris is playing all of the instruments. It came out beautiful. Plenty of good melodies and a bit more relaxed than his group efforts.


----------



## SanAntone

I have been impressed with Chris Potter since my first exposure to his playing and composing. His work with Dave Holland's quintet is excellent.


----------



## starthrower

I really like There Is A Tide, and his first Circuits album.


----------



## norman bates

I confess I had never heard Venusian summer before. As good and as intense as the best of the Mahavishnu orchestra. Ray Gomez on the guitar is really impressive, but actually everybody is impressive, the bass, the drums.


----------



## MrNobody

Albert Mangelsdorff Quintet live at Freiburg 1964. I don't often like jazz (I'm a Bach fan) but I have to admit that this is excellent


----------



## Dan Ante

Dorsetmike said:


> Holly Hofman/Mike Wofford - "Speedball"


*
Mike I am not criticising these musicians but the flute is one instrument 
that I consider is not an instrument for jazz and I say this as an ex flute player of very modest ability *


----------



## starthrower

What's the problem with flute in jazz? Roland Kirk, Eric Dophy, Yusef Lateef, James Moody, James Newton have all made beautiful contributions.


----------



## SanAntone

starthrower said:


> What's the problem with flute in jazz? Roland Kirk, Eric Dophy, Yusef Lateef, James Moody, James Newton have all made beautiful contributions.


There is no problem with a flute being a Jazz instrument.

Jazz has successfully been played on a number of instruments other than the conventional, piano, bass, trumpet, sax, and trombone: tuba (Ray Draper), violin (Stéphane Grappelli), accordion (Richard Galliano), oboe/bassoon (Yusef Lateef), and many others.

Jazz is not defined by what instrument is used, but the style expressing the music.


----------



## starthrower

Exactly! The instrument is merely a vehicle for creative music making.


----------



## Dan Ante

starthrower said:


> What's the problem with flute in jazz? Roland Kirk, Eric Dophy, Yusef Lateef, James Moody, James Newton have all made beautiful contributions.


It is a personal thing for me I like earthy jazz and for me a Flute does not do the trick.


----------



## Barbebleu

Bobby Hutcherson - Live at Montreux. Excellent.


----------



## Dorsetmike

Two versions of Avalon, Benny Goodman quartet and Mel Powell trio,


----------



## Dorsetmike

Another Goodman small group, any guesses as to the line up? Answers tomorrow if not guessed beforehand


----------



## Jay




----------



## WNvXXT




----------



## SONNET CLV

Dorsetmike said:


> Another Goodman small group, any guesses as to the line up? Answers tomorrow if not guessed beforehand


Guesses as to the line up? Uh ... John, Paul, George, and Ringo?


----------



## Dorsetmike

Errrr no, although apart from Goodman all the others are from UK.


----------



## starthrower

With Dave Holland, George Lewis, Barry Altschul


----------



## starthrower

1970 / 2009 Inner City CD

I had the Live At Frankfurt Jazz Festival album for about 20 years before I noticed the studio release. The music still sounds fresh and inspired and the album contains some of the funniest sleeve notes I've read.


----------



## Barbebleu

Enrico Rava - Quotation Marks. Rava’s first for ECM. Pretty good with some excellent playing by all concerned.


----------



## Dorsetmike

SONNET CLV said:


> Guesses as to the line up? Uh ... John, Paul, George, and Ringo?


Line up below, Recorded in London November 1969

Benny G Clarinet
Kenny Baker Trumpet
George Chisholm Trombone
Tommy Whittle Tenor Sax
Bill McGuffie Piano
Judd Proctor Guitar
Lennie Bush Bass
Ronnie Stephenson Drums.

The album (London Date) had 3 tracks by this small group plus 8 with Benny leading a big band of UK stars. Here are a couple of tracks of the full orchestra.


----------



## Shaughnessy

*Don Cherry - "Complete Communion" - 1966*


----------



## Barbebleu

Sunburst Finish said:


> View attachment 156370
> 
> 
> *Don Cherry - "Complete Communion" - 1966*


Hard to believe this album was recorded 55 years ago. His other Blue Note one, Symphony for Improvisers is no less brilliant. I saw that ensemble in Berlin in 1968 at the Jazztage. Fabulous time.


----------



## Jay

Barbebleu said:


> [Cherry's] other Blue Note one, _Symphony for Improvisers_ is no less brilliant.


....and:


----------



## Shaughnessy

*Duke Pearson - "Wahoo" - 1964*


----------



## Jay




----------



## Shaughnessy

*Horace Silver - "Cape Verdean Blues" - 1966*


----------



## starthrower

PI Recordings


----------



## paulasterling2007

Hi everyone,

Even though this is really a last minute note, I still would like to invite you all to attend this incredible JAZZ event, ONLINE, FREE, tomorrow (June 19, 2021) streamed directly from Brazil - Orquestra Ouro Preto will be playing Duke Ellington. 
Here's the link to the Orchestra's YouTube Channel -- 




The event will start at 6:30pm (Central U.S.A. time) / 8:30pm (Local Brasila Time)

See you there!


----------



## starthrower

2018 Dare2 Records


----------



## Jay




----------



## Dan Ante




----------



## Shaughnessy

*Bobby Hutcherson - "Dialogue" - 1965*


----------



## Shaughnessy

*Freddie Hubbard - "Hub-Tones" - 1963*


----------



## Barbebleu

When you look at the personnel on the albums on the last two posts!! Wow!


----------



## SanAntone

Barbebleu said:


> When you look at the personnel on the albums on the last two posts!! Wow!


Yeah, those '60s Blue Note records all had great bands.


----------



## starthrower

Barbebleu said:


> When you look at the personnel on the albums on the last two posts!! Wow!


Thanks to Alfred Lion and Rudy Van Gelder we have all of this great music documented.


----------



## Dorsetmike

Chet Baker - Tenderly


----------



## Jay




----------



## Shaughnessy

*Stanley Turrentine and The Three Sounds - Blue Hour - 1960*


----------



## Shaughnessy

*Grant Green - "Green Street" - 1961*


----------



## Jay




----------



## Dorsetmike

Barbebleu said:


> When you look at the personnel on the albums on the last two posts!! Wow!


On this whole page except for 2 posts (Stan Kenton and Chet Baker) my comment would be who????? Never heard of any of 'em.


----------



## Barbebleu

Dorsetmike said:


> On this whole page except for 2 posts (Stan Kenton and Chet Baker) my comment would be who????? Never heard of any of 'em.


Really! Blue Note had probably one of the finest rosters of bop and post-bop musicians ever on one label. Practically every sidesman went on to lead his own band. Cripes. Even though I never listen to them I have at least heard of and heard musicians like Kenton and Baker. My jazz world is not so narrow that I haven't at least wandered in uncharted territory occasionally.


----------



## Red Terror




----------



## SanAntone

Dorsetmike said:


> On this whole page except for 2 posts (Stan Kenton and Chet Baker) my comment would be who????? Never heard of any of 'em.


Bobby Hutcherson (vibes), Grant Green (guitar), Freddie Hubbard (trumpet), and Stanley Turrentine (tenor) are among the most accomplished soloists and bandleaders on their instruments. Each one made dozens of albums featuring the "A List" of sidemen during the period of the 1960s.


----------



## Dan Ante

Dorsetmike said:


> On this whole page except for 2 posts (Stan Kenton and Chet Baker) my comment would be who????? Never heard of any of 'em.


me neither.........................................


----------



## Shaughnessy

*Anthony Williams - "Lifetime" - 1964*


----------



## Jay




----------



## Shaughnessy

*Wayne Shorter - "JuJu" - 1965*


----------



## starthrower

Recorded at the Keystone Korner, SF 1981


----------



## Shaughnessy

*Tina Brooks - "True Blue" - 1960*


----------



## starthrower

I'm listening to David Murray's 4tet & Strings: Waltz Again, which I found for a few bucks at my local store. It turned out to be a beautiful recording of some excellent music. The string writing is modern and dissonant but not in the extreme. The 26 minute opener, Pushkin Suite is the highlight of this fine album.


----------



## Shaughnessy

starthrower said:


> I'm listening to David Murray's 4tet & Strings: Waltz Again, which I found for a few bucks at my local store. It turned out to be a beautiful recording of some excellent music. The string writing is modern and dissonant but not in the extreme. The 26 minute opener, Pushkin Suite is the highlight of this fine album.


Thank you for this! - :tiphat:


----------



## starthrower

Dorsetmike said:


> On this whole page except for 2 posts (Stan Kenton and Chet Baker) my comment would be who????? Never heard of any of 'em.


It's all the new fangled stuff that us 60 and 70 year olds listen to.


----------



## SanAntone

ahmad jamal trio | at the pershing | but not for me

View attachment 156739


Jamal's classic trio:

Ahmad Jamal - piano
Israel Crosby - bass
Vernel Fournier - drums

*Israel Crosby* was one of my early influences as a bassist. I loved his big round sound, and had my bass set up to achieve the same kind of resonance. Also, his choice of notes was excellent. All round great player.

*From Wikipedia*:



> According to the album jacket, the tapes were made on January 16, 1958, at the Pershing Lounge of Chicago's Pershing Hotel and each set played that night was recorded, a total of 43 tracks, of which 8 were selected by Jamal for the album.


----------



## starthrower

Recorded early 1960s / 1997 re-issue

I'm a sucker for these Impulse gatefold CD editions so I scarfed up a used copy at my local store. Includes 8 bonus tracks.


----------



## SanAntone

sonny clark | sonny's crib

View attachment 156749


----------



## Shaughnessy

*Herbie Hancock - Empyrean Isles - 1964*


----------



## SanAntone

John Coltrane and Johnny Hartman

View attachment 156768


Always a favorite album of mine.

Johnny Hartman - vocals
John Coltrane - tenor saxophone
McCoy Tyner - piano
Jimmy Garrison - double bass
Elvin Jones - drums


----------



## Jay

Tough tenor Bobby Jones, best known from his time with Mingus:


----------



## Barbebleu

starthrower said:


> It's all the new fangled stuff that us 60 and 70 year olds listen to.


Nice. The thing is most of this music is fifty to sixty years old. It's hardly the avant-garde! I can't actually believe that Dorsetmike and Dan Ante have never heard of these Blue note musicians!


----------



## starthrower

Barbebleu said:


> Nice. The thing is most of this music is fifty to sixty years old. It's hardly the avant-garde! I can't actually believe that Dorsetmike and Dan Ante have never heard of these Blue note musicians!


My wife's late first husband was a jazz buff and a tape trader that I corresponded with for 22 years, and long before she met him. He was a generation older than us and around the same age as DorsetMike. He didn't really listen to any of the major players on Blue Note save Horace Silver. And he didn't like Miles. He lived on the west coast and was in to Bud Shank, Conte Condoli, and a lot of west coast jazz cats. It was a great relationship because I was only 26 when we started so I turned him onto newer stuff and he hipped me to a lot of stuff I'd never heard. All the tapes he sent me were a personalized radio show and he had a wonderful voice and personality. Unfortunately he became ill with Alzheimer's disease in 2011 and by the next year was unable to function anymore. So that relationship is my connection to my wife of three and a half years. We both loved Diz (he changed his name legally from John) as everybody knew him. He passed in April of 2015 and we sure do miss him. But we have many fond memories and our mutual connection.


----------



## Dorsetmike

Buck Clayton jam session, "Hucklebuck"


----------



## Barbebleu

Buck who?:lol:xxxxxxxxxxxxx


----------



## SanAntone

ARCHIE SHEPP & MAL WALDRON (Left Alone Revisited)






Great playing and GREAT recorded acoustic.

Tracklisting

00:00 Easy Living
05:52 Nice Work If You Can Get It
10:20 Everthing Happens To Me
16:10 Left Alone
25:21 When Your Lover Has Gone
30:49 I Only Have Eyes For You
37:41 Blues For 52nd Street
43:06 Porgy
51:44 Lady Sings The Blues
55:18 Left Alone (Spoken Lyrics)

Personnel

Vocals, Tenor Saxophone, Soprano Saxophone - Archie Shepp
Piano - Mal Waldron

Paris, 2002


----------



## starthrower

Barbebleu said:


> Buck who?:lol:xxxxxxxxxxxxx


Owens! He had a lot of country hits.


----------



## SanAntone

*john coltrane* | _side steps_

View attachment 156791


*AllAboutJazz* review excerpt:

"_Side Steps_ programmes 12 albums featuring Coltrane, presented in session order over five CDs, which during the course of their six and a half hours playing time document, no less dramatically than either _Fearless Leader_ or _Interplay_, the development of Coltrane's improvising style, from May 1956 through January 1958."


----------



## SanAntone

mark turner | ballad session

View attachment 156799


----------



## Shaughnessy

*Sonny Rollins - A Night At The Village Vanguard - 1958*


----------



## SanAntone

Sunburst Finish said:


> *Sonny Rollins - A Night At The Village Vanguard - 1958*


On my top ten list of jazz records. I love piano-less sax trios, and this one with Wilbur Ware is arguably the best, IMO.


----------



## starthrower

Mine is Way Out West, but I never really gave the Vanguard stuff a fair shake. I couldn't get on with the sound of the recording. But I suppose I should revisit those sessions.


----------



## Jay




----------



## Barbebleu

SanAntone said:


> ARCHIE SHEPP & MAL WALDRON (Left Alone Revisited)
> 
> 
> 
> 
> 
> 
> Great playing and GREAT recorded acoustic.
> 
> Tracklisting
> 
> 00:00 Easy Living
> 05:52 Nice Work If You Can Get It
> 10:20 Everthing Happens To Me
> 16:10 Left Alone
> 25:21 When Your Lover Has Gone
> 30:49 I Only Have Eyes For You
> 37:41 Blues For 52nd Street
> 43:06 Porgy
> 51:44 Lady Sings The Blues
> 55:18 Left Alone (Spoken Lyrics)
> 
> Personnel
> 
> Vocals, Tenor Saxophone, Soprano Saxophone - Archie Shepp
> Piano - Mal Waldron
> 
> Paris, 2002


I saw this and thought "I must get this." Then I discovered I already had it. Note to self - always check before hastily ordering!:lol:


----------



## SanAntone

starthrower said:


> Mine is Way Out West, but I never really gave the Vanguard stuff a fair shake. I couldn't get on with the sound of the recording. But I suppose I should revisit those sessions.


Also a good one, but the rhythm section of Ray Brown and Shelly Manne cannot compare with Wilbur Ware and Elvin Jones. I just wish the entire Vanguard date had the Ware/Jones section instead of the afternoon set with Donald Bailey on bass and Pete LaRoca on drums (but the afternoon set is only one-third of the gig).

The Rudy Van Gelder remastered release has improved sound, as well as additional songs.


----------



## starthrower

I'm pretty sure I have the volume with Ware and Jones. Will have to give it a spin.


----------



## SanAntone

I am thinking of ordering the 5LP box of this

Coltrane - 1963: New Directions

View attachment 156812


An important year for him and a good variety of material.


----------



## Shaughnessy

SanAntone said:


> I am thinking of ordering the 5LP box of this
> 
> Coltrane - 1963: New Directions
> 
> View attachment 156812
> 
> 
> An important year for him and a good variety of material.


Looks pretty impressive - Not as pricey as I would have expected - approximately 110 dollars on Amazon.

Go for it!

https://www.stereophile.com/content/john-coltranes-1963-new-directions


----------



## SanAntone

Now listening:

miles davis | the legendary prestige quintet sessions

View attachment 156814


----------



## Red Terror

SanAntone said:


> I am thinking of ordering the 5LP box of this
> 
> Coltrane - 1963: New Directions
> 
> View attachment 156812
> 
> 
> An important year for him and a good variety of material.


More Coltrane material? Another hard working dead man.


----------



## Barbebleu

This came out a while ago now. It’s good stuff but then again, it is ‘Trane!


----------



## WNvXXT




----------



## SanAntone

sonny rollins | freedom suite

View attachment 156829


Sonny Rollins - tenor saxophone
Oscar Pettiford - bass
Max Roach - drums


----------



## SanAntone

sarah vaughan sings george gershwin

View attachment 156838


Just finished listening to Summertime on this record. Excellent.


----------



## SanAntone

brown and roach incorporated

View attachment 156839


_Brown and Roach Incorporated_ is an album by American jazz trumpeter *Clifford Brown* and drummer *Max Roach* featuring tracks recorded in August 1954 and released on the EmArcy label.

Clifford Brown - trumpet (tracks 1-3 & 5, 7)
Max Roach - drums
Harold Land - tenor saxophone (tracks 1, 3 & 5-7)
Richie Powell - piano
George Morrow - bass

One of the classic quintets in jazz history.


----------



## Jay




----------



## SanAntone

*coleman hawkins *| _the hawk flies high_

View attachment 156843


Coleman Hawkins - tenor saxophone
Hank Jones - piano
Oscar Pettiford - Bass
Jo Jones - Drums
Barry Galbraith - guitar
J.J. Johnson - trombone
Idrees Sulieman - trumpet


----------



## Dorsetmike

Kai & JJ "It's alright with me"; nice but short piano break from Tommy Flanagan


----------



## Dorsetmike

Compare withGeorge Chisholm and Roy Williams, same tune as above


----------



## Barbebleu

J.J. Johnson, Kai Winding, Roy Williams, George Chisholm. Who are these people?


----------



## SanAntone

*hank mobley* | _soul station_

View attachment 156852


Hank Mobley - tenor saxophone
Wynton Kelly - piano
Paul Chambers - bass
Art Blakey - drums


----------



## SanAntone

*ornette coleman* | _the shape of jazz to come_

View attachment 156857


Ornette Coleman - alto saxophone
Don Cherry - cornet
Charlie Haden - bass
Billy Higgins - drums


----------



## Dan Ante

*This is one of many ens that first got me interested in Jazz in the 50s.*






*composed by George and became a Jazz Standard.*


----------



## Shaughnessy

Post deleted... Found the answer and thus no point in asking the question.


----------



## Shaughnessy

*The Jazz Messengers - "At the Cafe Bohemia, Vol. 1" - 1956*

Art Blakey - drums
Kenny Dorham - trumpet
Hank Mobley - tenor saxophone
Horace Silver - piano
Doug Watkins - bass














*The Jazz Messenges - "At the Cafe Bohemia, Vol. 2" - 1956*

Art Blakey - drums
Kenny Dorham - trumpet
Hank Mobley - tenor saxophone
Horace Silver - piano
Doug Watkins - bass

Not quite "Birdland" but better than the initial reviews.

Note: There weren't any actual Bohemians at the Cafe Bohemia - quite disappointing... Borderline "False Advertising".


----------



## Dorsetmike

Barbebleu said:


> J.J. Johnson, Kai Winding, Roy Williams, George Chisholm. Who are these people?


Suppose you'd say the same about Louis Armstrong then, probably before your time sonny


----------



## starthrower

My wife's late husband Diz had a drink at the bar with Kai Winding. The bartender brought him the wrong drink and Kai accosted him and made sure he made the proper drink and served it to his fan. Diz was so honored and impressed with this he talked about it for years!


----------



## Barbebleu

Dorsetmike said:


> Suppose you'd say the same about Louis Armstrong then, probably before your time sonny


Well I'm 72 so possibly not!:tiphat:


----------



## Dorsetmike

Barbebleu said:


> Well I'm 72 so possibly not!:tiphat:


As a UK resident youngster of even your tender years I'm surprised you don't remember George Chisholm. 

https://en.wikipedia.org/wiki/George_Chisholm_(musician)


----------



## starthrower

Recorded May 2010 at the Blue Note, NYC


----------



## SanAntone

Barbebleu said:


> J.J. Johnson, Kai Winding, Roy Williams, George Chisholm. Who are these people?


*J.J. Johnson* was the best Bebop trombonist.

*Kai Winding* was a white trombonist who played with Stan Kenton, part of the Birth of the Cool band, as well as a series of recordings with J.J. Johnson.

Never heard the other two, probably some UK trad-jazz players.


----------



## starthrower

SanAntone said:


> *J.J. Johnson* was the best Bebop trombonist.


Were there any other Bebop trombonists of note? Frank Rosolino?


----------



## Barbebleu

Dorsetmike said:


> As a UK resident youngster of even your tender years I'm surprised you don't remember George Chisholm.
> 
> https://en.wikipedia.org/wiki/George_Chisholm_(musician)


Of course I do. I was merely responding in kind to the posts that you and DanAnte had made where you indicated that the names on some Blue Note albums were unknown to you. There are very few jazz musicians that I've never heard of and listened to over the years. I'm just not into trad, Dixieland, swing or most, not all, jazz played before bebop. Being Scottish of course I'm well aware who George Chisholm was. Fine musician. He appeared on many programmes back in the late fifties like Six Five Special. Goodness me I even know who guys like Ken Colyer and Chris Barber are! I just choose not too have any of their stuff in my collection. Clearly facetiousness doesn't translate well on social media.

I suppose the closest I come to them is an album I have by George Shearing called Out of the Woods but only because it has Gary Burton on it. Yes I realise you'll never have heard of him but you should give him a go. Who knows you might even like it and you can join the rest of us in the latter half of the twentieth century!


----------



## Barbebleu

SanAntone said:


> *J.J. Johnson* was the best Bebop trombonist.
> 
> *Kai Winding* was a white trombonist who played with Stan Kenton, part of the Birth of the Cool band, as well as a series of recordings with J.J. Johnson.
> 
> Never heard the other two, probably some UK trad-jazz players.


Blimey, not another one. Of course I know who they were. I was taking a rise out of Dorset and Dan because of their lack of knowledge regarding the Blue Note roster.


----------



## Shaughnessy

SanAntone said:


> *J.J. Johnson*
> ...  probably some UK trad-jazz players.


Finally! - I've been waiting weeks for this! -

Non-stop UK trad jazz - All UK trad jazz All the time - Ready, lads?

Chris Barber, Acker Bilk, Kenny Ball, Ken Colyer, and Monty Sunshine.

By the way... that's "Mr." Acker Bilk, punk - and don't anyone forget it!


----------



## starthrower

Anybody here have this nifty CD? I bought it several years ago but I can't remember where?


----------



## Shaughnessy

Chris Barber's Jazz Band with Monty Sunshine on clarinet (with a smokin' hot really bitchin' solo) doing Sidney Bechet's "_Petite Fleur_".

This recording, which was made on October 10, 1956, peaked at No. 5 on the US Hot 100 and No. 3 in the UK charts.

Outside the UK Chris Barber's version was extremely big in Sweden topping the Swedish best selling chart for no less than 12 weeks according to the branch paper Show Business.

Their version was in A♭ minor, in contrast to Bechet's, which was in G minor.[

Upon hearing Chris Barber's version, Bechet said "they should have played it in G minor...)


----------



## Shaughnessy

*Kenny Ball and His Jazzmen - "Midnight In Moscow"*

The British jazz group, Kenny Ball and his Jazzmen, had a hit in 1961 with the title "Midnight in Moscow".

This version peaked at number two on the UK Singles Chart in January 1962.

"Midnight in Moscow" also reached number two on the U.S. Billboard Hot 100 chart in March that year, (kept out of the number one spot by, "Hey! Baby" by Bruce Channel), while it spent three weeks at number one on the American Easy Listening chart.

This song kept Kenny Ball and His Jazzmen out of the number one spot on the Billboard Hot 100 -






Sure, sure, it's a catchy tune alright but whatever it is, it certainly isn't jazz...


----------



## Shaughnessy

Deleted post - Question was answered two pages back...


----------



## SanAntone

starthrower said:


> Were there any other Bebop trombonists of note? Frank Rosolino?


Curtis Fuller, from the hard bop era is another great trombonist. Jimmy Knepper, Jimmy Cleveland, are a couple of others. I know I'm forgetting someone, but can't think of them right now.

Edit: here's some trombonists I forgot to mention:

Grachan Moncur III
Urbie Green
Slide Hampton
Jack Teagarden (New Orleans style)


----------



## Shaughnessy

Deleted post - Second question was answered previously two pages back by SanAntone - 

My apologies - :tiphat:


----------



## Jay

Straight ahead oldsters::

Bennie Green
Frank Rehak
Slide Hampton
Carl Fontana


----------



## SanAntone

Sunburst Finish said:


> And J.J. Johnson -


He was the first one I mentioned. Try to keep up. 

Now playing:

*joe henderson* | _inner urge_

View attachment 156876


Joe Henderson - tenor saxophone
McCoy Tyner - piano
Bob Cranshaw - bass
Elvin Jones - drums


----------



## Shaughnessy

SanAntone said:


> He was the first one I mentioned. Try to keep up.
> :


Two posts above deleted in light of this new (to me, I wasn't paying attention) information.

This marks my last appearance in "The Jazz Hole" - for a while at least - I had to drop out of "Non-Classical Listening" due to time constraints and now I have to put my Blue Note listening project on hold. The "Classical Music Current Listening" may also have to be cut back significantly. Work first, play later...

Cheers!


----------



## Dorsetmike

> Work first, play later...


That's what I'm doing, having retired 22 years ago!


----------



## Dorsetmike

> I was taking a rise out of Dorset and Dan


Obviously we realised that; maybe part of my reasons for the "who they" stems from records I bought in the late 1940s and the bands I have seen live; my first record (78) was Dodo Marmarosa. My first "big band" was Ted Heath in '54, then in Birmingham '58 and '59 I saw the Jazz at the Philharmonic tours featuring some of the top names of the time, I particularly recall Ella Fitzgerald, Shelley Manne & his men and Jimmy Guiffre. Then in '62 at Festival hall, Shearing's return to UK with Joe Williams. In later years I saw Ellington and Basie twice, the reformed Glenn Miller band under Buddy de Franco, Woody Herman, Oscar Peterson twice second time with Joe Pass, NJQ, Jacques Loussier, Don Lusher, & Acker Bilk; lesser known was a performance in a pub garden by Nat Gonella and his band.

My record collection has quite a lot of big band swing, Basie, Ellington, Herman, Goodman, Miller, Mary Lou Williams, Kenton, Squadronnaires, Billy May, Les Elgart; small groups, MJQ, Mel Powell, Shearing, Paul Quinichette, Blues. Plus at the other end of the scale so to speak quite a lot of Baroque.

Most of my trad listening is from Youtube, I particularly enjoy Tuba Skinny!


----------



## Jay

Two trombone "Steves":


----------



## Barbebleu

Dorsetmike said:


> Obviously we realised that; maybe part of my reasons for the "who they" stems from records I bought in the late 1940s and the bands I have seen live; my first record (78) was Dodo Marmarosa. My first "big band" was Ted Heath in '54, then in Birmingham '58 and '59 I saw the Jazz at the Philharmonic tours featuring some of the top names of the time, I particularly recall Ella Fitzgerald, Shelley Manne & his men and Jimmy Guiffre. Then in '62 at Festival hall, Shearing's return to UK with Joe Williams. In later years I saw Ellington and Basie twice, the reformed Glenn Miller band under Buddy de Franco, Woody Herman, Oscar Peterson twice second time with Joe Pass, NJQ, Jacques Loussier, Don Lusher, & Acker Bilk; lesser known was a performance in a pub garden by Nat Gonella and his band.
> 
> My record collection has quite a lot of big band swing, Basie, Ellington, Herman, Goodman, Miller, Mary Lou Williams, Kenton, Squadronnaires, Billy May, Les Elgart; small groups, MJQ, Mel Powell, Shearing, Paul Quinichette, Blues. Plus at the other end of the scale so to speak quite a lot of Baroque.
> 
> Most of my trad listening is from Youtube, I particularly enjoy Tuba Skinny!


I saw Ellington when he came to Glasgow sometime in the late sixties I think. Brilliant band.


----------



## starthrower

SanAntone said:


> Curtis Fuller, from the hard bop era is another great trombonist. Jimmy Knepper, Jimmy Cleveland, are a couple of others. I know I'm forgetting someone, but can't think of them right now.
> 
> Edit: here's some trombonists I forgot to mention:
> 
> Grachan Moncur III
> Urbie Green
> Slide Hampton
> Jack Teagarden (New Orleans style)


I know the players but my question was who were great bebop trombonists other than J.J. Johnson? I can't think of many.


----------



## SanAntone

*new orleans rhythm kings* | _complete set 1922-1925_

View attachment 156896




> I know the players but my question was who were great bebop trombonists other than J.J. Johnson? I can't think of many.


I mentioned Jimmy Cleveland, and Kai Winding was already mentioned, Al Grey was one I forgot to include. Their style was bop, but if you mean musicians who played with the first generation of bebop bands, only J.J. Johnson did that as far as I know.

Part of the problem was that the slide trombone did not naturally lend itself to the style. The valve trombone was more agile, and Bob Brookmeyer, Rob McConnell, played a bop style, but much later. I think Juan Tizol played valve, but with Duke Ellington and not really in a bop style.


----------



## Dan Ante

Sunburst Finish said:


> Finally! - I've been waiting weeks for this! -
> 
> Non-stop UK trad jazz - All UK trad jazz All the time - Ready, lads?
> 
> Chris Barber, Acker Bilk, Kenny Ball, Ken Colyer, and Monty Sunshine.
> 
> By the way... that's "Mr." Acker Bilk, punk - and don't anyone forget it!


I played in a support band to Acker Bilk back in the late 50s they were fantastic, at one concert in the west midlands the thing I will never forget is they way they started off the first number, the normal start is for the trumpet to either count in or tap in but these guys sat slouched down and looked half asleep then burst into a really fast number with no visual or sound intros. Magic


----------



## Jay

Ray Anderson on 'bone:








SanAntone said:


> ... the first generation of bebop bands, only J.J. Johnson did that as far as I know.


Bennie Green.


----------



## norman bates

SanAntone said:


> *new orleans rhythm kings* | _complete set 1922-1925_
> 
> View attachment 156896
> 
> 
> I mentioned Jimmy Cleveland, and Kai Winding was already mentioned, Al Grey was one I forgot to include. Their style was bop, but if you mean musicians who played with the first generation of bebop bands, only J.J. Johnson did that as far as I know.
> 
> Part of the problem was that the slide trombone did not naturally lend itself to the style. The valve trombone was more agile, and Bob Brookmeyer, Rob McConnell, played a bop style, but much later. I think Juan Tizol played valve, but with Duke Ellington and not really in a bop style.


I'd say Frank Rosolino, who played also with Charlie Parker


----------



## Dorsetmike

Comedian Dudley Moore at his other job, leading his trio


----------



## SanAntone

*wynton marsalis *| _marciac suite_ (2000)

View attachment 156924


Wynton Marsalis: Trumpet; Wycliffe Gordon: Trombone; Wessell Anderson: alto saxophone; Cyrus Chestnut: piano; Farid Barron: piano; Eric Reed: piano; Rodney Whitaker: bass; Herlin Riley: drums; Victor Goines: clarinet, tenor and soprano saxophone; Marcus Roberts: piano.

The Marciac Suite is the synopsis of a 90 minute extended piece that premiered in Marciac, France as a part of an educational program at the Marciac College that Marsalis had been involved with since the early '90s.


----------



## starthrower

1974 Impulse

Featuring Richard Abrams, Paul Bley, Steve McCall, James Jefferson, Bill Hasson


----------



## SanAntone

*duke ellington* | *johnny hodges* | _side by side_

View attachment 156985




> Although it is billed as a Duke Ellington and Johnny Hodges album, Side by Side is a 1959 album mostly under the leadership of Johnny Hodges, Duke Ellington's alto saxophonist for many years. Ellington only appears on three of this album's tracks. The album places Hodges at the fore, backing him with piano by Ellington or Billy Strayhorn and providing other accompaniment by jazz figures like Ben Webster, Roy Eldridge, Harry "Sweets" Edison and Jo Jones. The album, a follow-up to Back to Back: Duke Ellington and Johnny Hodges Play the Blues, has remained perpetually in print. (Wiki)


----------



## Jay




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## SanAntone

*jelly roll morton* | _last sessions_ | the complete general recordings

View attachment 157004


*AllMusic Review by Scott Yanow*



> This CD contains Jelly Roll Morton's final studio recordings (the only existing later performances by Morton are a couple of tunes from a radio broadcast) and supercedes an earlier two-LP Atlantic set. The main reason to acquire this 1997 CD is Morton's 13 classic piano solos, which include five vocals, his first on record other than the much earlier "Dr. Jazz" and the Library of Congress sides. Only ten of the solos were originally released, so this is a very complete reissue. Morton, despite ailing health, was in very good form for the sessions, and his versions of "The Crave," "King Porter Stomp," "Winin' Boy Blues," "Buddy Bolden Blues" and "Don't You Leave Me Here" are quite memorable. In addition, he is heard heading three band dates that, despite the presence of trumpeter Henry "Red" Allen and clarinetist Albert Nicholas, do not quite live up to their potential. They did introduce Jelly Roll's "Sweet Substitute" (a future standard) and include a hot rendition of "Panama," but such songs as "Get the Bucket" and "Mama's Got a Baby" have not been revived since. Still, this set is highly recommended for the solo performances, Jelly Roll Morton's final contribution to the music he claimed to have founded.


----------



## GucciManeIsTheNewWebern




----------



## Barbebleu

Compassion - Cecil McBee Sextet. Fabulous stuff.


----------



## Barbebleu

John McLaughlin - Liberation Time. Brilliant new album from the indefatigable Mr McLaughlin. No sign of his arthritis on this album. His playing is as melodic and as fluent as ever. Highly recommended.


----------



## starthrower

From the upcoming live album to be released in September.


----------



## Barbebleu

starthrower said:


> From the upcoming live album to be released in September.


Thanks for heads-up.


----------



## Jay




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## SanAntone

*andrew hill* | _passing ships_

View attachment 157529


----------



## Dorsetmike

Basie boogie


----------



## Jay




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## SanAntone

I've been listening to a Spotify playlist created from the Private Collection recordings of Duke Ellington. There's an amazing amount of great stuff here, featuring the bands from the 50s-60s. Mostly of songs I've never heard before.

In order to hear his orchestrations, but outside of an actual gig, Ellington would rent a studio and play through his latest works, and recorded them but not to be released. After his death his son Mercer opened up the vaults and there have been a number of recordings some styled "Studio Sessions" and others "Private Collection."

Vol. 1

View attachment 157642


----------



## Dan Ante

Dorsetmike said:


> Basie boogie


A good old 12 bar eh Mike


----------



## SanAntone

Duke Ellington Meets Coleman Hawkins

View attachment 157665


----------



## Jay




----------



## Barbebleu

Hum Dono - Joe Harriot/Amancio D’Silva Quartet. Brilliant album. Joe Harriot was superb and this album finds him in superior form with the great Indian jazz guitarist, Amancio D’Silva.


----------



## SanAntone

Horace Silver - Finger Poppin'

View attachment 157767


Horace Silver - piano
Blue Mitchell - trumpet (tracks 1-3, 5-8)
Junior Cook - tenor saxophone (tracks 1-3, 5-8)
Gene Taylor - bass
Louis Hayes - drums


----------



## SanAntone

The Complete Columbia Studio Recordings of the Miles Davis Quintet 1965-1968

View attachment 157782


Miles Davis
Wayne Shorter
Herbie Hancock
Ron Carter
Tony Williams


----------



## starthrower

This is amazing! These Indian vocalists can do incredible stuff both rhythmically and on pitch.


----------



## Dorsetmike

Mary Lou Williams - Downbeat


----------



## starthrower

Rick Beato's interview with bass legend Ron Carter.


----------



## SanAntone

starthrower said:


> Rick Beato's interview with bass legend Ron Carter.


He is the bassist I also think of the most important for the period of Jazz that I grew up on.


----------



## SanAntone

Ron Carter - Baubles, Bangles and Beads - Live at Village West


----------



## SONNET CLV

I spent part of the day with music by Archie Shepp. Well worth hearing for sax fans.

































Whether it be a an old-standard ballad or a free-jazz rant, Shepp has something to say.


----------



## vincula

(Re)Calling Berlin in a sunny morning with the deep and mellow tone of Helmut Brandt's sax. Nice vinyl from the German label Sonorama.









Regards,

Vincula


----------



## SanAntone

After watching the Ron Carter/Rick Beato interview, I started thinking of the bassists who had the most impact on me as a player.

Carter is definitely among them but also -

Paul Chambers (50s-60s bands, Miles, Coltrane, and many others)
Scott LaFaro (1955-1961, Ornette Coleman, Bill Evans)
Percy Heath (50s-80s MJQ, Miles Davis)
Sam Jones (50s-70s Cannonball Adderley, Oscar Petterson, Clifford Jordan)
Charlie Haden (60s-70s Ornette Coleman and Keith Jarrett)
Aaron Bell (50s-60s Duke Ellington)
Wilbur Ware (50s Sonny Rollins, and as part of the staff rhythm section on many Riverside recordings)
Oscar Pettiford (40s-50s, Monk, Hawkins, Ellington, as well as a leader)
Israel Crosby (50s-60s Ahmad Jamal)


----------



## starthrower

Recorded live in Los Angeles 1964


----------



## SanAntone

Miles Davis - Filles de Kilimanjaro

View attachment 157931


----------



## Barbebleu

SanAntone said:


> Miles Davis - Filles de Kilimanjaro
> 
> View attachment 157931


Wonderful album. Sometimes overlooked but not by me. Thanks for the reminder SA.


----------



## SanAntone

Barbebleu said:


> Wonderful album. Sometimes overlooked but not by me. Thanks for the reminder SA.


This one and Miles in the Sky have always been linked in my mind - and both very good, IMO.


----------



## starthrower

1963

Monk's Dream 00:12
Drums solo 07:40
Criss Cross 12:19
Rhythm-a-ning 17:34
Epistrophy 23:38
Evidence 24:50
Ruby my dear 31:39
Bright Mississippi 40:00


----------



## starthrower

Recorded Sept 1972 in NYC / Impulse AS-9231


----------



## SanAntone

Miles Davis - Yesternow


----------



## SanAntone

Miles Davis - Spanish Key


----------



## SanAntone

The Complete On The Corner Sessions
Miles Davis

View attachment 157986


On the Corner is one of my favorites from Miles Davis' electric period. This complete box set gather together the unedited tracks as well as a number of out takes and tracks which did not make to the final recording.



> The Complete On the Corner Sessions compiles material from 1972 through 1975 which, due to lineup changes Davis made throughout the era, features over two dozen musicians.
> 
> The box set includes more than six hours of music. Twelve of these are previously unissued tracks. Another five tracks are previously unissued in full. They cover sixteen sessions from On the Corner, Big Fun, and Get Up with It until Davis's mid-seventies retirement. Miles is joined in these recordings by Chick Corea, Herbie Hancock, John McLaughlin, Jack DeJohnette, Billy Hart, and many others. Wikipedia


----------



## JohnP

Love that man! (Forgot to reference the OP. This is about Dave Brubeck.) I had the pleasure of hearing the DBQ twice. Once, in college, I heard the greatest iteration with Desmond, Morello, and Wright. Much later, I heard the all-Brubeck version with Dave and his three sons. Of all the jazz players I know, Dave Brubeck brought the classical mentality to his music.


----------



## SanAntone

JohnP said:


> Of all the jazz players I know, Dave Brubeck brought the classical mentality to his music.


That's not something I consider a good thing. I know you're new to TC, and don't mean to get in your face, but you hit a nerve with me.


----------



## Jay

JohnP said:


> Of all the jazz players I know, Dave Brubeck brought the classical mentality to his music.


Welcome, John. Brubeck was one of many formally-trained so-called "West Coast cool jazz" players who incorporated classical methods into their jazz conceptions, e.g., counterpoint/fugal method; polytonality; expansive form; instruments associated with the classical tradition; etc., for examples:

Jimmy Giuffre: "Fugue" with entries in alto, piano, trombone:






Lighthouse All-Stars: "Hermosa Summer" the uncommon flute & even more uncommon oboe in fugal counterpoint:


----------



## JohnP

Yes, Brubeck studied with Milhaud at College of the Pacific. Milhaud's influence was so great that Dave named his first son Darius.

I just found this article. It tells of the near destitution Brubeck faced before he found success. He faced and overcame a lot but never gave up on music.

https://www.pbs.org/brubeck/theMan/cowboyToJazzman.htm

I also found this great Brubeck quotation: "Three Jewish teachers have been a great influence in my life: Irving Goleman, Darius Milhaud and Jesus." Brubeck wrote several religious concert works in the Oratorio, Cantata, and Mass forms.

I heard Darius in a late iteration of the DBQ. He has his own quartet, now; like his Dad he also composes. He looks so much like Dave that he could almost be a twin.


----------



## SanAntone

Miles Davis - Cookin'


----------



## SanAntone

Oscar Pettiford - Nonet, Big Band, Sextet, New York City 1955-1958


----------



## SanAntone

The Complete Jack Johnson Sessions (5-disc) CD

View attachment 158048




> The Bitches Brew dates ended on February 6, 1970; these dates continue 12 days later and span less than four months through June. The difference is the greater role of McLaughlin (joined by 'free jazz' guitarist Sonny Sharrock), and the fiercer edginess of the music. The back-story was the contention for Muhammad Ali's heavyweight boxing title, and actor James Earl Jones' portrayal of turn-of-the-century black boxing champ Jack Jefferson in The Great White Hope (on Broadwayand on film). Miles Davis website


----------



## Dorsetmike

Mel Powell septet, Muskrat ramble


----------



## SanAntone

Louis Armstrong and his All Stars - The Columbia & RCA Victor Live Recordings

View attachment 158067


There are three volumes of these recordings, and each volume is a 3CD box: excellent stuff.

Another excellent Mosaic collection, from the notes:



> The live performances from 1947 to 1958 have been collected at last, let it be known that anyone who overlooks the music Louis Armstrong made on those concert stages does so at great expense to his or her personal joy.
> 
> The Columbia and RCA Victor Live Recordings of Louis Armstrong and the All Stars is the first to span this range of Louis' career. It is rich with new discoveries and legendary omissions, on nine CDs. For the unreleased material alone, this one is a real collector's item.
> 
> We've restored missing solos and removed fake applause. We tracked down the earliest, most authoritative sources for the music and cleaned-up everything to the best of our ability using state-of-the-art techniques. And we corrected a great deal of misinformation regarding discographical details.
> 
> Throughout, you will be amazed at his proficiency on the horn, the brilliance of his sound, the beguiling sensuality of his vocals, and how great he was at being the standard-bearer for his own music, as well as an interpreter of other people's songs. Louis Armstrong was doing the work of a working musician; a man who pulled out all the stops no matter where he was, how bad his lip felt, whether or not the mob was chasing him, or how many times audiences called for the same favorites. He loved what he was doing… he remembered abject poverty… he was grateful to be working… and he gave music everything he had. In return, the world presented him with honors and awards until the world ran out.
> 
> Included in the box is the famous Town Hall concert from May 17, 1947 that set the style for the small group music he'd make from that point on. That date came from the French RCA tapes that Sony was able to locate for us.


----------



## Jay




----------



## Captainnumber36

Currently listening to a disc of ballads by Coltrane, it's most excellent!


----------



## SanAntone

*Sonny Rollins on Impulse!*

View attachment 158078


"On Green Dolphin Street" (Bronislaw Kaper, Ned Washington) - 7:10
"Everything Happens to Me" (Tom Adair, Matt Dennis) - 11:14
"Hold 'Em Joe" (Harry Thomas) - 5:30
"The Blue Room" (Lorenz Hart, Richard Rodgers) - 3:44
"Three Little Words" (Bert Kalmar, Harry Ruby) - 6:56

Sonny Rollins - tenor saxophone
Ray Bryant - piano
Walter Booker - bass
Mickey Roker - drums


----------



## SanAntone

*Sonny Rollins - The Bridge *

View attachment 158079


"Without a Song" (Edward Eliscu, Billy Rose, Vincent Youmans) - 7:26
"Where Are You?" (Harold Adamson, Jimmy McHugh) - 5:10
"John S." (Sonny Rollins) - 7:46
"The Bridge" (Sonny Rollins) - 5:59
"God Bless the Child" (Arthur Herzog Jr., Billie Holiday) - 7:27
"You Do Something to Me" (Cole Porter) - 6:51

Sonny Rollins - tenor saxophone
Jim Hall - guitar
Bob Cranshaw - bass
Ben Riley - drums


----------



## Dorsetmike

Chet Baker - Secret love


----------



## SanAntone

*Sonny Rollins - East Broadway Run Down*

View attachment 158105


"East Broadway Run Down" - 20:27
"Blessing in Disguise" - 12:27
"We Kiss in a Shadow" (Oscar Hammerstein II, Richard Rodgers) - 5:40

Sonny Rollins - tenor saxophone
Freddie Hubbard - trumpet (track 1 only)
Jimmy Garrison - bass
Elvin Jones - drums


----------



## Captainnumber36

brilliant!


----------



## Dan Ante

*Memories of my youth. I still have the 12 inch LP.*


----------



## Dorsetmike

Bill Evans (pno) Scott LaFaro（b）Paul Motian（ds） (9 tracks Dec '59)


----------



## SanAntone

*Miles Davis & Gil Evans - Miles Ahead*

View attachment 158158


"Springsville" (John Carisi) - 3:27
"The Maids of Cadiz" (Léo Delibes) - 3:53
"The Duke" (Dave Brubeck) - 3:35
"My Ship" (Kurt Weill, Ira Gershwin) - 4:28
"Miles Ahead" (Davis, Evans) - 3:29
"Blues for Pablo" (Evans) - 5:18
"New Rhumba" (Ahmad Jamal) - 4:37
Medley Pt. 1: "The Meaning of the Blues" (Bobby Troup, Leah Worth) - 2:48
Medley Pt. 2: "Lament" (J. J. Johnson) - 2:14
"I Don't Wanna Be Kissed (By Anyone but You)" (Harold Spina, Jack Elliot) - 3:05

Miles Davis - Flugelhorn
Bernie Glow - Lead trumpet
Ernie Royal - Trumpet
Louis Mucci - Trumpet
Taft Jordan - Trumpet
John Carisi - Trumpet
Frank Rehak - Trombone
Jimmy Cleveland - Trombone
Joe Bennett - Trombone
Tom Mitchell - Bass trombone
Willie Ruff - French horn
Tony Miranda - French horn
Jim Buffington - French horn
Bill Barber - Tuba
Lee Konitz - Alto sax
Danny Bank - Bass clarinet
Romeo Penque - Flute and clarinet
Sid Cooper - Flute and clarinet
Paul Chambers - Double bass
Art Taylor - Drums
Wynton Kelly - Piano
Gil Evans - Arranger and Conductor


----------



## Dorsetmike

Deleted ~~~~~~~~~~~~~~~


----------



## Dorsetmike

Buck Clayton Jam session


----------



## starthrower

Don Pullen's Big Alice from the recently expanded reissue of the 1974 concert. Just picked up the CD yesterday.


----------



## Barbebleu

starthrower said:


> Don Pullen's Big Alice from the recently expanded reissue of the 1974 concert. Just picked up the CD yesterday.


Clearly I'm acquiring too much music. I forgot I got this about a month ago!

A timely reminder. Thanks.


----------



## JohnP

I haven't read this entire thread--I know that if I do, I'll learn some things--but I'm taking a chance that nobody has mentioned one of my favorite jazz pianists, Dave McKenna. Dave was grounded in swing but developed a unique style (or styles) which included a walking left hand that made him his own combo and a "three hand" technique that defied imitation. (Lot's of people, George Shearing and Marion McPartland among them, copied the bass-fiddle-like left hand.) He could fall into the most relaxed, swinging ballade groove or blast out a rousing upbeat number with that spectacular left hand. He refused to call himself a jazz player, saying instead that he was merely a "saloon player." He did play many saloons, including about a decade as the _de facto_ pianist in the lounge at the Copley Plaza in Boston. But lovers of his music would politely disagree that he wasn't a jazz pianist. Dave was just very modest. (Dave also played many concert spaces. I heard him in one.)

Stories abound. Early in his career, he was on a national tour with players including Art Tatum. Tatum was blind and sick. He'd come out of his hotel room for two reasons, to play himself and to hear Dave McKenna play. Dave was renowned for his "three hand" technique: he'd comp a third part between the two hands. Whitney Balliett, the long-time New Yorker jazz critic, once wrote that he stood over Dave's shoulder at the Copley and still couldn't see how he did it. I can't, either. IMO, if we made national treasures of people, as I've heard they do in Japan, Dave McKenna would be high on the list. He was a master of our national music.


----------



## Jay




----------



## starthrower

Just picked up a used copy of this 2-fer CD which also includes Affinity. Great sound, and beautiful takes on these tunes. Dizzy's Con Alma is a desert isle performance! But Jazz Soul sounds like a masterpiece from beginning to end. Affinity doesn't sound quite as strong and the rendition of Oliver Nelson's Six and Four sounds a little stiff. But overall a great CD.


----------



## starthrower

Rick Beato sits down with Pat Metheny for an 1:45 minute conversation.


----------



## starthrower

Incredible playing on a great composition.


----------



## starthrower

Burning trio performance on this early Metheny Group tune.

Scott Colley - bass
Antonio Sanchez - drums


----------



## SanAntone

For some reason I have never thought much of Pat Metheny's playing. Maybe its the hair.


----------



## starthrower

Oh, of course! The hair has everything to do with his playing.


----------



## jim prideaux

Coincidence ST....currently listening to the wonderful Two Folk Songs from 80/81. Magnificent!

Incidentally......I have had a sneaking regard for Metheny's hair for nearly 40 years.......he himself shows a total disregard for the 'diktats' of fashion.....would anyone contemplate prejudging the music of Brahms' on the basis of his beard? ( just saying, not looking for a debate)

....and anyone who doubts Metheny's abilities might have a listen to the second of the 'two folk songs'.......lyricism unbounded and such a lovely tone!


----------



## jim prideaux

John Scofield-'Pat me' from Grace under Pressure.


----------



## Barbebleu

Tauhid - Pharoah Sanders. Just immense.


----------



## Dorsetmike

Ella, Blue skies


----------



## starthrower

Both on vibes having a bit of fun!

Here's the full set.


----------



## Dorsetmike

Milt Jackson - Lover


----------



## starthrower

Another Chick & Gary concert from Tokyo 1981.


----------



## Jay




----------



## Barbebleu

starthrower said:


> Both on vibes having a bit of fun!
> 
> Here's the full set.


Two giants of jazz demonstrating exactly why they are giants! Wonderful stuff.


----------



## starthrower

Barbebleu said:


> Two giants of jazz demonstrating exactly why they are giants! Wonderful stuff.


A wonderful way to end the show! Chick always made sure to have a fun evening when he was on stage. I was fortunate to see him three times. I wish it had been a dozen.


----------



## starthrower

Completely improvised but it sounds like a tune. Lyle triggers some very authentic bass sounds with this technology.


----------



## Neo Romanza

SanAntone said:


> For some reason I have never thought much of Pat Metheny's playing. Maybe its the hair.


I love Pat Metheny. In particular, his work with the PMG with Lyle Mays. Honestly, I don't see how you couldn't be moved by an album like _As Falls Wichita, So Falls Wichita Falls_, _Watercolors_ or, my absolute favorite, _Offramp_. I'm less of a fan of Metheny's later work (past the mid-80s).


----------



## starthrower

Neo Romanza said:


> I love Pat Metheny. In particular, his work with the PMG with Lyle Mays. Honestly, I don't see how you couldn't be moved by an album like _As Falls Wichita, So Falls Wichita Falls_, _Watercolors_ or, my absolute favorite, _Offramp_. I'm less of a fan of Metheny's later work (past the mid-80s).


Maybe he got distracted by a bird in Pat's hair? I happen to think Pat and Lyle wrote some really great compositions beyond the mid 80s. For example: Minuano, Third Wind, Have You Heard, Are We There Yet, Imaginary Day, The Roots Of Coincidence, Episode d'Azur, Scrap Metal, Proof. And Pat wrote some great stuff for Secret Story like Finding and Believing, Antonia, Catherdal In A Suitcase, to name a few.


----------



## Neo Romanza

starthrower said:


> Maybe he got distracted by a bird in Pat's hair? I happen to think Pat and Lyle wrote some really great compositions beyond the mid 80s. For example: Minuano, Third Wind, Have You Heard, Are We There Yet, Imaginary Day, The Roots Of Coincidence, Episode d'Azur, Scrap Metal, Proof. And Pat wrote some great stuff for Secret Story like Finding and Believing, Antonia, Catherdal In A Suitcase, to name a few.


There's a certain spirit in so many of these earlier pieces that I'm more personally drawn to. It's a similar trajectory with Bill Frisell (another one of my favorites) in that he kind of lost me after Kermit Driscoll and Joey Baron left his band (Hank Roberts, too) and started doing all of that Americana stuff, although I do still love _Nashville_ a lot and consider this one of his best albums.


----------



## starthrower

Metheny is just the opposite. His earlier stuff has the spacious mid western vibe and later he got more complex. I do miss his old digital delay guitar sound. I too prefer Frisell's earlier, more jazz improv oriented music with Joey Baron and Kermit Driscoll. That was a great band. I'm not in to the laid back Americana jazz thing. And I like jazz drummers, not Jim Keltner, although he's fine for what he does but it's not my thing.


----------



## SanAntone

starthrower said:


> Maybe he got distracted by a bird in Pat's hair? I happen to think Pat and Lyle wrote some really great compositions beyond the mid 80s. For example: Minuano, Third Wind, Have You Heard, Are We There Yet, Imaginary Day, The Roots Of Coincidence, Episode d'Azur, Scrap Metal, Proof. And Pat wrote some great stuff for Secret Story like Finding and Believing, Antonia, Catherdal In A Suitcase, to name a few.


I was at North Texas with Lyle Mays - nice guy, good piano player. But I preferred when he played acoustic.

Re: Metheny

He is a good player but I've only been slightly interested in his records. A little too fusion-like for my tastes. He has made a few albums I've enjoyed, the one with Charlie Haden where gets a more acoustic sound.










Bill Frisell is much more interesting to me.


----------



## starthrower

They made a record called The Sound Of Summer Running. Pat and Bill sound great together. Although the Metheny Group fused different musics together they never had a jazz-rock sound. Lyle always soloed on acoustic piano, and Pat is a hard core bebop influenced player.


----------



## SanAntone

> Pat is a hard core bebop influenced player.


In a Berklee kind of way.


----------



## starthrower

SanAntone said:


> In a Berklee kind of way.


I don't know what that means but he's of his own generation and has a unique sound. But he doesn't do Al Di Meola rock fusion. He's a jazz player.


----------



## SanAntone

starthrower said:


> I don't know what that means but he's of his own generation and has a unique sound. But he doesn't do Al Di Meola rock fusion. He's a jazz player.


Hey, lighten up, I'm just kidding you. Didn't you see the smiley?


----------



## Neo Romanza

starthrower said:


> Metheny is just the opposite. His earlier stuff has the spacious mid western vibe and later he got more complex. I do miss his old digital delay guitar sound. I too prefer Frisell's earlier, more jazz improv oriented music with Joey Baron and Kermit Driscoll. That was a great band. I'm not in to the laid back Americana jazz thing. And I like jazz drummers, not Jim Keltner, although he's fine for what he does but it's not my thing.


Well, I just don't think Metheny does complicated too well. He's a hell of a guitarist there's no doubting that, but, yes, the Midwestern, open-ended sound-world that he and Mays created suited their styles, but there are some complex things happening in many of those ECM albums, so I'm not sure if I fully can concur with you that he got more complex later on. Also, being complicated doesn't make one great of course, but expressiveness and a unique sound goes much further than how many time signatures can be used in a piece.


----------



## Neo Romanza

starthrower said:


> They made a record called The Sound Of Summer Running. Pat and Bill sound great together. Although the Metheny Group fused different musics together they never had a jazz-rock sound. Lyle always soloed on acoustic piano, and Pat is a hard core bebop influenced player.


I disagree here. I didn't like this album at all. I think I played it all the way through once and never returned to it. I don't think either guitarist compliment each other very well. For the record, I didn't like the album Scofield did with Metheny either, but I don't think much of Scofield anyway with the bold exception of the Marc Johnson Bass Desires albums he did with Frisell. Now, those are pretty good.


----------



## starthrower

Just because you don't like it doesn't mean it's not good music. I think they compliment each other beautifully. As did Sco and Metheny. These three are so talented that they're not capable of making bad music. And Marc Johnson is one of the top jazz bassists in the music. Probably why he got hired by Bill Evans over 40 years ago. And you ought to know with all the listening you do that first impressions can be shortsighted. Sometimes you need to spend a little more time with music to really begin to hear what's there. The music on the record doesn't change but our perceptions do.


----------



## Neo Romanza

starthrower said:


> Just because you don't like it doesn't mean it's not good music. I think they compliment each other beautifully. As did Sco and Metheny. These three are so talented that they're not capable of making bad music. And Marc Johnson is one of the top jazz bassists in the music. Probably why he got hired by Bill Evans over 40 years ago. And you ought to know with all the listening you do that first impressions can be shortsighted. Sometimes you need to spend a little more time with music to really begin to hear what's there. The music on the record doesn't change but our perceptions do.


We just have a different viewpoint and that's okay. I don't like everything Miles Davis, Charles Mingus, Miles Davis, etc. have done, but this doesn't mean that I don't respect their artistry. Also, I never said anything about that album _The Sound of Summer Running_ being 'bad' music, I just said it's not _my_ kind of music and I don't really see this changing. My tastes in jazz are pretty concrete and have been for 15 years, but in classical they do change, but I still have a core group of composers that I absolutely adore no matter what mood I'm in at the given moment. Truth be told, I don't listen to jazz or rock as much as I did in the past and I'm perfectly content with this as I listen to music that gives me emotional/intellectual fulfillment and if I don't like something, I'm not going to force myself to enjoy it.


----------



## starthrower

> I don't think either guitarist compliment each other very well.


If they don't play well together it wouldn't make for good music. Anyway, listening to that first track I uploaded, they play beautifully on the head of the tune, and then Pat takes a long solo while Bill accompanies him masterfully.


----------



## Neo Romanza

starthrower said:


> If they don't play well together it wouldn't make for good music. Anyway, listening to that first track I uploaded, they play beautifully on the head of the tune, and then Pat takes a long solo while Bill accompanies him masterfully.


Did you even read what I wrote to you above? That might help.


----------



## starthrower

Neo Romanza said:


> Did you even read what I wrote to you above? That might help.


Yeah, I read it. You think you might have listened to it once through and never returned to it. And I quoted another sentence. I know you don't like Scofield with the exception of Bass Desires. That's fine but since you dismissed an album you listened to once years ago doesn't really qualify you to give an informed opinion. The same way you dismissed the Fagerlund bassoon concerto when you admitted you didn't even listen to the whole piece once. I'm not trying to give you a hard time but in some cases you're stating a strong opinion based on very little listening time.


----------



## Neo Romanza

starthrower said:


> Yeah, I read it. You think you might have listened to it once through and never returned to it. And I quoted another sentence. I know you don't like Scofield with the exception of Bass Desires. That's fine but since you dismissed an album you listened to once years ago doesn't really qualify you to give an informed opinion. The same way you dismissed the Fagerlund bassoon concerto when you admitted you didn't even listen to the whole piece once. I'm not trying to give you a hard time but in some cases you're stating a strong opinion based on very little listening time.


If I'm not allured by it, then I have no reason to continue listening to it. My opinions on jazz rarely change. Classical is a different story. I don't think you're giving me a hard time, but I think there seems to be some nagging on your part. It's almost like if someone dislikes something that you like, you seem to get defensive about it when there's no need to in the first-place. We all like what we like. Oh and I have absolutely zero desire to hear that Marc Johnson album again just like I'll never listen to the Fagerlund piece that I dismissed. I'm not here to give 'informed' opinions, but to share my impressions of the music I'm listening to whether you agree with those impressions or not, but there's no reason to beat a dead horse when someone doesn't enjoy the same things you do.


----------



## SanAntone

*The Charles Mingus Quintet + Max Roach*










George Barrow - tenor sax
Eddie Bert - trombone
Mal Waldron - piano
Charles Mingus - bass
Willie Jones - drums (except 5)
Max Roach - drums (tracks 2 and 5)


----------



## starthrower

> I'm not here to give 'informed' opinions


Okay, I'll accept that even though I don't see the point. But let's move on...


----------



## SanAntone

*Study in Brown*










"Cherokee" (Ray Noble) - 5:44
"Jacqui" (Richie Powell) - 5:11
"Swingin'" (Clifford Brown) - 2:52
"Lands End" (Harold Land) - 4:57
"George's Dilemma" (Brown) - 5:36
"Sandu" (Brown) - 4:57
"Gerkin for Perkin" (Brown) - 2:56
"If I Love Again" (Jack Murray and Ben Oakland) - 3:24
"Take the "A" Train" (Billy Strayhorn) - 4:16

Clifford Brown - trumpet
Harold Land - tenor saxophone
Richie Powell - piano
George Morrow - double bass
Max Roach - drums

One of the classic hard bop bands, whose run was tragically cut short when Clifford Brown and Richie Powell were killed in an auto accident in 1956.


----------



## SanAntone

*John Coltrane* - _Blue Train_










John Coltrane - tenor saxophone
Lee Morgan - trumpet
Curtis Fuller - trombone
Kenny Drew - piano
Paul Chambers - bass
Philly Joe Jones - drums



> In September 1957 while in the midst of finding his own voice on the tenor saxophone in bands led by jazz freedom riders Miles Davis and Thelonious Monk, John Coltrane enlisted a band of peers and entered Rudy Van Gelder's Hackensack, N.J., studio. With a new spirit rising, Coltrane created Blue Train, a 40-plus-minute masterwork that stands as one of the greatest jazz records of all time. It was only his second album as leader-and his sole recording under his own name for Blue Note Records. Of course, Trane, always the insatiable seeker, went on to launch new rockets of interstellar music-including 1959's groundbreaking Giant Steps, 1964's sublime jazz prayer A Love Supreme and 1966's large ensemble expedition Ascension, which sparked the burgeoning free jazz movement.
> 
> But it all started for Coltrane with Blue Train, a pioneering five-song, blues-steeped, hard bop outing that exhilarates with pockets of brawn and poetry, excursions of ferocity and finesse, stretches of blazing velocity and soulful tenderness. By all measures it began as an organic session with four spirited Trane originals and a gorgeous rendition of the Jerome Kern-Johnny Mercer ballad, "I'm Old Fashioned." But graced by the incantations of inspired improvisation, Blue Train yielded a transcendence that few recordings achieve.
> 
> Today, Blue Train permeates the air and sounds as fresh as it did in jazz's '50s golden age. Its richly lyrical tunes are instantly identifiable by longtime listeners as well as aspiring saxophone students. But songs from the album also elicit vague memories from even those uninitiated into the jazz world. The iconic title track, one of Trane's all-time catchiest themes, could easily pass for comfort background music at a loud party or serve as a quiet-toned dinner jazz companion that won't upset candlelit conversations. (Blue Note)


----------



## JohnP

I've come back to this astonishing video several times in the past week. Stacey Kent scats in perfect mimicry of Django Rheinhardt's I'll See You in My Dreams--while riding in a car.


----------



## atsizat

I believe this is called Jazz?

If so, this is a Jazz that makes me cry. It is so depressing.


----------



## SanAntone

_Candy_
*Lee Morgan*










Lee Morgan - trumpet
Sonny Clark - piano
Doug Watkins - bass
Art Taylor - drums

Great rhythm section.


----------



## Neo Romanza

starthrower said:


> Okay, I'll accept that even though I don't see the point. But let's move on...




I have no idea what your problem is, but can you just not accept the fact that I don't like the same music you do?


----------



## Jay




----------



## atsizat




----------



## Captainnumber36

Herbie Hancock - "Takin' Off"


----------



## Ludwig Von Chumpsky

Michael Brecker - Tee bag. I've listened to his solo a hundred times and still find new stuff in it every time. Complete genius.


----------



## starthrower

Neo Romanza said:


> I have no idea what your problem is, but can you just not accept the fact that I don't like the same music you do?


You missed the point. I don't care if we don't like the same music. I pointed out the fact that you made some value judgements about somebody's music or record without putting in the listening time. Get it? I was conversing with San Antone when I put up the Marc Johnson link. If you don't like the record and you only listened to it once why did you comment on it in the first place? But as I said, to hell with it and move on...


----------



## tdc

Duke Ellington with his orchestra is still my favorite jazz.

Gems such as these:

The Eighth Veil
How High the Moon
In My Solitude
Duet
Take the "A" Train
Caravan
I Let a Song Go Out of My Heart
Don't Get Around Much Anymore

I respect many jazz musicians a lot, but Ellington's sound is the world where I feel most 'at home' in jazz. It is the only jazz where the harmonies seem to evoke very rich colors in my mind similar to what I experience from classical composers such as Bach, Debussy, Stravinsky etc.


----------



## SanAntone

tdc said:


> Duke Ellington with his orchestra is still my favorite jazz.
> 
> Gems such as these:
> 
> The Eighth Veil
> How High the Moon
> In My Solitude
> Duet
> Take the "A" Train
> Caravan
> I Let a Song Go Out of My Heart
> Don't Get Around Much Anymore
> 
> I respect many jazz musicians a lot, but Ellington's sound is the world where I feel most 'at home' in jazz. It is the only jazz where the harmonies seem to evoke very rich colors in my mind similar to what I experience from classical composers such as Bach, Debussy, Stravinsky etc.


I couldn't agree more. Ellington is a giant, and was unique in how he wrote for his band. Granted we can't leave Billy Strayhorn out of the conversation, but both before and after Stray's involvement the band and music displayed the same high artistic values.


----------



## Neo Romanza

starthrower said:


> You missed the point. I don't care if we don't like the same music. I pointed out the fact that you made some value judgements about somebody's music or record without putting in the listening time. Get it? I was conversing with San Antone when I put up the Marc Johnson link. If you don't like the record and you only listened to it once why did you comment on it in the first place? But as I said, to hell with it and move on...


I can comment on anything I see fit to comment on --- it's an open forum after all. There's absolutely no need for you to be so defensive about all of this. I listened to the album once, I put in all the time I'm going to put into it. My mind won't change about this particular album --- weak material and uninspired improvisations. As I said before, it's not a 'bad' album (I mean they're not trying to rap), but it just wasn't an album that warranted a second-listen. That's all.


----------



## starthrower

It's not about being defensive. I don't have a vested interest in the Marc Johnson album. And yes, anyone can comment on a record they listened to once. But you seemed a bit surprised that you got a bit of push back for negative comments about the performances you spent very little time with. That's all I'm saying. And that goes for any recording. You obviously love jazz and classical music and we've conversed for years both here and on the Hoffman forum, so happy listening!


----------



## Neo Romanza

starthrower said:


> It's not about being defensive. I don't have a vested interest in the Marc Johnson album. And yes, anyone can comment on a record they listened to once. But you seemed a bit surprised that you got a bit of push back for negative comments about the performances you spent very little time with. That's all I'm saying. And that goes for any recording. You obviously love jazz and classical music and we've conversed for years both here and on the Hoffman forum, so happy listening!


Yes, I'm sorry to have dragged this through the mud. I guess I wasn't really ready for someone to defend this album!  But in all seriousness, it is blatantly obvious that you and I both love classical and jazz but, as with anything, sometimes we just have a different view and thank goodness for that! I'd hate to live in a world where everyone likes what I like.


----------



## starthrower

Very true! But for me it's about respect for those musicians and their high standards rather than personal likes it dislikes. But enough about that album. I didn't even realize it was over 20 years old already.


----------



## Neo Romanza

starthrower said:


> Very true! But for me it's about respect for those musicians and their high standards rather than personal likes it dislikes. But enough about that album. I didn't even realize it was over 20 years old already.


There's no lack of disrespect on my end for any of these musicians. They're all incredible musicians with each of them having their own individual musical voice. One thing I wish Metheny had done and that's recorded more of Zorn's music. This is probably my favorite album he's done since the Group disbanded.


----------



## SanAntone

I am just beginning to realize how lucky I was to have been at North Texas in the mid-70s, and getting to know and play with some guys who turned out to have great careers: Lyle Mays, Bill Evans (sax), Marc Johnson, Bob Belden - and that's just who I can think of from this discussion. 

I remember when Marc got the Bill Evans gig - it was the gig all bass payers dreamed about, and he was so young. He was playing in a supper club in Dallas and we talked about it, he'd just gotten the call. After I moved to NYC, we hooked up again. By then he was living with Eliane Elias, a Brazilian pianist I had met through other channels, and I ended up subbing for Marc a little. I was never on the A list, not even the B list - but I was probably on the C list and would get some gigs subbing for some bass players, as well as playing with some name horn guys.

The Jazz scene in NYC was very competitive but at the same time, for guys who could play, the community was also very supportive. Like when I had my bass stolen, both Dennis Irvin and Mike Formanek came through for me, one by lending me his backup bass and the other for finding a great bass in NJ that he'd had his eye on but realized I needed it more than he.

I haven't played bass for a long time, having moved to Nashville to become a professional songwriter, which I loved even more than playing Jazz. But they were some great years, a good two decades of my life I would not trade for anything.

Sorry for the digression down my personal memory lane.


----------



## SanAntone

As far as Marc Johnson goes, his work with h Enrico Pieranunzi and John Lewis, as well his work with guitarists John Abercrombie and John Scofield - are stand out dates, IMO.


----------



## starthrower

> One thing I wish Metheny had done and that's recorded more of Zorn's music. This is probably my favorite album he's done since the Group disbanded.


He did come up with some interesting interpretations of that material. There are a couple other volumes I enjoy but I don't remember the numbers. And honestly, I can't read the small cursive text on the those CD jackets so I forget the name of the ensemble. But someone at the Hoffman Forum made a great post with info and links for all the Book Of Angels recordings.


----------



## starthrower

SanAntone said:


> As far as Marc Johnson goes, his work with h Enrico Pieranunzi and John Lewis, as well his work with guitarists John Abercrombie and John Scofield - are stand out dates, IMO.


I pretty much like everything I've heard from Abercrombie. It's a shame he passed a few years ago. But I'm a big fan of that trio they had with Peter Erskine.


----------



## Neo Romanza

starthrower said:


> He did come up with some interesting interpretations of that material. There are a couple other volumes I enjoy but I don't remember the numbers. And honestly, I can't read the small cursive text on the those CD jackets so I forget the name of the ensemble. But someone at the Hoffman Forum made a great post with info and links for all the Book Of Angels recordings.


I own the entire _Book of Angels_ series, so any info I need will be a simple matter of pulling it from the shelf.  I'm a huge Zorn fan in general.


----------



## Neo Romanza

starthrower said:


> I pretty much like everything I've heard from Abercrombie. It's a shame he passed a few years ago. But I'm a big fan of that trio they had with Peter Erskine.


+1

I love the _Current Events_ album. It's too bad this trio didn't do more recordings.


----------



## starthrower

Neo Romanza said:


> +1
> 
> I love the _Current Events_ album. It's too bad this trio didn't do more recordings.


That was the first one I bought back in the 80s. And more recently I picked up the self titled live album when it got reissued a couple years ago. And I have November. I don't know if they made any other albums?


----------



## SanAntone

Complete Prestige Recordings - Miles Davis and Sonny Rollins



















Two great box sets - I've add them to a larger playlist with some other great Jazz boxes.


----------



## Neo Romanza

starthrower said:


> That was the first one I bought back in the 80s. And more recently I picked up the self titled live album when it got reissued a couple years ago. And I have November. I don't know if they made any other albums?


I think that was it in terms of a trio. Of course, _November_ wasn't just this trio but in many cases augmented by others like John Surman who I believe played on this album. Also, this trio was the core of _Getting There_, which featured Michael Brecker on several pieces.


----------



## Jay

Voicings are Booker Little-ish:


----------



## SanAntone

*Miles Davis And Horns*










A nice 1956 compilation from several earlier records discontinued by Prestige.

Tracks 1-4:
Miles Davis - Trumpet
Zoot Sims - Tenor Saxophone
Al Cohn - Tenor Saxophone
Sonny Truitt - Trombone
John Lewis - Piano
Leonard Gaskin - Bass
Kenny Clarke - Drums

Tracks 5-8:
Miles Davis - Trumpet
Sonny Rollins - Tenor Saxophone
Bennie Green - Trombone
John Lewis - Piano
Percy Heath - Bass
Roy Haynes - Drums


----------



## Barbebleu

Sam Rivers - A New Conception. Excellent modern approach to some jazz standards.


----------



## starthrower

Neo Romanza said:


> I think that was it in terms of a trio. Of course, _November_ wasn't just this trio but in many cases augmented by others like John Surman who I believe played on this album. Also, this trio was the core of _Getting There_, which featured Michael Brecker on several pieces.


I forgot about Surman. Haven't listened to November for a couple years. Getting There is another one I've always enjoyed. I used to play the lead off tune on my radio show.


----------



## Tempesta

On now ...


----------



## tortkis

Koma Saxo, Petter Eldh




https://wejazzrecords.bandcamp.com/album/koma-saxo
Petter Eldh, bass / Christian Lillinger, drums / Otis Sandsjö, tenor saxophone / Jonas Kullhammar, tenor saxophone / Mikko Innanen, alto & baritone saxophones


----------



## jim prideaux

Keith Jarrett-Staircase.


----------



## Jay




----------



## Neo Romanza

starthrower said:


> I forgot about Surman. Haven't listened to November for a couple years. Getting There is another one I've always enjoyed. I used to play the lead off tune on my radio show.


You had a radio show? What kind of program was it?


----------



## starthrower

Neo Romanza said:


> You had a radio show? What kind of program was it?


It was at Syracuse University's WAER-FM. A 50,000 watt station. The station has changed greatly since then and not for the better, imo. But for several decades it was known for modern jazz and fusion music and that's what I played on my show. I didn't want to pigeonhole myself so I never referred to it as a "show" with a specific orientation. And I never gave it a name. I was just one of several volunteer DJs that came in and played music for a few hours every Saturday night drawing from my own personal collection. I would mix in some Zappa instrumentals and even some jazzy blues stuff. It was fun for a while but I had my fill after seven years so I gave it up in 2007. But the program director was cool and he didn't care what I played. They needed people to fill the airtime.


----------



## Neo Romanza

starthrower said:


> It was at Syracuse University's WAER-FM. A 50,000 watt station. The station has changed greatly since then and not for the better, imo. But for several decades it was known for modern jazz and fusion music and that's what I played on my show. I didn't want to pigeonhole myself so I never referred to it as a "show" with a specific orientation. And I never gave it a name. I was just one of several volunteer DJs that came in and played music for a few hours every Saturday night drawing from my own personal collection. I would mix in some Zappa instrumentals and even some jazzy blues stuff. It was fun for a while but I had my fill after seven years so I gave it up in 2007. But the program director was cool and he didn't care what I played. They needed people to fill the airtime.


Very cool. This sounds like something an acquaintance of mine did for awhile. Like you, he mostly played jazz and fusion.

Thread duty -

Pat Metheny Group: _Offramp_










One of my favorite albums of all-time and a huge influence on me.


----------



## Neo Romanza

NP:

Pat Metheny, Charlie Haden & Billy Higgins: _Rejoicing_


----------



## starthrower

I have Rejoicing on vinyl but my turntable is packed away so I haven't played it in decades. All my other Metheny is on CD.


----------



## Neo Romanza

starthrower said:


> I have Rejoicing on vinyl but my turntable is packed away so I haven't played it in decades. All my other Metheny is on CD.


It's a pretty good album. _Story from a Stranger_ is the standout on the album for me. Hauntingly beautiful.

Thread duty -

Dave Brubeck Quartet: _Time In_


----------



## Neo Romanza

Disc 3 from this set:

Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961


----------



## Dorsetmike

Dod Marmarosa - Riandrops


----------



## Neo Romanza

NP:

Charles Mingus: _Let My Children Hear Music_


----------



## Tempesta

Neo Romanza said:


> Very cool. This sounds like something an acquaintance of mine did for awhile. Like you, he mostly played jazz and fusion.
> 
> Thread duty -
> 
> Pat Metheny Group: _Offramp_
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> One of my favorite albums of all-time and a huge influence on me.


Same here ...a true Classic!


----------



## Tempesta

spending Labor Day morning with ...


----------



## Neo Romanza

Tempesta said:


> Same here ...a true Classic!


 What are some of your other favorite Metheny albums?


----------



## starthrower

If you have a nice audio system this CD is definitely worth picking up. One of the best sounding Metheny albums I've heard.


----------



## SanAntone

*Mike Gibbs + Twelve play Gil Evans*










"Bilbao Song" (Kurt Weill) (as arranged by Gil Evans)
"Las Vegas Tango" (Gil Evans)
"Ida Lupino" (Carla Bley)
"Feelings & Things" (Michael Gibbs)
"Sister Sadie" (Horace Silver) (as arranged by Gil Evans)
"Spring is Here" (Richard Rodgers, Lorenz Hart) (as arranged by Gil Evans)
"Ramblin'" (Ornette Coleman)
"St. Louis Blues" (W.C. Handy) (as arranged by Gil Evans)
"Tennis, Anyone?" (Michael Gibbs)
"Wait till You See Her" (Richard Rodgers, Lorenz Hart) (as arranged by Gil Evans)

Mike Gibbs - Arranger and conductor
Finn Peters - Alto Saxophone, Flutes
Julian Siegel - Tenor & Soprano Saxophones, Bass Clarinet
Lluis Mather - Tenor Saxophone, Clarinets
Percy Pursglove, Robbie Robson, Joe Aukland - Trumpet
Jim Rattigan - French horn
Mark Nightingale - Trombone
Sarah Williams - Bass trombone, tuba
Hans Koller - Piano
Michael Janisch - Double bass
Jeff Williams - Drums

Fantastic album by a Jazz composer/arranger who is more well known, and respected, among musicians than with the wider public.


----------



## Tempesta

Neo Romanza said:


> What are some of your other favorite Metheny albums?


Song X








and all of his live performances


----------



## tortkis

Live at the Village Vanguard, Vol. 1 (The Embedded Sets) - Steve Coleman and Five Elements








Steve Coleman (alto saxophone), Jonathan Finlayson (trumpet), Miles Okazaki (guitar), Anthony Tidd (bass), Sean Rickman (drums)
Vol. 2 will be released on October 29.


----------



## starthrower

Tempesta said:


> Song X
> View attachment 158999
> 
> 
> and all of his live performances


The 20th Anniversary Edition of Song X with the added material sequenced ahead of the original tracks transformed this album for me. It's a great listen.


----------



## philoctetes

Some new favorites


----------



## Dorsetmike

WNEW Saturday night Swing session (1947)


----------



## HenryPenfold

"When you hear music, after it's over, it's gone in the air. You can never recapture it again."


----------



## Simon Moon

tortkis said:


> Live at the Village Vanguard, Vol. 1 (The Embedded Sets) - Steve Coleman and Five Elements
> 
> Steve Coleman (alto saxophone), Jonathan Finlayson (trumpet), Miles Okazaki (guitar), Anthony Tidd (bass), Sean Rickman (drums)
> Vol. 2 will be released on October 29.


I don't like to toss around the "genius" label too often, but whenever I listen to Coleman, I am tempted to use it.

Just a month or two before the pandemic hit, he played a week long residency here in LA at a club called the Blue Whale. I was there for half of the nights.


----------



## starthrower

I don't remember which award it was but Steve Coleman received a genius grant. He's obviously a very intelligent person who has produced a huge catalog of accomplished music which he also uses to express his interest in world cultures, science, and philosophy.


----------



## Simon Moon

Really creative contemporary pianist and composer, Craig Taborn. Progressive, without getting too far 'outside'.

Great chops with a unique vocabulary.

Here's a track from his 2017 ECM release (Daylight Ghosts).


----------



## Simon Moon

starthrower said:


> I don't remember which award it was but Steve Coleman received a genius grant. He's obviously a very intelligent person who has produced a huge catalog of accomplished music which he also uses to express his interest in world cultures, science, and philosophy.


It was the MacArthur Foundation Genius Grant in 2014.


----------



## tortkis

starthrower said:


> I don't remember which award it was but Steve Coleman received a genius grant. He's obviously a very intelligent person who has produced a huge catalog of accomplished music which he also uses to express his interest in world cultures, science, and philosophy.


I feel intelligence in his music, it sounds sophisticated and very well constructed, and yet the flow is organic. I like the way the composed parts and improvisations connect seamlessly.


----------



## starthrower

The main thing for me is that Coleman has a personal sound when he plays his alto sax. I used to listen to him back in the 80s when he was in Dave Holland's band. I just latched on to his sound, his voice when he played. Same for Kenny Wheeler who was in that band.


----------



## Jay

Those into Steve Coleman's thing will want to check out one of his students, altoist Steve Lehman; I particularly dig his octet recordings:


----------



## tortkis

I am interested in how spectralism is used in Lehman's compositions/improvisations.


----------



## starthrower




----------



## Bwv 1080

No greater drummer IMO


----------



## Jay

Hip take on the old Stylistics song:


----------



## tortkis

Tibor Debreceni: Blue Waltz




All instruments are played by Debreceni.


----------



## Barbebleu

The new Pat Metheny album. Very good.


----------



## starthrower

Barbebleu said:


> The new Pat Metheny album. Very good.


Which one is that?


----------



## Barbebleu

starthrower said:


> Which one is that?


Side Eye NYC. (VI.IV.)


----------



## starthrower

Barbebleu said:


> Side Eye NYC. (VI.IV.)


I saw a release date of 10/22. But I guess that's for the CD. Will check it out on Spotify.


----------



## Barbebleu

starthrower said:


> I saw a release date of 10/22. But I guess that's for the CD. Will check it out on Spotify.


It's out here in the UK on Amazon. CD and download.


----------



## Red Terror




----------



## Barbebleu

starthrower said:


> I saw a release date of 10/22. But I guess that's for the CD. Will check it out on Spotify.


If you look at the MP3 release on Amazon.com they have the correct release date of September the 10th. It would appear they are out of stock for the cd which I find totally weird!


----------



## SanAntone

Barbebleu said:


> Side Eye NYC. (VI.IV.)


It's on Spotify.

Listening now. Meh.


----------



## starthrower

SanAntone said:


> It's on Spotify.
> 
> Listening now. Meh.


You're meh on Metheny anyway so no surprise.


----------



## HenryPenfold

starthrower said:


> You're meh on Metheny anyway so no surprise.


_meh _ and Metheny cannot be used in the same sentence!


----------



## starthrower

HenryPenfold said:


> _meh _ and Metheny cannot be used in the same sentence!


I'm really tuned in to the keyboard player, James Francies, in this current trio. He's an amazing talent. I saw them live in 2019. He also plays tons of amazing stuff on the two Chris Potter Circuits Trio CDs. And he has two solo releases out.


----------



## SanAntone

starthrower said:


> You're meh on Metheny anyway so no surprise.


I always like to hear what he's doing since there have been some of his records that I enjoyed.


----------



## starthrower

SanAntone said:


> I always like to hear what he's doing since there have been some of his records that I enjoyed.


I would have preferred an album of new material but the pandemic sidelined this new trio just as they were getting some seasoned touring under their belts.


----------



## Jay

Elvin Jones with Dave Liebman and Steve Grossman...indeed!


----------



## starthrower

2006 Stretch Records

Featuring: Hubert Laws, Steve Gadd, Airto, Carlos Benavent, Vinnie Colaiuta, Jorge Pardo, Tim Garland, etc.

A great sounding CD with lots of percussion and infectious grooves! Since Chick passed earlier this year I've been filing in some holes in my collection and grabbing whatever reasonably priced used CDs I can find.


----------



## Jay




----------



## Barbebleu

Integration - Amancio D’Silva. Excellent album from 1969 by the Indian born guitarist. Great band including Don Rendell and Ian Carr.


----------



## Conrad2

Nala Sinephro - _Space 1.8_. Released in 2021 and published by Warp Records.


----------



## starthrower

Some great 90s era McCoy!


----------



## Tempesta

Nuff to end this work week!


----------



## tortkis

Desert Encrypts Vol. 1 - Rob Mazurek








https://robmazurek.bandcamp.com/album/desert-encrypts-vol-1
Rob Mazurek (Piccolo Trumpet, Electronics), Kris Davis (Piano), Chad Taylor (Drums), Ingebrigt Håker Flaten (Bass), Lynn Xu (voice on The Blue Haze)


----------



## Jay




----------



## Tempesta

Henry Threadgill: alto saxophone
Mark Taylor: french horn
Brandon Ross: electric guitar, acoustic guitar on (5)
Masujaa: electric guitar
Edwin Rodriguez & Marcus Rojas: tuba
Gene Lake: drums (except 5)
Dorian L. Parreott II (2,4,6): tuba
Larry Bright (2,4): drums, cymbals on (5)
Leroy Jenkins & Jason Hwang (2,4): violin
Simon Shaheen (2,4): violin, oud
Johnny Rudas (2,4): culo e puya, fulia
Miguel Urvina (2,4,5): culo e puya, fulia
Mossa Bildner & Arenae (2): vocals


----------



## Jay




----------



## 89Koechel

Charlie Christian, the short-lived guitarist (died at the age of 26/in 1942), who recorded for Columbia, in the past. Still one of the most-original of jazz guitarists, after almost 80 years.


----------



## 89Koechel

Anybody remember Coleman Hawkins, or Bix Beiderbecke, or the great Orchestras (Ellington, Basie, Henderson) from the past? Geez, but jazz DOES have a great past & foundation.


----------



## starthrower

Of course we remember those great and pioneering artists. I still need to pick up some Charlie Christian CDs. I wish I had purchased the 4 disc Box before it became scarce and expensive. His playing still sounds modern to my ears. It must have been a huge thrill to hear that music decades ago when it was brand new.


----------



## starthrower

Some great soloing from Charlie Christian.


----------



## 89Koechel

(4 CD set) - Does this, possibly, include an old LP/Jazz Archives ... Christian with Lester Young?


----------



## starthrower

Here's the Discogs listing with track info. It's a 2002 release on Columbia/Sony.

https://www.discogs.com/Charlie-Christian-The-Genius-Of-The-Electric-Guitar/release/740794


----------



## Neo Romanza

NP:

Pat Metheny Group: _Letter from Home_










I have forgot how much I love this album and the one right before it, _Still Life (Talking)_. Outside of the PMG's ECM output, these two afore mentioned albums would probably be my favorites, although I do rather like _Imaginary Day_.


----------



## starthrower

This is a good one to listen to if you're a big fan of jazz drumming. Antonio Sanchez plays great here, and his drum kit is beautifully recorded.


----------



## 89Koechel

Thanks, starthrower, for that listing of C Christian, on the Sony/Columbia release. I still have LPs, such as ol' CL 652, and a French/CBS reissue ... 62581, from around 30 years ago. Also, will try to correlate the listings of the 4-CD set, with the aforementioned ... plus the Jazz Archives LPs ... Charlie Christian and Lester Young Together (JA-6), Charlie Christian LIVE!, with the Benny Goodman Sextet/1940, on JA-23. Finally, there's a Jazz Archive LP - Lester Young and Charlie Christian/1939 and 1940, on JA 42.


----------



## 89Koechel

startrhower - Just wondered, have you and/or others ever read the jazz reviews of the late Whitney Balliett, of The New Yorker? These are some of the best and incisive, that I've ever known -eh?


----------



## Tempesta

Alto Saxophone, Bassoon - Hosea Taylor (tracks: 6, 7)
Alto Saxophone, Flute - James Spaulding (tracks: 1 to 5)
Bass - Bob Cranshaw (tracks: 2, 3, 5), Larry Ridley (tracks: 1, 4), Reggie Workman (tracks: 6, 7)
Congas - Big Black (2) (tracks: 1, 4)
Design [Cover] - Reid Miles
Drums - Clifford Jarvis (tracks: 1, 4), Elvin Jones (tracks: 6, 7), Pete La Roca (tracks: 2, 3, 5)
Euphonium - Kiane Zawadi (tracks: 1 to 5)
Photography By [Cover Photograph, Liner Photographs] - Francis Wolff
Piano - Harold Mabern (tracks: 1, 4), McCoy Tyner (tracks: 2, 3, 5)
Piano, Celesta - Herbie Hancock (tracks: 6, 7)
Producer - Alfred Lion
Recorded By, Remastered By [2003] - Rudy Van Gelder
Reissue Producer - Michael Cuscuna
Tenor Saxophone - Hank Mobley (tracks: 2, 3, 5), Joe Henderson (tracks: 1, 4, 6, 7)
Trumpet - Freddie Hubbard


----------



## tortkis

Complete Communion & Symphony For Improvisers Revisited - Don Cherry








Don Cherry, Leandro "Gato" Barbieri, Henry Grimes, Edward Blackwell, Pharoah Sanders, Karl Berger, J.F. Jenny-Clark


----------



## Jay




----------



## Dorsetmike

Jazz Harp


----------



## Barbebleu

89Koechel said:


> startrhower - Just wondered, have you and/or others ever read the jazz reviews of the late Whitney Balliett, of The New Yorker? These are some of the best and incisive, that I've ever known -eh?


https://www.amazon.com/Collected-works-journal-Jazz-1954-2000/dp/1862074658

This might be of interest.


----------



## starthrower

89Koechel said:


> startrhower - Just wondered, have you and/or others ever read the jazz reviews of the late Whitney Balliett, of The New Yorker? These are some of the best and incisive, that I've ever known -eh?


No, I haven't. I don't read much jazz criticism these days.


----------



## Tempesta

Stefon Harris - _African Tarantella: Dances With Duke_







Arranged By - Stefon Harris
Bass - Derrick Hodge
Cello - Louise Dubin
Clarinet - Greg Tardy
Drums - Terreon Gully
Flute - Anne Drummond
Marimba - Stefon Harris
Orchestrated By - Stefon Harris
Piano - Xavier Davis
Producer - Stefon Harris
Trombone - Steve Turre
Vibraphone - Stefon Harris
Viola


----------



## Tempesta

Stefon Harris - _The Grand Unification Theory_


----------



## Jay




----------



## tortkis

RIP Jemeel Moondoc. I heard only a couple of albums and have been wanting to check out his output. Currently listening to The Zookeeper's House.








Jemeel Moondoc (alto sax), Hilliard Greene (bass), Newman Taylor Baker (drums), Matthew Shipp (paino), Steve Swell (trombone), Roy Campbell (trumpet)


----------



## Jay




----------



## jim prideaux

from the new Marcin Wasilewksi Trio album...their reworking of 'riders on the storm'.......over and over again, recommended....


----------



## Jay

RIP Dr. Lonnie Liston Smith, kozmigroov master:






https://www.bluenote.com/dr-lonnie-smith-1942-2021/


----------



## Barbebleu

Jay said:


> RIP Dr. Lonnie Liston Smith, kozmigroov master:
> 
> 
> 
> 
> 
> 
> https://www.bluenote.com/dr-lonnie-smith-1942-2021/


Sorry to hear that. Great musician.


----------



## Captainnumber36

Various Ornette Coleman. What a cool Artist!


----------



## Barbebleu

Captainnumber36 said:


> Various Ornette Coleman. What a cool Artist!


Yes, I'm a big fan as my avatar would suggest. Saw him live once. Awesome.


----------



## Red Terror




----------



## Red Terror




----------



## Jay




----------



## jim prideaux

live 1992.......Stephane Grappelli, Philip Catherine, Marc Fosset and Henning Orsted Pedersen.

The playing is so impressive, the 'sound' possibly even more so......


----------



## Tempesta

Bud's brilliance shines throughout every track.


----------



## Jay




----------



## vsl

_Heikki Sarmanto et al. - The traveler_
https://www.deezer.com/en/album/1332896


----------



## Red Terror




----------



## Red Terror




----------



## Jay




----------



## partisan




----------



## starthrower

Instrumental performance of the Milton Nascimento tune. Some great sounding bass and guitar with some samba and reggae grooves.


----------



## Dorsetmike

Mary Lou Williams - Down beat


----------



## partisan




----------



## Tempesta

_Give Him the Ooh-La-La_ the 1958 studio album by American jazz singer Blossom Dearie


----------



## Red Terror




----------



## Dan Ante

Dorsetmike said:


> Mary Lou Williams - Down beat


Great stuff Mike for some reason I do not have any of her LPs or 45s,,,


----------



## Captainnumber36

Sketches of Spain - Miles Davis. A favorite of mine by him!


----------



## starthrower




----------



## Dorsetmike

Count Basie - Billies bounce


----------



## Red Terror




----------



## partisan




----------



## Barbebleu

Red Terror said:


>


I bought this album in KaDeWe (giant department store) in Berlin in 1968 when I was there for the Berlin Jazztage. It was my first time abroad and it is one of my greatest memories. I saw and met Elvin Jones, Art Blakey and Sunny Murray. Saw, but regrettably didn't have a chance to meet, Don Cherry, Muddy Waters, Don Ellis. Sorry I can't recall everyone I saw over three days. All at the recently opened Berlin Philharmonic Hall.

I bought two other albums in KaDeWe, Gary Burton's Duster and Ornette's Ornette. Still have them and all my other vinyl albums from when I first started collecting in 1965. I'd spent all my money on going to the festival hence my only springing for three albums. Great days indeed.


----------



## Jay




----------



## Barbebleu

Pat Metheny/Ornette Coleman - Song X. Long version with 14 tracks. Brilliant.


----------



## starthrower

Barbebleu said:


> Pat Metheny/Ornette Coleman - Song X. Long version with 14 tracks. Brilliant.


Love that re-issue! I can't even listen to the old CD.


----------



## starthrower

I'm picking up a copy of this one at my local store today. Pat's new keyboard player James Francies is a great talent. I dig his choice of sounds too. It sounds very contemporary.


----------



## Barbebleu

Re post #5149 the Don Cherry band was the one that recorded the album Eternal Rhythm in conjunction with the Berlin Jazzztage 1968. I didn’t know that at the time of course. There was a big open party on, I think, the Friday night of the festival. A lot of the musicians were there and that’s how I met the three drummers. Barney Wilen, the French tenor sax player, was fronting a group at the party and various players sat in. I had just turned twenty and was in complete awe of these guys but they were all extremely pleasant when confronted by this strange stuttering Scotsman. I wish now that I had been less nervous and absorbed more of what was happening. It was a three day package put together by the New Musical Express flying out of Luton to Templehoff. Stayed in a hotel on the Kurfürstendamm and travelled to the east on a guided tour that took us through Checkpoint Charlie. A lot of the old WWII buildings were still standing so it was a fascinating trip.


----------



## Barbebleu

starthrower said:


> I'm picking up a copy of this one at my local store today. Pat's new keyboard player James Francies is a great talent. I dig his choice of sounds too. It sounds very contemporary.


I really like this album. As good as anything he has done imho.


----------



## starthrower

Barbebleu said:


> I really like this album. As good as anything he has done imho.


I love that bluesy tune with the rock guitar sound. He played that one at the show I attended two years ago. I never know the names of the newer tunes because Pat doesn't identify any of the pieces at the shows.


----------



## Red Terror




----------



## starthrower

Coltrane: A Love Supreme Live In Seattle
https://www.udiscovermusic.com/news/impulse-john-coltrane-love-supreme-seattle/
A 75 minute set that wasn't professionally recorded so the balance is pretty poor and the bass is hard to hear.


----------



## Jay




----------



## Barbebleu

Jay said:


>


Another Blue Note masterpiece. Super line-up too.


----------



## starthrower

An old favorite from Murray and co. with a cameo by Brandford Marsalis. Some great tunes recorded in superb sound!


----------



## Jay




----------



## Tempesta

The Duke ...


----------



## JFairweather

Indian Classical Jazz - Dr. Jayanthi Kumaresh (saraswati veena) and her husband Shri R Kumaresh (violin): "Strings Attached"


----------



## Barbebleu

Paul Motian - Le Voyage. Superb modern jazz.


----------



## Barbebleu

JFairweather said:


> Indian Classical Jazz - Dr. Jayanthi Kumaresh (saraswati veena) and her husband Shri R Kumaresh (violin): "Strings Attached"


Wonderful stuff. Thanks for the heads up.


----------



## Dorsetmike

Chet Baker, Secret love


----------



## Tempesta

The Ellington Suites


----------



## Jay




----------



## Tempesta

The Milestone Years / Joe HENDERSON


----------



## jim prideaux

on YT.....Marcin Wasilewski Trio at Jazz Baltica 2019.

Great Stuff!!!!


----------



## Barbebleu

Ornette - The Shape of Jazz to Come

Gary Burton - Lofty Fake Anagram.


----------



## Jay




----------



## Barbebleu

Jay said:


>


BYG was a great label. They recorded a lot of guys that couldn't get arrested in the U.S.


----------



## Dorsetmike

Chet Baker - What's new


----------



## cougarjuno




----------



## mikeh375

Just took this in this a.m. whilst waiting for computers to boot up. What a drumkit and a six string bass too. Insane yet inspired and transcendant playing from all three musos....absolutely brilliant.


----------



## Tempesta

Richard "Groove" Holmes _Blues All Day Long_








Congas - Ralph Dorsey
Drums - Cecil Brooks III
Guitar - Jimmy Ponder
Organ - Richard "Groove" Holmes
Percussion - Ralph Dorsey
Tenor Saxophone - Houston Person
Trumpet - Cecil Bridgewater


----------



## Jay




----------



## Tempesta

Three Pianos For Jimi


----------



## starthrower

Guitar great Pat Martino passed today.


----------



## SanAntone

starthrower said:


> Guitar great Pat Martino passed today.


Sad news, a great player. _Live at Yoshi's_ is a first rate Jazz record.


----------



## starthrower

With George Benson 1970s


----------



## Tempesta

starthrower said:


> Guitar great Pat Martino passed today.


airing _Pat Martino ‎- Live!_ now







still one of my favorite albums


----------



## starthrower

That live album is intense! I've always wondered if they saved any other material from that gig? Would love to hear more.


----------



## Tempesta

starthrower said:


> That live album is intense! I've always wondered if they saved any other material from that gig? Would love to hear more.


I would have loved to have been there for all of his live sets!


----------



## starthrower

Tempesta said:


> I would have loved to have been there for all of his live sets!


Several years ago I read an article about the club where that album was recorded. Apparently it was a dive and the place reeked of bleach. But Martino and band put that out of their minds and got down to making some great music.


----------



## Rogerx

Getz/Gilberto

Stan Getz, João Gilberto



> Jazzwise 100 Albums That Shook the World
> 
> … [Getz had] already had massive success with Jazz Samba and Jazz Samba Encore - but it turned out to be the musical perfection perhaps no-one had actually been looking for but everyone instantly recognised on the album's release. This is perhaps the coolest, most definitively etched marriage of melody and latin rhythm ever achieved…


----------



## Jay

I caught Martino in the 80s just after he returned to playing. At one point, he began to bleed form the nose; the audience gasped. He took a break and came back a bit later.

I dig 60s and early 70s Pat; lost interest with _Joyous Lake_.


----------



## starthrower

I love Joyous Lake. Great tunes and amazing musicians.


----------



## Tempesta

_Celebrating Mary Lou Williams_ (Live At Birdland New York)


----------



## starthrower

Buckyball Records

Wonderful album from vibes player and label founder Marc Wagnon. It definitely has a progressive sound with electric bass, very creative vocals by Sarah Pillow, lots of great brass playing from quests Dave Douglas, and Ray Anderson, and great drumming by Frank Katz from Percy Jones's Tunnels band. All in the service of a superb collection of original compositions.


----------



## Kjetil Heggelund

We'll Be Together Again with Pat Martino. He had a delicious tone!


----------



## Red Terror




----------



## starthrower

1976


----------



## mikeh375

Anybody listened to the distinctive voice of Stacy Kent? I'm quite hooked on these two numbers, beautifully recorded and full of emotion.


----------



## SanAntone

mikeh375 said:


> Anybody listened to the distinctive voice of Stacy Kent? I'm quite hooked on these two numbers, beautifully recorded and full of emotion.


Good singer, she's done a concert of songs by Marcos Valle which is how I've heard her. But I vastly prefer her singing Brazilian to other styles.


----------



## SanAntone

*The Singers Unlimited* was a four-part jazz vocal group formed by *Gene Puerling* in 1971. The group included *Len Dresslar*, *Bonnie Herman*, and *Don Shelton*.










A fantastic Jazz vocal group, the first album on the 6CD box is one they made with the *Oscar Peterson Trio*, with George Mraz (recently passed), _In Tune_.

Some info from Wikipedia -



> Puerling's arrangements for Singers Unlimited earned him a reputation as one of the best vocal writers in the world. Members of the vocal group Take 6 often give credit to him and the Singers Unlimited as innovators in a cappella, claiming they "went to school" on his arrangements.
> 
> Puerling took advantage of cutting-edge, multi-tracking techniques of German studio engineer Hans Georg Brunner-Schwer to create his harmonic concepts and the group's signature sound. In the overdubbing process, baritone Puerling and tenor Shelton would often add two additional middle parts, after which all parts were "doubled" and "tripled." Creating these extra tracks created the fuller, richer sound of the group's recordings. The group would record their songs by having Bonnie Herman record a simplified version of the melody, after which, Len, Gene, and Don would fill in the remaining parts. Once this process had been completed, Bonnie Herman's original melodic line would be replaced with a new one, in which she could add melodic embellishments and add "color" to the group's sound.


Puerling would employ a style of vocal writing utilizing close intervals, extended harmonies, complicated chord selection, and voice leading. These recordings were done prior to the age of auto-tuning and their pitch is impeccable; Puerling must have been a harsh taskmaster since the precision of the singing is amazing.


----------



## tortkis

Village Mothership - Whit Dickey, William Parker, Matthew Shipp (TAO Forms)


----------



## Tempesta

David Murray: tenor saxophone, bass clarinet
Olu Dara: cornet
Baikida Carroll: trumpet
Craig Harris: trombone
Bob Stewart: tuba
Vincent Chancey: flugelhorn
Steve Coleman: soprano saxophone, alto saxophone
John Purcell: alto saxophone, clarinet
Rod Williams: piano
Fred Hopkins: bass
Billy Higgins: percussion
Lawrence "Butch" Morris: conductor


----------



## philoctetes

New (to me) concert of Miles Davis at Europe Newport, Berlin November 1973, with "Ife" as a centerpiece - pleasantly surprised to find there are 2 CDs of electric Miles in this collection...


----------



## philoctetes

Dipping into more Previously Unheard MIles, a mix of Tokyo radio clips from 73 and 75... Including another Ife and some alternates to the Agharta and Pangaea material ... with better sound... the Zimbabwe I'm listening to is smokin'...


----------



## Dorsetmike

Mel Powell, Paul Quinichette, Quin & Sonic


----------



## tortkis

philoctetes said:


> Dipping into more Previously Unheard MIles, a mix of Tokyo radio clips from 73 and 75... Including another Ife and some alternates to the Agharta and Pangaea material ... with better sound... the Zimbabwe I'm listening to is smokin'...


I guess June 19 & 20, 1973 and Jan 22 1975? The audio qualities of these recordings are very good for bootleg and the performances are great. I love the 70s band with Pete Cosey. I am checking this site that has been sharing 1969~1975 Miles Davis live recordings chronologically, so far up to 1973. There are audience recordings with poor sounds but some are quite good.


----------



## eljr




----------



## Tempesta

Henry Threadgill
_Carry the Day_


----------



## Dorsetmike

WNEW Saturday night swing session


----------



## starthrower

Featured tune is September 15th. For more at Pat's website you can listen to Pat, and Pat and Lyle discuss the creation of many of their compositions. The Wichita Falls title track podcast is very interesting. https://patmetheny.com/podcasts/


----------



## SanAntone

Tempesta said:


> Henry Threadgill
> _Carry the Day_


I've always liked Henry Threadgill's work. His writing and arranging are very accomplished.


----------



## starthrower

SanAntone said:


> I've always liked Henry Threadgill's work. His writing and arranging are very accomplished.


I don't know how he managed to get signed to Columbia but he made two other albums in addition to Carry The Day. I have Where's My Cup, which is as interesting as anything else he's done.


----------



## Tempesta

Buster Williams - _Griot Liberte_








Bass - Buster Williams
Drums - Lenny White
Marimba / Vibraphone - Stefon Harris
Piano - George Colligan

Producer - Buster Williams


----------



## Tempesta

Chet Baker
_ Peace_


----------



## Tempesta

Charlie haden
_etudes_ feat. Geri allen


----------



## Barbebleu

Tempesta said:


> Charlie haden
> _etudes_ feat. Geri allen
> View attachment 161110


This is a nice album and sadly none of these great artists are with us.


----------



## Jay




----------



## Tempesta

Gil evans
new bottle old wine


----------



## Tempesta

Les McCann Presents the Dynamic Jazz Organ of Richard "Groove" Holmes with Ben Webster, Les McCann, Tricky Lofton, Ron Jefferson & George Freeman


----------



## Jay

Digging through my Xanadu stuff:


----------



## Tempesta

_All the Sad Young Men_

Anita O'Day


----------



## Dorsetmike

Original Dixieland jazz band - Margie (Can't get a blast from much further past than this!)


----------



## SanAntone

Tempesta said:


> _All the Sad Young Men_
> 
> Anita O'Day
> 
> View attachment 161174


I am a big fan of *Gary McFarland*. Have you heard some of his leader sessions?


----------



## Tempesta

Yes he's wonderful!


----------



## tortkis

Jay said:


> Digging through my Xanadu stuff:


This is excellent. I didn't have any Xanadu recordings so I checked the catalogue and just ordered Dolo Coker CD with Blue Mitchell and Art Pepper. Now listening to I Love You by Pepper & Mitchell (not with Coker.)








https://artpepper.bandcamp.com/track/i-love-you-art-pepper-blue-mitchell


----------



## Jay

... still on the Xanadu tip:


----------



## starthrower




----------



## Barbebleu

Miles Davis - Cellar Door Sessions CD 1. Fabulous funky freaky Miles.


----------



## starthrower

"Fabulous funky freaky Miles." I like that! The Cellar Door must have been a pretty cool place. I have some other live albums recorded there by the bluegrass band, The Seldom Scene, and Danny Gatton/Buddy Emmons: ******* Jazz.


----------



## Red Terror

Not sure if this is Jazz, actually. A lot of Brazilian Tropicalia/Zamba/folk music is also categorized as Jazz-rather confusing. Anyway, this is some of the most beautiful music I've heard in any genre. Highly recommended.


----------



## Dorsetmike

Mel Powell - California here I come


----------



## Red Terror




----------



## tortkis

The Modern Jazz Society Presents a Concert of Contemporary Music








https://archive.org/details/lp_presents-a-concert-of-contemporary-music_the-modern-jazz-society
John Lewis (compositions), Gunther Schuller, J. J. Johnson, Jim Poole, Manny Ziegler, Aaron Sachs, Anthony Sciacca, Stan Getz, Lucky Thompson, Percy Heath, Connie Kay
transferred from vinyl


----------



## Tempesta

Bobby Hutcherson _Head On_


----------



## Bwv 1080

Red Terror said:


> Not sure if this is Jazz, actually. A lot of Brazilian Tropicalia/Zamba/folk music is also categorized as Jazz-rather confusing. Anyway, this is some of the most beautiful music I've heard in any genre. Highly recommended.


You may be aware there are two versions of this - the 1966 version with Vinícius de Moraes and a 1990 remake by Powell with him singing the parts (Moraes had died by then). Find the streaming services get these mixed up:

1966





1990





Both great, but I tend to listen to the 1990 version more


----------



## starthrower




----------



## Rogerx

The Köln Concert

Keith Jarrett


----------



## Tempesta

_the best of donald byrd_


----------



## Tempesta

Yusef Lateef
_Every Village Has a Song: Anthology_


----------



## Jay




----------



## Barbebleu

Tempesta said:


> Yusef Lateef
> _Every Village Has a Song: Anthology_
> 
> View attachment 161278


OOP unfortunately.


----------



## Jay




----------



## starthrower

Barbebleu said:


> OOP unfortunately.


Still available used. I got a lot of mileage out of the Mose Allison set. And The Rahsaan Roland Kirk. Those are nice compilations.


----------



## starthrower

Used copies I picked up from my local record shop. I wasn't familiar with the Esperanza album but it's a great jazz record with superb arrangements.


----------



## Tempesta

_Breakthrough
The Don Pullen - George Adams Quartet_


----------



## starthrower

^^^
That was a fine quartet! It's a shame most of them checked out of this world at a relatively young age. I was also a fan of Pullen's African Brazilian Connection band with Carlos Ward.


----------



## Tempesta

starthrower said:


> ^^^
> That was a fine quartet! It's a shame most of them checked out of this world at a relatively young age. I was also a fan of Pullen's African Brazilian Connection band with Carlos Ward.


I followed them from club to club, catching them live, when I lived in NYC '78 - '86.


----------



## Tempesta

Don Pullen - George Adams Quartet - _Song Everlasting_


----------



## starthrower

I just finished listening to Esperanza's latest album, Songwrights Apothecary Lab. The vocals alone are amazing and a huge inspiration. And the music is on such a elevated level yet sounds very soulful. Another triumph for this brilliant young woman!


----------



## mikeh375

^^^ StarT, thanks to your post 5234, I now know of this fabulous musician. I really enjoyed that concert you posted.


----------



## starthrower

Glad to hear it! That show goes back to the time of her first album which includes some wonderful Brazilian material. She seems to be able to internalize and perform any style of music convincingly and at the highest level.

A few years back she recorded an album of original modern pop/rock songs called Emily's D+ Evolution. Check YouTube because there was a full live set of this material.


----------



## Dorsetmike

MJQ - Django


----------



## Jay




----------



## Barbebleu

Paul Motian - Psalm
Paul Motian - Tribute
JohnColtrane - A Love Supreme (Live in Seattle)
Keith Jarrett - Sun Bear Concerts CD 1 (Kyoto)
Keith Jarrett - Life Between The Exit Signs


----------



## Tempesta

Horace Silver
_Down Home_









CD 1 tracks 1-4 and 13-16: Taken from quartet and quintet 1952 sessions led by alto-sax player Lou Donaldson, forming part of his "Quartet/Quintet/Sextet" album

CD 1 tracks 5-12 and CD 2 tracks 1-5: Taken from trio sessions led by Silver in 1952-53 with the bass slot rotating but Art Blakey consistently on drums; overlaps heavily but imperfectly with Silver's "The Trio Sides" as well as "Horace Silver Trio and Art Blakey + Sabu" (i.e., includes some tracks that only appeared on later expanded editions but leaves off a few tracks from the albums as well)

CD 2 tracks 6-7: A pair of performances from the Feb 1954 recordings of Art Blakey's group with Clifford Brown, both left off of the Blakey Quadromania package

CD 2 tracks 8-13: All the master takes from the Miles Davis session making up the second half of the Blue Note CD "Miles Davis Vol. 1"; overlaps with the contents of the Miles Quadromania release

CD 3 tracks 1-4: The 13 November 1954 session of the Horace Silver Quintet, which makes up half of "Horace Silver and the Jazz Messengers"

CD 3 tracks 5-7: Excerpts from a 20 May 1955 session led by Milt Jackson and released as half of the Prestige album "Milt Jackson Quartet"

CD 3 tracks 8-9 and CD 4: Performances from the Cafe Bohemia, recorded on 11 November 1955 and spread across volume 1 and volume 2 of the Jazz Messengers' "At the Cafe Bohemia" CDs


----------



## GucciManeIsTheNewWebern

Sonny Sharrock - Ask the Ages


----------



## Barbebleu

Keith Jarrett - Fort Yawuh CD 1
Carla Bley - Fleur Carnivore


----------



## Barbebleu

Lyle Mays - Fictionary. Brilliant stuff.


----------



## Jay

Mark Whitecage, alto
Dominic Duval, bass


----------



## 89Koechel

Um, for what it's worth (and it IS worthy) - Bix Beiderbecke, cornetist, in Columbia and/or RCA recordings.


----------



## SanAntone

_The Awakening _is an album by The Ahmad Jamal Trio from performances recorded in 1970 for the Impulse! label.










"The Awakening" (Ahmad Jamal) - 6:19
"I Love Music" (Emil Boyd, Hale Smith) - 7:19
"Patterns" (Ahmad Jamal) - 6:19
"Dolphin Dance" (Herbie Hancock) - 5:05
"You're My Everything" (Harry Warren, Joe Young, Mort Dixon) - 4:40
"Stolen Moments" (Oliver Nelson) - 6:27
"Wave" (Antônio Carlos Jobim) - 4:25

*Ahmad Jamal* - piano
*Jamil Nasser* - bass
*Frank Gant* - drums


----------



## Dorsetmike

Gerry Muligan, Chet Baker - Darn that dream


----------



## Jay




----------



## tortkis

Soaring - Don Ellis (MPS, 1973)


----------



## Dorsetmike

Mary Lou Williams - C jam blues


----------



## SanAntone

_Someday My Prince Will Come_ 
*Miles Davis*










Miles Davis - trumpet
Hank Mobley - tenor saxophone on all tracks except "Teo"
John Coltrane - tenor saxophone on "Someday My Prince Will Come" (master) and "Teo"
Wynton Kelly - piano
Paul Chambers - bass
Jimmy Cobb - drums all tracks except "Blues No. 2"
Philly Joe Jones - drums on "Blues No. 2"



> Davis' touring band had been in flux. In 1959, Cannonball Adderley left to form his own group with his brother, reducing the sextet to a quintet. Drummer Jimmy Cobb and pianist Wynton Kelly had been hired in 1958, but most difficult for Davis was the departure of John Coltrane, who stayed on for a spring tour of Europe but left to form his own quartet in the summer of 1960. In 1960, Davis went through saxophonists Jimmy Heath and Sonny Stitt before settling on Hank Mobley in December, the band re-stabilizing for the next two years


----------



## starthrower

Live in Vienna 1990 
94 minute video


----------



## Rogerx

Ella Fitzgerald Sings The Cole Porter Songbook

Ella Fitzgerald


----------



## tortkis

Sky Dancers - Henri Texier (Label Bleu, 2015)








Henri Texier (bass, compositions), Sébastien Texier (alto sax, clarinets), François Corneloup (bariton sax), Louis Moutin (drums), Nguyên Lê (guitar), Armel Dupas (piano, keyboards)


----------



## Barbebleu

starthrower said:


> Live in Vienna 1990
> 94 minute video


That's a line-up and a half, isn't it? I think it's the same group that recorded The Widow in the Window for ECM. Wheeler, Abercrombie, Taylor, Holland and Erskine.


----------



## mikeh375

If this doesn't put a smile on faces and get feet tapping I don't know what will. There is a fantastic vln solo at 1 min in and then an equally great guitar solo one chorus later. Django and Stephan live on, it's just a shame we aren't speaking to the French at the moment.


----------



## starthrower

Barbebleu said:


> That's a line-up and a half, isn't it? I think it's the same group that recorded The Widow in the Window for ECM. Wheeler, Abercrombie, Taylor, Holland and Erskine.


I love stumbling on stuff like that. Kenny was a unique voice. I read somewhere that Manfred Eicher lost interest and wouldn't record Kenny later on so he signed with CamJazz. Checkout Six for Six if you haven't heard it. It's a superb album with some great players.


----------



## Barbebleu

starthrower said:


> I love stumbling on stuff like that. Kenny was a unique voice. I read somewhere that Manfred Eicher lost interest and wouldn't record Kenny later on so he signed with CamJazz. Checkout Six for Six if you haven't heard it. It's a superb album with some great players.


Yeah, I've got that. I've always been a fan of Kenny Wheeler. He did record a lot of great albums on ECM right up until 2013. Songs for Quintet was his last ECM album recorded when he was 83 and released 2015. I have all his ECM albums and a handful of his others. Wonderful musician.


----------



## Jay




----------



## starthrower




----------



## starthrower

Recorded 1979

I found an affordable CD copy after searching for a few years.


----------



## Tempesta

bassist Curtis Lundy's _ Against All Odds_








Alto Saxophone - Bobby Watson (2)
Bass - Curtis Lundy
Drums - Winard Harper
Piano - Anthony Wonsey, John Hicks
Tenor Saxophone - Shelley Carrol
Trumpet - Peven Everett
Trumpet, Flute, Flugelhorn - Roy Hargrove
Voice - Carmen Lundy


----------



## Dorsetmike

1947 WNEW Saturday Night Swing Session (3x Roy Eldridge, 3x Ralph Burns)


----------



## starthrower

1954


----------



## Barbebleu

starthrower said:


> 1954


Another fantastic Blakey band. He sure knew how to pick them! I had the very real privilege of meeting him at an after show party at the Berlin Jazz Festival in 1968. Sunny Murray and Max Roach were there too and being a real fanboy I got them to sign my program. I had no embarrassment then. :lol:


----------



## starthrower

Barbebleu said:


> Another fantastic Blakey band. He sure knew how to pick them! I had the very real privilege of meeting him at an after show party at the Berlin Jazz Festival in 1968. Sunny Murray and Max Roach were there too and being a real fanboy I got them to sign my program. I had no embarrassment then. :lol:


Cool story, Barb! Jazz drummers are hippest. It must have been quite a thrill to meet those legends!


----------



## Jay




----------



## Barbebleu

starthrower said:


> Cool story, Barb! Jazz drummers are hippest. It must have been quite a thrill to meet those legends!


It was. But I regret not making more of the experience at the time. It was my first trip abroad and I was a bit awestruck by the whole experience. The wall was not that long up. The city still had ruined streets, particularly in the east where the East Germans were a lot slower to rebuild. It was a fascinating trip.


----------



## Dorsetmike

Benny Goodman trio - After you've gone ~(trio, not sextet as shown on youtube)


----------



## SanAntone

Dorsetmike said:


> Benny Goodman trio - After you've gone


This group is unique in Jazz, AFAIK - clarinet, piano and drums - an unusual combo, but they made some great music.

"Vibraphonist Lionel Hampton and guitarist Charlie Christian later joined Goodman to form the quartet and sextet, but Benny Goodman and Teddy Wilson were the foundation of all the small ensembles. Working together as a team in the Goodman Trio for over ten years, Benny Goodman and Teddy Wilson made over 100 recordings together." (Hot Chamber Jazz: The Benny Goodman Trio 1935-1954)


----------



## starthrower




----------



## Jay




----------



## starthrower

1986

Exquisite guitar playing. Delicate and beautiful.


----------



## Barbebleu

Jackie McLean - ‘bout soul. Fabulous album. Very out there but totally absorbing. All the players are on tremendous form.


----------



## Tempesta

Sonny Rollins
The Complete Prestige Recordings







8 + hours in Jazz Heaven


----------



## SanAntone

Tempesta said:


> Sonny Rollins
> The Complete Prestige Recordings
> 
> 8 + hours in Jazz Heaven


I agree. This set, and the Prestige box of Miles, are primo '50s Jazz and ones I listen to often.


----------



## Jay




----------



## starthrower

Happy 70th birthday, Jaco!


----------



## Dorsetmike

Paul Quinichette And His Orchestra
Buck Clayton, trumpet; Dicky Wells, trombone; Paul Quinichette, tenor sax; Count Basie, piano; Freddie Green, guitar; Walter Page, bass; Gus Johnson, drums.


----------



## vincula

I can't get enough of him: The Prezzzzzzzz :angel:









Regards,

Vincula


----------



## starthrower

vincula said:


> I can't get enough of him: The Prezzzzzzzz :angel:
> 
> View attachment 161732
> 
> 
> Regards,
> 
> Vincula


Thanks for the heads up! I just bought a new copy on eBay for 40 bucks!


----------



## SanAntone

starthrower said:


> Thanks for the heads up! I just bought a new copy on eBay for 40 bucks!


I have the original Verve Complete set - good to have but not his prime. The Verve sessions document the years when he was coming to the end of his career, which is typical for what Norman Granz released.

IMO Lester Young's best stuff is collected on these sets:

_The Kansas City Sessions_
_The Complete Aladdin Recordings_ (1942-47)
and with Basie: _The Original American Decca Recordings_


----------



## starthrower

I have the Aladdin Sessions. But it's nice to have some Prez in good sound. I have one disc from the Verve years so now I'll have the rest.


----------



## Jay




----------



## starthrower

Beautiful sound!


----------



## Rogerx

Puttin' on the Ritz

Fred Astaire (vocals), Marlene Dietrich (vocals), Mae West (vocals), Dick Powell (vocals), Ginger Rogers (vocals), Bing Crosby (vocals), Louis Armstrong (trumpet, vocals), Bob Hope (vocals), Shirley Ross (vocals), Judy Garland (vocals), Carmen Miranda (vocals), Mickey Rooney (vocals), Howard Keel...


----------



## starthrower

2005 Justin Time Records

I found this one in the local store used bin. A fine session by Murray and company that I've enjoyed very much!


----------



## SanAntone

_*Amarcord Nino Rota*_
The album is a tribute to composer *Nino Rota* and contains adaptations of his compositions for Federico Fellini films. It was the first of producer Hal Willner's tribute albums, and featured then-little-known musicians such as *Wynton Marsalis* and *Bill Frisell*.

It was recorded in 1981.


----------



## Dorsetmike

Marty Paich - Moanin'


----------



## Dorsetmike

Skip to my loot






Makin' Whoopee


----------



## Barbebleu

Dorsetmike said:


> Marty Paich - Moanin'


Mr Paich playing fast and loose with the expression 'modern touch'.:lol:


----------



## starthrower

2021

Featuring James Francies-Keyoards, Eric Harland-Drums


----------



## starthrower




----------



## Rogerx

Sketches of Spain

Miles Davis

Evans, G: Saeta
Evans, G: Solea
Rodrigo: Concierto de Aranjuez: Adagio


----------



## Dorsetmike

Gerry Mulligan & Chet Baker - Darn That Dream


----------



## starthrower

2020 Concord

Although Chick released a number of other solo piano albums in the past, this is the first one I've purchased. It was produced and released prior to his death but in listening it feels like an intimate tribute to his memory. The man alone at the piano making music and engaging with his audience. Wonderful!


----------



## Jay




----------



## Rogerx

Naked City

John Zorn

Coleman, O: Lonely Woman
Mancini, H: A Shot In The Dark
Morricone, E: The Sicilian Clan


----------



## Red Terror




----------



## Dorsetmike

Mel Powell - Thigamajig


----------



## Red Terror




----------



## Red Terror




----------



## starthrower

A wonderful film based around the famous photograph of the same name. Part 2 is available as well.


----------



## Rogerx

Chet
Album by Chet Baker


----------



## Jay

The great "lost quintet"


----------



## Jay

R.I.P the "keeper of the bebop flame".....


----------



## Barbebleu

Jay said:


> R.I.P the "keeper of the bebop flame".....


Great piano player. I first heard him on Yusef Lateef's Live at Pep's in 1967. Shame.


----------



## tortkis

I heard Barry Harris live in the 90s. His playing was very much bebop and reminded of Bud Powell.
Now playing Bull's Eye!


----------



## Barbebleu

tortkis said:


> I heard Barry Harris live in the 90s. His playing was very much bebop and reminded of Bud Powell.
> Now playing Bull's Eye!


That's a nice album. Now looking for a download!


----------



## Dan Ante

His style still gets me going...


----------



## Jay

tortkis said:


> I heard Barry Harris live in the 90s. His playing was very much bebop and reminded of Bud Powell.


I saw him a number of times, once at the Harrisburg, PA Jazz Festival. There was a jam session with three tenors (Abraham Burton was one) all doing their Coltrane thing. I walked out into the lobby of the theatre where Barry was sitting alone smoking a cigarette. Knowing he wasn't big on Trane, I asked him what he thought of it and he shook his head and said: "Why would anyone want to play like that?"


----------



## SanAntone

_In This House, On This Morning_
The Wynton Marsalis Septet


----------



## SanAntone

_Fearless Leader_
*John Coltrane *


----------



## Dorsetmike

Dodo Marmarosa - Dary departs.


----------



## Jay




----------



## SanAntone

_Bolden_ (Original Soundtrack)
*Wynton Marsalis*










Featuring acclaimed vocalists *Catherine Russell *and *Brianna Thomas* and an all-star cast of instrumentalists that includes *Wycliffe Gordon*, *Victor Goines*, *Marcus Printup*, and more, Marsalis brings turn-of-the-century New Orleans back to life, imbuing ragtime classics popularized by Bolden and his competitor Louis Armstrong with a modern sound and energy.


----------



## SanAntone

_Brownie: The Complete EmArcy Recordings_
*Clifford Brown *










One of the best Jazz box sets to ever be produced. Fantastic.


----------



## tortkis

Forfolks - Jeff Parker








https://intlanthem.bandcamp.com/album/forfolks
Imaginative solo guitar


----------



## starthrower

Benny Carter: Further Definitions
1966 Impulse Records


----------



## SanAntone

*The Complete Capitol Recordings of the Nat King Cole Trio*












> Music fans born after 1960 are less likely to be aware that Nat King Cole began his career as an influential jazz pianist, so much so that the great Art Tatum and the up-and-coming Oscar Peterson formed trios similar to Cole's. What this comprehensive limited-edition boxed set does is put all of Cole's jazz trio recordings, including later groups that added a conga player, selected tracks from sessions that sometimes border on easy listening, and nearly the complete contents of his well-known After Midnight album from the mid-'50s, where he was joined by guests including violinist Stuff Smith, saxophonist Willie Smith, trumpeter Harry "Sweets" Edison, and trombonist Juan Tizol.
> 
> But the main emphasis is on Cole's recordings from the early days, including masterpieces like "Straighten Up and Fly Right," "Sweet Lorraine," "Body and Soul," and "Sweet Georgia Brown." By listening to sessions in order, one can hear Cole gradually transform from an instrumentalist into a friendly singing pianist and eventually, a master balladeer. Of course, there are forgettable novelty tunes sprinkled in among the gems, but there are also valuable unissued tracks that appear for the first time in this set. Also, the early recordings have been pitch-corrected, as all issues prior to this 1991 Mosaic issue were slightly off.
> 
> The 18-CD set is accompanied by a detailed booklet with vintage photos, excellent liner notes by Will Friedwald, and a complete discography of the contents. Unfortunately, this Mosaic box has been out of print since the mid-'90s, so it will typically fetch several times its original price when it pops up occasionally on auction lists. AllMusic Review by Ken Dryden


There was a time when I was buying Mosaic box sets as soon as I saw one I thought I might be interested in (I've dozens of them). I am glad I did, since they were limited pressings and the good ones would go out of print fast; they all would go out of print eventually.

This is one that has been an endless source of enjoyment.


----------



## tortkis

June Holiday - Charles Rumback (Astral Spirits)








Jim Baker (piano), John Tate (bass), Charles Rumback (drums)
Lyrical and delicate music.


----------



## Dorsetmike

Wes Montgomery - Airegin


----------



## Barbebleu

Cannonball Adderley Sextet - Live at the Village Vanguard. Brilliant.


----------



## starthrower




----------



## Jay




----------



## Tempesta

Janet Lawson Quintet - _The Janet Lawson Quintet_


----------



## starthrower

Luis Perdomo-piano, Drew Gress-bass, EJ Strickland-drums.


----------



## verandai

Snarky Puppy feat. Lalah Hathaway - Something: 




I've been really missing out, not knowing Snarky Puppy since about a year ago! But now I've listened to most of their songs, and I'm listening to many of them again and again!


----------



## tortkis

Bearer of the Holy Flame - Hamiet Bluiett








Hamiet Bluiett (baritone sax, clarinet, alto flute), John Hicks (piano), Fred Hopkins (bass), Marvin "Smitty" Smith (drums), Chief Bey (African drums, percussion)


----------



## Captainnumber36

Amandla - Miles Davis


----------



## Captainnumber36

Tutu - Miles Davis.

I just picked up a box set today of his last five albums. It's awesome! It skips Aura and adds a soundtrack album he did, Siesta and another that was a collab with Michael Legrand (dingo).


----------



## Red Terror

*Path of Seven Colors*
_by Ches Smith and We All Break_

bandcamp


----------



## starthrower

1994 Enja Records


----------



## SanAntone

_*The London House Sessions*_ is a compilation album collecting music recorded by the *Oscar Peterson Trio* at the London House jazz club in Chicago in the summer of 1961.










The Classic Peterson Trio:

*Oscar Peterson *- piano
*Ray Brown* - double bass
*Ed Thigpen* - drums

Some fantastic playing documented on these recordings.


----------



## SanAntone

_Somewhere: Songs Of Bernstein_
*Bill Charlap Trio*










*Bill Charlap*, piano
*Peter Washington*, bass
*Kenny Washington*, drums


----------



## Rogerx

Miles Davis - Ascenseur Pour L'echafaud


----------



## Barbebleu

Archie Shepp - For Losers. Excellent.


----------



## Red Terror




----------



## ando

Rogerx said:


> Miles Davis - Ascenseur Pour L'echafaud


Had this one on earlier. Classic.


----------



## Jay




----------



## Barbebleu

Spontaneous Music Ensemble - Frameworks 1967-72. Challenging but strangely compelling.


----------



## Rogerx

Diane

Chet Baker & Paul Bley


----------



## Red Terror




----------



## Dorsetmike

Art Tatum - Get happy


----------



## tortkis

Meantime - Frank Kimbrough (2015, Newvelle Records)








Frank Kimbrough (piano), Andy Zimmerman (tenor sax), Chris Van Voorst Van Beest (bass), R.J. Miller (drums), Riley Mulherkar (trumpet)




Wonderful compositions. Frank Kimbrough passed away about a year ago.


----------



## Jay

tortkis said:


> Frank Kimbrough passed away about a year ago.


I didn't know this.

RIP....


----------



## Rogerx

Seven Steps to Heaven
Album by Miles Davis


----------



## Jay




----------



## starthrower

^^^
I like those early Vandermark 5 albums. I have Simpatico, and Burn The Incline. I haven't heard much about Ken Vandermark lately. I guess I lost track.


----------



## ando

*Joey Calderazzo Joey Calderazzo* (2000, Columbia)
full playlist

Immediate fave when I heard it in 2000. Still sounds fresh.


----------



## Rogerx

Mingus Ah Um

Charles Mingus (bass), Shafi Hadi (tenor saxophone), Jimmy Knepper (trombone), Booker Ervin (tenor saxophone), Horace Parlan (piano), Dannie Richmond (drums), John Handy (alto saxophone), Willie Dennis (trombone), Shafi Hadi (alto saxophone), John Handy (clarinet), Charles Mingus (piano)


----------



## SanAntone

Rogerx said:


> Mingus Ah Um


Great album. One of several great Jazz records to come out in 1959.


----------



## tortkis

Mars Williams Presents An Ayler Xmas Vol. 5








https://marsaylerxmas.bandcamp.com/album/mars-williams-presents-an-ayler-xmas-vol-5
Mars Williams (sax), Josh Berman (cornet), Jim Baker (piano, viola, Arp Synth), Brian Sandstrom (bass, guitar, trumpet), Steve Hunt (drums), Peter Maunu (violin), Kent Kessler (bass), Krzysztof Pablan (bass)


----------



## ando

Love this version of_* St Louis Blues*_. Believe the vocalist singing with Pops is Velma Middleton. Not sure about the other band mates. Classic though.


----------



## ando

*'Round About Midnight Miles Davis Quintet* (1957, Columbia)

*Paul Chambers* Bass
*Philly Joe Jones* Drums
*Red Garland* Piano
*John Coltrane* Tenor Sax
*Miles Davis* Trumpet


----------



## Rogerx

For Those in Love
Album by Dinah Washington


----------



## tortkis

Giant Stride, Donald Lambert (1962, Solo Art)








I prefer solo piano stride, but the drums here does not bother me much. It is nice that Lambert can be heard in a better sound of the studio recording.


----------



## SanAntone

_*Diz and Getz*_










Dizzy Gillespie - trumpet
Stan Getz - tenor saxophone
Herb Ellis - guitar
Oscar Peterson - piano
Ray Brown - double bass
Max Roach - drums


----------



## Rogerx

Birth of the cool. 
Milles Davis


----------



## Rogerx

Cool Struttin'

Sonny Clark


----------



## starthrower

1979 Soul Note Records

Cecil Bridgewater, Odean Pope, Calvin Hill


----------



## Jay




----------



## Red Terror




----------



## Tempesta

_ Eric Dolphy: The Complete Prestige Recordings _


----------



## starthrower

90 minute set. Alex Machacek on guitar.


----------



## tortkis

Summit Conference - Reggie Workman (1993, Postcards)








Reggie Workman (bass), Andrew Hill (piano), Sam Rivers (tenor sax, soprano sax, flute), Julian Priester (trombone), Pheeroan akLaff (drums)


----------



## Rogerx

Smokin' at the Half Note (Smokin' At The Half Note


----------



## Dorsetmike

Mel Powell, Paul Quinechette, Bobby Donaldson - Avalon


----------



## Rogerx

Art Pepper Meets The Rhythm Section

Art Pepper

Gershwin: The Man I Love
Gillespie, D: Birk's Works
Heusen: Imagination
Porter, C: You'd Be So Nice to Come Home to


----------



## Jay




----------



## ando

*standard time wynton marsalis* (1987, columbia)


----------



## SanAntone

_*Garden of Expression*_

_Garden of Expression_ is a studio album by American jazz saxophonist *Joe Lovano* released on January 29, 2021 by ECM Records. The album was recorded in November 2019 together with pianist *Marilyn Crispell* and percussionist *Carmen Castaldi* in Lugano, Switzerland.


----------



## Rogerx

Piano Starts Here

album by Art Tatum


----------



## Barbebleu

John Zorn - Bar Kokhba. Brilliant.


----------



## Jay




----------



## starthrower




----------



## SanAntone

starthrower said:


>


I love *Ben Webster*, and *Johnny Hodges*, and *Lester Young*. I think of these horn players as sharing some attributes of style, and it really is an appealing style - but they are all recognizable individually despite sharing those stylistic aspects.

Is it my imagination or are today's horn players less distinctive than they were back in the 40s and 50s?


----------



## starthrower

> Is it my imagination or are today's horn players less distinctive than they were back in the 40s and 50s?


It depends on the player but there are numerous horn men from the 60s onward I hear as very distinctive. Coltrane, Jackie McLean, Eric Dolphy, Wayne Shorter, Joe Henderson, Archie Shepp, Dewey Redman, Stanley Turrentine, Michael Brecker, Kenny Garrett, Joe Lovano. Some are heavily influenced by older players but they still have their own identities. And even the saxophonists of the 50s were disciples of either Lester Young, Coleman Hawkins or Charlie Parker.


----------



## SanAntone

starthrower said:


> It depends on the player but there are numerous horn men from the 60s onward I hear as very distinctive. Coltrane, Jackie McLean, Eric Dolphy, Wayne Shorter, Joe Henderson, Archie Shepp, Dewey Redman, Stanley Turrentine, Michael Brecker, Kenny Garrett, Joe Lovano. Some are heavily influenced by older players but they still have their own identities. And even the saxophonists of the 50s were disciples of either Lester Young, Coleman Hawkins or Charlie Parker.


I agree with you, but all but a couple of those guys are not "today's" horn players.


----------



## Skakner

Not exactly, NOW, but last week.

Herbie Hancock's first albums, especially *Empyrean Isles* and *Maiden Voyage*.
Before Hancock's electric and other explorations, which I'm not quite sure I enjoy.


----------



## starthrower

SanAntone said:


> I agree with you, but all but a couple of those guys are not "today's" horn players.


As opposed to the 40s and 50s which you singled out. But I suppose if you spend enough time listening to a player you will become familiar with their identity. Although they're not my favorites, I've heard enough of John Zorn and Chris Potter to recognize their playing. But I haven't spent enough time with many other contemporary players to become familiar with their sound and style.


----------



## Rogerx

Officium Novum: Jan Garbarek & The Hilliard Ensemble

Jan Garbarek (soprano & tenor saxophones)

The Hilliard Ensemble (David James, countertenor, Rogers Covey-Crump, tenor, Steven Harrold, Gordon Jones, baritone)

Dug this one up last night.


----------



## SanAntone

Rogerx said:


> Officium Novum: Jan Garbarek & The Hilliard Ensemble


You listened to the follow-up to the original album, _Officium_ by the same musicians.


----------



## Jay




----------



## starthrower

2001 Allan Holdsworth / Manifesto CD re-issue

Mostly a solo synthaxe project with acoustic bass on two tracks. Despite the sub-title it features some improvised solos.


----------



## SanAntone

starthrower said:


> 2001 Allan Holdsworth / Manifesto CD re-issue
> 
> Mostly a solo synthaxe project with acoustic bass on two tracks. Despite the sub-title it features some improvised solos.


I've never gotten into Holdsworth - it somehow seemed gimmickry, i.e. the synthaxe, and a lot of notes that say nothing. At least that's my impression.

As always YMMV.


----------



## starthrower

SanAntone said:


> I've never gotten into Holdsworth - it somehow seemed gimmickry, i.e. the synthaxe, and a lot of notes that say nothing. At least that's my impression.
> 
> As always YMMV.


Just got the Flat Tire album and I love it! The compositions are beautiful.


----------



## Rogerx

Bitches Brew album by Miles Davis


----------



## Tempesta

essential Jeanne Lee and essential Ran Blake's debut album for each--originally titled _The Newest Sound Around_


----------



## Tempesta

George Shearing and Carmen McRae's 1980 set for Concord, _Two For the Road_


----------



## Tempesta

Bill Evans and Jim Hall's Blue Note album _ Undercurrent_


----------



## Rogerx

Secret Story

Hayden Bendall (recorder), Pat Metheny Group, Pat Metheny (acoustic guitar), Pat Metheny (synthesiser), Nana Vasconcelos (percussion), Armando Marçal (percussion), Charlie Haden (acoustic bass), Members of the London Orchestra (musicians),


----------



## 89Koechel

Lester Young, with Count Basie, from the great years - 1937/1938 ... in two, forgotten (out-of-print) LPs from a Danish label - Phontastic. Next up, will be some of the rare Jazz Archives series of LPs, again with Lester Young, and two with the late guitarist - Charlie Christian. Cheers!


----------



## Jay




----------



## starthrower




----------



## SanAntone

*Beauty Is a Rare Thing* is a compilation box set collecting all the master recordings made for Atlantic Records between 1959 and 1961 by the American jazz composer and saxophonist *Ornette Coleman*.










Primary personnel:

Ornette Coleman - alto saxophone, tenor saxophone
Don Cherry - pocket trumpet, cornet discs one to five, and disc six tracks 1-6
Charlie Haden - bass discs one to four
Scott LaFaro - bass disc four tracks 4 & 5, disc five, and disc six tracks 7 & 8
Jimmy Garrison - bass disc six tracks 1-6
Billy Higgins - drums disc one, disc two tracks 1-5, and disc four tracks 4 & 5
Ed Blackwell - drums disc two tracks 6-12, discs three to five, and disc six tracks 1-6


----------



## tortkis

starthrower said:


>


I love Max Roach quartet and double quartet with string quartet. Very unique. Cecil Bridgewater is brilliant.


----------



## Tempesta

Art Pepper
_Complete Village Vanguard Sessions_


----------



## Jay




----------



## Red Terror




----------



## Rogerx

Danny Barker - Save the Bones


----------



## tortkis

Live/Shapeshifter - William Parker / In Order To Survive (AUM)








William Parker (bass), Rob Brown (alto sax), Cooper-Moore (piano), Hamid Drake (drums)


----------



## Tempesta

Curtis Lundy's
_Just Be Yourself_


----------



## Jay




----------



## SanAntone

*Hampton Hawes* - _Four! _










Hampton Hawes - piano
Barney Kessel - guitar
Red Mitchell - double bass
Shelly Manne - drums


----------



## starthrower




----------



## Rogerx

Moanin'

Art Blakey & The Jazz Messengers, Lee Morgan (trumpet), Art Blakey (drums), Jymie Merritt (bass), Bobby Timmons (piano), Benny Golson (tenor), Benny Golson (tenor saxophone)


----------



## Tempesta

Anita O'Day
_Incomparable!_


----------



## starthrower




----------



## starthrower




----------



## Barbebleu

starthrower said:


>


Very much underrated album. I love Moncur's work both as a leader and a sidesman.


----------



## tortkis

Bridge Into The New Age - Azar Lawrence (1974, Prestige)








Azar Lawrence, Clint Houston, Billy Hart, Guillerme Franco, Woody Shaw, Woody Murray, Jean Carn, Kenneth Nash, Joe Bonner, Black Arthur, John Heard, Mtume, Ndugu, Hadley Caliman, Julian Priester


----------



## SanAntone

*AZIMUTH*: "_HOW IT WAS THEN…NEVER AGAIN_"










*Norma Winstone *vocals
*John Taylor* piano
*Kenny Wheeler *trumpet
Recorded April 1994 at Rainbow Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher


----------



## Jay




----------



## Tempesta

_King Pleasure Sings/Annie Ross sings_


----------



## Tempesta

Charles mingus
_passions of a man_ - the complete atlantic recordings 1956-1961 (6-cd box set)


----------



## Jay




----------



## tortkis

Time Like This - Michael Formanek (2018, Intakt)








https://michaelformanekintakt.bandcamp.com/album/time-like-this
Michael Formanek (bass, compositions), Tony Malaby (sax), Kris Davis (piano), Ches Smith (drums)


----------



## SONNET CLV

Something has recently slipped out of top ten position (of my favorite jazz records) to make way for this:









The 10+ minute-long "Saturday Morning" title tune is much too short. Fortunately, the album ends with a 3+ minute Reprise of the tune. Still, "Saturday Morning" and _Saturday Morning_ has been in constant rotation in my CD deck since ... last Saturday morning. And I don't see it leaving by next Saturday morning, either.

Not only is the music extraordinary, the production is superb. One of the best sounding discs in my collection.


----------



## Barbebleu

Michael Brecker - The Nearness of You (The Ballad Book). Rather nice relaxing listening. Sometimes you don’t need demanding!


----------



## SanAntone

*Veronica Swift* - "The Man I Love"






An excellent Jazz singer I'd not heard before her 2021 album, _This Bitter Earth_.


----------



## starthrower

2005 Thirsty Ear
Eri Yamamoto - piano, Michael Thompson - drums


----------



## Red Terror




----------



## vincula

Goin' backwards today. Live in Paris early 50's 









Regards,

Vincula


----------



## Tempesta

_Etudes_- Charlie Haden , Paul Motian , Geri Allen


----------



## Tempesta

REGGIE WORKMAN: _Cerebral Caverns_









Reggie Workman: Bass

Geri Allen: Piano

Al Foster: Drums

Gerry Hemingway: Drums

Julian Priester: Trombone

Sam Rivers: Tenor sax, soprano sax, and flute

Elizabeth Panzer: Harp
Tapan Modak: Tablas


----------



## Jay




----------



## tortkis

Forget To Remember - Live Vol.2: 1970, The Ray Russell Sextet featuring Harry Beckett








https://jazzinbritain.co.uk/album/forget-to-remember-live-vol-2-1970
Ray Russell (guitar), Harry Beckett (trumpet/flugelhorn), Tony Roberts (saxes), Nick Evans (trombone), Daryl Runswick (bass), Alan Rushton (drums)


----------



## Dan Ante

vincula said:


> Goin' backwards today. Live in Paris early 50's
> 
> View attachment 163186
> 
> 
> Regards,
> 
> Vincula


I came across the jazz in Paris label some time in the early 2000 in NZ they were dirt cheap and I got all the I could find there are wonderful artists playing the type of jazz I was brought up with.


----------



## mikeh375

Been listening to lots of Mcoy Tyner and Bill Evans of late.....this swings beautifully.


----------



## starthrower

Evidence CD re-issues / Recorded mid to late 1950s


----------



## Red Terror




----------



## Red Terror




----------



## Rogerx

Stan Getz / Sweet Rain


----------



## Luchesi

I like this light jazz.


----------



## Jay




----------



## tortkis

I have been listening to three piano-bass duo albums from Fundacja Słuchaj.
Thread Of Light - Satoko Fujii & Joe Fonda
String Fables - Jordina Millà & Barry Guy
Flow Of Everything - Michael Bisio & Matthew Shipp


----------



## Barbebleu

Rogerx said:


> Stan Getz / Sweet Rain


This is a superb album. I have it on vinyl from back in the day. Good choice.


----------



## mikeh375

Luchesi said:


> I like this light jazz.


Timothy Gondola is a great resource that I often find myself heading off to for some sight-reading. This guy is excellent too...

https://www.youtube.com/channel/UCIjahEQNuvmFJbK0wVIAkxA/videos

He's well worth a visit. Here's one of his transcriptions, a cool blues piano solo from Ray Bryant.


----------



## starthrower

Jay said:


>


Great record! I love the Berkshire Blues.


----------



## SanAntone

*Miles Davis* : _The Complete Jack Johnson Sessions_










Miles Davis - trumpet
Bennie Maupin - bass clarinet
Steve Grossman - soprano saxophone
Wayne Shorter - soprano saxophone
Chick Corea - electric piano, organ, electric piano with ring modulator
Herbie Hancock - organ, Electric Piano
Keith Jarrett - electric piano, electric piano with wah wah
Sonny Sharrock - electric guitar, echoplex
John McLaughlin - electric guitar
Dave Holland - electric bass, double bass
Michael Henderson - electric bass
Gene Perla - electric bass
Ron Carter - double bass
Jack DeJohnette - drums
Billy Cobham - drums
Lenny White - drums
Don Alias - percussion
Airto Moreira - percussion, berimbau, cuica
Hermeto Pascoal - voice, drums


----------



## SanAntone

_*The Complete In a Silent Way Sessions*_










Recorded September 24, 1968-February 20, 1969

Miles Davis - trumpet
Wayne Shorter - tenor saxophone (Disc 1: All), soprano saxophone
John McLaughlin - electric guitar (Disc 2: Tracks 4-7; Disc 3: All)
Chick Corea - electric piano
Herbie Hancock - electric piano
Joe Zawinul - organ (Disc 2; Disc 3)
Dave Holland - double bass
Tony Williams - drums
Jack DeJohnette - drums (Disc 2: Tracks 1-3)
Joe Chambers - drums (Disc 3: Tracks 1 and 2)


----------



## Barbebleu

Charles Lloyd - All My Relations. Wonderful stuff from the indefatigable Mr. Lloyd.


----------



## starthrower

Listening to some used CDs I picked up at my local store.

Art Pepper at the Village Vanguard Vol.4
Charles Mingus: Tijuana Moods 2 disc edition
Count Basie: April In Paris


----------



## Jay

RIP Badal Roy:


----------



## Luchesi

mikeh375 said:


> He's well worth a visit. Here's one of his transcriptions, a cool blues piano solo from Ray Bryant.


Wow thanks. I love to steal from these guys, but I would have to be a virtuoso to play this so clearly. Amazing ideas.

I try to steal from this guy too, but he was often so far out there! This is only a short clip.. but it always has been one of my favorite songs to work on.


----------



## mikeh375

Luchesi said:


> Wow thanks. I love to steal from these guys, but I would have to be a virtuoso to play this so clearly. Amazing ideas.
> 
> I try to steal from this guy too, but he was often so far out there! This is only a short clip.. but it always has been one of my favorite songs to work on.


Yes, I'm into Petrucciani too.
Luchesi, re sight-reading these guys, have you tried the trick of slowing the playback speed of the movie in YT. It can be altered in the settings icon. I do this sometimes to facilitate reading fast bebop lines before attempting to get them up to speed. The playback sounds as you'd expect a track to sound in terms of quality when being played at half speed, but crucially the pitch does not change and so one can play along with Ray Brown, Bellson, DeJohnette, Henning-Pederson and the rest of the gang, even if they do sound half-cut....


----------



## starthrower

Performances with Thad Jones, Sonny Fortune, Ron Carter, Chick Corea, JL Ponty, Billy Cobham, Stanley Clarke, Gary Burton.


----------



## starthrower

2 CD re-issue


----------



## Red Terror




----------



## Dulova Harps On

I've been listening to a lot of Jazz lately which is unusual for me in that i let it lapse out of my life for a good 20 years or so. So i'm here for awhile. Be gentle with me Jazz People i'm discovering so much stuff i neglected to listen to years ago and i may tap your brains from time to time for info on releases!

Tonight's listening included :


----------



## Jay




----------



## Rogerx

Lullabies

Dave Brubeck (piano)


----------



## Dulova Harps On

At work:


----------



## starthrower

July 1977


----------



## Rogerx

View attachment 163402


A Summer Night In Munich

Oscar Peterson


----------



## starthrower

Recorded April 1980
Sweets Edison
Lockjaw Davis
Cleanhead Vinson
Art Hillary
Ray Brown
Larance Marable


----------



## Jay




----------



## Rogerx

Swallow Tales

John Scofield (guitar), Bill Stewart (drums), Steve Swallow (bass)


----------



## Dulova Harps On




----------



## Jay




----------



## starthrower




----------



## tortkis

Sorcery, Jack DeJohnette (1974, Prestige)








Jack DeJohnette (drums, keyboards, C-melody saxophone), Bennie Maupin (bass clarinet), John Abercrombie (guitar), Mick Goodrick (guitar), Dave Holland (bass), Michael Fellerman (metaphone, trombone)


----------



## starthrower

1958

Carl Perkins, Leroy Vinnegar, Frank Butler, Rolf Ericson


----------



## Tempesta

_The Complete Helen Merrill On Mercury_


----------



## starthrower

1986 Accurate Records

The band's first album.


----------



## Dorsetmike

Oscar Peterson on clavichord and Joe Pass on guitar playing Progy and Bess

https://www.youtube.com/results?search_query=oscar+peterson+joe+pass+porgy+and+bess+


----------



## Dulova Harps On

Tonight:


----------



## tortkis

Infinity - Khan Jamal (Jazz Room)








Byard Lancaster (alto sax, flutes), Clifton Burton (harmonica), Omar Hill (percussion, conga), Bernard Sammul (paino), Reggie Curry (bass), Dwight James (drums), Sunny Murray (drums), Khan Jamal (vibes, marimba)




Recorded 1982 & 1984. Very nice spiritual jazz.


----------



## Dorsetmike

Mel Powell, think the trumpet is Ruby Braf


----------



## Simon Moon

Machine and the Synergetic Nuts - M-B

From their great 2005 release, Leap Second Neutral.


----------



## Captainnumber36

Is Jazz a rebel music genre at heart?


----------



## Jay

Captainnumber36 said:


> Is Jazz a rebel music genre at heart?


It's a middle-class art music subsidized by universities, arts councils, philanthropic grants, and museums like Lincoln Center and the Smithsonian Institution, and used to signify and sell "high class" consumerism.


----------



## Rogerx

Swallow Tales

John Scofield (guitar), Bill Stewart (drums), Steve Swallow (bass)


----------



## Barbebleu

Brad Mehldau - The Art of the Trio, Vol. 5 - Progression. Excellent stuff.


----------



## starthrower

Jay said:


> It's a middle-class art music subsidized by universities, arts councils, philanthropic grants, and museums like Lincoln Center and the Smithsonian Institution, and used to signify and sell "high class" consumerism.


That's not the whole story and I think you know that. Jazz has one hundred year plus history and it didn't emerge from universities. The stuff now being taught at music schools was created and developed organically in clubs, rehearsal spaces, and other non academic atmospheres.

And I would say any creative person who dedicates their life to making uncompromising music in a world of violence, ruthless business, and indifference to non conventional attitudes is a bit of a rebel at heart.


----------



## Barbebleu

Billy Cobham - The Atlantic Years 1973 to 1978, Discs 5, 6, 7 & 8. Great jazz funk from its heyday.


----------



## philoctetes

The newer European jazz that might fit the "middle-class" tag better is partially a reaction to the way American audiences have historically rejected its origins, not unlike the anglifying of American blues or the elevation of Elvis over Chuck Berry etc


----------



## Rogerx

Miles & Quincy Live at Montreux

Miles Davis/ Quincy Jones, Quincy Jones, Miles Davis (trumpet), Wallace Roney (trumpet), Kenny Garrett (alto saxophone)


----------



## starthrower

Three mid 70s albums on 2 CDs. Listening to the live album Darius at the moment. Recorded in excellent sound featuring a septet of trumpet, trombone, guitar, electric piano, bass and drums. Darius has more of an early psychedelic fusion/post bop sound similar to Miroslav Vitous's Mountain In The Clouds but not as aggressive.


----------



## Rogerx

Moon Dreams - Rediscovered Music of Gil Evans and Gerry Mulligan

Dutch Jazz Orchestra, Gil Evans, Gerry Mulligan


----------



## Red Terror




----------



## ando

e.s.p. miles davis quintet (1965, columbia)

*ronald carter* bass
*tony williams* drums
*herbie hancock* piano
*wayne shorter* tenor saxophone
*miles davis* trumpet


----------



## Rogerx

Maiden Voyage

Herbie Hancock


----------



## Red Terror

philoctetes said:


> The newer European jazz that might fit the "middle-class" tag better is partially a reaction to the way American audiences have historically rejected its origins, not unlike the anglifying of American blues or the elevation of Elvis over Chuck Berry etc


Be that as it may, I still enjoy ECM, Elvis and Chuck Berry. :tiphat:


----------



## Red Terror

Jay said:


> It's a middle-class art music subsidized by universities, arts councils, philanthropic grants, and museums like Lincoln Center and the Smithsonian Institution, and used to signify and sell "high class" consumerism.


Nobody really listens to Jazz (or Classical) with the exception of a few malcontents.


----------



## Red Terror




----------



## starthrower

ESP Disk

Live recordings from a tour of college towns in northern NY state in 1966. Sound quality is much better than usual for Ra albums of that period. More music from these shows was released in 2010 on the College Tour: Complete Nothing Is... 2 CD set.


----------



## Red Terror




----------



## ando

Red Terror said:


> Nobody really listens to Jazz (or Classical) with the exception of a few malcontents.









*compared to what les mccann & eddie harris*


----------



## Rogerx

Getz/Gilberto

Stan Getz, João Gilberto


----------



## Jay

Red Terror said:


> Nobody really listens to Jazz...with the exception of a few malcontents.


"No commercial potential," to quote FZ. Except in commercials for high-end wines, automobiles, and other upscale "life style" accoutrements.

https://news.jazzline.com/news/jazz-least-popular-music-genre/


----------



## Barbebleu

Live Trane; The European Tours. Brilliant music by world class musicians.


----------



## Rogerx

Sunset in the Blue

Melody Gardot (vocals)


----------



## Barbebleu

Kenny Wheeler - A Long Time Ago. Excellent.


----------



## jegreenwood

Could never quite pull the trigger on the _Complete Live at the Plugged Nickel_, and the single album seemed . . . insufficient. Just found a two disc set/download, which seems about right.









And the full set is available for streaming as well as download..


----------



## starthrower

Art Yard CD re-issue

Album recorded Oct 1979. A short one at just under 30 minutes. Contains the dance/funk track, UFO, and two other selections.


----------



## Rogerx

Bessie Smith - Empty Bed Blues
Original Recordings 1927-1928


----------



## Emperor of the North

Dave Brubeck's "college" albums from the early 50s. Trane's "Blue Train" & "Lush Life". Miles Davis, "Jack Johnson". Thelonious Monk, "Misterioso".


----------



## starthrower

Recorded 1972 during sessions in Chicago which also produced the better known Space Is The Place album.


----------



## Rogerx

In The Mood
Big band magic

Count Basie (piano), Woody Herman (vocals), Duke Ellington (piano), Artie Shaw (clarinet), Lionel Hampton (vibraphone), Glenn Miller (trombone), Benny Goodman (clarinet), Tommy Dorsey (trombone), Harry James (trumpet)

Duke Ellington Orchestra, Woody Herman Ensemble, Ted Heath Orchestra, Artie Shaw Orchestra, Lionel Hampton Orchestra, Harry James Orchestra, Charlie Barnet Orchestra, Benny Goodman Band, Les Brown Orchestra, Guy Lombardo Royal Canadians, Geraldo Orchestra, Ted Heath, Guy Lombardo, Geraldo


----------



## TheCoctor

Well, I’m much more into jazz than into classical music, but I’m here to learn. 
This is my first post in the forums, and of course the easiest thing is to talk about things I understand the most. 
So here is what I’ve been listening to this morning. 

Hank Mobley / messages


----------



## jegreenwood

TheCoctor said:


> Well, I'm much more into jazz than into classical music, but I'm here to learn.
> This is my first post in the forums, and of course the easiest thing is to talk about things I understand the most.
> So here is what I've been listening to this morning.
> 
> Hank Mobley / messages


Welcome. I have two Hank Mobley albums - _Soul Station_ and _A Caddy for Daddy_. Should I make _Messages_ my third?


----------



## starthrower

jegreenwood said:


> Welcome. I have two Hank Mobley albums - _Soul Station_ and _A Caddy for Daddy_. Should I make _Messages_ my third?


Messages, if you don't mind mono. I'd say give Roll Call a listen. It's one of his stronger releases in great sound.


----------



## Jay

jegreenwood said:


> Should I make _Messages_ my third?


_Workout_


----------



## Captainnumber36

Is Kind of Blue the greatest Jazz album of all time?


----------



## Captainnumber36

Well, I guess there is Giant Steps, A Love Supreme, Blue Train and Time Out.


----------



## starthrower

Local Seattle TV show featuring Ralph Towner on piano and guitar circa 1966.


----------



## Dorsetmike

Albert Ammons


----------



## Red Terror

I recently acquired a copy of this revelatory album (and their follow-up, Iberia) by the group *Musica Urbana*, led by composer *Joan Albert Amargos*. This is beautiful, complex music that should appeal to classical and jazz devotees. Listen and enjoy...


----------



## Red Terror




----------



## starthrower

1974

I've picked up quite a few Black Jazz re-issues and they're all good. Especially the Doug Carn albums, The Awakening band's two CDs, and Henry Franklin.


----------



## starthrower

New from Flora Purim. She's still sounding good as she approaches her 80th birthday in March.


----------



## eljr




----------



## Red Terror




----------



## Red Terror




----------



## tortkis

Live in Milano - The Art Ensemble of Chicago (LEO Records)









__
https://soundcloud.com/cafeoto%2Fleo-records-gy16-the-art-ensemble-of-chicago-a-jackson-in-your-house


----------



## starthrower

A 1959 film.


----------



## Red Terror




----------



## Red Terror




----------



## Barbebleu

Herbie Hancock - The Complete Blue Note Sixties Sessions. Brilliant.


----------



## Red Terror




----------



## tortkis

Quartet (Standards) 2020, Anthony Braxton








https://newbraxtonhouse.bandcamp.com/album/quartet-standards-2020
Braxton (sax), Alexander Hawkins (piano), Neil Charles (bass), Stephen Davis (drums)

Standards, jazz musicians' original compositions, and some Paul Simon. Every track is thrilling.


----------



## Rogerx

Ella Fitzgerald / At the Opera House

Ella Fitzgerald (vocals)

Alto Saxophone - Sonny Stitt (tracks: B1, B2)
Bass - Ray Brown
Drums - Connie Kay (tracks: B1, B2), Jo Jones
Guitar - Herb Ellis
Liner Notes, Supervised By - Norman Granz
Photography By - Herman Leonard
Piano - Oscar Peterson
Tenor Saxophone - Coleman Hawkins, Flip Phillips (tracks: B1, B2), Illinois Jacquet, Lester Young, Stan Getz
Trombone - J. J. Johnson* (tracks: B1, B2)
Trumpet - Roy Eldridge (tracks: B1, B2)


----------



## driv

Bill Evans- Portrait in Jazz (1960) (a first listen for me, currently exploring his discography)


----------



## Jay




----------



## Rogerx

The Complete After Midnight Sessions

Nat King Cole


----------



## starthrower

Recorded 1957 for Bethlehem Records / 2010 CD re-issue on the European Essential Jazz Classics label. It's PD release but the sound is excellent. Contains three bonus tracks.


----------



## Jay




----------



## Rogerx

Pure Ella

Ella Fitzgerald, Wilfred Middlebrooks (double bass), Gus Johnson (drums), Jim Hall (guitar), Paul Smith (piano), Louis Armstrong, Oscar Peterson (piano), Buddy Rich (drums), Ray Brown (bass guitar), Herb Ellis (guitar), Count Basie, Duke Ellington & His Orchestra, The Paul Smith Quartet


----------



## tortkis

Bump: the definitive concert - 1, Bobby Previte








Ray Anderson (trombone), Marty Ehrlich (tenor sax), Wayne Horvitz (piano), Steve Swallow (bass), Bobby Previte (drums)
Recorded in Bremen, Germany, May 6, 1999


----------



## Red Terror




----------



## starthrower

Recorded 2006-2007


----------



## Red Terror




----------



## Red Terror




----------



## Rogerx

Journeys in Modern Jazz: Britain

Various artists

Branscombe, Alan
Civil, Alan
Coe, Tony
Dankworth, John
Harriott, Joe
Holland, Dave
King, Peter
McLaughlin, John
Rutherford, Paul
Surman, John
Thompson, Barbara
Tracey, Stan
Wheeler, Kenny


----------



## Jay

With Bob Mover...


----------



## Rogerx

^^^^^^ It shows up later 


We can't connect to the server at postimages.org. try it later.


----------



## starthrower

Two 79 minute CDs.


----------



## Rogerx

Subaqueous Silence

Ayumi Tanaka Trio


----------



## Red Terror

Gato was a master.


----------



## SanAntone

*Portraits* is an album by the *Gerald Wilson Orchestra* recorded in late 1963 and early 1964 and released on the Pacific Jazz label.










Gerald Wilson - arranger and conductor
Jules Chaikin, Freddie Hill, *Carmell Jones*, Nat Meeks, Al Porcino - trumpet
Bob Edmondson, John Ewing, Lew McCreary (tracks 2, 5 & 7), Lester Robertson (tracks 1, 3, 4 & 6) - trombone
Don Switzer - bass trombone
Bud Shank - flute (track 2)
Joe Maini, Jimmy Woods - alto saxophone
Teddy Edwards, *Harold Land* - tenor saxophone
Jack Nimitz - baritone saxophone
Jack Wilson - piano
Joe Pass - guitar
Dave Dyson (tracks 2, 5 & 7), *Leroy Vinnegar* (tracks 1, 3, 4 & 6) - bass
Chuck Carter - drums


----------



## Rogerx

Offer, Live at the Village Vanguard

Christian McBride & Inside Straight

a glorious session of neo-hard-bop, demonstrating that there is still plenty of life in the genre...In all, another example of the gripping, high-quality music we expect from a McBride project. - BBC Music Magazine, March 2022, 5 out of 5 stars More…


----------



## Red Terror




----------



## NoCoPilot

I recently discovered a defunct quartet, the Freeway Philharmonic, which existed 1988-1994. They consisted of viola, Chapman Stick, guitar and percussion. Their music was a unique combination of jazz, bluegrass, classical with a little bit of country thrown in. Think Bela Fleck, Dixie Dregs and Edgar Meyer thrown in a blender. Some wonderful moments.


----------



## SanAntone

*Bill Evans - The Birdland Sessions* (1960 Album)






Personnel: Bill Evans (p) Scott LaFaro (b) Paul Motian (dr)
Recorded: February 2, 1960 Birdland Club NYC


----------



## Red Terror




----------



## tortkis

Punkt.Vrt.Plastik (Intakt, 2018)








Kaja Draksler (piano), Petter Eldh (bass), Christian Lillinger (drums)
https://punktvrtplastikintakt.bandcamp.com/album/punkt-vrt-plastik

Fiercely intense, percussive piano trio


----------



## Rogerx

Birth Of The Cool

Miles Davis


----------



## SanAntone

*Gary McFarland | Does the Sun Really Shine on the Moon?*










Jerome Richardson
Marvin Stamm
Sam T. Brown
Richard Davis
Grady Tate
Warren Bernhardt

This album represents McFarland's transition from Jazz to more accessible Pop inflected music. Still present, though, is his flawless arranging for a small band and his talent for devising colors and textures which elevate the material.


----------



## SanAntone

*The Gary McFarland Orchestra, featuring Bill Evans* (1963)










Gary McFarland - vibraphone, arranger, conductor
Bill Evans - piano
Phil Woods - clarinet
Spencer Sinatra - alto saxophone, flute
Julien Barber, Allan Goldberg - viola
Aaron Juvelier, Joseph Tekula - cello
Jim Hall - guitar
Richard Davis - bass
Ed Shaughnessy - drums

A fascinating Jazz record with interesting instrumentation and arrangements.


----------



## Jay




----------



## NoCoPilot

SanAntone said:


> *The Gary McFarland Orchestra, featuring Bill Evans* (1963)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> A fascinating Jazz record with interesting instrumentation and arrangements.


Thanks I had to track that down. It is indeed fascinating Third Stream music.


----------



## starthrower

Recorded 1982


----------



## starthrower

2019 Pyroclastic Records

Just received the CD from Bandcamp


----------



## Jay




----------



## tortkis

set theory - flow trio (ayler records)








Louie Belogenis (tenor & soprano sax), Joe Morris (bass), Charles Downs (drums)


----------



## SanAntone

That Dance We Do (That You Love Too) - JLCO Septet with Wynton Marsalis


----------



## Chibi Ubu

*Jean Luc Ponty - In Concert (live)*

I have seen him play live three times. He was never a disappointment.


----------



## Rogerx

Y'all Don't (Really) Care About Black Women

Melanie Charles

Carter, Betty
Charles, Melanie
Fitzgerald, Ella
Vaughan, Sarah
Washington, Dinah
Younger, Brandee


----------



## Barbebleu

starthrower said:


> Recorded 1982


One of my favourite Towner albums and one of my favourite albums period!


----------



## SanAntone

*Wynton at Harvard*






Mark O'Connor - fiddle
Walter Blanding - reeds 
James Chirillo - guitar 
Dan Nimmer - piano
Carlos Henriquez - bass 
Ali Jackson - drums

25 part series of talks and performances by the Wynton Marsalis Septet demonstrating all the components of what Jazz means. On a personal note, the guitarist James Chirillo is a friend/colleague of mine, we played some gigs together in and around NYC, even after he was in the Army band at West Point, a few hours north of NYC. We made an album together at West Point with a trio (_Doug Lawrence Trio_ with Dave Leone and James Chirillo (Do La Di Jazz, 1981)).

I lost touch with James and was pleasantly surprised and happy to see him in this band.

I've always found Wynton Marsalis's priorities to be fundamental to an understanding of Jazz. He is articulate and a good thinker/writer as well as a master musician/composer/improviser.


----------



## SanAntone

*Wynton Marsalis | B*olden










One of the great tragedies of American music is the lack of a recorded legacy of Buddy Bolden. There has been, however, a rich oral tradition from musicians who knew him, claimed to have worked with him, and an idea of his style has come down to us.

Wynton Marsalis's score for the movie _Bolden_ is the best thing about that film, IMO.


----------



## SanAntone

*Jazz Nocturne | Bunk, Bocage ad Bechet*










Bunk Johnson, Sidney Bechet, and Peter Bocage with a rhythm section playing traditional New Orleans Jazz.


----------



## Jay




----------



## Rogerx

Love Is Letting Go
Eileen Farrell
Bobo Stenson Trio, Jon Christensen (drums), Anders Jormin (double bass), Bobo Stenson (piano)
Recorded: 1999-04-30


----------



## SanAntone

*Diz and Getz*










Dizzy Gillespie - trumpet
Stan Getz - tenor saxophone
Herb Ellis - guitar
Oscar Peterson - piano
Ray Brown - double bass
Max Roach - drums


----------



## starthrower

Early 70s British fusion that is very jazzy and not too heavy on the rock. Lots of good soloing from the brass and winds with support from keyboards, guitars and the rhythm sections.


----------



## SanAntone

*Lester Young | I Got Rhythm*


----------



## Chibi Ubu

*Joe Jackson: Perdido/Satin Doll (Medley)*


----------



## Chibi Ubu

*The Ed Palermo Big Band: Twenty Small Cigars*


----------



## SanAntone

*Pres & Teddy | Pres Returns*


----------



## SanAntone

*The Democracy Suite | Jazz at Lincoln Center Septet / Wynton Marsalis*


----------



## Jay




----------



## jegreenwood

Fred Hersch - _Personal Favorites_. I'd overlooked it in my collection for quite a while.


----------



## SanAntone

*He And She | Wynton Marsalis Quintet*










Wynton Marsalis - trumpet
Walter Blanding - tenor sax, soprano sax, clarinet
Dan Nimmer - piano
Carlos Henriquez - bass
Ali Jackson - drums



> "Familiar in the fact that Marsalis, an ardent purveyor of jazz's history, delivers once again, music that has been heard throughout his repertoire. The jubilant "School Boy" with its ragtime / New Orleans rhythms, the luxuriant waltz of "The Sun and the Moon," playful swing in "Sassy," and a blues in "A Train, A Banjo, and A Chicken Wing," have all been witnessed in memorable recordings such as The Marciac Suite (1999) and Big Train (1999), both on Columbia Records.
> 
> Regardless, this project is vintage Marsalis, and that equates to exquisitely crafted jazz, now delivered by a top-notch quintet of young musicians including Walter Blanding (saxophones), Dan Nimmer (piano), Carlos Hendriquez (bass), and Ali Jackson (drums), each showing their dazzling abilities throughout the recording." AllAboutJazz


----------



## SanAntone




----------



## Chibi Ubu

*The Brubeck Brothers Quartet: Second Nature*



















----------------------------------------------------------------------------------------------
*Live Track (not from this album):*


----------



## NoCoPilot




----------



## Barbebleu

Andrew Cyrille - The News. Lovely.


----------



## norman bates

Contemporary Jazz quintet - Location (1973)

Great album.


----------



## SanAntone

*Giant Steps | John Coltrane*










John Coltrane - tenor saxophone
Tommy Flanagan - piano
Wynton Kelly - piano on "Naima"
Paul Chambers - bass
Art Taylor - drums
Jimmy Cobb - drums on "Naima"
Cedar Walton - piano on "Giant Steps" and "Naima" alternate versions
Lex Humphries - drums on "Giant Steps" and "Naima" alternate versions


----------



## SanAntone

*Thelonious Monk Quartet | Underground*










Thelonious Monk - piano
Charlie Rouse - tenor saxophone
Larry Gales - bass
Ben Riley - drums


----------



## SanAntone

*Ornette Coleman | The Shape of Jazz to Come*










Ornette Coleman - alto saxophone
Don Cherry - cornet
Charlie Haden - bass
Billy Higgins - drums


----------



## SanAntone

*Charles Mingus | Complete 1959 Columbia Recordings*


----------



## Rogerx

Miles Smiles

Miles Davis


----------



## SanAntone

*Junior Mance / Joe Temperley | Music of Thelonious Monk*












> The Floating Jazz Festival, which takes place aboard the Queen Elizabeth II (previously held on the SS Norway), has been a regular source for outstanding live sets on the Chiaroscuro label. These excerpts from performances by Junior Mance and Joe Temperley are no exception, as they devote an entire program to works by Thelonious Monk. Accompanied by the highly in-demand young bassist Peter Washington and grizzled veteran drummer Mickey Roker, they've got a couple of surprises in store. First of all, Temperley, though known primarily as a baritone saxophonist, proves himself to be a capable bass clarinetist on the swinging opener, "Blue Monk," as well as a superb soprano saxophonist in the twisting blues "Straight, No Chaser." Of course, his hearty baritone is heard on the balance of the date, though the most obvious choice, "'Round Midnight," is unfortunately not present. Mance is featured with the rhythm section in a crisp workout of "Ask Me Now," and his strong chops are present throughout the disc. As an added bonus, one track ("Hackensack") from their 1996 concerts on the S/S Norway (with bassist Keter Betts and drummer Jackie Williams) wraps the CD. Allmusic.


----------



## Red Terror




----------



## Red Terror




----------



## Red Terror




----------



## Red Terror

What else can be said of this album? It reminds me of GG at times.


----------



## Jay




----------



## Red Terror




----------



## Red Terror




----------



## SanAntone

*Louis Armstrong | The Complete Hot Five & Hot Seven Recordings*


----------



## Rogerx

Doo-Bop

Miles Davis (With Easy Mo Bee)


----------



## Barbebleu

Red Terror said:


>


This looks interesting.


----------



## Barbebleu

Red Terror said:


>


And this looks interesting too!


----------



## Red Terror




----------



## Red Terror

Barbebleu said:


> And this looks interesting too!


Both recordings are enthusiastically recommended.


----------



## Jay




----------



## SanAntone

*Wynton Marsalis | From Plantation To The Penitentiary*


----------



## Rogerx

Passengers

Pat Metheny (guitar), Steve Swallow (bass), Dan Gottlieb (drums), Eberhard Weber (bass)


----------



## SanAntone

*Louis Armstrong | The Columbia & RCA Victor Live Recordings, Vol. 1*












> The Columbia and RCA Victor Live Recordings of Louis Armstrong and the All Stars is the first to span this range of Louis' career. It is rich with new discoveries and legendary omissions, on nine CDs. For the unreleased material alone, this one is a real collector's item.
> 
> We've restored missing solos and removed fake applause. We tracked down the earliest, most authoritative sources for the music and cleaned-up everything to the best of our ability using state-of-the-art techniques. And we corrected a great deal of misinformation regarding discographical details. Mosaic Records


----------



## SanAntone

*Jazz | The Smithsonian Anthology*










From my iTunes library.


----------



## SanAntone

*Jelly Roll Morton | Last Sessions / The Complete General Recordings*












> Morton, despite ailing health, was in very good form for the sessions, and his versions of "The Crave," "King Porter Stomp," "Winin' Boy Blues," "Buddy Bolden Blues" and "Don't You Leave Me Here" are quite memorable. In addition, he is heard heading three band dates that, despite the presence of trumpeter Henry "Red" Allen and clarinetist Albert Nicholas, do not quite live up to their potential. They did introduce Jelly Roll's "Sweet Substitute" (a future standard) and include a hot rendition of "Panama," but such songs as "Get the Bucket" and "Mama's Got a Baby" have not been revived since. Still, this set is highly recommended for the solo performances, Jelly Roll Morton's final contribution to the music he claimed to have founded. Allmusic Review by Scott Yanow


----------



## SanAntone

*The Complete Library of Congress Recordings By Alan Lomax*












> When folklorist Alan Lomax made these epic 1938 recordings of Jelly Roll Morton's reminiscences and piano playing, he was creating the first great oral documentation of early jazz. This material has never been issued with the care, sensitivity and completeness that it gets here, with the complete interviews and musical performances sequenced over seven CDs in the order in which they took place. Morton was almost as great a raconteur as he was a musician, and his accounts of New Orleans in the early years of the 20th century--from bordellos to riots to funeral parades--are vivid, bawdy, and sometimes hilarious. His accounts of the music and his performances, from "King Porter Stomp" to the lengthy "Murder Ballad," provide a brilliant window on the mechanics and progress of jazz in its earliest years. The sound restoration is excellent and the complete package--cover art by R. Crumb and a book with an essay by John Szwed and extensive photographs--befits a document of this significance. An eighth CD excerpts interviews Lomax conducted in 1949 with various New Orleans musicians (most notably Johnny St. Cyr) reminiscing about Morton and the early years of jazz. --Stuart Broomer


----------



## Barbebleu

Eberhard Weber - Pendulum. Wonderful playing and lovely compositions.


----------



## Jay

Steve Marcus, 1969....


----------



## Red Terror




----------



## SanAntone

*Miles Davis | Someday My Prince Will Come*


----------



## Red Terror




----------



## Jay




----------



## Red Terror




----------



## Jay

RIP Ron Miles....


----------



## SanAntone

*Duke Ellington | Centennial*












> The first seven CDs chronicle the maestro's Cotton Club days and his theatrical, visceral "jungle music," which was created as part of the club's African-themed stage shows and "tribal" dances. Even at this early stage, Ellington showed a tremendous ability to create expressive moods and keen imagery through his compositions as well as an uncanny understanding of his players' strengths. Six discs are dedicated to the early 1940s, when tenor sax player Ben Webster and bassist Jimmy Blanton elevated the band to new heights. The next three CDs cover the mid-1940s, when the Duke began experimenting with longer pieces. Another combines mid-1940s all-star jams with a full 1952 Seattle concert. All three of Ellington's Sacred Concerts follow, a bold, pioneering fusion of jazz and church, complete with choir and dance, that used the language of music to eloquently sermonize on the subjects of personal freedom, spirituality, and communication with God. The collection wraps up with four discs' worth of late-period magic, including the exotic and dramatic Far East Suite and an homage to recently departed Billy Strayhorn.
> 
> This stunning package also serves as a tribute to all of the superior musicians that found a home in the Ellington Orchestra. Special mention must be made of altoist Johnny Hodges, who first recorded with Ellington in 1928 and stayed with him (except for a brief respite in the 1950s) until his death in 1970. Throughout, his sublime tone and fertile imagination epitomize the beauty, inventiveness, and dignity that is the essence of jazz. Also of note are the many superb compositions and arrangements from Strayhorn, who managed to carve a vital niche for himself while remaining true to the sound of Ellingtonia. Amazon -Marc Greilsamer


This 24CD set is a fantastic collection of some of the best recordings of Duke Ellington bands during his prime years.


----------



## tortkis

Jay said:


> RIP Ron Miles....


I found this great trumpeter only recently. Now playing:
Greg Saunier / Mary Halvorson / Ron Miles: New American Songbooks, Volume 1 (Sound American)


----------



## SanAntone

Jay said:


> RIP Ron Miles....


Very sad news. He was a quality player.


----------



## SanAntone

*Louis Armstrong *


----------



## OCEANE

Tord Gustavsen Trio is a Norwegian jazz group and their recordings from ECM are outstanding in terms of music itself and sound quality.


----------



## SanAntone

*Marcus Roberts | From Rags to Rhythm*


----------



## Jay




----------



## tortkis

The Cave Of Winds, Tony Malaby (2021, Pyroclastic Records)








Tony Malaby (tenor & soprano sax), Ben Monder (guitar), Michael Formanek (bass), Tom Rainey (drums)


----------



## mikeh375

Thought I'd just play some Oscar before bedtime and so combed through YT. I'd not heard his version of this classic before, oh boy, what a fabulous version. His improv is stunning.


----------



## SanAntone

*Celebrating the Genius of Ray Charles | Willie Nelson / Wynton Marsalis / Nora Jones*


----------



## SanAntone

*New Orleans Rhythm Kings | The Complete Set 1922-1925*


----------



## SanAntone

*Louis Armstrong* - _Complete Hot Five and Hot Seven Recordings_
*Duke Ellington* - _Never No Lament: The Blanton-Webster Band_
*Charlie Parker* - _Savoy & Dial Masters_
*Thelonious Monk* - _Complete Riverside Recordings_
*Miles Davis *- _Complete Columbia Featuring John Coltrane_
*John Coltrane* - _The Classic Quartet on Impulse!_

Six Jazz giants tracing the history of the music from the '20s through the '60s.


----------



## SanAntone

*Roy Eldridge | The Complete Verve Studio Sessions*


----------



## SanAntone

*Billie Holiday | Recital / Autumn in New York*


----------



## SanAntone

*The Benny Morton and Jimmy Hamilton Blue Note Swingtets*


----------



## SanAntone

*Brownie: the Complete EmArcy Recordings of Clifford Brown*


----------



## SanAntone

*Ron Carter and Jim Hall | Telepathy*


----------



## Monica

Chicago Cellar Boys with Roya Naldi


----------



## SanAntone

*1959 The Year that Changed Jazz*








> Four major jazz albums were made, each a high watermark for the artists and a powerful reflection of the times. Each opened up dramatic new possibilities for jazz which continue to be felt: *Miles Davis* Kind of Blue; *Dave Brubeck*, Time Out; *Charles Mingus*, Mingus Ah Um; and *Ornette Coleman*, The Shape of Jazz to Come.


Three out of four of those records were and are still music I listen to regularly, and agree were landmark masterpieces. _Time Out_ is good, but not as interesting to me as the other three.


----------



## SanAntone

*1959*










I created a Spotify playlist of the four albums from 1959 discussed in the film I previously posted. Playing on shuffle mode:

*Miles Davis* | _Kind of Blue_
*Charles Mingus* | _Ah Um_
*Ornette Coleman* | _The Shape of Jazz to Come_
*Dave Brubeck Quartet* | _Time Out_

I great thing is that these four albums are very different stylistically but all exhibiting a high level of artistry.


----------



## baerkaeno

I have spent a lot of time listening to this album recently.


----------



## SanAntone

*Hampton Hawes - All Night Session, Vol. 1*










Hampton Hawes - piano
Jim Hall - guitar
Red Mitchell - bass
Eldridge Freeman - drums

These three volumes offer Hampton Hawes in a perfect setting, swinging, and with excellent sidemen.


----------



## starthrower




----------



## tortkis

Another great trumpeter is gone.

Shades of Inida - Dennis González Yells At Eels + Aakash Mittal
https://ayler-records.bandcamp.com/track/shades-of-india

Colorado at Clinton (Ayler Records, 2013)








Dennis González (C trumpet, Bb cornet), Aakash Mittal (alto sax), Aaron González (bass), Stefan González (drums)


----------



## Jay

SanAntone said:


> *1959*
> 
> I created a Spotify playlist of the four albums from 1959:
> 
> *Miles Davis* | _Kind of Blue_
> *Charles Mingus* | _Ah Um_
> *Ornette Coleman* | _The Shape of Jazz to Come_
> *Dave Brubeck Quartet* | _Time Out_


Add Sun Ra's _Jazz In Silhouette_


----------



## SanAntone

*The Modern Jazz Quartet | Django*










Milt Jackson - vibraphone
John Lewis - piano
Percy Heath - bass
Kenny Clarke - drums



> Writing for All About Jazz, Douglas Payne described Django as "classic jazz in construction and execution" and said it was "the place to begin appreciating the many and great virtues of one of jazz's finest aggregates". AllMusic's Lindsay Planer wrote that "In terms of seminal Modern Jazz Quartet entries, it is hard to exceed the variety of styles and performances gathered on Django." Wikipedia


----------



## SanAntone

*Bobby Timmons | This Here is Bobby Timmons*










All compositions by Bobby Timmons except as indicated
"*This Here*" - 3:34
"*Moanin*'" - 5:08
"Lush Life" (Billy Strayhorn) - 2:31
"The Party's Over" (Jule Styne) - 4:14
"Prelude to a Kiss" (Duke Ellington, Irving Mills) - 3:23
"*Dat Dere*" - 5:26
"My Funny Valentine" (Lorenz Hart, Richard Rodgers) - 5:08
"Come Rain or Come Shine" (Harold Arlen, Johnny Mercer) - 4:33
"Joy Ride" - 3:58

Bobby Timmons - piano
Sam Jones - bass (except track 3)
Jimmy Cobb - drums (except track 3)

Great debut record as sole leader by a pianist who I don't see mentioned often enough. He played with Art Blakey and Cannonball Adderley and was responsible for some of their best known songs.


----------



## SanAntone

*Horace Silver and the Jazz Messengers*










Horace Silver - piano
Kenny Dorham - trumpet
Hank Mobley - tenor saxophone
Doug Watkins - bass
Art Blakey - drums



> Horace Silver and the Jazz Messengers is a 1956 repackage of 1955 10" LPs by jazz pianist Horace Silver with drummer Art Blakey and featuring Hank Mobley on tenor saxophone, Kenny Dorham on trumpet, and Doug Watkins on bass. By the time this repackage was released, this quintet had named themselves the Jazz Messengers, and the band name on the label reflected that. These recordings helped establish the hard bop style. Scott Yanow on Allmusic describes it as "a true classic". Wikipedia


----------



## Barbebleu

SanAntone said:


> *1959*
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> I created a Spotify playlist of the four albums from 1959 discussed in the film I previously posted. Playing on shuffle mode:
> 
> *Miles Davis* | _Kind of Blue_
> *Charles Mingus* | _Ah Um_
> *Ornette Coleman* | _The Shape of Jazz to Come_
> *Dave Brubeck Quartet* | _Time Out_
> 
> I great thing is that these four albums are very different stylistically but all exhibiting a high level of artistry.


Thanks SA. You prompted me to create a similar playlist but I added another rather good 1959 album to mine - Cannonball Adderley and John Coltrane Quintet in Chicago. Now on shuffle too!:tiphat:


----------



## SanAntone

*Kenny Dorham | The Complete 'Round About Midnight at the Cafe Bohemia*










Kenny Dorham - trumpet
J. R. Monterose - tenor saxophone (tracks 1, 3-7, 9-12 & 14-17)
Bobby Timmons - piano
Kenny Burrell - guitar (tracks 5-7, 9, 10 & 12-17)
Sam Jones - bass
Arthur Edgehill - drums

Great band, really playing well.


----------



## ando

*groove blues gene ammons & his all stars
*
Gene Ammons - tenor saxophone
Jerome Richardson - flute 
John Coltrane - alto saxophone 
Paul Quinichette - tenor saxophone 
Pepper Adams - baritone saxophone 
Mal Waldron - piano
George Joyner - bass
Art Taylor - drums


----------



## SanAntone

*Jim Hall Trio feat. Kenny Barron & Dave Holland* - Live in Concert


----------



## SanAntone

*Charles Mingus | Blues & Roots*










Charles Mingus - bass
John Handy - alto saxophone
Jackie McLean - alto saxophone
Booker Ervin - tenor saxophone
Pepper Adams - baritone saxophone
Jimmy Knepper - trombone
Willie Dennis - trombone
Dannie Richmond - drums
Horace Parlan - piano, except for on "E's Flat Ah's Flat Too"
Mal Waldron - piano on "E's Flat Ah's Flat Too"

I have always been a big fan of Charles Mingus's music/recordings. His being a bass player was also a huge incentive for me to study his work. IMO he is second only to Duke Ellington as a composer and bandleader.


----------



## Jay




----------



## SanAntone

*Frank Sinatra / Antonio Carlos Jobim | The Complete Reprise Recordings*


----------



## tortkis

Promises - Floating Points, Pharoah Sanders & The London Symphony Orchestra (2021)


----------



## ando

*Corey Wallace Dubtet* Friday Night Live at Smalls


----------



## verandai

Just discovered this on Youtube, liked it at once!


----------



## Jay




----------



## Barbebleu

Don Cherry - Symphony for Improvisers
Don Cherry - Complete Communion 

Both essential, both brilliant. Next up Cecil Taylor, Unit Structures and Conquistador. Again equally essential and brilliant. The mid to late sixties was a glittering time for the new wave in jazz.


----------



## Jay

Barbebleu said:


> Don Cherry - Symphony for Improvisers
> Don Cherry - Complete Communion


...and _Where Is Brooklyn?_


----------



## Barbebleu

Jay said:


> ...and _Where Is Brooklyn?_


It's in New York I believe!


----------



## Barbebleu

Jay said:


> ...and _Where Is Brooklyn?_


Yep, another great album if not quite in the same league as his first two Blue Note albums.


----------



## SanAntone

*Ray Anderson | Love Notes*










Excellent album of standards with Ray Anderson accompanied by Steve Salerno on guitar.


----------



## SanAntone

*Herbie Nichols | The Complete Blue Note Recordings*


----------



## Chibi Ubu

This thread just goes to show how little overall listening experience that I have with Jazz and Classical. Thanks for the exposure!

Here's one I recently enjoyed, a pleasant change of pace:


----------



## SanAntone

*Thelonious Monk | Solo Monk*


----------



## SanAntone

*Wayne Shorter | Speak No Evil*










Freddie Hubbard - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Elvin Jones - drums



> Murray Horwitz stated in 2001 that "Speak No Evil is sort of a consolidation of Wayne Shorter's compositional excellence. It's so thorough and consistent and wide-ranging. It's almost a manifesto for his ideas. Those ideas were new 40 years ago, but they're still fresh today." (Wikipedia)


----------



## SanAntone

*Abdullah Ibrahim: Tiny Desk (Home) Concert*
In 1968, he converted to Islam and changed his name from Dollar Brand






The music is from his newest album Solotude, a recording made to an empty concert hall in southeast Germany during the 2020 lockdown, which for me became a source of calm when it was released toward the end of 2021.

SET LIST
"Blue Bolero"
"Signal On The Hill"
"Once Upon A Midnight"


----------



## Red Terror




----------



## Simon Moon

Chibi Ubu said:


> This thread just goes to show how little overall listening experience that I have with Jazz and Classical. Thanks for the exposure!
> 
> Here's one I recently enjoyed, a pleasant change of pace:


You really need to check out:

OH NO! NOT JAZZ!!










And:


----------



## Red Terror




----------



## SanAntone

*Thelonious Monk Quartet | Misterioso*










Ahmed Abdul-Malik - bass
Johnny Griffin - tenor saxophone
Roy Haynes - drums
Thelonious Monk - piano


----------



## Red Terror




----------



## SanAntone

*Jazz at Lincoln Center Orchestra / Jon Batiste | The Music of John Lewis*












> The latest release on Blue Engine, the Jazz at Lincoln Center Orchestra imprint, is devoted to interpretations of nine pieces by pianist-composer John Lewis.
> 
> The curator of the concert contained herein is Jonathan Batiste, then a 26-year-old rising star who shares with those dedicatees a penchant for rendering "high culture" concepts with a "university of the streets" attitude. The program mirrors much of a 2001 concert on which Lewis conducted and played piano with the orchestra in a program consisting entirely of his own works. (Downbeat)


----------



## Chibi Ubu

Simon Moon said:


> You really need to check out:
> 
> OH NO! NOT JAZZ!!
> 
> And:
> 
> EDDY LOVES FRANK


I have all of *The Ed Palermo Big Band* discography. I'm on Ed's email list. I even have a couple of his tee shirts


----------



## starthrower

2002

Extensive article and interviews with the three Metheny Group drummers discussing their time with the band and thoughts on the music.

https://www.allaboutjazz.com/phase-...-the-art-of-drumming-in-the-pat-metheny-group


----------



## SanAntone

*Nicholas Payton | Into the Blue*










Nicholas Payton: trumpet; 
Kevin Hays: piano and Fender Rhodes; 
Vicente Archer: bass; 
Marcus Gilmore: drums; 
Daniel Sadownick: percussion.


----------



## SanAntone

*Miles Davis | On the Corner*










Miles Davis - electric trumpet with wah-wah,[48] organ
Michael Henderson - bass guitar with wah-wah[49]
Don Alias - drums, percussion
Jack DeJohnette - drums
Al Foster - drums
Billy Hart - drums
James Mtume - percussion
Carlos Garnett - soprano saxophone, tenor saxophone
Dave Liebman - soprano saxophone, tenor saxophone
Bennie Maupin - bass clarinet
Chick Corea - Fender Rhodes, keyboards
Herbie Hancock - Fender Rhodes, keyboards
Harold Ivory Williams - keyboards
Cedric Lawson - organ
Dave Creamer - guitar
Reggie Lucas - guitar
John McLaughlin - guitar
Khalil Balakrishna - electric sitar
Collin Walcott - electric sitar
Paul Buckmaster - cello
Badal Roy - tabla[


----------



## tortkis

Water From An Ancient Well - Abdullah Ibrahim (Enja)








Abdullah Ibrahim (piano, compositions), Carlos Ward (alto sax, flute), Ricky Ford (tenor sax), Charles Davis (baritone sax), David Williams (bass), Ben Riley (drums), Dick Griffin (trombone)


----------



## SanAntone

*Black Note | Nothin' But the Swing* (Impulse!, 1996)










Eric Reed was a founding member of Black Note in 1991 and made three albums with the band, but he is not on this release. A good Hard Bop recording made by young musicians in the '90s.

Bass - Mark Anthony Shelby
Drums - Willie Jones III
Piano - Ark Sano (tracks: 5 to 13), Greg Kurstin (tracks: 1 to 4)
Saxophone [Alto] - James Mahone
Saxophone [Tenor, Soprano] - Teodross Avery (tracks: 5, 8)
Trumpet - Gilbert Castellanos (tracks: 6, 8 to 13), Nicholas Payton (tracks: 1 to 5)


----------



## Jay




----------



## Dorsetmike

Ellington, Take the A train; 2 versions


----------



## starthrower

John McLaughlin Trio


----------



## tortkis

Meadow of Dreams - Brodie West Quintet (Astral Spirits)








Evan Cartwright (drums, vibraphon, guitar), Josh Cole (bass), Nick Fraser (drums), Tania Gill (piano), Brodie West (alto sax)
recorded 2020
https://astralbrodiewestquintet.bandcamp.com/album/meadow-of-dreams


----------



## starthrower

Great trio with Rhodes piano.


----------



## SanAntone

*Portrait of Louis Armstrong - Wynton Marsalis & The Young Stars of Jazz at "Jazz in Marciac" 2016*






If it was good in the 1920s it is good in 2022, or in the case of this concert, 2016. I absolutely disagree with those who claim that Jazz styles must "progress" and playing an earlier style is somehow invalid. This is what happens everyday in Classical music: music from previous eras is played today and no one questions it.


----------



## Dorsetmike

Mel Powell from the 1950s Vanguard series (3 hours 21)






I particularly like What's new at 57:46 and Makin' whoopee at 42;47 with Paul Quinichette and Bobby Donaldson


----------



## Jay

With the under-recognized rhythm section of Alan Dawson and Richard Davis...


----------



## starthrower

Big Heart Machine s/t release recorded 2017

One of my favorite modern large ensemble albums of the past few years. If you're a fan of John Hollenbeck's releases you'll probably dig this one. Mostly acoustic but there are touches of electric sounds which give it a nice balance. The original material is very impressive.


----------



## SanAntone

*Donny McCaslin | The Way Through*










Dave Binney - Alto Sax; 
Anders Bostrom - Flute, Alto Flute, Bass Flute; 
Scott Colley - Bass; 
Adam Cruz - Percussion, Drums, Marimba, Steel Pan; 
Doug Yates - Clarinet, Bass Clarinet; 
Donny McCaslin - Soprano Sax, Tenor Sax; 
Luciana Souza - Vocals

McCaslin put together an excellent band of musicians for this his 3rd release from 2003. Florence Wetzel writing for AllAboutJazz had this to say about the album, "The Way Through explores the many colors of jazz while at the same time respectfully stretching the music's boundaries. Donny McCaslin, a tenor saxophonist with a rich, warm sound, is also an extremely skilled arranger with an interesting use of space." (AllAboutJazz)


----------



## tortkis

Perpetual Pendulum (Smoke Sessions Records)








Larry Goldings (organ), Peter Bernstein (guitar), Bill Stewart (drums)
recorded 2021

The long lasting superb trio plays jazz standards and their originals.


----------



## NoCoPilot

SanAntone said:


> If it was good in the 1920s it is good in 2022, or in the case of this concert, 2016. I absolutely disagree with those who claim that Jazz styles must "progress" and playing an earlier style is somehow invalid. This is what happens everyday in Classical music: music from previous eras is played today and no one questions it.


That's not what makes Wynton Marsalis such a divisive character, it's his insistence that nothing SINCE the 1920s is "real jazz." His blinkered view is destructive to young innovative artists, who would like a piece of the economic pie that Marsalis is claiming for himself, re-making music that was written two generations before him.

Nice to see Richard Davis getting some love above. One of the few jazz bassists who did a lot of arco work.


----------



## SanAntone

*Cécile McLorin Salvant | Ghost Song*










Downbeat: "There's an intellectual playfulness to everything that Cécile McLorin Salvant's velvety voice touches. It rises and falls with authority, striking highs that flutter and lows that grumble and roar. Her wordplay teases, taunts and tests in a way that forces her to not just sing a lyric, but dive into roles with the zeal of a method actor."

One of the most interesting new Jazz vocal records I've heard in a long time. *Cécile McLorin Salvant* has been releasing records for about a decade, but this one is really something special.

Personnel - Cécile McLorin Salvant: vocals, piano; Paul Sikivie: electric and acoustic bass, synth; Sullivan Fortner: piano, Fender Rhodes, vocals; Alexa Tarantino: flute; Aaron Diehl: piano, pipe organ; Marvin Sewell: guitar; James Chirillo; banjo; Daniel Swenberg: lute; Burniss Travis: bass; Kyle Poole: drums; Keita Ogawa: percussion.


----------



## starthrower

^^^
Haven't heard her yet but I'm interested to find out what all the fuss is about. She has an interesting look which is intriguing.


----------



## SanAntone

*Charles Lloyd & the Marvels | Tone Poem*










"_Tone Poem_ is the third full-length album by Charles Lloyd & The Marvels, the genre-straddling quintet that features the master saxophonist with *Bill Frisell* on guitar, *Greg Leisz* on pedal steel guitar, *Reuben Rogers* on bass, and *Eric Harland* on drums.

Following the band's 2016 debut I Long To See You and their 2018 collaboration with Lucinda Williams Vanished Gardens, the nine dynamic instrumental tracks here include new Lloyd originals along with pieces by Ornette Coleman, Thelonious Monk, Leonard Cohen, Gabor Szabo, and Bola de Nieve. The vinyl edition of Tone Poem was supervised by Joe Harley and will be the first-ever new release to be presented as part of Blue Note's acclaimed Tone Poet Vinyl Series." (Blue Note)

1. Peace
2. Ramblin
3. Anthem
4. Dismal Swamp
5. Tone Poem
6. Monk's Mood
7. Ay Amor (Live)
8. Lady Gabor
9. Prayer

Charles Lloyd's late career records are some of his best work. And this band, the Marvels, are an especially fine ensemble.


----------



## SanAntone

starthrower said:


> ^^^
> Haven't heard her yet but I'm interested to find out what all the fuss is about. She has an interesting look which is intriguing.


She is a Classical trained singer who discovered Jazz while still in her studies. This record is a mix of originals, folk songs, and a couple of Jazz standards. The arrangements are creatively done and her singing is flawless, but you wouldn't know she was Classically trained. I am very impressed.


----------



## NoCoPilot

SanAntone said:


> The arrangements are creatively done and her singing is flawless, but you wouldn't know she was Classically trained.


Why would you say that? Is there something wrong with being "classically-trained"? I actually do hear a bit of her classical training in her exaggerated vibrato in some tracks, which is odd because her pitch is good. Her voice is clear and young-sounding; she has none of the smoke or broken glass of some of her older compatriots. The arrangements are sometimes a bit TOO creative for my tastes: arty-farty-for-arty's sake. But that's just my taste.


----------



## SanAntone

NoCoPilot said:


> Why would you say that? Is there something wrong with being "classically-trained"?


Except in opera and lieder I am not a fan of the sound of a classically trained voice. This is my complaint about some of Rhiannon Giddens's recordings. But that's just my taste.


----------



## Jay




----------



## Chibi Ubu

*Patty Peterson Presents - Jazz All Stars*

We had the absolute pleasure of seeing Patty her friends at the *Musical Instrument Museum* in *Phoenix* last Friday night. It wasn't this show, of course, but it had 4 of the 6 people appearing in this video:






Patty typically hangs out in Minnesota & is a night-time Jazz DJ at the local PBS radio station up there. We were fortunate, Patty is good friends to our local Phoenix DJ, who convinced her to come and play for us. Boy, were we fortunate! The MIM theater is small, with a state of the art soundsystem!

Note about Joan Griffith, percussionist. She is a consummate, classically trained artist, of exactly what I aspired to be, but I never even got close. :tiphat:

I've been to a lot of concerts, this one is in my top ten. A tough accomplishement, I might add! 

Excellent!


----------



## starthrower

1993 Verve


----------



## SanAntone

*The Mulgrew Miller Trio | Live at the Kennedy Center, Vol. 2*


----------



## starthrower

Hey San Antone! My local used bookstore still has that Jelly Roll Morton box. It's marked down to 36 dollars. If I had the room I would've bought it. It's in mint condition.


----------



## SanAntone

starthrower said:


> Hey San Antone! My local used bookstore still has that Jelly Roll Morton box. It's marked down to 36 dollars. If I had the room I would've bought it. It's in mint condition.


You're talking about the Library of Congress recordings?










$36 is a fantastic price. If you have any interest in him/his music you should go for it. It comes with Alan Lomax's biography as well as some recordings and stories you won't find anywhere else.


----------



## starthrower

Yeah, that's it. It's the piano shaped box with the book and large booklet. I told the owner it was worth a lot more but he just wants to unload it.


----------



## alexson

I am listening to summertime by Ella Fitzgerald & Louis Armstrong.


----------



## ando

SanAntone said:


> *Cécile McLorin Salvant | Ghost Song*
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Downbeat: "There's an intellectual playfulness to everything that Cécile McLorin Salvant's velvety voice touches. It rises and falls with authority, striking highs that flutter and lows that grumble and roar. Her wordplay teases, taunts and tests in a way that forces her to not just sing a lyric, but dive into roles with the zeal of a method actor."
> 
> One of the most interesting new Jazz vocal records I've heard in a long time. *Cécile McLorin Salvant* has been releasing records for about a decade, but this one is really something special.
> 
> Personnel - Cécile McLorin Salvant: vocals, piano; Paul Sikivie: electric and acoustic bass, synth; Sullivan Fortner: piano, Fender Rhodes, vocals; Alexa Tarantino: flute; Aaron Diehl: piano, pipe organ; Marvin Sewell: guitar; James Chirillo; banjo; Daniel Swenberg: lute; Burniss Travis: bass; Kyle Poole: drums; Keita Ogawa: percussion.


Thanks for posting. It's clearly a break-up album of sorts but I love her approach.


----------



## NoCoPilot

Chibi Ubu said:


> We had the absolute pleasure of seeing Patty her friends at the *Musical Instrument Museum* in *Phoenix* last Friday night.


Ouch. Patty has only a passing relationship to pitch, doesn't she.


----------



## Dorsetmike

Ray Charles and Cleo Laine - Summertime






(their complete Porgy and Bess album is also on Youtube)


----------



## NoCoPilot

Blake said:


>


Is it just me, or does Steve Martin look a lot like Dave Brubeck (if he colored his hair)?


----------



## SanAntone

*Wynton Marsalis | Swinging Into the 21st*










"If we call an artist who averages an album per year prolific, what then to say about Wynton Marsalis' output of 1999-2000? During that period Marsalis released nine albums, each showcasing a different sector within his domain. Marsalis called the series _Swinging Into the 21st_, and that run of albums has now been compiled into an 11-disc box set that also includes _All Rise_, Marsalis' monumental 2002 orchestral/vocal project.

Not all of the recordings collected in _Swinging Into the 21st_ are likely to appeal to everyone in Marsalis' vast and diverse audience. Some of the recordings approach the esoteric, requiring more than casual attention: A set of train tunes may not find favor with the ballet fan or those who gravitate toward Monk interpretations. But on its own, each is a rewarding listening experience-Wynton Marsalis was on a roll during the days of Y2K." (Wynton Marsalis Website)


----------



## Jay




----------



## SanAntone

*Duke Ellington | Duke Ellington Meets Coleman Hawkins*


----------



## starthrower

Disc 6


----------



## tortkis

Blue Beginnings - Don Rendell Ian Carr Quintet (Jazz In Britain)








Don Rendell (soprano, tenor sax), Ian Carr (trumpet, flugelhorn), Colin Purbrook (piano), Dave Green (bass), Trevor Tomkins (drums)
recorded live in London, 1964

The recording sound is not very good, but the energetic performance is splendid.


----------



## starthrower

2003


----------



## Red Terror




----------



## SanAntone

*James Fletcher Hamilton Henderson* (December 18, 1897 - December 29, 1952) was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. He was one of the most prolific black musical arrangers and, along with Duke Ellington, is considered one of the most influential arrangers and bandleaders in jazz history. Henderson's influence was vast. He helped bridge the gap between the Dixieland and the swing eras.


----------



## starthrower

2020 Concord

Chick alone at the piano in front of an audience playing jazz and classical music. This 2 CD set serves as a wonderful tribute to his memory even if it was released prior to his death.


----------



## SanAntone

*The Complete Jelly Roll Morton Piano Heritage, Vol. 2*










Fantastic music presented in excellently engineered sound.


----------



## Jay




----------



## tortkis

The Great Vision Concert - Fred Anderson & Harrison Bankhead (Ayler Records)


----------



## starthrower

Yazz Ahmed: Polyhymnia

Yazz plays the trumpet. Her music is a fusion of jazz and middle eastern influences.


----------



## Jay




----------



## Chibi Ubu

NoCoPilot said:


> Ouch. Patty has only a passing relationship to pitch, doesn't she.


I've been watching & listening to Japanese media for decades, but I don't speak or read the language. What I watch from Japan is subtitled, what I hear I find to be beautiful. I recently attempted to listen to Chinese on a subtitled program, but I found it incomprehensible. It may have even been beautiful to the trained ear, but it didn't reach me. <shrugs>

Patty talked about her influences, which included her love for Nancy Wilson, a successful Black American singer active in the late '50 through the '60s. Nancy appeared on the Ed Sullivan Show quite a number of times, and I loved Nancy's voice as well.


----------



## NoCoPilot




----------



## Rogerx

Let the Good Times Roll

Ella Fitzgerald (soloist), Bing Crosby (soloist), Louis Armstrong (soloist), Louis Jordan, The Tympany Five, Clarence Williams & his Orchestra, Chick Webb & his Orchestra, Rodney Sturgis, Louis Jordan's Elks Rendevous Band


----------



## SanAntone

*Frank Morgan | Love, Lost & Found* (1995)










An excellent album of mainly ballads by Frank Morgan, one of the West Coast's better alto saxophonists, whose career was interrupted because of drug convictions and 30 years in California prisons, from roughly 1955 to 1985

He's got a first rate band here to support his very good playing on a collection standards.

"The Nearness of You" (Hoagy Carmichael, Ned Washington) - 7:52
"Last Night When We Were Young" (Harold Arlen, Yip Harburg) - 5:06
"What Is This Thing Called Love?" (Cole Porter) - 5:52
"Skylark" (Carmichael, Johnny Mercer) - 4:50
"Once I Loved" (Antônio Carlos Jobim, Vinícius de Moraes, Ray Gilbert) - 7:47
"I Can't Get Started" (Vernon Duke, Ira Gershwin) - 4:59
"It's Only a Paper Moon" (Arlen, Harburg, Billy Rose) - 4:32
"My One and Only Love" (Guy Wood, Robert Mellin) - 5:33
"Someday My Prince Will Come" (Frank Churchill, Larry Morey) - 4:46
"All the Things You Are" (Jerome Kern, Oscar Hammerstein II) - 5:10
"Don't Blame Me" (Jimmy McHugh, Dorothy Fields) - 6:28

*Frank Morgan* - alto saxophone
*Cedar Walton* - piano
*Ray Brown* - bass
*Billy Higgins* - drums


----------



## tortkis

Blue Soul - Dave Stryker with Bob Mintzer and the WDR Big Band


----------



## Chibi Ubu

*Sakamichi no Apollon Medley*






Songs:

My Favorite Things
Someday My Prince Will Come
Moanin'

Length: 4:30


----------



## starthrower

PI Recordings / Recorded May 2017


----------



## Rogerx

Miles Davis (trumpet), Josef Zawinul (organ), Dave Holland (bass), Wayne Shorter (soprano saxophone), Herbie Hancock (piano), Chick Corea (piano), John McLaughlin (electric guitar), Tony Williams (drums)


----------



## Jay




----------



## tortkis

^ I have never heard of this Love Cry Want album. I listened to some youtube clips. Very interesting psychedelic music...


----------



## SanAntone

Curtis Counce Quintet Complete Studio Recordings - The Master Takes






*Curtis Counce* was one of the better West Coast bass players. He always had good bands, and this twofer is an excellent collection of original Jazz tunes and standards.

1-1 Landslide 00:00
1-2 Time After Time 08:37
1-3 Mia 15:10
1-4 Sarah 20:06
1-5 A Fifth For Frank 31:44
1-6 Big Foot 38:59
1-7 Sonar 48:05
1-8 Stranger In Paradise 55:34
1-9 Woody'n You 01:02:39
1-10 Pink Lady 01:08:57
1-11 Counceltation 01:13:38
2-1 Love Walked In 01:19:43
2-2 Too Close For Comfort 01:24:41
2-3 How Deep Is The Ocean? 01:30:20
2-4 Complete 01:36:57
2-5 Nica's Dream 01:42:49
2-6 How Long Has This Been Going On 01:50:51
2-7 Mean To Me 01:54:09
2-8 I Can't Get Started 01:58:41
2-9 LaRue 02:06:43
2-10 Carl's Blues 02:11:47
2-11 A Night In Tunisia 02:17:42
2-12 Love Walked In 02:26:01
2-13 Sophisticated Lady 02:28:56
2-14 A Fifth For Frank 02:33:06
2-15 The Butler Did It 02:35:03

Credits:
Bass, Liner Notes - *Curtis Counce*
Piano - *Carl Perkins* (4)
Tenor Saxophone - *Harold Land*
Trumpet - *Gerald Wilson* (tracks: 2-9 to 2-11), *Jack Sheldon*
Drums - *Frank Butler*


----------



## Jay

tortkis said:


> I have never heard of this Love Cry Want album. I listened to some youtube clips. Very interesting psychedelic music...


Yeah, it's pretty wild jazz-psych. I often listen to it in tandem with:


----------



## Rogerx

Currency Of Man

Melody Gardot

Julia Waters Tillman (background vocalist), Clydene Jackson-Edwards (background vocalist), Pete Kuzma (organ), Maxine Waters Willard (background vocalist), Melody Gardot (background vocalist), Clément Ducol (piano), Dan Higgins (tenor saxophone), Dan Higgins (baritone saxophone), Andy Martin (trombone), Jerry Hey (horn arranger), Irwin Hall (alto saxophone), Gary Grant (trumpet), Pete Korpela (percussion), Vinnie Colaiuta (drums), Chuck Staab (drums)
Recorded: 2014-11-30
Recording Venue: The Village, Los Angeles


----------



## Timbob

Always a winner! What a superb album.


----------



## starthrower

2002

I picked up a few Cassandra CDs from the local store used bin including this astonishingly good compilation of performances from her JMT albums recorded 1985-1991. Eleven tracks in all and if I was pressed to pick a stand out number I'd go with her wordless vocal arrangement of Billy Strayhorn's Chelsea Bridge. But they're all pretty fine.


----------



## Rogerx

Weather Report

Weather Report


----------



## tortkis

Renaissance Man - Jamaaladeen Tacuma








https://jamaaladeentacuma.bandcamp.com/album/renaissance-man

Fantastic harmolodics groove. Ornette Coleman plays on one track. Tacuma was the bassist of Prime Time.


----------



## mikeh375

Some gorgeous playing from Toots.


----------



## starthrower

2003 Atavistic

I have a few V5 CDs. They're pretty much interchangeable. The earlier albums feature some guitar. This one is just the horns with rhythm. All are well recorded and feature a good mix of high octane improv, some groove vehicles, and a slow number or two.


----------



## ando

Trombone Week. Tommy D sounding as sweet as ever.


----------



## Rogerx

Street of Dreams

Bill Charlap Trio


----------



## tortkis

I didn't know about International Trombone Week.

Solo Bone - Samuel Blaser


----------



## Chibi Ubu

*Brubeck Brothers Quartet: LifeTimes (2012)*





A solid modern recording of some classic Jazz tunes


----------



## Dorsetmike

as it's trombone week - Kai and JJ - It's alright with me


----------



## Dorsetmike

Trombones again - is this overkill?


----------



## Dorsetmike

Tuba Skinny - Jubilee stomp


----------



## Jay




----------



## SONNET CLV

Spent some time today, again, with _The Window_ by vocalist Cécile McLorin Salvant:















The 7:10 minute track 10, "Somewhere" by Leonard Bernstein and Stephen Sondheim, is worth the price of the album -- no matter _how much_ you pay for it! Salvant's vocals are assured as ever, and accompanist Sullivan Fortner's piano stylings, imaginative beyond belief, are to die for. Don't miss this one!


----------



## Ludwig Schon

I would have loved to have lived in Japan in the late 1960s / early 1970s.

To have seen Masayuki Takayanagi, Motoharu Yoshizawa and Kaoru Abe in their pomp at the Pit Inn, Tokyo would really have been something!


----------



## Philidor

I enjoyed the latest album of Tord Gustavsen.

*Tord Gustavsen Trio: Opening*

Tord Gustavsen, piano, electronics
Steinar Raknes, double bass, electronics
Jarle Vespestad, drums










I liked all albums of Tord Gustavsen so far, "The other Side" and "What was Said" leading the field.


----------



## starthrower

1992

Great sounding Japanese CD. I got this from Wayside Music for 8 dollars. Mostly original material by Cassandra.


----------



## Dorsetmike

Mel Powell - Ezz-May


----------



## Dorsetmike

Chet Baker - All blue


----------



## Rogerx

90 yrs.

Toots Thielemans, Hans van Oosterhout, Karel Boehlee, Hein Van de Geyn, Toots Thielemans European Quartet

Shinozaki Strings, Toshio Mashima


----------



## SanAntone

*Wynton Marsalis Septet | Live at the Village Vanguard*


----------



## Jay




----------



## Chibi Ubu

Although Spyro Gyra's late-'70s instrumental pop chart hit "Morning Dance" is always credited by some for opening doors for the genre that folks would later call smooth jazz, this 16-track compilation -- part of GRP's new classic artist collector's series -- shows that saxman Jay Beckenstein and company never really fit perfectly into any category. And that's by design.


----------



## Rogerx

Rubberband

Miles Davis


----------



## Red Terror




----------



## Barbebleu

Gary Peacock- Tales of Another. Peacock, Jarrett, De Johnette. The standards trio released six years before they became the Standards Trio!


----------



## Dorsetmike

ElLa Scat singing


----------



## starthrower

An hour long conversation with Rick Beato and John Scofield.


----------



## Rogerx

Hárr

Benedicte Maurseth (musicarranger), Mats Eilertsen (musicarranger), Håkon Mørch Stene (musicarranger), Rolf-Erik Nystrøm, Stein Urheim (musicarranger), Jørgen Træen (musicarranger)


----------



## Jay




----------



## Ludwig Schon

A fundamental cornerstone in the development of English avant-garde, improvisational jazz. Absolutely stunning. Chapeau, guv’nors!


----------



## Rogerx

Bright Size Life

Pat Metheny (guitar), Jaco Pastorius (bass), Bob Moses (drums)


----------



## mikeh375

love this guy....


----------



## Barbebleu

Ludwig Schon said:


> A fundamental cornerstone in the development of English avant-garde, improvisational jazz. Absolutely stunning. Chapeau, guv’nors!
> 
> View attachment 166810


I have this on vinyl. I bought it it when it came out. Yikes, where have those years gone? SME were light years ahead of their time.


----------



## Ludwig Schon

Barbebleu said:


> I have this on vinyl. I bought it it when it came out. Yikes, where have those years gone? SME were light years ahead of their time.


 John Stevens is rightly (from what I’ve heard/read) a much maligned figure, but the talent he assembled for that album Is obscene.

That said, this was an era when CBS were handing out massive three album deals to free improv drummers, like Tony Oxley. Jazz’ high wateremark, never to be equalled…


----------



## Barbebleu

Ludwig Schon said:


> John Stevens is rightly (from what I’ve heard/read) a much maligned figure, but the talent he assembled for that album Is obscene.
> 
> That said, this was an era when CBS were handing out massive three album deals to free improv drummers, like Tony Oxley. Jazz’ high wateremark, never to be equalled…


I’ve got another great SME album from around that time called John Stevens Spontaneous Music Ensemble and a fine Tony Oxley album, The Baptised Traveller. There is also a superb Trevor Watts Amalgam album called Prayer for Peace. All well worth seeking out. I might as well mention Mike Westbrook’s Marching Song double album and Joe Harriot and Amancio DaSilva’s album Hum Dono. I could go on - but I won’t! So much great stuff from a great period in British avant-garde.


----------



## Ludwig Schon

Barbebleu said:


> I’ve got another great SME album from around that time called John Stevens Spontaneous Music Ensemble and a fine Tony Oxley album, The Baptised Traveller. There is also a superb Trevor Watts Amalgam album called Prayer for Peace. All well worth seeking out. I might as well mention Mike Westbrook’s Marching Song double album and Joe Harriot and Amancio DaSilva’s album Hum Dono. I could go on - but I won’t! So much great stuff from a great period in British avant-garde.


Love The Baptised Traveller & Hum Dono.

Topography of Lungs, Lot ‘74, and let’s not forget the wonderful Anglo/German/Dutch recordings like Pakistani Pomade, Machine Gun and Nipples…

Chapeau!


----------



## Jay




----------



## starthrower




----------



## tortkis

I Had the Craziest Dream: Modern Jazz and Hard-Bop in Post War London, Vol. 1








I Had the Craziest Dream: Modern Jazz and Hard-Bop in Post War London, Vol. 1, by Death Is Not The End


12 track album




deathisnot.bandcamp.com




Tony Hall's "Hallstars", Wilton Gaynair, Ronnie Scott with the Dizzy Reece Quartet, Don Rendell, Tony Kinsey Trio with Joe Harriott, Eddie Thompson, Ginger Mofolunsho Johnson & His Afro-Cuban Band, Johnny Dankworth, The Joe Harriott Quintet, The Jazz Five Featuring Vic Ash & Harry Klein, Shake Keane Quintet, Dizzy Reece


----------



## Rogerx

* The James Dean Story Ost*

Chet Baker (trumpet & vocals)


----------



## Ludwig Schon

His final, and perhaps greatest of all masterpieces…


----------



## SanAntone

*Miles Smiles








*


----------



## Chibi Ubu

*The Levin Brothers @ Daryl's House 01/26/20





*


----------



## Red Terror

starthrower said:


> An hour long conversation with Rick Beato and John Scofield.


Gee, Scofield looks at least 10 years younger. Crazy.


----------



## Rogerx

Oh - By the Way

Art Blakey and the Jazz Messengers


----------



## OCEANE

My first Jazz album collection and it still plays very often.


----------



## Jay




----------



## tortkis

Nine Below Zero - Wayne Horovitz, Butch Morris, Robert Previte (1987)
















Nine Below Zero, by Horvitz/Morris/Previte


9 track album




bobbyprevite.bandcamp.com




Wayne Horvitz: acoustic and amplified piano, RX drum machine
Butch Morris: cornet, marimba, Roland Drum Machine, DX-7
Bobby Previte: drums, marimba, Roland Drum Machine, DX-7, piano


----------



## OCEANE

Finished this album hours ago --- one track '_You are too beautiful_' already values the whole album.


----------



## OCEANE

spared a little time for jazz


----------



## sAmUiLc

1977 Montreux Festival
Clark Terry, Joe Pass, Oscar Peterson, etc. jamming
on LaserDisc


----------



## Jay




----------



## Rogerx

Focus

Stan Getz (tenor saxophone), Bruce Rogers (cello), John Neves (bass), Stan Getz Quartet

Hershy Kay


----------



## SanAntone

Place Vendome | Modern Jazz Quartet / The Swingle Singers


----------



## Rogerx

Lalo Schifrin - Black Widow


----------



## Ludwig Schon

There are very few reasons these days to be proud to be English. This is certainly one…


----------



## Sid James

Peggy Lee & Wes Montgomery:


----------



## sAmUiLc

With the unmistakable signature sound, this CD starts with his perhaps the most famous number: Petite Fleur. Pure joy and involuntary foot-tapping throughout.


----------



## Barbebleu

A Prayer Before Dawn - Pharaoh Sanders. Beautifully laid back music. A different Pharaoh but no less enjoyable.


----------



## sAmUiLc

Divine!


----------



## Barbebleu

Small Places - Michael Formanek. Challenging and rewarding modern jazz although I slightly hesitate when pinning that tail to this particular donkey!


----------



## sAmUiLc

This afternoon, I've been listening to 2 short CDs.


----------



## Jay




----------



## SanAntone

The Gary McFarland Orchestra with special guest Bill Evans










Gary McFarland - vibraphone, arranger, conductor
Bill Evans - piano
Phil Woods - clarinet
Spencer Sinatra - alto saxophone, flute
Julien Barber, Allan Goldberg - viola
Aaron Juvelier, Joseph Tekula - cello
Jim Hall - guitar
Richard Davis - bass
Ed Shaughnessy - drums



> The Gary McFarland Orchestra is an album by Gary McFarland's Orchestra with guest soloist jazz pianist Bill Evans recorded in 1963 for the Verve label.
> 
> The Allmusic review by Douglas Payne states "The album is like a soundtrack celebrating the excitement of a big urban wonderland. The compositions are first-rate, McFarland's occasional vibes playing is simple and perfect. Bill Evans buoys the event with his graceful, individual style". (Wikipedia)


----------



## SanAntone

Gary McFarland / Steve Kuhn | The October Suite










Steve Kuhn - piano
Gary McFarland – arranger, conductor
Isadore Cohen, Matthew Raimondi - violin (tracks 1-3)
Al Brown - viola (tracks 1-3)
Charles McCracken - cello (tracks 1-3)
Don Ashworth, Joe Firrantello (aka Joe Farrell), Irving Horowitz, Gerald Sanfino - woodwinds (tracks 4-6)
Corky Hale - harp (tracks 4-6)
Ron Carter - bass
Marty Morell – drums



> _*The October Suite*_ is an album by American jazz pianist Steve Kuhn and composer/arranger/conductor Gary McFarland featuring performances recorded in 1966 for the Impulse! label.
> 
> The Allmusic review by Thom Jurek awarded the album 4½ stars stating "it is an anomaly in the Impulse catalog of the time in that it did not pursue the free jazz realms with the vengeance that most of the label's other acts did during that year" (Wikipedia)


One of the best Jazz albums combining small group Jazz originals with Classical chamber orchestration.


----------



## Rogerx

Be Good

Gregory Porter


----------



## sAmUiLc

The last two tracks are incredible, especially the last one is insanely exhilarating!


----------



## Philidor

I needed some good-temper-music ...

*Parallel Realities* live ...

Pat Metheny, guitars
Herbie Hancock, keyboards
Dave Holland, bass
Jack DeJohnette, drums


----------



## sAmUiLc

Ms. Duboc is a lovely singer with clear voice. Regarding Mulligan, he left us too early unexpectedly. I heard he was getting a leg surgery then the next news was he had died. Medical malpractice?


----------



## SanAntone

Bill Evans Trio | How My Heart Sings!










Bill Evans - Piano
Chuck Israels - Bass
Paul Motian - Drums


----------



## sAmUiLc




----------



## Jay




----------



## Chibi Ubu

*Trio X of Sweden - Tramerei (Classical music done as Jazz)
*


----------



## sAmUiLc




----------



## sAmUiLc

Winding down with..


----------



## tortkis

Plucking & Bowing - George Mraz, Tom Garvin, Peter Donald (Progressive Records)








Recorded 1978. Mraz's bowing is very good.


----------



## Rogerx

Songs For Distingue Lovers

Billie Holiday


----------



## mikeh375

Found this on YT. I love the brass arrangement and playing at the start, so tight, especially the offbeats. And the general feel of the arrangement, its almost predatory like plod, feels just right. Here sung with great character and not without some humor by Devyn Rush...


----------



## OCEANE

A classic album of Bill Evans Trio.


----------



## sAmUiLc




----------



## sAmUiLc




----------



## sAmUiLc




----------



## sAmUiLc

I love this original transfer, not the later re-mastered one which cleaned up sound too much and removed the emotion.


----------



## tortkis

Elegy for Bill Evans - Richard Beirach








Beirach, Mraz and Foster play In Your Own Sweet Way, Blue in Green, Solar, Spring is Here, Peach Piece and Nardis. Crystalline interplay.


----------



## OCEANE

In the mood of Jazz, I picked Tord Gustavsen Trio whose albums are often of lyrical style and mood oriented. ECM has promoted quite a lot of Jazz trios and I particularly like their European trios as well as the cold sound quality.


----------



## SanAntone

Lifelines | Dave Liebman / Richie Beirach / Jack DeJohnette


----------



## sAmUiLc

Last few tracks, her voice sounds like Diana Krall. She is not imitating, though. As a matter of fact, she is a way more attractive singer. She just never had massive marketing machine to back her up like Krall.


----------



## sAmUiLc

Getz at his best!!


----------



## sAmUiLc




----------



## sAmUiLc




----------



## OCEANE

An old collection and occasionally play a few pieces to recall the old memory


----------



## tortkis

Confirmation - Tommy Flanagan, George Mraz, Elvin Jones (Enja)








recorded 1977-1978


----------



## Chibi Ubu

You know, if you really want to share, try including a listening link from YouTube or Spotify, or some such online service. I might even click on it and like a new album or artist or two! What do you say?


----------



## tortkis

Chibi Ubu said:


> You know, if you really want to share, try including a listening link from YouTube or Spotify, or some such online service. I might even click on it and like a new album or artist or two! What do you say?


I think that is a good suggestion. This new site seems to support more sources for embedded media. I wish it also supports bandcamp.

Approved sites: You may insert media from these sources
Apple Music, Dailymotion, Facebook, Flickr, Giphy, Imgur, Instagram, Liveleak, Metacafe, Pinterest, Reddit, SoundCloud, Spotify, Tumblr, Twitch, Twitter, Vimeo, YouTube


----------



## Rogerx

Mulligan Meets Monk [Original Jazz Classics Remasters]

Thelonious Monk, Gerry Mulligan, Shadow Wilson, Wilbur Ware


----------



## Jay

Bobby Jones, under-recognized tenor player, worked with Mingus in the early 70s:

[video]


----------



## Rogerx

Songs for Young Lovers album by Frank Sinatra


----------



## sAmUiLc




----------



## SanAntone




----------



## Chibi Ubu

Oscar Peterson Plays The George Gershwin Songbook


----------



## sAmUiLc




----------



## sAmUiLc




----------



## SanAntone

*Wayne Shorter Quartet | Emanon*

Emanon is a three-disc album by American jazz musician *Wayne Shorter*. The album was released on September 14, 2018 via Blue Note label, containing both studio and live recordings. It features his quartet with pianist *Danilo Perez*, bassist *John Patitucci* and drummer *Brian Blade*.


----------



## Chibi Ubu

SanAntone said:


> *Wayne Shorter Quartet | Emanon*


Wow! Thanks for the sample...


----------



## sAmUiLc




----------



## Jay




----------



## Rogerx

Belonging

Keith Jarrett (piano), Jan Garbarek (saxophones), Palle Danielsson (double bass), Jon Christensen (drums)


----------



## starthrower

1996 Impulse
Avishai Cohen - bass, Jeff Watts, Terri Lyne Carrington - drums

Danilo has a such a natural and organic feel for this music and he infuses his Latin musical heritage into these Monk tunes to great effect.


----------



## Philidor

Experts or wannabe-experts claim that this trio could define the Jazz Piano trio in a new way similar to the achievements by the e. s. t. ... I am not an expert, but I liked, what I was listening to.

*Fergus McCreadie Trio: Forest Floor

FERGUS McCREADIE *piano
*DAVID BOWDEN* bass
*STEPHEN HENDERSON* drums


----------



## sAmUiLc

Just 1 CD..


----------



## SanAntone

*Camille Thurman* (born December 22, 1986) is an American jazz musician, composer, and member of the Jazz at Lincoln Center Orchestra. Her first two albums, released by Chesky Records in 2018 and 2017, peaked at #3 and #25 respectively on the Billboard Jazz Albums Chart. She has performed at the Kennedy Center, and was a runner up for the 2013 Sarah Vaughan International Vocal Competition. (Wikipedia)


----------



## SanAntone

But the album’s deepest pleasures stem from the luxuriant warmth of Allen’s horn, not necessarily the songs selected for inclusion. It isn’t just that his phrasing is beautifully articulated, ensuring that every pause, emphasis and subtle shading carries the weight of the words he’s mentally intoning; his solos, too, take on a sense of speech, as if they somehow were continuing the lyricist’s train of thought. As such, the mood of the album is utterly enveloping, conjuring enough emotional intensity to leave the listener hanging on every note (or word). (Downbeat)

*JD Allen*, tenor saxophone; 
*Liberty Ellman*, guitar; 
*Gregg August*, bass; 
*Rudy Royston*, drums.


----------



## Jay

[video]


----------



## SanAntone




----------



## SanAntone

This six-CD set, with recordings from 1972 to 1984, includes the albums “Conception Vessel”, “Tribute”, “Dance”, “Le Voyage”, “Psalm” and “It Should’ve Happened A Long Time Ago”.


----------



## tortkis

Eastern Sounds - Yusef Lateef (Prestige, 1962)










https://www.youtube.com/playlist?list=OLAK5uy_lXS7yPtzCWWJmz9c0-qQkNoqopihg8C58


Yusef Lateef (flute, oboe, tenor saxophone, xun), Barry Harris (piano), Ernie Farrow (bass, Rabaab), Lex Humphries (drums)


----------



## SanAntone




----------



## Jay




----------



## Chibi Ubu

*Weather Report: This Is This*


----------



## Rogerx

Hockey

John Zorn


----------



## SanAntone

Wayne Shorter is among the best composers of the second half of the Twentieth Century. Several of his compositions including, “Footprints” and “Infant Eyes,” have become standards. But in performing these songs, many musicians often miss what makes the saxophonist’s work so extraordinary. Yes, the pieces are beautiful and well-written, but they are merely jumping spots for exploration. Instead, the crux of his music is risk-taking; taking a bold leap, and seeing where you land. While most tributes miss this central point, Terence Blanchard’s Absence (Blue Note, 2021) featuring the Turtle Island String Quartet and his band, the E-Collective, excels in capturing the meaning of the legendary artist’s work in its truest form. (PostGenre)






Personnel: Terence Blanchard (trumpet (1-3,5,7,9-12), synths (1-3,5,7, 9-12)), David Balakirshnan (violin (1-7,9-12)), Charles Altura (guitar (1-3,5,7, 9-12)), Benjamin von Gutzeit (viola (1-7,9-12)), Fabian Almazan (piano (1-3,5,7, 9-12), synths (1-3,5,7 9-12)), Gabe Terracciano (violin (1-7,9-12)), David Ginyard (bass (1-3,5,7,9-12), synths (1-3,5,7,9-12)), Malcom Parson (cello (1-7,9-12)), Oscar Seaton (drums (1-3,5,7,9-12)).


----------



## starthrower

1987 Verve

I found a copy of this one at a used book store yesterday. The acoustic half featuring the original quartet is the best sounding document of this legendary group. And I really like this batch of tunes Ornette wrote. I haven't listened to the electric half yet.


----------



## OCEANE

Needless any introduction.


----------



## Jay




----------



## Chibi Ubu

*J E A N / L U C / P O N T Y - C O S M I C / M E S S E N G E R*


----------



## Rogerx

Jeff Goldblum - I Shouldn't Be Telling You This

Jeff Goldblum


----------



## sAmUiLc




----------



## SanAntone

Miles Davis Quintet | 1965-'68






For a long time , and by a huge lead, this was my favorite of the "metal" boxes. I've since come to highly value a couple of the others - but this band's work is still among my favorite Jazz recordings.


----------



## Rogerx

'Round About Midnight

Miles Davis (trumpet), Paul Chambers (bass), John Coltrane (tenor saxophone), Red Garland (piano), Philly Joe Jones (drums)


----------



## OCEANE

Inger Marie Gundersen is a Jazz vocalist from Arendal, Norway.


----------



## Barbebleu

Charles McPherson - Be-Bop Revisited. Excellent retro album from the under-rated McPherson.


----------



## mikeh375

One of my favourite ballads here played beautifully by the Eliane Elias Trio....


----------



## SanAntone

One of the best live Jazz recordings.


----------



## SanAntone

The other great Miles live recording:


----------



## sAmUiLc




----------



## OCEANE

I like the album title as much as the music.


----------



## Jay




----------



## sAmUiLc

I saw him live in a joint recital with Joe Williams. Williams first by himself a while then Henderson by himself a while, then joint together. Williams was such an extrovert vs Henderson was painfully introverted. During the Henderson alone section, though the playing was consummate it was even suffocatingly uncomfortable. Funny, while Henderson was still finishing up his section Williams came onstage. You could feel immediate audience's relief even though Williams hadn't open up his mouth or made any sound. I understood then the presence itself could make such drastic change. Other introverts I remember seeing live were Radu Lupu and Jean-Philippe Collard. You'd better listen to their recording at home.


----------



## Rogerx

Kenny Burrell & John Coltrane

John Coltrane (saxophone), Kenny Burrell (guitar)


----------



## starthrower

http://cps-static.rovicorp.com/3/JPG_500/MI0003/500/MI0003500522.jpg?partner=allrovi.com








2013


----------



## Red Terror




----------



## sAmUiLc

Saw both live in a joint recital. They performed individually and together. Both were such tasteful musicians. Involuntary foot-tapping was induced, proving you don't need high volume to swing.


----------



## sAmUiLc




----------



## Sid James

sAmUiLc said:


> View attachment 167835
> 
> View attachment 167836
> 
> 
> View attachment 167843
> 
> 
> Saw both live in a joint recital. They performed individually and together. Both were such tasteful musicians. Involuntary foot-tapping was induced, proving you don't need high volume to swing.


Great lineup. You're fortunate to have been at that gig. I also like Joe Pass for his understated style. I remember listening to his _Checkmate_ album. George Shearing is one of my favourite jazz pianists. I used to have his _Shearing On Stage_ album. I like the classical element he brought to jazz, as well as the Latin vibes. I've got his _In a Latin Mood_ album, which is often in the player.


----------



## Sid James

_Essential Miles Davis _(two disc compilation). A recent buy. I've got a couple of his albums, but this is largely unfamiliar territory for me, especially the second disc.










_Jazz in Paris: Bebop_. The early Miles cuts, with their rough mono sound, reminded me of this album. Haven't heard it in years. It sounds pretty tame now, but this is what must have amounted to the most cutting edge jazz on the continent in the immediate postwar years. Don Byas features, among other Americans who where also in the armed services and hung around after liberation.


----------



## SanAntone




----------



## Jay




----------



## Chibi Ubu

Keiko Matsui - Echo (2019)

We saw Keiko & band play this material last fall at the MIM. A great show, she is a fine pianist & a gentle human.


----------



## starthrower

1993 Rounder Records

Small and large group sessions recorded in 1988-1989


----------



## sAmUiLc




----------



## Jay




----------



## Red Terror




----------



## Rogerx

Dreams So Real

Mick Goodrick (guitar), Pat Metheny (guitar), Steve Swallow (bass), Bob Moses (drums)


----------



## SanAntone




----------



## OCEANE

Playing finished....great jazz mood


----------



## Philidor

While executing some routine tasks ...

*e. s. t. - Live in Hamburg*

Esbjörn Svensson Trio

Esbjörn Svensson, piano
Dan Berglund, bass
Magnus Öström, drums


----------



## sAmUiLc

The Preservation Hall Jazz Band makes annual visit to where I live, So Cal. First time I went to Pasadena Civic Auditorium in winter and got hooked. Soon I learned they also come around every July 4th to Orange County, Irvine Barclay Theatre, which is much closer to my residence then. From then on, I made to their concert every year about 13 year straight. The concert never failed to induce foot-tapping fun! Then life got in the way. Still I cherish the memories.


----------



## Jay




----------



## starthrower

Recorded 1973-1975 / 2000 Evidence CD

The proper edition of Pathways is now available from Modern Harmonic.


----------



## sAmUiLc




----------



## sAmUiLc




----------



## Jay

Charles Mingus - The Lost Album from Ronnie Scott's Album Reviews, Songs & More | AllMusic


Discover The Lost Album from Ronnie Scott's by Charles Mingus released in 2021. Find album reviews, track lists, credits, awards and more at AllMusic.




www.allmusic.com


----------



## Rogerx

Birth Of The Cool

Miles Davis


----------



## Chibi Ubu

*Some great, but lesser known jazz from The Dave Brubeck Quartet:

The Duke*





*Unsquare Dance*





*It's A Raggy Waltz*


----------



## SanAntone

Fine album by German-born/New York-based trumpeter, *Thomas Herberer* released in 2021. Well done, employing the same instrumentation of Ornette's early bands.


----------



## starthrower

Such a cool story. This guy showed up at George Benson's house to buy his LP collection and it turned into an all day affair. George took him out to lunch and dinner in his own vehicle, played tunes for the guy and told him Miles Davis stories. The record guy couldn't believe it so he made a video about it.


----------



## starthrower

1993

A great record I haven't listened to in years. Featuring Tim Hagans, Kenny Werner, Steve Swallow, Charlie Haden, Jack DeJohnette, Judy Silvano, and Scott Lee.


----------



## OCEANE

As per Jazz Journal, the attractive listener-friendly music of the Emil Brandqvist Trio has earned the international popularity and huge streaming count. German media station ZDF also described them as “the loveliest flower in the piano trio genre”. To me, I listen to their music not because of the so-called listener-friendly but the sensational mood of jazz music from this piano trio.

The String quartet's involvement is really a highlight in this album.


----------



## SanAntone




----------



## OCEANE

OCEANE said:


> View attachment 168091
> 
> As per Jazz Journal, the attractive listener-friendly music of the Emil Brandqvist Trio has earned the international popularity and huge streaming count. German media station ZDF also described them as “the loveliest flower in the piano trio genre”. To me, I listen to their music not because of the so-called listener-friendly but the sensational mood of jazz music from this piano trio.
> 
> The String quartet's involvement is really a highlight in this album.












This is an early release of EBT and still fresh.


----------



## sAmUiLc

While eating dinner earlier..








Explosive rhythm!


----------



## tortkis

Potpourri - Thad Jones & Mel Lewis Orchestra (1974)










https://www.youtube.com/playlist?list=PLyHn3f7-9IUIjJdR_eXvaxQFAEX6yB4jB


----------



## Rogerx

Songs For Distingue Lovers

Billie Holiday


----------



## sAmUiLc




----------



## Jay




----------



## Rogerx

Togetherness Music For Sixteen Musicians

Alexander Hawkins


----------



## SanAntone




----------



## SanAntone

_*Miles in Tokyo*_ is a live album recorded on July 14, 1964,[5] by the Miles Davis Quintet at the Tokyo Kōsei Nenkin Kaikan, Shinjuku, Tokyo, Japan. It was released in the United States on CD in 2005 and is the first recording of Davis in Japan. It is the only album to showcase an early incarnation of his Second Great Quintet featuring Sam Rivers on tenor saxophone, following George Coleman's departure; after this, Wayne Shorter's appointment completed the classic lineup which recorded such albums as _ESP_ and _Miles Smiles_, through to _Miles in the Sky_. (Wikipedia)


----------



## SanAntone




----------



## Chibi Ubu

*Classical Pianist Plays Chick Corea Spain on Rhodes*




those were the days, my friends...
5:01


----------



## SanAntone




----------



## pianozach

cwarchc said:


> Great idea for a thread
> There are quite a number of Jazz lovers on the site
> Mods.
> Can we make it a sticky?


Now you can simply "subscribe" to a thread by clicking the "Subscribe" button near the top of the thread's pages, then whenever you visit the site, just click on your icon top right, and you'll see it first if there's any new comments.


----------



## starthrower

1998 Bule Note

I like the lean sound of a sax trio and this is a great one!


----------



## SanAntone




----------



## Rosalind Ellicott

https://open.spotify.com/playlist/3hVcEDQtLOqm3UzrFB8bZS


----------



## Rosalind Ellicott

I posted some tunes from Spotify but the player hasn't come up. Any suggestions?


----------



## pianozach

Rosalind Ellicott said:


> I posted some tunes from Spotify but the player hasn't come up. Any suggestions?


Your link takes me to a blank page. There may be an issue with your playlist. Or maybe the Spotify Player is down.

I can't speculate any further as I don't Spot.


----------



## Rosalind Ellicott

pianozach said:


> Your link takes me to a blank page. There may be an issue with your playlist. Or maybe the Spotify Player is down.
> 
> I can't speculate any further as I don't Spot.


OK, thanks.


----------



## SanAntone

Rosalind Ellicott said:


> I posted some tunes from Spotify but the player hasn't come up. Any suggestions?


You have to use the Media button (from drop down menu on tool bar) and paste the link there. I am assuming you used the Share option on Spotify.


----------



## Rosalind Ellicott

SanAntone said:


> You have to use the Media button (from drop down menu on tool bar) and paste the link there. I am assuming you used the Share option on Spotify.


Thanks, I've tried that using 'embed media' and it says 'please enter URL' and I tried using 'copy link to playlist' and it says 'The specified URL cannot be embedded as media.'


----------



## SanAntone

Rosalind Ellicott said:


> Thanks, I've tried that using 'embed media' and it says 'please enter URL' and I tried using 'copy link to playlist' and it says 'The specified URL cannot be embedded as media.'


 I've only used songs or albums. It could be that playlists cannot be embedded; I just tried one of my playlists and got the same error message. You might post this issue in the thread for forum technical questions.


----------



## tortkis

Meet Oliver Nelson (Prestige, 1959)








Oliver Nelson, Kenny Dorham, Ray Bryant, Wendell Marshall, Art Taylor

Everyone is in very good shape.


----------



## Jay




----------



## Chibi Ubu

Rosalind Ellicott said:


> Thanks, I've tried that using 'embed media' and it says 'please enter URL' and I tried using 'copy link to playlist' and it says 'The specified URL cannot be embedded as media.'


Are you signed into spotify? If you do you can download their player for either phone or PC. Signing in is free, but if you don't go Premium you will get advertising.


----------



## Rosalind Ellicott

SanAntone said:


> I've only used songs or albums. It could be that playlists cannot be embedded; I just tried one of my playlists and got the same error message. You might post this issue in the thread for forum technical questions.


Ah, that'll be it. The latest in Spotify's assault on user-curated playlists


----------



## Rogerx

Lady Sings The Blues
Billie Holiday (vocals), Aaron Bell (double bass), Lennie McBrowne (drums), Kenny Burrell (electric guitar), Paul Quinichette (saxophone), Tony Scott (clarinet), Charlie Shavers (trumpet), Wynton Kelly (piano), Chico Hamilton (drums), Harry "Sweets" Edison (trumpet), Red Callender (double bass), Bobby Tucker (piano), Willie Smith (saxophone), Barney Kessel (electric guitar)

Tony Scott Orchestra


----------



## sAmUiLc




----------



## Rosalind Ellicott




----------



## sAmUiLc




----------



## tortkis

El Templo (Astral Spirits)
Paula Shocron (piano), William Parker (bass), Pablo Díaz (drums)
recorded 2019








El Templo, by Paula Shocron / William Parker / Pablo Díaz


----------



## sAmUiLc




----------



## Rogerx

Beautiful Life

Jimmy Greene, Pat Metheny, Javier Colon, Kurt Elling, Kenny Barron, Latanya Farrell, Cyrus Chestnut, Anika Noni Rose


----------



## OCEANE

Maybe the Cantaloupe Island has been played too much or maybe there are too many versions, it's always a classic piece and it still swings in my setup.


----------



## Rosalind Ellicott

tortkis said:


> El Templo (Astral Spirits)
> Paula Shocron (piano), William Parker (bass), Pablo Díaz (drums)
> recorded 2019
> 
> 
> 
> 
> 
> 
> 
> 
> El Templo, by Paula Shocron / William Parker / Pablo Díaz


Thanks. I haven't listened to it but looked up Paula Shocron and found this. I imagine a lot of people on this forum would appreciate.


----------



## Ludwig Schon

Michael Henderson’s bass should have a sexual health warning. Absolutely obscene…


----------



## starthrower

2006 Advance Dance Disques


----------



## tortkis

Rosalind Ellicott said:


> Thanks. I haven't listened to it but looked up Paula Shocron and found this. I imagine a lot of people on this forum would appreciate.


That is really a good list of a lot of interesting music to explore. Other than Shocron and Díaz, I had heard only Fernández.

I am now listening to Surya by Paula Shocron trio with Juan Bayon on bass and Bruno Varela on drums. This is more accessible than El Templo but it is an excellent, advanced contemporary piano trio. The recordings of KUAI MUSIC (a label from Buenos Aires), including Surya, are free to download (name your price.)
















Surya, by Paula Shocron


9 track album




paulashocron.bandcamp.com


----------



## Rogerx

Thelonious Monk/Sonny Rollins

Sonny Rollins (saxophone), Thelonious Monk (piano), Arthur Taylor (drums), Tommy Potter (bass), Art Blakey (drums), Percy Heath (bass), Julius Watkins (french horn), Willie Jones (drums)


----------



## starthrower

Patrick Zimmerli: Octurn - Book of Hours
Songlines CD
This features a ten piece modern jazz ensemble.
Dawn - YouTube


----------



## Jay




----------



## Disco




----------



## Disco




----------



## SanAntone

When I was coming up as a Jazz player Maiden Voyage and Dolphin Dance were staples of jam sessions. Great days.


----------



## Red Terror

Just when I thought I had listened to every worthwhile fusion album out there, I find this beauty. 

Highly recommended!


----------



## SanAntone

I had that Ronald Shannon Jackson LP when it first came out and loved it. I had two or three others too, and they were all great.


----------



## tortkis

The Opening - Mal Waldron, solo piano (Futura)








Recorded November 19, 1970 at the American Cultural Center in Paris, France


----------



## Red Terror

SanAntone said:


> I had that Ronald Shannon Jackson LP when it first came out and loved it. I had two or three others too, and they were all great.


In addition to Man Dance, I've got Decode Yourself and Red Warrior. I've had the former on repeat for two days now; this stuff is wild. To my ears it sounds rather like some of the music coming out of the "No Wave" scene in the 80's—except much more accomplished and expressive. If I could classify Jackson's style in Man Dance it would be angular jazz-rock-funk fusion ... or something. Miles was right, Jazz cats can rock better than rockers.


----------



## starthrower

Recorded 1957-1959


----------



## Jay




----------



## SanAntone

Bill Evans - piano
Chuck Israels - bass
Larry Bunker - drums


----------



## SanAntone

This Bill Evans Complete Riverside box, along with the same for Thelonious Monk, are two of the best Jazz compilations ever made.


----------



## tortkis

Duster - The Gary Burton Quartet (RCA, 1967)
Gary Burton, Larry Coryell, Steve Swallow, Roy Haynes





Listed in A HISTORY OF JAZZ FUSION IN 30 ESSENTIAL ALBUMS introduced in the Jazz Fusion thread. A great found.


----------



## Red Terror

We are quite literally spoiled with Jazz masterpieces, but there are certain albums that for whatever reason, truly touch the soul. Pharaoh's Karma does it for me.

Long live Pharaoh.


----------



## Jay

[video]


----------



## Rogerx

Look Out!

Stanley Turrentine (tenor saxophone), Al Harewood (drums), Horace Parlan (piano), George Tucker (bass)


----------



## Red Terror




----------



## Red Terror




----------



## Chibi Ubu

Red Terror said:


>


----------



## Jay

Danny Moore - trumpet; Frank Strozier - alto; George Coleman - tenor; Junior Cook - tenor; Mario Rivera - baritone; Harold Mabern - piano; Lisle Atkinson - bass; Idris Muhammed - drums.


----------



## Rogerx

Eileen Farrell: It's Over

Robert Farnon And His Orchestra, Eileen Farrell


Malneck: I'm Thru With Love
Mandel, J: Where Do You Start?
Paul, G: I'll Remember April
Rodgers, R: It’s Easy To Remember
Schwartz, Arthur: By Myself
Wrubel: Gone with the wind


----------



## sAmUiLc




----------



## Red Terror




----------



## Barbebleu

tortkis said:


> Duster - The Gary Burton Quartet (RCA, 1967)
> Gary Burton, Larry Coryell, Steve Swallow, Roy Haynes
> 
> 
> 
> 
> 
> Listed in A HISTORY OF JAZZ FUSION IN 30 ESSENTIAL ALBUMS introduced in the Jazz Fusion thread. A great found.


I bought this in the KDW department store in Berlin in 1968. I still have my original vinyl! Still gets a regular outing. Terrific stuff.


----------



## sAmUiLc

She is my lady!


----------



## Red Terror

Koglmann is now one of my favorite composers. European jazz is quite a different beast from its American counterpart.

Highly recommended.


----------



## Rogerx

Eileen Farrell Sings Rodgers & Hart

Eileen Farrell (soprano)


----------



## Chibi Ubu

*Take The A Train - Charles Mingus*





*I**t Don't Mean A Thing - Tony Bennett & Lady Gaga*





🌞


----------



## tortkis

An die Musik (Soul Note, 2008)
Nobu Stowe (piano), Alan Munshower (drums), Badal Roy (tabla, voice)


----------



## Jay




----------



## sAmUiLc




----------



## Chibi Ubu

*Tones for Joan's Bones: Chick Corea Trio *




🌞


----------



## Jay




----------



## sAmUiLc




----------



## Jay




----------



## sAmUiLc

Ella 








on Side 2


----------



## sAmUiLc




----------



## sAmUiLc




----------



## Barbebleu

Marc Johnson - Bass Desires. Fab!


----------



## starthrower

Barbebleu said:


> Marc Johnson - Bass Desires. Fab!


I read that drummer Adam Nussbaum named the lead off tune, Samurai Hee Haw.


----------



## sAmUiLc




----------



## Rogerx

Chet Baker Sings Again

Chet Baker


----------



## tortkis

Blue Haze - Miles Davis (Prestige, 1956)








Miles Davis, David Schildkraut, Horace Silver, Percy Heath, Kenny Clarke, Art Blakey, John Lewis, Charles Mingus, Max Roach


----------



## sAmUiLc




----------



## Nate Miller

I'm listening to Bud Powell play Body and Soul solo piano style


----------



## sAmUiLc




----------



## SanAntone




----------



## Jay




----------



## OCEANE

Nice play....


----------



## sAmUiLc

1 disc at a time


----------



## starthrower

Paul Motian documentary


----------



## tortkis

The Freedom Book - Booker Ervin (Prestige)









Richard Davis is amazing.


----------



## Rogerx

Smokin' At The Half Note

Wynton Kelly Trio, Wes Montgomery (guitar), Paul Chambers (upright bass), Jimmy Cobb (drums), Wynton Kelly (piano)


----------



## SanAntone

starthrower said:


> Paul Motian documentary


I watched this recently and enjoyed it a lot.


----------



## Jay




----------



## OCEANE

OCEANE said:


> View attachment 168849
> 
> Nice play....











Another amazing album of Emil


----------



## Barbebleu

Jay said:


>


Love the Actuel label. They gave a lot of jazz players an outlet that they found hard to come by in America.


----------



## tortkis

On a Friday Evening - Bill Evans Trio (Craft Recordings)








Bill Evans, Eddie Gomez, Eliot Zigmund
Live at Oil Can Harry's 1975








On A Friday Evening, by Bill Evans


9 track album




billevans.bandcamp.com


----------



## sAmUiLc




----------



## OCEANE

Need no introduction


----------



## starthrower

2007 Thrill Jockey

Rob Mazurek - Composer, Director, and Cornet
Also featuring Nicole Mitchell, Jeb Bishop, Jeff Parker, Jason Adasiewicz, among others.


----------



## Floeddie

Inspired by the one above, I found this one:
*Dimensional Stardust (2020) - Rob Mazurek*


----------



## tortkis

Live at the Black Musician's Conference, 1981 (NoBusiness Records)
Marion Brown (alto sax), Dave Burrell (piano)
















Live at the Black Musicians' Conference, 1981, by Marion Brown / Dave Burrell


7 track album




nobusinessrecords.bandcamp.com





Beautiful interplay


----------



## Barbebleu

tortkis said:


> Live at the Black Musician's Conference, 1981 (NoBusiness Records)
> Marion Brown (alto sax), Dave Burrell (piano)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Live at the Black Musicians' Conference, 1981, by Marion Brown / Dave Burrell
> 
> 
> 7 track album
> 
> 
> 
> 
> nobusinessrecords.bandcamp.com
> 
> 
> 
> 
> 
> Beautiful interplay


Thanks for the heads-up. I’ll be downloading this. Always been a fan of the great Marion Brown.


----------



## sAmUiLc




----------



## Jay




----------



## SanAntone




----------



## Floeddie

*Marco Minnemann - Mike Keneally - Brian Beller: WRIGHT OR WRONG*


----------



## SanAntone




----------



## Rogerx

Embraceable You (album) Chet baker


----------



## tortkis

Sparks (Mahakala Music)
Eri Yamamoto (piano), Chad Fowler (stritch & saxello), William Parker (bass), Steve Hirsh (drumset)








Sparks, by Eri Yamamoto, Chad Fowler, William Parker, Steve Hirsh


5 track album




mahakalamusic.bandcamp.com


----------



## sAmUiLc

1 disc at a time


----------



## Jay




----------



## SanAntone




----------



## norman bates

not an album, but I was laughing at the massive amount of Amy Protscher, a pianist I have never heard before, explaining how to play like Dave McKenna. For those who don't know, Dave McKenna was one of the most incredible jazz pianists ever (admired by other musicians of the caliber of Art Tatum and Bill Evans) known for his "three hands piano", sounding alone as a band with bass, chords and melody. And she totally nails it.









traditional melodic jazz may not be for everyone here, but what a pianist.


----------



## tortkis

Live Trane - The European Tours
John Coltrane, Eric Dolphy, McCoy Tyner, Jimmy Garrison, Reggie Workman, Elvin Jones
Live in Stockholm on November 23, 1961








Blue Train


----------



## Rogerx

Sweet Rain

Bill Evans, Stan Getz (tenor saxophone), Grady Tate (drums), Ron Carter (bass guitar), Chick Corea (piano), Ron Carter (double bass)


----------



## SanAntone

*Miles Davis Septet :: Chateau Neuf, Oslo Norway | November 9, 1971*
Funky tonk, indeed. In the fall of 1971 the Miles Davis septet embarked on a 21 date tour of Europe. Captured for broadcast on Norwegian television was the ensemble’s ascendant set at Chateau Neuf in Oslo, Norway. A high water mark of this iteration of Davis’ band, the incendiary hour-plus set runs the voodoo down and back again with untethered performances from all involved.


----------



## Jay




----------



## Rogerx

Morbu - Jazz Thing Next Generation Vol. 92

Jonas Timm


----------



## SanAntone

*Miles Davis*
_The Complete Bitches Brew Sessions_
Aug. 1969 – Feb. 1970
By Michael Cuscuna

When Miles went into the studio in August to record what would become “Bitches Brew”, he kept the guitar and multiple keyboards that had developed during his “Silent Way” period. But now he refashioned the front line to consist of trumpet, soprano saxophone and bass clarinet and added additional drums and percussion to the mix.

Over three days in the studio, he fashioned this ensemble into a textural treasure trove. Some of the material, like “Miles Runs The Voodoo Down”, “Spanish Key” and “Sanctuary” had been broken by the quintet that summer. “Bitches Brew”, “John McLaughlin” (which was actually the final section of “Bitches Brew”) and Joe Zawinul’s “Pharaoh’s Dance” were developed in the studio.






*Remembering Miles & Bitches Brew*
By Carlos Santana

I have always thought that the real significance of Bitches Brew is that it represented the final stage of a long-developing process of change and evolution for Miles. Inspired and impelled by the creative advances of his sidemen from 1963 to 1969, and aware of the trend-breaking represented by the music of Eddie Harris, Josef Zawinul, and John Handy as well as other jazz musicians who were reflecting their roots and the popular music of the times, Miles embraced the challenge of change. Further influenced by the dynamism and the accessibility of the music of James Brown, Sly Stone, and Jimi Hendrix, Miles made Bitches Brew the dramatic crossing of his Rubicon, and in so doing he erased all paths back to his past.


----------



## Rogerx

That's The Way It Is

Milt Jackson, Ray Brown


----------



## Jay




----------



## SanAntone




----------



## SanAntone

On The Ambiguity Manifesto Ho Bynum’s compositional brilliance shines again in a band mostly composed of members of his previous group: Ingrid Laubrock (tenor/soprano sax), Jim Hobbs (alto sax), Bill Lowe (trombone), Mary Halvorson (guitar), Tomeka Reid (cello), Ken Filiano (bass), Tomas Fujiwara (drums) and new addition Stomu Takeishi (electric bass). There is a duality to the record, with tracks like “enter ally” and “ally enter” and “real/unreal (for ursula k. le guin)” and “unreal/real (for old music)” being interesting distorted reflections of one another in more than just name. Ho Bynum’s cornet work is characterized by a distinctively nimble and scratchy approach, but that doesn’t mean he doesn’t know how to swing, as opener “neither when nor where” proves. (Post Genre)


----------



## Rogerx

Jazz at the Pawnshop

Arne Domnérus (alto sax / clarinet), Bengt Hallberg (piano), Lars Erstrand (vibes), Georg Riedel (bass), Egil Johansen (drums)


----------



## pianozach

Rogerx said:


> Jazz at the Pawnshop
> 
> Arne Domnérus (alto sax / clarinet), Bengt Hallberg (piano), Lars Erstrand (vibes), Georg Riedel (bass), Egil Johansen (drums)


Great album title!


----------



## starthrower

2004 Justin Time Records









David S Ware: Surrendered / 2000 Columbia
Matthew Shipp, William Parker, Guillermo Brown

A couple of nice finds at my local used bookstore.


----------



## Jay




----------



## Rogerx

Fat Albert Rotunda

Joe Henderson (flute), Joe Henderson (saxophone), Johnny Coles (trumpet), Johnny Coles (flugelhorn), Herbie Hancock (synthesizer), Billy Hart (percussion), Buster Williams (bass guitar), Garnett Brown (trombone), Herbie Hancock (piano), Albert Heath (drums)


----------



## tortkis

Blue Mitchell Live (Just Jazz)








Blue Mitchell (trumpet), Mike Morris (tenor sax, track 3), Mark Levine (piano), Kenny Jenkins (bass), Smiley Winters (drums)
recorded 1976


----------



## Rogerx

Aretha Franklin -Through The Storm


----------



## Barbebleu

Holiday listening in hot and sunny Marbella on the Costa Del Sol.
Soul Station - Hank Mobley
Return to Forever - Chick Corea
Descendre - Terje Rypdal
From Gagarin’s Point of View - E.S.T.
Chaser - Terje Rypdal 
Montreux Concerts CD2 - John McLaughlin
The Atlantic Years 1973 -78 CD8 - Billy Cobham


----------



## Floeddie

I like your playlist...


----------



## Rogerx

Love For Sale

Ella Fitzgerald


Gershwin: They Can't Take That Away From Me
Porter, C: I've Got You Under My Skin
Porter, C: In the Still of the Night
Porter, C: Let's Do It! (Let's Fall In Love)
Porter, C: Love For Sale
Porter, C: Night and Day
Porter, C: Too Darn Hot (from Kiss Me, Kate)
Porter, C: What Is This Thing Called Love
Porter, C: You Do Something to Me


----------



## Barbebleu

Floeddie said:


> I like your playlist...


Cheers Flo!


----------



## tortkis

Mediumistic Methodology (Astral Spirits)
Devin Brahja Waldman (alto sax) & Hamid Drake (drums)


----------



## SanAntone




----------



## Philidor

Is this Jazz? I think so ...

*Michael Wollny Trio: weltentraum live - philharmonie berlin*

Michael Wollny, piano
Tim Lefèvre, bass
Eric Schaefer, drums


----------



## Rogerx

Charles Mingus Presents Charles Mingus

Charles Mingus


----------



## tortkis

Expansion, Dave Burrell Full Blown Trio








Dave Burrell (piano), William Parker (bass), Andrew Cyrille (drums)


----------



## Rogerx

Getz/Gilberto

Stan Getz, João Gilberto





João Gilberto, Astrud Gilberto (vocals), Stan Getz (tenor saxophone), Milton Banana (drums), Antônio Carlos Jobim (piano), Tommy Williams (upright bass)
Recorded: 1964




Jobim: Corcovado
Jobim: Vivo sonhando


----------



## OCEANE

Except the first track is too non-jazz style and not taste, others are really wonderful for easy listening.

Other than ECM, ACT has produced so many great jazz albums.


----------



## Rogerx

The Bridge

Sonny Rollins


Porter, C: You Do Something to Me
Rollins, Sonny: John S.
Rollins, Sonny: The Bridge


----------



## Barbebleu

Masada Anniversary Edition Vol. 1 - Masada Guitars. Brilliant


----------



## Jay




----------



## philoctetes

killer set


----------



## Rogerx

The Young Star (Bluebird's Best Series)

Lena Horne (vocal)


Coward, N: Mad about the boy
Gershwin: The Man I Love
Porter, C: What Is This Thing Called Love
Rodgers, R: Where Or When
Wilder, A: I'll Be Around


----------



## tortkis

Fragment - John Taylor Sextet








John Taylor (piano, electric piano), Ken Wheeler (trumpet, flugelhorn), Stan Sulzmann (tenor & soprano sax, flute), Chris Pyne (trombone), Chris Laurence (bass), Tony Levin (drums, percussion)
Recorded 1975. First release on digital & CD. Wonderful compositions of John Taylor are played by excellent musicians.


----------



## Barbebleu

tortkis said:


> Fragment - John Taylor Sextet
> 
> 
> 
> 
> 
> 
> 
> 
> John Taylor (piano, electric piano), Ken Wheeler (trumpet, flugelhorn), Stan Sulzmann (tenor & soprano sax, flute), Chris Pyne (trombone), Chris Laurence (bass), Tony Levin (drums, percussion)
> Recorded 1975. First release on digital & CD. Wonderful compositions of John Taylor are played by excellent musicians.


Great spot. I’ve now downloaded it. I love that Kenny Wheeler is referred to as Ken!


----------



## SanAntone




----------



## tortkis

Barbebleu said:


> Great spot. I’ve now downloaded it. I love that Kenny Wheeler is referred to as Ken!


Is it common in UK to call him Ken? Another album of his compositions from the same label Jazz in Britain also uses 'Ken Wheeler.' I have not seen it elsewhere.


----------



## Barbebleu

tortkis said:


> Is it common in UK to call him Ken? Another album of his compositions from the same label Jazz in Britain also uses 'Ken Wheeler.' I have not seen it elsewhere.


These two instances are the only time I’ve ever seen him referred to as Ken. He is usually always Kenny Wheeler. All the albums released under his leadership say Kenny.


----------



## Rogerx

The Köln Concert

Keith Jarrett


----------



## Simon Moon

Craig Taborn - Daylight Ghosts (2017)

For anyone not familiar with pianist Taborn, he is the real deal. Not only does he have legitimate chops from hell, but he has feel, emotion, dynamics in his playing, and he is a great composer too.

With: Chris Speed on tenor sax, Chris Lightcap on bass, Dave King on drums.

Contemporary progressive jazz. Some of it on the more atmospheric side. Great band interplay.


----------



## starthrower

I'm listening to Scofield's new solo guitar album on ECM. It's simply titled, John Scofield.


----------



## Jay




----------



## Rogerx

wrong thread


----------



## ericshreiber1005

Money Jungle: Duke Ellington, Charlie Mingus, Max Roach, w/bonus tracks Solitude Duke Ellington and his Orchestra. State of Art.


----------



## ericshreiber1005

Theionious Monk Quartet w/ John Coltrane at Carnegie Hall Nov. 29th 1957. Blue Note Records EMI.


----------



## pianozach

Artie Shaw
1938
Nightmare


----------



## ericshreiber1005

Bill Evans: The Complete Village Vanguard Recordings,1961. Disc 1: Afternoon Set 1 and 2. One of my favorite "happy hour" cds, the music is great and the background ambience helps. Think I'll join them. Cheers and Happy Friday.


----------



## ericshreiber1005

Bill Evans: Complete Village Vanguard Recordings Cd #2. Evening Set 1 and 2. Riverside.


----------



## SanAntone




----------



## Jay




----------



## tortkis

Sweet Hands - Dave Liebman (Horizon, 1975)








David Liebman (sax, flute, wind chimes), Richie Beirach (piano, electric piano, clavinet, bell tree, wind chimes), John Abercrombie (electric guitar, acoustic guitar), Frank Tusa (bass, electric bass), Charlie Haden (bass), Jeff Williams (drums), Don Alias (congas, tambourine, bells, shaker, finger cymbals), Badal Roy (table, ektar, vocals), Gita Roy (tamboura), Arooj Lazewal (sitar)

Excellent fusion of jazz, funk, and indian music.


----------



## Rogerx

Remember Me, My Dear

Jan Garbarek

The Hilliard Ensemble

Bingen, Hildegard von (1098-1179)
Brumel, Antoine (c.1450-c.1520)
Garbarek, Jan (b.1947)
Pärt, Arvo (b.1935)
Perotinus, magnus magister (c.1160-c.1236)
Rouge, Guillaume le


----------



## SanAntone




----------



## Jay




----------



## pianozach

SanAntone said:


>


I just listened to *YELLOW VIOLET*, and it seemed neither yellow nor violet.

It seems more browns and burnt orange, with some occasional indigo


----------



## tortkis

Gene Perla Collection


Jazz History Database



This is quite an interesting collection of sessions recorded by Gene Perla using the Uher 4400 Stereo Report reel-to-reel recorder, since late 1960s. There are over 250 tracks of Perla, Elvin Jones, Dave Liebman, Michael Brecker, Sonny Rollins, etc. Some of the recordings I checked so far are:

Slumber, Softly As In A Morning Sunrise - Elvin Jones, Dave Liebman, Gene Perla (1971)
Alfie's Theme - Sonny Rollins Quintet (1974)
Steps - Thad Jones / Chick Corea Quartet
In Your Own Sweet Way - Gene Perla Trio (1970)


----------



## ericshreiber1005

Ellington: At Newport 1956 (Complete) Columbia/Legacy.


----------



## Barbebleu

SanAntone said:


>


One of my absolute favourite Monk albums.


----------



## Barbebleu

Modern Jazz Quartet - Lost Tapes, Germany 1956-58. Excellent.


----------



## sAmUiLc




----------



## Rogerx

My Favorite Things

John Coltrane (soprano saxophone), Steve Davis (double bass), McCoy Tyner (piano), Elvin Jones (drums), John Coltrane (tenor saxophone)


----------



## Jay




----------



## starthrower




----------



## SanAntone

*Miles Davis* - _Seven Steps: The Complete Columbia Recordings of Miles Davis 1963–1964_






One of the better "complete" metal boxes.

The third chronologically in the series of Miles Davis box sets issued by Columbia, the set includes material from the albums:

Seven Steps to Heaven (1963)
Quiet Nights (1963) (One track only)
Miles Davis in Europe (1964)
My Funny Valentine (1965)
Four & More (1966)
Miles in Tokyo (1969)
Miles in Berlin (1965)

Producer: *Bob Belden* and Michael Cuscuna (reissue).

I knew and worked with Belden when we were both at North Texas State University in the mid- to late '70s. 

After a gig we'd hang out at the house he rented in Denton, where he had his Miles collection of bootleg tapes and foreign pressings. He must have had hundreds of secondary market items, and could recite the discographical information for each one. He was the perfect choice to curate these complete sessions boxes. Sadly we lost Bob in 2015, at a far too young age. Excellent sax player and arranger/composer.


----------



## Rogerx

Dinah Jams

Dinah Washington, Clifford Brown, George Morrow (double bass), Keter Betts (double bass), Max Roach (drums), Junior Mance (piano), Harold Land (saxophone), Clark Terry (trumpet), Maynard Ferguson (trumpet), Herb Geller (saxophone), Richie Powell (piano)


----------



## OCEANE

A new and wonderful album of Tord Gustavsen Trio


----------



## NoCoPilot

Out of Time: The Wayne Barker Session, by Glass


18 track album




therealglass.bandcamp.com


----------



## Jay




----------



## Rogerx

Decoy

Miles Davis (trumpet), Al Foster (drums), Branford Marsalis (soprano saxophone), Mino Cinelu (percussion), John Scofield (guitar), Robert Irving III (synthesizer), Robert Irving III (drum programmer), Darryl "The Munch" Jones (bass guitar), Miles Davis (synthesizer), Bill Evans (soprano saxophone)


Davis, Miles
Evans, Bill
 Marsalis, Branford
Scofield, John


----------



## sAmUiLc

tracks..








Phil Woods, Johnny Mercer, Jonathan Davis, Franz Lehár, Rube Bloom, Ali Muhammad, Harry Smith, George Mraz, Tommy Flanagan, Kenny Washington, David Chesky - Here's to My Lady - Amazon.com Music


Phil Woods, Johnny Mercer, Jonathan Davis, Franz Lehár, Rube Bloom, Ali Muhammad, Harry Smith, George Mraz, Tommy Flanagan, Kenny Washington, David Chesky - Here's to My Lady - Amazon.com Music



www.amazon.com


----------



## Rogerx

Isabela- Oded Tzur

lake, Johnathan
Tzur, Oded


----------



## Jay




----------



## starthrower

5 disc slim case 
Vols 1-3 RVG remasters, Vols 4-5 Ron McMaster


----------



## tortkis

Mesmerism - Tyshawn Sorey (PI Recordings)









Tyshawn Sorey (drums), Aaron Diehl (piano), Matt Brewer (bass)
recorded 2021

Superb piano trio plays standards and compositions by Horace Silver, Muhal Richard Abrams, Duke Ellington, and Paul Motian. Sorey's drumming is quite complex.


----------



## tortkis

Rogerx said:


> Decoy
> 
> Miles Davis (trumpet), Al Foster (drums), Branford Marsalis (soprano saxophone), Mino Cinelu (percussion), John Scofield (guitar), Robert Irving III (synthesizer), Robert Irving III (drum programmer), Darryl "The Munch" Jones (bass guitar), Miles Davis (synthesizer), Bill Evans (soprano saxophone)


The bootleg series vol. 7 includes previously unreleased studio recordings from Star People, Decoy and You're Under Arrest sessions and live recordings from a concert in Montreal on July 7, 1983. His music in this period does not seem popular among jazz fans, but I am very interested in this release, especially the studio recordings.


----------



## Jay




----------



## SanAntone

Joe Henderson | Inner Urge (Blue Note Classic LP Series)


----------



## Rogerx

Here Be Dragons

Oded Tzur


----------



## tortkis

Pendulum, Live at the Village Vanguard, NYC 1978 - Dave Liebman Quintet








Dave Liebman (tenor sax, soprano sax), Randy Brecker (trumpet), Richie Beirach (piano), Frank Tusa (bass), Al Foster (drums)


https://www.youtube.com/playlist?list=OLAK5uy_lziNgnDRo7lP3KlrxmKoxef-_CF_pXgdM


----------



## SanAntone

*WAYNE SHORTER - SPEAK NO EVIL* LP (BLUE NOTE CLASSIC VINYL EDITION)

1964 was one of the most momentous years in the musical life of Wayne Shorter. Early in the year the saxophonist was still a member of Art Blakey & The Jazz Messengers, appearing on classic Blue Note albums like Free for All and Indestructible. Shorter made his own auspicious label debut that spring with Night Dreamer and quickly recorded the impressive follow-up JuJu. That summer he joined the Miles Davis Quintet, cementing a line-up that would become one of the seminal bands in jazz history. And when Shorter entered Van Gelder Studio with Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones on Christmas Eve 1964 they created a masterpiece with Speak No Evil, a transcendent set of six Shorter originals including the swinging title track, “Witch Hunt,” and sublime ballad “Infant Eyes.”

This Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. (Blue Note Store)










Track List:

A1: Witch Hunt
A2: Fee-Fi-Fo-Fum
A3: Dance Cadaverous

B1: Speak No Evil
B2: Infant Eyes
B3: Wild Flower


----------



## starthrower

Peter Erskine - John Abercrombie - Marc Johnson: Furs On Ice - YouTube


----------



## Rogerx

Sinatra-Basie: An Historic Musical First

Count Basie, Frank Sinatra, Bill Miller (piano)

Neal Hefti


Bricusse, Leslie (b.1931)
Gershwin, George (1898–1937)
Heusen, James van (1913-90)


----------



## SanAntone

BILL FRISELL - VALENTINE (double LP)


----------



## OCEANE

Moody!


----------



## Jay




----------



## Floeddie

*Return To Forever - Romantic Warrior*


----------



## tortkis

Blue Notes for Mongezi (Ogun)
Dudu Pukwana (alto sax, whistle, percussion, vocals), Chris McGregor (piano, percussion), Louis Moholo (drums, percussion, vocals), Johnny Dyani (bass, bells, vocals)
recorded on 23 December 1975

__
https://soundcloud.com/cafeoto%2Frokure005-blue-notes-for-mongezi-sample


----------



## Jay




----------



## Jay




----------



## Rogerx

Night

John Abercrombie (guitar), Jan Hammer (keyboards), Jack DeJohnette (drums), Mike Brecker (tenor saxophone)


----------



## Barbebleu

tortkis said:


> Blue Notes for Mongezi (Ogun)
> Dudu Pukwana (alto sax, whistle, percussion, vocals), Chris McGregor (piano, percussion), Louis Moholo (drums, percussion, vocals), Johnny Dyani (bass, bells, vocals)
> recorded on 23 December 1975
> 
> __
> https://soundcloud.com/cafeoto%2Frokure005-blue-notes-for-mongezi-sample


Was this Chris McGregor’s Brotherhood of Breath band?


----------



## tortkis

Barbebleu said:


> Was this Chris McGregor’s Brotherhood of Breath band?


According to Cafe Oto notes, Brotherhood of Breath was derived from Blue Notes, which was formed in South Africa in 1962, and this album was recorded by some of the Blue Notes members in memory of Mongezi Feza.





__





Blue Notes – Blue Notes for Mongezi ← Cafe OTO







www.cafeoto.co.uk




_As a mixed race band under South African apartheid; this group of friends and like-minded artists - Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani and Louis Moholo-Moholo - existed within a context that viewed their mere existence as a dangerous and subversive act. In 1964, as the pressure mounted, they joined an exodus of musicians leaving for Europe, eventually settling in London during the following year. Sadly, not long after arriving and facing continued economic peril, the group buckled. Johnny Dyani left to join Don Cherry’s band. Moholo-Moholo and Dyani followed suit and joined Steve Lacy on tour, and the remaining members morphed into a number of ensembles that eventually grew to become Chris McGregor's Brotherhood Of Breath.

In late 1975 however, Mongezi Feza - in the midst of a fruitful period collaborating with Dudu Pukwana, Johnny Dyani, and Okay Temiz - suddenly passed away at the age of thirty from pneumonia. Nine days later, on the 23rd December, following the memorial service to their friend, Pukwana, Dyani, McGregor, and Moholo-Moholo gathered in a rehearsal room in London and set out to play._


----------



## Barbebleu

tortkis said:


> According to Cafe Oto notes, Brotherhood of Breath was derived from Blue Notes, which was formed in South Africa in 1962, and this album was recorded by some of the Blue Notes members in memory of Mongezi Feza.
> 
> 
> 
> 
> 
> __
> 
> 
> 
> 
> 
> Blue Notes – Blue Notes for Mongezi ← Cafe OTO
> 
> 
> 
> 
> 
> 
> 
> www.cafeoto.co.uk
> 
> 
> 
> 
> _As a mixed race band under South African apartheid; this group of friends and like-minded artists - Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani and Louis Moholo-Moholo - existed within a context that viewed their mere existence as a dangerous and subversive act. In 1964, as the pressure mounted, they joined an exodus of musicians leaving for Europe, eventually settling in London during the following year. Sadly, not long after arriving and facing continued economic peril, the group buckled. Johnny Dyani left to join Don Cherry’s band. Moholo-Moholo and Dyani followed suit and joined Steve Lacy on tour, and the remaining members morphed into a number of ensembles that eventually grew to become Chris McGregor's Brotherhood Of Breath.
> 
> In late 1975 however, Mongezi Feza - in the midst of a fruitful period collaborating with Dudu Pukwana, Johnny Dyani, and Okay Temiz - suddenly passed away at the age of thirty from pneumonia. Nine days later, on the 23rd December, following the memorial service to their friend, Pukwana, Dyani, McGregor, and Moholo-Moholo gathered in a rehearsal room in London and set out to play._


Thanks for the info. Great musicians, all of them.


----------



## tortkis

Barbebleu said:


> Thanks for the info. Great musicians, all of them.


Yes, they are great. I subscribe to Cafe Oto digital membership and found this album, but I didn't know most of the musicians. Are there Brotherhood Of Breath albums you recommend?


----------



## Barbebleu

Any of their seventies albums. The one called Chris McGregors Brotherhood of Breath, Eclipse at Dawn and Brotherhood are excellent. Regrettably I don’t think they are available on anything other than original vinyl. You can probably hear them on YouTube.


----------



## Jay




----------



## SanAntone

CANNONBALL ADDERLEY - SOMETHIN' ELSE LP (BLUE NOTE CLASSIC VINYL EDITION)


----------



## Rogerx

Don't Ask My Neighbors

Raul De Souza (trombone), Byron Miller (double bass), Leon Chancler (drums), Azar Lawrence (tenor saxophone), Roland Bautista (guitar), Dawilli Gonga (piano), Airto (percussion), Harvey Mason (drums), Bobby Lyle (piano), Robert Popwell (double bass), Charles Johnson (guitar), Manolo Badrena (percussion)


----------



## Jay




----------



## tortkis

Liquid Magic - Ahmed Abdullah Quartet (Silkheart Records)








Ahmed Abdullah (trumpet, fluegelhorn, piano), Charles Brackeen (tenor sax), Malachi Favors (bass), Alvin Fielder (drums)
recorded 1987


----------



## SanAntone

*FREDDIE HUBBARD - OPEN SESAME* 
(BLUE NOTE CLASSIC VINYL EDITION)












> Trumpeter Freddie Hubbard burst upon the Blue Note scene in June 1960 with his auspicious debut album Open Sesame. Within 6 months Hubbard had already recorded a follow-up (Goin’ Up) and appeared as a sideman on sessions with Tina Brooks (True Blue), Hank Mobley (Roll Call), Kenny Drew (Undercurrent), and Jackie McLean (Bluesnik). Hubbard’s bravado style was already fully formed on Open Sesame with his brilliant tone and jaw-dropping technical prowess at the helm of sterling quintet with tenor saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis. Highlights of the set include the hard-charging title track, a stunning ballad performance on “But Beautiful,” and a grooving version of “One Mint Julep.”
> 
> This Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. (Blue Note)


Tracklist:

A1: Open Sesame
A2: But Beautiful
A3: Gypsy Blue

B1: All or Nothing at All
B2: One Mint Julep
B3: Hub's Nub


----------



## starthrower

1960


----------



## OCEANE

*Sadao Watanabe* (born 1933) is a Japanese jazz musician (saxophone) and is worldwide known for his bossa nova recordings. This album has been with me for decades and still plays beautifully.


----------



## Jay




----------



## tortkis

A Muted Reality - Angles (clean feed)








Magnus Broo trumpet
Goran Kajfes trumpet, Maestro soundsystem for woodwinds pedal
Johan Berthling double bass
Konrad Agnas drums
Mats Äleklint trombone, sousaphone
Mattias Ståhl vibraphone
Alexander Zethson piano, Juno 106
Martin Küchen alto saxofone
Alexander Zethson/Mattias Ståhl/Konrad Agnas/Martin Küchen/Mats Äleklint/Goran Kajfes handclap/additional percussion

powerful, spiritual, and very expressive


----------



## MrTortoise

Herbie Hancock - Man-Child


----------



## Rogerx

Shaking The Blues Away

The Coffee Club Orchestra, Rob Fisher (piano, celesta), Melissa Meell (cello), John Campo (clarinet, baritone saxophone, bass clarinet, bass saxophone), Ruth Anna Waterman (violin), Andy Stein (violin), Suzanne Ornstein (violin), Barry Finclair (viola, violin), Jay Berliner (banjo, guitar), John Beal (bass), Arnie Kinsella (drums, percussion), Seymour Press (soprano saxophone, alto saxophone, clarinet), John Frosk (trumpet), Joe Wilder (trumpet), Dave Gale (trumpet), Jack Gale (trombone), Dave Bargeron (tuba, trombone), Dennis Anderson (soprano saxophone, tenor saxophone, clarinet), Al Regni (clarinet, alto saxophone, soprano saxophone), Phil Bodner (tenor saxophone, clarinet), Garrison Keillor

Berlin, I: Always
Berlin, I: Blue skies
Berlin, I: How About Me?
Berlin, I: Puttin' on the Ritz
Rodgers, R: You Took Advantage Of Me
Williams, S: Tishomingo Blues


----------



## Red Terror




----------



## Barbebleu

Red Terror said:


>


Well, this album didn’t appear yesterday!!  Also I would class it as folk/rock rather than jazz!


----------



## Bwv 1080




----------



## Simon Moon

Craig Taborn - Daylight Ghosts

With:
Chris Speed - Tenor Saxophone, Clarinet
Chris Lightcap - Double bass,
Dave King - Drums, Electronic Percussion










I can't stop listening to this lately. I've had it for a while, but it finally sunk in how good this is.

Taborn is definitely one of the best pianists out there. He could be thought of as the air apparent to Keith Jarrett. Not just in skill, but creativity. His solo piano recordings, while they don't sound like Jarrett solo recordings, they are near as captivating.


----------



## Selby

Gerald Clayton - Bells on Sand
I've listened to this twice in the past day and I need to listen to it again... It's quiet, I want to call it seductive.


----------



## Bwv 1080

Prince’s 1977 jazz funk instrumental recording


----------



## Jay




----------



## Rogerx

Remember Me, My Dear

Jan Garbarek

The Hilliard Ensemble

Bingen, Hildegard von (1098-1179)
Brumel, Antoine (c.1450-c.1520)
Garbarek, Jan (b.1947)
Pärt, Arvo (b.1935)
Perotinus, magnus magister (c.1160-c.1236)
Rouge, Guillaume le


----------



## Selby

Second spin today, a classic:


----------



## SanAntone

Selby said:


> Second spin today, a classic:


This LP is next up in my traversal of classic Blue Note recordings.


----------



## ericshreiber1005

Ellington and Coltrane: September 1962. Impulse.


----------



## Selby




----------



## Nate Miller

I'm listening to Bud Powell playing "Sometimes I'm happy" solo piano style....now he's playing "Sweet Georgia Brown" at near the speed of light


----------



## Rogerx

Soft Shoe (with Chet Baker)

The Gerry Mulligan Quartet, Chet Baker (trumpet)


----------



## Barbebleu

Donald Byrd - Byrd in Paris. Very good hard bop.


----------



## Rogerx

Idle Moments

Grant Green


Cranshaw, Bob
Green, Grant
Harewood, Al
Henderson, Joe
Hutcherson, Bobby
Pearson, Duke


----------



## SanAntone

Pablo Records issued two sets of 8CD collections in recorded in 1956 and released in1958 of Art Tatum in a variety of settings. One 8CD box was called "solo masterpieces" and the other 8CD collection was of "group masterpieces." These are some fantastic sessions of Tatum with a variety of other great musicians, all at the top of their art.


----------



## Rogerx

Souvenirs

Django Reinhardt



Gershwin: Embraceable You
Liszt: Liebestraum, S541 No. 3 (Nocturne in A flat major)
Porter, C: Just One of Those Things
Reinhardt, Django: Festival 48
Reinhardt, Django: Melodie au crepuscule


----------



## SanAntone

*Jelly Roll Morton & His Red Hot Peppers | Complete Victor Recordings*


----------



## SanAntone




----------



## Barbebleu

Miles Davis - The Lost Septet. Typical Miles of that period. Rather good. Gary Bartz is on good form.


----------



## Bwv 1080




----------



## jegreenwood

_Cookin’ with the Miles Davis Quintet_. This summer I have found horn-led jazz albums the most satisfying during air conditioner/noise canceling headphone days.


----------



## starthrower

2010 Heads Up

I've collected just about all of Esperanza's releases and this one is another very impressive work.


----------



## Jay




----------



## Floeddie

*Ed Palermo: New York City Saturday Night Swing*






Yes, it's that Ed Palermo of Zappa cover fame, but this is not Zappa, nor is it the Ed Palermo Big Band. The title says it all about the kind of big band music this is. Having grown up in the '50s & '60s, this is the kind of big band that I aspired to play as a drummer/percussionist. Ed told me that I shouldn't bother to listen to it, because it ain't EPBB, but it is Ed at his compositional & orchestration best. I like it a lot, but you may feel differently.


----------



## starthrower

Drummer Jack DeJohnette marks 80th birthday with Woodstock Playhouse events


WOODSTOCK, N.Y. — Drummer Jack DeJohnette celebrates his 80th birthday with two special events at the Woodstock Playhouse. A longtime jazz percussionist and Woodstock-area resident, DeJohnette rece…




www.dailyfreeman.com


----------



## Rogerx

You Must Believe in Spring

Bill Evans


----------



## tortkis

Sweet Love of Mine - John Hicks (HighNote)








John Hicks (piano), Javon Jackson (tenor sax), Elise Wood (flute), Curtis Lundy (bass), Victor Jones (drums), Ray Mantilla (percussion)


----------



## Jay




----------



## pianozach

I really like that *Darius Jones* album cover.


----------



## Bwv 1080

Rogerx said:


> You Must Believe in Spring
> 
> Bill Evans


Been listening to that a lot this week


----------



## Rogerx

Tonic

Steve Baker



Jurd, Laura
Lockheart, Mark


----------



## Floeddie




----------



## ericshreiber1005

Sun Ra: Atlantis. Evidence Music Ltd. From 1967 and 1968.


----------



## ericshreiber1005

Ornette Coleman: The complete Science Fiction Sessions. Columbia/Legacy.


----------



## tortkis

Billy Hart Quartet (HighNote)








Billy Hart (drums), Mark Turner (tenor sax), Ethan Iverson (piano), Ben Street (bass)
recorded 2005


----------



## Jay




----------



## Rogerx

Far East Suite


Duke Ellington & His Famous Orchestra, Jimmy Hamilton (clarinet), Jimmy Hamilton (tenor saxophone), Chuck Conners (trombone), Buster Cooper (trombone), Lawrence Brown (trombone), Johnny Hodges (alto saxophone), Russell Procope (alto saxophone), John Lamb (bass), Rufus Jones (drums), Harry Carney (baritone saxophone), Paul Gonsalves (tenor saxophone), Russell Procope (clarinet), Herbie Jones (trumpet), Mercer Ellington (trumpet), Duke Ellington (piano), William "Cat" Anderson (trumpet), Mercer Ellington (fluegelhorn), Cootie Williams (trumpet), Herbie Jones (fluegelhorn)



Ellington: Ad Lib on Nippon
Ellington: Agra
Ellington: Amad
Ellington: Blue Pepper (Far East of the Blues)
Ellington: Bluebird of Delhi (Mynah)
Ellington: Depk
Ellington: Isfahan
Ellington: Mount Harissa
Ellington: Tourist Point of View


----------



## OCEANE

Lovely piano jazz


----------



## tortkis

Chris McGregor's Brotherhood Of Breath









Chris McGregor (piano, African xylophone), Dudu Pukwana (alto sax), Mike Osborne (alto sax, clarinet), Harry Miller (bass), Marc Charig (cornet), Louis Moholo (drums, percussion), Ronnie Beer (flute, tenor sax), John Surman (soprano sax, baritone sax) Alan Skidmore (tenor sax, soprano sax), Malcolm Griffiths (trombone), Nick Evans (trombone), Harry Beckett (trumpet), Mongezi Feza (pocket trumpet, flute)

fantastic!


----------



## Floeddie

tortkis said:


> Chris McGregor's Brotherhood Of Breath
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Chris McGregor (piano, African xylophone), Dudu Pukwana (alto sax), Mike Osborne (alto sax, clarinet), Harry Miller (bass), Marc Charig (cornet), Louis Moholo (drums, percussion), Ronnie Beer (flute, tenor sax), John Surman (soprano sax, baritone sax) Alan Skidmore (tenor sax, soprano sax), Malcolm Griffiths (trombone), Nick Evans (trombone), Harry Beckett (trumpet), Mongezi Feza (pocket trumpet, flute)
> 
> fantastic!


----------



## Floeddie

*Brubeck Brothers Quartet: TimeLine (2018)*







This post is for the Brubeck fans in the forum. The Brubeck Brothers Quartet are doing a 2022 50th Anniversary tour of Time Out, honoring their father on the "A" circuit here in the states. I've seen them perform twice, they play both their modern takes on Dave's creations, and a few of their own as well. Very enjoyable!


----------



## Rogerx

A Love Supreme

Elvin Jones (drums), Jimmy Garrison (upright bass), McCoy Tyner (piano), John Coltrane (tenor saxophone)


----------



## Floeddie

*Erroll Garner - That's My Kick*






This is the first Jazz album I purchased as a teen. I remember it fondly.


----------



## Rogerx

Bright Size Life

Pat Metheny (guitar), Jaco Pastorius (bass), Bob Moses (drums)


----------



## OCEANE

A classic album in both Jazz and audiophile worlds


----------



## Rogerx

We'll Be Together Again

Lena Horne, Johnny Mathis


----------



## Barbebleu

Duster - Gary Burton Quartet. I’ve been giving this album repeated outings for 54 years. I don’t anticipate ever stopping doing so in the future. Wonderful stuff.


----------



## SanAntone

Barbebleu said:


> Duster - Gary Burton Quartet. I’ve been giving this album repeated outings for 54 years. I don’t anticipate ever stopping doing so in the future. Wonderful stuff.


Another early Burton album which I actually prefer to _Duster_ is _A Genuine Tong Funeral._ 

"It features Burton with Bley herself on keyboards and conducting an expanded ensemble consisting of trumpeter Michael Mantler, trombonist Jimmy Knepper, tenor saxophonist Gato Barbieri, soprano saxophonist Steve Lacy, baritone saxophonist Howard Johnson, guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses." (Wikipedia)






The compositions are really some of Bley's best, IMO.


----------



## Floeddie

*Chris Dingman - Embrace*





This one turned up in this thread a few days ago. Thanks to the OP. I give this one a 4 of 5 score, and yes, I feel that it is worth a revisit someday.


----------



## Barbebleu

SanAntone said:


> Another early Burton album which I actually prefer to _Duster_ is _A Genuine Tong Funeral._
> 
> "It features Burton with Bley herself on keyboards and conducting an expanded ensemble consisting of trumpeter Michael Mantler, trombonist Jimmy Knepper, tenor saxophonist Gato Barbieri, soprano saxophonist Steve Lacy, baritone saxophonist Howard Johnson, guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses." (Wikipedia)
> 
> 
> 
> 
> 
> 
> The compositions are really some of Bley's best, IMO.


Yep. Funeral gets regular outings too. I bought my copy of Duster in KDW department store in Berlin in 1968 when I was there for the Berlin Jazztage. I still have all my Burton RCAs on vinyl including, a rare as hens teeth, Tennessee Firebird.


----------



## Barbebleu

SanAntone said:


> Another early Burton album which I actually prefer to _Duster_ is _A Genuine Tong Funeral._
> 
> "It features Burton with Bley herself on keyboards and conducting an expanded ensemble consisting of trumpeter Michael Mantler, trombonist Jimmy Knepper, tenor saxophonist Gato Barbieri, soprano saxophonist Steve Lacy, baritone saxophonist Howard Johnson, guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses." (Wikipedia)
> 
> 
> 
> 
> 
> 
> The compositions are really some of Bley's best, IMO.


Pretty well all these musicians turned up on the outstanding Escalator Over The Hill.


----------



## SanAntone

I really think that Carla Bley is one of the great jazz composers and bandleaders. The period in the '80s when she kind of went pop was disappointing, though.


----------



## SanAntone

*Dexter Gordon* | _Go_









Dexter Gordon – tenor saxophone
Sonny Clark – piano
Butch Warren – bass
Billy Higgins – drums

Recorded August 27, 1962
Studio Van Gelder Studio, Englewood Cliffs


----------



## Barbebleu

SanAntone said:


> *Dexter Gordon* | _Go_
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Dexter Gordon – tenor saxophone
> Sonny Clark – piano
> Butch Warren – bass
> Billy Higgins – drums
> 
> Recorded August 27, 1962
> Studio Van Gelder Studio, Englewood Cliffs


Sixty years on and it’s still a pretty good album.


----------



## Floeddie

*Duke Ellington - The Ellington Suites*






I'm uncertain as to how to classify this work, as I hear it as a melding of classical & jazz. Do I post here, or do I cross-post elsewhere? I guess I ought to go review the rules. I want to call it "eclectic", & I'm pleased to have it in my collection.


----------



## SanAntone

Maybe the Listening - Anything Goes thread ....


----------



## Jay




----------



## Rogerx

The Mourning of a Star - Keith Jarret


----------



## SanAntone

*Modern Jazz Quartet | No Sun in Venice*


----------



## tortkis

Horace Silver Quintet Live New York Revisited (ezz-thetics)








Carmell Jones (1,3,4,6&7), Woody Shaw (2&5), Joe Henderson, Horace Silver, Teddy Smith (1,3,4,6&7), Larry Ridley, Roger Humphries
1965-1966 Live recordings


----------



## Rogerx

This Love Is for You

Otooto


----------



## tortkis

The Smile of the Snake - James Spaulding (HighNote)








James Spaulding (alto sax, flute, bass flute), Richard Wyands (piano), Ron McClure (bass), Tony Reedus (drums)
recorded 1996


----------



## starthrower




----------



## prlj

]

Yeah, it's about as basic as one can get, but damn if it isn't my favorite Miles. 

*Miles Davis - In a Silent Way*


----------



## Floeddie

*Wayne Shorter - The All Seeing Eye*

There are some major players on this album, including Freddie Hubbard, Herbie Hancock, & Joe Chambers. It's an earlier album in his repertoire, one I much like.


----------



## Floeddie

*McCoy Tyner - Nights of Ballads & Blues*


----------



## starthrower

Great set of music!


----------



## SanAntone

*Sasha Berliner* | _Onyx_ (2022)






Sasha Berliner is a young vibraphonist and Onyx is her second album. I discovered her from an online music magazine I read Post Genre which published an interview with Berliner in its latest issue. In the interview there were a couple of quotes which resonated strongly with me, and caused me to want to listen to her music.

Here are the quotes:

"Genre is more of a marketing tool. It is also, perhaps, a way for people to initially grasp on to music. But the insistence on genre forces people to just scratch the surface of music. Emphasis on the idea of genre can limit a songwriter because it may restrict them to a very specific timbre or collection of sounds. The concern should be whether certain things sound good together, not from which category you pull them. When composing, I draw on ideas of sounds I have heard throughout my life and how they can fit together without needing to label them."

"Concepts like harmony are still important, but even those are approached primarily as a means of bringing out the more human elements of the music. Stefon has found a way to create advanced harmony that goes beyond the basic ideas of major and minor and digs into the roots of human expression. In the real world, life is more complex than pure happiness or sadness. How do you communicate fear, excitement, or bewilderment through music? There are so many complex emotions that can’t be expressed through strict adherence to concepts of music theory. Stefon taught me how to better convey those emotions through music."

Shepherd, Rob. "True Voice: A Conversation with Sasha Berliner" Post Genre. August 9, 2022. Accessed 8/21/2022. (link)


----------



## tortkis

Destinations Unknown - Alex Sipiagin (Criss Cross, 2011)








Alex Sipiagin (trumpet), Chris Potter (tenor sax), David Binney (alto sax), Craig Taborn (piano, fender rhodes), Boris Kozlov (bass), Eric Harland (drums)


----------



## Jay




----------



## starthrower

Recorded November 1977 in Munich.


----------



## Barbebleu

Sorcerer - Miles Davis. Superb.


----------



## Floeddie

*Nancy Wilson: Greatest Hits (1999)*





I've been listening to Nancy off and on again since the early Sixties, as she was a performer occasionally on the Ed Sullivan Show on Sunday night TV. The elements herein are female vocal, soul, smooth, contemporary, orchestral, jazz. I find this suitable for a visit with a martini or two with a water chaser when I am looking to mellow out. This music does not pair well with Bartok or Berg.


----------



## SanAntone

"Combining the verse of Latin Mass with early medieval folk songs, electronic manipulations and improvised instrumentation, Secular Psalms takes a postmodernist approach of freewheeling influences. Douglas finds his strengths most clearly when focusing on instrumental mood music, such as on the ambient meditation of opener “Arrival,” where Douglas’ serpentine, high-register trumpet melody intertwines with the rhythmic consistency of Berlinde Deman’s tuba. “Edge Of Night,” meanwhile, artfully pairs Deman’s rich tenor with the distorted low-end bowing of Tomeka Reid’s cello to create the nocturnal atmosphere of its title." (Downbeat)

*Secular Psalms:* Arrival; Mercy; We Believe; Agnus Dei; Instrumental Angels; If I’m In Church More Often Now; Hermits and Pilgrims; Righteous Judges; Ah Moon; Edge Of Night. (53.07)

*Personnel:* Dave Douglas, trumpet, voice; Berlinde Deman, serpent, tuba, voice; Marta Warelis, piano, prepared piano, pump organ; Frederik Leroux, guitars, lute, electronics; Tomeka Reid, cello; Lander Gyselinck, drums, electronics.


----------



## Barbebleu

Backlash - Freddie Hubbard. Excellent. This is the first of three terrific albums he recorded for Atlantic in the mid to late sixties with the estimable James Spaulding on alto and flute.


----------



## Rogerx

Rolf Kuhn & Tri-O: Close Up

Rolf Kuhn (clarinet), Matthias Schriefl (trumpet)

Tri-O


----------



## Jay




----------



## SanAntone




----------



## Rogerx

The Black Motion Picture Experience

The Cecil Holmes Soulful Sounds


Legrand, Michel (1932-2019)
Preston, Billy (b.1946)
Strauss, Richard (1864-1949)


----------



## Barbebleu

Terje Rypdal - Vossabrygg. Excellent. A little-known gem from the ECM vault.


----------



## Floeddie




----------



## Rogerx

LIVE: The 'Authorized Bootleg'

Joey DeFrancesco


----------



## Floeddie

Lee Ritenour & Larry Carlton (1995)


----------



## starthrower

2 CD set released in 2012

A great archival release!


----------



## Rogerx

On a Friday Evening

Bill Evans Trio


Berlin, I: How deep is the ocean
Davis, M: Nardis
Ellington, M: Blue Serge
Evans, B: T.T.T. (Twelve Tone Tune)


----------



## Floeddie

JaZZ cOVER:





A fine Kanno Yoko composition 3:46 

Tags: forlorn, sad, depressed, beautiful


----------



## starthrower

2017 Mac Avenue Records

I was looking for something a little different than the usual hard bop fare and I found this album which has a strong gospel flavor. A very fine album.


----------



## Barbebleu

Albert Ayler - The Last Album. Very Albert, very free, very good.


----------



## Wigmar

Georges Brassens, album no 3, "Chanson pour l'Auvergnat", recorded 1953-56


----------



## Barbebleu

Last Dance - Keith Jarrett and Charlie Haden. Fine stuff from the 2007 session that produced their other excellent album, Jasmine. Relaxed high quality music-making from two masters.


----------



## Rogerx

Moanin'

Art Blakey


Blakey, Art
Golson, Benny
Merritt, Jymie
Morgan, Lee
Timmons, Bobby


----------



## Barbebleu

Karuna Supreme - John Handy and Ali Akbar Khan. Brilliant.


----------



## Floeddie

For the dog days of August, this one is HOT!


----------



## starthrower

Recorded live in SF, 1999 / 2000 Concord Records
Featuring Byron Landham, Paul Bollenback, Phil Upchurch









2006 Concord Records
Featuring Bobby Hutcherson, George Coleman, Ron Blake, Byron Landham


----------



## Rogerx

Parallel Motion

Yellowjackets


----------



## OCEANE

I like Jazz and love Bach, and thanks Jacques Loussier Trio give me all.
Though the trio has gone, they are always the best cross-over jazz trio in my heart as well as in many others'.


----------



## Jay

Steve Marcus' "Count's Rock Band," early jazz-rock with Larry Coryell

BTW, anyone else seeing advertising banner pop-ups at the bottom of the screen?


----------



## Floeddie

Rogerx said:


> Parallel Motion - Yellowjackets


Oh yeah! A new album 2022. Thanks!

Here's Yellowjackets & WDR Big Band with new arrangements from older tracks. Good Stuff!!!


----------



## tortkis

Strings & Things - Jamaaladeen Tacuma & Mary Halvorson


----------



## Rogerx

I Always Thought My Thoughts Were Me

Dave Sear


----------



## norman bates

very interesting and creative vocal jazz album, it's very progressive, almost avantgarde but with a childlike atmosphere.


----------



## Rogerx

Inside Rhythmic Falls

Aruán Ortiz, Andrew Cyrille, Mauricio Herrera, Emeline Michel, Marlène Ramírez-Cancio


----------



## Rogerx

Grace

JD Allen


----------



## Philidor

Sometimes I am into such intimate music ...

*Tord Gustavsen Trio: The Other Side*

Tord Gustavsen, Piano
Sigurd Hole, Bass
Jarle Vespestad, Drums 










So great ...


----------



## Jay




----------



## tortkis

Halloween, the Sequel - Paul Smoker/Vinny Golia Quartet








Halloween, the Sequel, by Paul Smoker/Vinny Golia Quartet


7 track album




paulsmoker.bandcamp.com




Paul Smoker (trumpet), Vinny Golia (baritone sax, flute), Ken Filiano (bass), Phil Haynes (drums)
recorded 1997


----------



## Rogerx

Karma

Pharoah Sanders


Davis, Richard
Sanders, Pharoah
Smith, Dr. Lonnie
Spaulding, James
Watkins, Julius
Workman, Reggie


----------



## Simon Moon

norman bates said:


> very interesting and creative vocal jazz album, it's very progressive, almost avantgarde but with a childlike atmosphere.



Thanks for posting this! Never heard them, but they are right up my alley.

I agree, not quite avant-garde in the terms normally associated with jazz, but certainly progressive.

Speaking of progressive, there are a few moments here and there which remind me of some Canterbury prog.

I hear a bit of Kew Rhone.


----------



## Red Terror




----------



## Jay




----------



## Rogerx

The Next Door

Julia Hülsmann Quartet


Hülsmann, Julia
Muellbauer, Marc


----------



## Rogerx

Consider The Source

Ramsey Lewis Trio



trad.: Black is the Colour
Bizet: Carmen
Loewe, F: My Fair Lady: On the street where you live
Mayfield: Please Send Me Someone To Love
Porter, C: I get a kick out of you
Porter, C: I Love Paris
Porter, C: Love For Sale
Rimsky Korsakov: Song of the Hindu Guest (from Sadko)
Rodgers, R: My Funny Valentine


----------



## Floeddie

It helps to post listening examples of these jazz works for one to experience, most likely for the first time in many cases. To those who do, I say thanks 🙏


----------



## Rogerx

Dedicated To You

Erwin Hoorweg, Boudewijn Lucas, Martin Verdonk, Benjamin Herman, Shirma Rouse, Kim Hoorweg, Dusty Ciggaar, Julien Hervé, Jeffrey Bruinsma, Brian Zalmijn


----------



## SanAntone

*Thelonious Monk American Composer*
Thelonious Monk: American Composer was the first fully-rounded documentary about Thelonious Monk, a terribly misunderstood man and musician finally given his due as a true original of American music.
Directors Toby Byron, Multiprises


----------



## Barbebleu

Miles Davis - Bootleg Series Vol. 7, That’s What Happened. 3 CDs of Miles’ late flourishing between 1982 and 1985. I’ve listened to CD 1 and it is rather good. If 2 and the live concert on 3 are of the same standard I am in for a treat.


----------



## tortkis

Barbebleu said:


> Miles Davis - Bootleg Series Vol. 7, That’s What Happened. 3 CDs of Miles’ late flourishing between 1982 and 1985. I’ve listened to CD 1 and it is rather good. If 2 and the live concert on 3 are of the same standard I am in for a treat.


I received the box set yesterday and I am now listening to CD 1. I love this period of Miles Davis band because there are something positive, relaxed and lively in the music. It is interesting to hear J.J. Johnson in a duo session (Miles played keyboards) and a blues with the band.


----------



## Floeddie

*Hiromi - I've Got Rhythm*




I had the great fortune of seeing Hiromi play live, accompanied by the PubliQuartet of classical fame at the MIM in Phoenix. It was truly a unique experience. There are many orchestral compositions with jazz as an influence by many performers. This show was different, the music was primarily jazz with PubliQuartet supplying the classical influence. This lady is truly a "live wire", she fully captivated a normally conservative audience. Don't miss her if you get the chance!!!! 5 of 5 stars, most definitely the best score I've ever given around here!


----------



## SanAntone

*Julia Hülsmann Quartet : *_The Next Door_

Julia Hülsmann, piano; Uli Kemperdorff, tenor saxophone; Marc Muellbauer, double bass; Heinrich Köbberling, drums 

ECM Records






_Since their 2019 debut recording, Not Far From Here, the Julia Hülsmann Quartet has spent a lot of time touring and gigging, refining their sound and improvisational aesthetic. The group’s latest recording, The Next Door, is primarily comprised of originals by quartet members, alongside a scintillating rock cover. The addition of tenor saxophonist Uli Kemperdorff to Hülsmann’s long standing trio with bassist Marc Muellbauer and drummer Heinrich Köbberling has been a winning choice. Kemperdorff’s florid runs contain a sunniness that buoys the musical atmosphere. Muellbauer often finds voicing for bass lines that eschew roots in favor of higher overtones, allowing his playing to blend with the chordal choices made by Hülsmann. Köbberling’s gifts are versatile. He knows when to press the players forward and instead to focus on fills and syncopation. (_Sequenza21_)_


----------



## Rogerx

Wild Is The Wind

Nina Simone, Rudy Stevenson (guitar), Bobby Hamilton (drums), Lisle Atkinson (double bass), Rudy Stevenson (flute), Lisle Atkinson (upright bass), Lisle Atkinson (bass guitar), Al Shackman (guitar), Al Shackman (harmonica)


----------



## Floeddie

*The Definitive Chick Corea (2CD)*


----------



## Philidor

In memoriam Pharoah Sanders.

*Pharoah Sanders: Karma (1969)*

Pharoah Sanders, tenor sax
Leon Thomas, vocal and percussion
Julius Watkins, french horn
Lonnie Liston Smith, Jr., piano
Reggie Workman, bass

only on Track #1:
James Spaulding, flute
Richard Davis, bass
William Hart, drums
Nathaniel Bettis, percussion

only on Track #2:
Ron Carter, bass
Freddie Waits, drums


----------



## tortkis

Searching in Grenoble: The 1978 Solo Piano Concert - Mal Waldron (Tompkins Square)


----------



## Rogerx

The Impulse Story



Davis, Richard
Hart, Billy
Jarvis, Clifford
McBee, Cecil
Sanders, Pharoah
Spaulding, James
Watkins, Julius
Workman, Reggie


----------



## Red Terror




----------



## starthrower




----------



## Barbebleu

Very sad to hear of the death of Pharaoh Sanders. Sensational musician. Now playing Tauhid.


----------



## starthrower




----------



## SanAntone

*The Genius of Charlie Parker, Vol. 1
Charlie Parker and his orchestra








*

These Verve "Genius" releases, most of which were issued posthumously, are a really good way to hear Parker's music.


----------



## Jay




----------



## Rogerx

The Bad Plus

The Bad Plus


The latest album from American jazz group The Bad Plus is the first since the trio became a quartet, swapping out pianist Orrin Evans for guitarist Ben Monder and saxophonist Chris Speed.


----------



## thejewk

On a bit of a Miles Davis kick atm. Been listening to some of the 70s stuff I've neglected, in particular Pangaea, On the Corner and Miles Davis at the Fillmore. Really funky stuff.


----------



## Floeddie

The Stanley Clarke Band





Good stuff if you like old school fusion & funk


----------



## Rogerx

Live At The North Sea Jazz Festival '92

Rosenberg Trio



Kosma: Les feuilles mortes
Reinhardt, Django: Nuages
Rollins, Sonny: Pent-Up House
Waller: Honeysuckle Rose


----------



## Barbebleu

Bordeaux - Keith Jarrett. From Keith’s last tour. More introspective than usual. Rather good though.


----------



## SanAntone

*JOHN SCOFIELD | John Scofield*










_John Scofield’s first-ever solo album, his second as a leader for ECM, fits that bill. Spare, honest and true to his wide angle view of American music, it taps deeply into jazz, pop, rock and folk. And it works, because Scofield is as fluent in the glow-and-flow language of stinging bebop as he is in the plangent effects and curling cries of blues and rock. When he mixes both in the same solo, there’s no one quite like him._

_On a menu of five originals and eight covers, the uptempo swingers are especially savory. Scofield slips pre-recorded comping beneath vaulting, cliché-free solos on American songbook standards “It Could Happen To You” and “There Will Never Be Another You” as well as his own springy blues “Elder Dance.” Early rock gets the nod on Buddy Holly’s “Not Fade Away,” with a second voice duetting in real time via looper, and on the keenly twanging delta prison classic “Junco Partner.” From Hank Williams comes a break-your-heart wistful “You Win Again.” Scofield’s Monkish eight-bar classic “Since You Asked” is hypnotic. _ (*Downbeat*)


----------



## Barbebleu

SanAntone said:


> *JOHN SCOFIELD | John Scofield*
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _John Scofield’s first-ever solo album, his second as a leader for ECM, fits that bill. Spare, honest and true to his wide angle view of American music, it taps deeply into jazz, pop, rock and folk. And it works, because Scofield is as fluent in the glow-and-flow language of stinging bebop as he is in the plangent effects and curling cries of blues and rock. When he mixes both in the same solo, there’s no one quite like him.
> 
> On a menu of five originals and eight covers, the uptempo swingers are especially savory. Scofield slips pre-recorded comping beneath vaulting, cliché-free solos on American songbook standards “It Could Happen To You” and “There Will Never Be Another You” as well as his own springy blues “Elder Dance.” Early rock gets the nod on Buddy Holly’s “Not Fade Away,” with a second voice duetting in real time via looper, and on the keenly twanging delta prison classic “Junco Partner.” From Hank Williams comes a break-your-heart wistful “You Win Again.” Scofield’s Monkish eight-bar classic “Since You Asked” is hypnotic. _ (*Downbeat*)


We know what Downbeat thinks. What’s your take?


----------



## SanAntone

Barbebleu said:


> We know what Downbeat thinks. What’s your take?


I wish it had truly been a solo record, instead he over-dubbed his solos over himself comping. A bit low energy, and I'm not sure why he made this record. Of course, Scofield is a phenomenal talent, and nothing he does is without merit, but I am somewhat underwhelmed with this record.

Of course I've just listened to it one time.


----------



## Barbebleu

SanAntone said:


> I wish it had truly been a solo record, instead he over-dubbed his solos over himself comping. A bit low energy, and I'm not sure why he made this record. Of course, Scofield is a phenomenal talent, and nothing he does is without merit, but I am somewhat underwhelmed with this record.
> 
> Of course I've just listened to it one time.


I concur. Not Scofield at his best.


----------



## Barbebleu

Compassion - Cecil McBee Sextet. Very fine live post-bop album from this excellent band. Chico Freeman in particular is on terrific form.


----------



## Rogerx

Fine And Mellow

Zoot Sims (saxophone), Eddie Davis (saxophone), Tommy Flanagan (piano), Clark Terry (flugelhorn), Louie Bellson (drums), Clark Terry (trumpet), Ray Brown (bass), Joe Pass (guitar), Harry Edison (trumpet), Ella Fitzgerald (vocalist)


----------



## mikeh375

^^^ I love, love, love Ella but she has a superb rival in scat world, a modern virtuoso with crystal clear licks and tuning. Sometimes I think she's actually better than Ella!!


----------



## Neo Romanza

NP:

Dave Holland Big Band: _What Goes Around_


----------



## Neo Romanza

thejewk said:


> On a bit of a Miles Davis kick atm. Been listening to some of the 70s stuff I've neglected, in particular Pangaea, On the Corner and Miles Davis at the Fillmore. Really funky stuff.


Give a listen to the compilation _Get Up With It_ whenever you get the chance. Oh and _Agharta_ as well. _Get Up With It_ has one of my favorite Miles pieces, _He Loved Him Madly_, which was his tribute to Duke Ellington --- one of his heroes. Don't expect Elllingtonian sonorities however, this is Miles in ambient mode and over the duration of 30 minutes it's just so beautiful or, at least, for me this is the case. There's a little bit of trumpet playing from Miles, but it mostly has Miles playing the organ in a brooding kind of way.


----------



## Jay




----------



## Floeddie

Neo Romanza said:


> NP:
> 
> Dave Holland Big Band: _What Goes Around_


----------



## starthrower




----------



## Rogerx

Verve Unmixed

Gershwin, George (1898–1937)
Rodgers, Richard (1902–79)
Tiomkin, Dimitri (1894-1979)

Willie Bobo (vocalist), Jose Mangual (percussion), Richard Davis (bass guitar), Sonny Henry (guitar), Bobby Brown (tenor saxophone), Melvin Lastie (cornet), Bobby Brown (alto saxophone), Carmen McRae, Quincy Jones, Quincy Jones And His Orchestra, Lisle Atkinson (upright bass), Bobby Hamilton (drums), Rudy Stevenson (guitar), Shirley Horn, Ella Fitzgerald, Barney Kessel (guitar), Billie Holiday, Lisle Atkinson (percussion), Rudy Stevenson (flute), Sarah Vaughan, Aaron Bell (double bass), Lennie McBrowne (drums), Kenny Burrell (electric guitar), Paul Quinichette (saxophone), Tony Scott (clarinet), Charlie Shavers (trumpet), Wynton Kelly (piano)


----------



## Neo Romanza

NP:

Miles Davis: _Sorcerer_ (MFSL hybrid SACD)










Next up:

Keith Jarrett: _At The Deer Head Inn_


----------



## Neo Romanza

NP:

Keith Jarrett: _At The Blue Note - The Complete Recordings_ (Disc 1)


----------



## Neo Romanza

SanAntone said:


> I wish it had truly been a solo record, instead he over-dubbed his solos over himself comping. A bit low energy, and I'm not sure why he made this record. Of course, Scofield is a phenomenal talent, and nothing he does is without merit, but I am somewhat underwhelmed with this record.
> 
> Of course I've just listened to it one time.


Never have been a Scofield fan, but I'm sure he made the record because he wanted to --- he doesn't need anyone's permission to do what he wants. Why did Chick Corea make so many fusion albums when his 'home turf' is actually in the bebop and post-bop idioms? Why did Miles Davis change stylistic directions all the time? These are rhetorical questions and the answer always leads back to the same thing: because this is what they wanted to do. We can choose to listen or not and we're under no obligation to like everything an artist does.


----------



## Barbebleu

Neo Romanza said:


> NP:
> 
> Miles Davis: _Sorcerer_ (MFSL hybrid SACD)
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Next up:
> 
> Keith Jarrett: _At The Deer Head Inn_


Two crackers! Nice choices.


----------



## Barbebleu

Neo Romanza said:


> NP:
> 
> Keith Jarrett: _At The Blue Note - The Complete Recordings_ (Disc 1)


Another belter. Thanks for the reminders Neo!


----------



## Neo Romanza

Barbebleu said:


> Two crackers! Nice choices.





Barbebleu said:


> Another belter. Thanks for the reminders Neo!


Yeah, I'm rather enjoying them I must say. I never was much of a Jarrett fan until a couple of months ago I sat down and forced myself to listen to _My Song_ (of which at the time I owned along with a few other 'European Quartet' releases but never really listened to them) and loved this album. As a result, I ended up buying A LOT of his recordings and here's what I bought:

_At The Blue Note: The Complete Recordings_ box set
_The Complete Sun Bear Concerts_ box set
_Setting Standards: The New York Sessions_ box set
_The Impulse Years_ box set
_Original Album Series_ (budget box set - 5 albums in all)
_The Köln Concert
Solo Concerts: Bremen/Lausanne
Vienna Concert
Personal Mountains
Sleeper
Birth
The Survivors' Suite
Eyes of the Heart
Standards Live
Standards in Norway
Still Live
Changeless
Tribute
The Cure
Bye Bye Blackbird
Tokyo '96
After the Fall
Whisper Not
Inside Out
Yesterdays
Always Let Me Go
My Foolish Heart: Live At Montreux
The Out-of-Towners
Up For It
Somewhere
Ruta and Daitya _(w/ Jack DeJohnette)
_Jasmine_ (w/ Charlie Haden)
_Last Dance_ (w/ Charlie Haden)
_Gary Burton & Keith Jarrett_


----------



## Neo Romanza

NP:

Duke Ellington & His Orchestra: _Such Sweet Thunder_


----------



## Neo Romanza

Barbebleu said:


> Terje Rypdal - Vossabrygg. Excellent. A little-known gem from the ECM vault.


Not little-known by me! I own every Terje Rypdal album and, yes, _Vossabrygg_ is a good one --- basically, it's a revisitation of his _Bitches Brew_-inspired early work with some new twists.


----------



## Neo Romanza

NP:

Chick Corea: _Friends_


----------



## Barbebleu

Neo Romanza said:


> Not little-known by me! I own every Terje Rypdal album and, yes, _Vossabrygg_ is a good one --- basically, it's a revisitation of his _Bitches Brew_-inspired early work with some new twists.


Yep, I have all Rypdal’s stuff too. Brilliant musician.


----------



## Neo Romanza

Barbebleu said:


> Yep, I have all Rypdal’s stuff too. Brilliant musician.


Yes, indeed. This may be a difficult question, but what is your favorite Rypdal album?


----------



## Neo Romanza

NP:

Herbie Hancock: _The Complete Columbia Album Collection_ (Disc 11 - _Herbie Hancock Trio_)


----------



## Barbebleu

Neo Romanza said:


> Yes, indeed. This may be a difficult question, but what is your favorite Rypdal album?


Off the top of my head Odyssey but both of the albums with Vitous and De Johnette would be close. Also Chaser!


----------



## Neo Romanza

Barbebleu said:


> Off the top of my head Odyssey but both of the albums with Vitous and De Johnette would be close. Also Chaser!


Great choices! My Rypdal desert island pick would be this one:










Followed by these two:



















As for his sideman (session) work, this is a long-standing favorite:


----------



## Neo Romanza

NP:

The Thelonious Monk Orchestra _At Town Hall_


----------



## Kjetil Heggelund

"I go in thousand thoughts" (bad translation) Probably more a folk music album, but she's backed with jazzmusicians on piano, contrabass and drums.


----------



## Floeddie

Frank Zappa - The Grand Wazoo (Think it over)




"Jazz is not dead, it just smells funny" - FZ


----------



## Neo Romanza

NP:

Charles Lloyd: _The Call_


----------



## Neo Romanza

NP:

The Modern Jazz Quartet: _Lonely Woman_


----------



## Neo Romanza

NP:

Keith Jarrett: _At The Blue Note - The Complete Recordings_ (Disc 2)










With Jarrett being physically unable to play anymore, I'm grateful for all the music he has given us. One of the most lyrical pianists I've come to know. I know I'm not the only one who has been touched by his music. Such an unbelievable musician. I read an article about him where he states that he still dreams of playing the piano. So sad to read.


----------



## Jay




----------



## Neo Romanza

NP:

Charles Lloyd: _Voice in the Night_


----------



## thejewk

Further to my talking about Miles up thread, I got hold of Ian Carr's book about him and I've been enjoying it a lot. It got me to dig out a small box set from Proper Records in the UK called Boss Bird, which is most of Charlie Parker's recorded sessions from 44-51, to have another listen to Miles' early playing with Parker's groups. Wonderful stuff.

This little boxes have been out of print for a while, but I have a store of them and I've been listening through the Art Tatum, Duke Ellington and Dizzy Gillespie sets as well. So much good stuff.


----------



## Neo Romanza

NP:

SFJAZZ Collective: s/t


----------



## Neo Romanza

thejewk said:


> Further to my talking about Miles up thread, I got hold of Ian Carr's book about him and I've been enjoying it a lot. It got me to dig out a small box set from Proper Records in the UK called Boss Bird, which is most of Charlie Parker's recorded sessions from 44-51, to have another listen to Miles' early playing with Parker's groups. Wonderful stuff.
> 
> This little boxes have been out of print for a while, but I have a store of them and I've been listening through the Art Tatum, Duke Ellington and Dizzy Gillespie sets as well. So much good stuff.


And just think, if we were to combine the discographies of Parker, Dizzy, Ellington, Tatum and Miles, this would be merely a fraction of the jazz that's out there. Mind-blowing to think about really.


----------



## Neo Romanza

NP:

Chick Corea: _Return To Forever_


----------



## starthrower

Release date is October 7th.


----------



## Neo Romanza

NP:

Keith Jarrett: _At The Blue Note - The Complete Recordings_ (Disc 4)


----------



## Neo Romanza

NP:

McCoy Tyner: _Sama Layuca_


----------



## FrankE

Schwartzkopf Takes the C for Flagstad by Industrial Jazz Group 





I don't like jazz I was looking for examples of opera singers standing in to sing notes for singers who couldn't reach those notes as mentioned in another thread, this came up and it amused me as a tune title.


----------



## Neo Romanza

FrankE said:


> I don't like jazz...


Well...thanks for stopping by!


----------



## SanAntone

*Gentiane MG | Walls Made of Glass*
℗ 2022 TPR Records
Released on: 2022-09-23






Gentiane MG
Levi Dover
Louis-Vincent Hamel
Engineer: Pierre Girard
Producer: Gentiane MG
Producer: Francois Bourassa
Engineer: Richard Addisson
Music Publisher: PHAZEtwo
Composer: Gentiane MG

My first impression upon hearing Gentiane MG's work for the first time was that her writing is phenomenally brilliant. She is a standout talent. Michaud-Gagnon's music flows masterfully with poise and grace. She commands the piano with elegance, subtlety, and a refined quiet knowing.

Her music and artistry are mysteriously intriguing, with the enchanting deep influences of the great impressionistic French composers like Ravel and Debussy from cultural roots lying deep within Gentiane's sublime approach. Phenomenally arranged sound colors are expressed with influences ranging from rock to classical with Gentiane's dreamy stream of consciousness fused with French impressionism and even McCoy Tyner-like fourths voicings. A bliss-listen results from MG's intuitive approach. A yes to this! (By Kerilie McDowall | September 27, 2022 | All About Jazz)


----------



## Bwv 1080

Brad Mehldau does Yes


----------



## Barbebleu

Chick Corea - The Montreux Years. Very good little selection. Great sound too.


----------



## Neo Romanza

Barbebleu said:


> Chick Corea - The Montreux Years. Very good little selection. Great sound too.


Yep, I picked this up when it came out. I hope this is just a little sample of what is to come and all of his Montreux concerts get released in a box set.


----------



## Neo Romanza

NP:

Nils Petter Molvær: _Hamada_


----------



## Floeddie

Neo Romanza said:


> NP:
> 
> Nils Petter Molvær: _Hamada_


I couldn't find this one, but here's what appears to be most recent:

Nils Petter Molvær: Stitches (2021)


----------



## Neo Romanza

Floeddie said:


> I couldn't find this one, but here's what appears to be most recent:
> 
> Nils Petter Molvær: Stitches (2021)


Yeah, I don't do the streaming thing. Everything I post here (and elsewhere) are CDs from my own collection. I prefer Molvær's older recordings. His album _Khmer_, for example, would be a desert island disc of mine --- of course, this desert island would have hold 7,000 more recordings.


----------



## Floeddie

Neo Romanza said:


> Yeah, I don't do the streaming thing.


One can stream for *free* with Spotify. All you have to do is create an account with an email address. You will *never* be spammed. Log in on a free account, and you will get advertising between tracks on occasion. Spotify is about as non-invasive as a web site can get.

I actually used Spotify for two years w/o paying with no problem. I share a family account with my son so an ad free streaming service is costing me $7.25/month. I am not a shill. Spotify is superior to YouTube by long and far away. Spotify is closing the gap on YouTube very rapidly. They are No. 2 for streaming on a report I saw a few months ago. Spotify is not perfect, however. Send me a PM if interested.


----------



## Neo Romanza

Floeddie said:


> One can stream for *free* with Spotify. All you have to do is create an account with an email address. You will *never* be spammed. Log in on a free account, and you will get advertising between tracks on occasion. Spotify is about as non-invasive as a web site can get.
> 
> I actually used Spotify for two years w/o paying with no problem. I share a family account with my son so an ad free streaming service is costing me $7.25/month. I am not a shill. Spotify is superior to YouTube by long and far away. Spotify is closing the gap on YouTube very rapidly. They are No. 2 for streaming on a report I saw a few months ago. Spotify is not perfect, however. Send me a PM if interested.


Oh, I have a free account on Spotify, which I just use for sampling albums I'm interested in buying. I guess I should've been more clear: I don't rely on streaming in order to hear the music I'm interested in. I only rely on my own collection, which if I'm guessing would include well over 9,000 recordings at this juncture.


----------



## Floeddie

Neo Romanza said:


> Oh, I have a free account on Spotify, which I just use for sampling albums I'm interested in buying. I guess I should've been more clear: I don't rely on streaming in order to hear the music I'm interested in. I only rely on my own collection, which if I'm guessing would include well over 9,000 recordings at this juncture.


I actually do the same for the most part. When in my car or on my bike, I use Spotify now and then. But the car has a 32GB infotainment system that I have preloaded with music, and it's been a year, so it's time to update the drive with fresh material. I gave up on Amazon earlier this year, they have become...

My collection is only about 2500 albums..... I moved around quite a bit so I shrank my vinyl collection. I can't afford to be an audiophile on my retirement income. Nutz!


----------



## Simon Moon

Loving Mary Halvorson's newest from May of 2022, Amaryliss

Adam O’Farrill: trumpet
Jacob Garchik: trombone
Mary Halvorson: guitar
Patricia Brennan: vibraphone
Nick Dunston: bass
Tomas Fujiwara: drums


----------



## Simon Moon

Also, Janel Leppin - Ensemble Volcano Ash (July, 2022)

Pretty creative stuff, this.

Janel Leppin – Cello, Keyboards
Luke Stewart – Bass
Kim Sator – Harp
Anthony Pirog – Guitar
Larry Ferguson – Drums
Sarah Hughes – Alto Saxophone
Brian Settles – Tenor Saxophone


----------



## starthrower

Barbebleu said:


> Chick Corea - The Montreux Years. Very good little selection. Great sound too.


Considering all of the years Chick played at Montreux I'd have expected a box set.


----------



## Neo Romanza

Floeddie said:


> I actually do the same for the most part. When in my car or on my bike, I use Spotify now and then. But the car has a 32GB infotainment system that I have preloaded with music, and it's been a year, so it's time to update the drive with fresh material. I gave up on Amazon earlier this year, they have become...
> 
> My collection is only about 2500 albums..... I moved around quite a bit so I shrank my vinyl collection. I can't afford to be an audiophile on my retirement income. Nutz!


Yeah, I don't use Amazon much anymore either, especially after having one incident after another occur (wrong delivery addresses, late shipments, etc.). I was a Prime member up until about a week ago when I decided to pull the plug on them. I only use them now for household things. They have become unreliable and markedly inconsistent with each each passing week. Now, when I want a buy a CD, I'll get on Discogs, eBay or just buy it from the record label's webstore (granted that they have one). When I'm looking at buying classical, which isn't often these days, I'll use Presto Classical, which are a good service and have really stepped up their game. I'll also use JPC, but their shipping is, in most cases, on the slower side, but they're still a good reliable service.


----------



## Neo Romanza

starthrower said:


> Considering all of the years Chick played at Montreux I'd have expected a box set.


Indeed, especially given the fact that he has recently passed on --- it would've been a nice tribute to him. Hopefully, a box set will happen in the future. I was talking to some other people about this and perhaps they're just seeing how this will sell before they release something more encompassing.


----------



## Neo Romanza

NP:

_The Complete Bill Evans On Verve_ (Disc 8)










I own the first issue of this box set (i. e. the 'rust box'), but I seldom listen to it due to the fact that I'm not up-to-date with my tetanus vaccine.  But this reissue certainly fits the bill (no pun intended) and I bought it upon release many years ago. Looking at the current prices of Bill Evans recordings on CD or vinyl and I'm glad I bought the bulk of my collection more than a decade ago. Geez...ridiculous prices.


----------



## starthrower

Art Ensemble of Chicago : The Third Decade 

First listen to this one as I go through their ECM box set. An excellent album!


----------



## Neo Romanza

starthrower said:


> Art Ensemble of Chicago : The Third Decade
> 
> First listen to this one as I go through their ECM box set. An excellent album!


I've got this set as well and, while I'm not completely enamored with all of their music, they have produced some unusual yet attractive gems and this box set is proof.


----------



## Neo Romanza

NP:

Keith Jarrett: _Sun Bear Concerts_ (Disc 1 - Kyoto, November 5, 1976)


----------



## tortkis

Kavuma (Ubuntu)








Mark Kavuma (trumpet), Mussinghi Brian Edwards (tenor sax), Ruben Fox (tenor sax), Artie Zaitz (guitar), Reuben James (piano), Kyle Poole (drums), Conor Chaplin (bass)
recorded 2017

Very nice, warm, swinging, straight ahead hardbop jazz.


----------



## starthrower




----------



## Jay




----------



## Rogerx

20/20

Spyro Gyra


----------



## Neo Romanza

NP:

Keith Jarrett: _At The Blue Note - The Complete Recordings_ (Disc 6)










This has been such a marvelous set. All of the live sets were just fantastic. Next up in my Jarrett trio recordings to tackle will be _After the Fall_ and _Changeless_. Definitely looking forward to it. I will also continue to explore the _Sun Bear_ box set.


----------



## starthrower

1998


----------



## Neo Romanza

NP:

The Chick Corea New Trio: _Past, Present & Futures_










The core of this trio is what makes up the sextet of Corea's called Origin. A fantastic group that have an interesting discography. There's an album called _Change_ and there's a 6-CD set _A Week At The Blue Note_. There's probably a few other releases, but their names slip my mind at the moment. Anyway, this particular trio is quite good with Avishai Cohen on bass and Jeff Ballard on drums.


----------



## starthrower

Jeff Ballard is really good! But he doesn't seem to get the accolades that some other jazz drummers do.


----------



## Neo Romanza

starthrower said:


> Jeff Ballard is really good! But he doesn't seem to get the accolades that some other jazz drummers do.


That's true. He was great in Mehldau's trio, but also on Kurt Rosenwinkel's albums. He hasn't done a lot of work compared to many other drummers of his generation.


----------



## starthrower

Neo Romanza said:


> That's true. He was great in Mehldau's trio, but also on Kurt Rosenwinkel's albums. He hasn't done a lot of work compared to many other drummers of his generation.


Maybe he does more live work? I don't know? I have those Rosenwinkel albums he's on which are great. He was in a sax trio called Fly, but I don't have any of their albums.


----------



## Neo Romanza

starthrower said:


> Maybe he does more live work? I don't know? I have those Rosenwinkel albums he's on which are great. He was in a sax trio called Fly, but I don't have any of their albums.


That's quite possible. I really don't know much about him outside of his work with Mehldau and Rosenwinkel.


----------



## Floeddie

*Death And The Flower - Keith Jarrett (1974)*


A fine album, a meandering journey through space & time. I really enjoy this album. It's a proud addition to my library.


----------



## Floeddie

*Kenso - Sacred Dream I (00:02:46)*




_KENSO_ is a Jazz Rock/Fusion/Progressive Rock artist from Japan, Founded in 1974 - Still active

The music combines Progressive jazz with Prog Rock and Fusion. The emphasis is on performance and improvisation with complex themes, breaks, elaborated developments and arrangements which remind one of Hatfield And The North and Brand X. The musicianship is excellent. The structure is a modern Japanese take on the genres listed. I'm putting this here because it will probably get ignored elsewhere, and to me they are a recent discovery. The best term for them is eclectic. My gut instinct is that there is no one here that is aware of this music.


----------



## SanAntone

*Grant Green - Feelin’ The Spirit* LP (Blue Note Tone Poet Series)










Grant Green
Herbie Hancock
Butch Warren
Billy Higgins
Garvin Masseaux

Grant Green was _Feelin’ The Spirit_ on this deeply soulful 1962 date that is a sibling of sorts to the great guitarist’s sanctified 1961 album _Sunday Mornin’_. _Feelin’ The Spirit_, which was the 13th album the remarkably prolific artist recorded during his first two years on the label, found Green interpreting a set of five African American spirituals —“Just A Closer Walk With Thee,” “Joshua Fit The Battle Of Jericho,” “Nobody Knows The Trouble I’ve Seen,” “Go Down Moses,” “Sometimes I Feel Like A Motherless Child,” and “Deep River.” 

Joining him was a state-of-the-art modern jazz line-up featuring Herbie Hancock on piano, Butch Warren on bass, and Billy Higgins on drums, with Garvin Masseaux on tambourine. In the original liner notes, writer Joe Goldberg notes that Green approaches these songs “with affection, but as music to be played in his style. The result is a fascinating combination: the techniques of modern jazz, blues, and gospel, all applied to the spiritual.” (*blue note records*)


----------



## Neo Romanza

NP:

McCoy Tyner Big Band: _The Turning Point_


----------



## Neo Romanza

Floeddie said:


> *Death And The Flower - Keith Jarrett (1974)*
> 
> 
> A fine album, a meandering journey through space & time. I really enjoy this album. It's a proud addition to my library.


Awesome! I'm glad you enjoyed it. The second piece called _Prayer_ is especially gorgeous.


----------



## Neo Romanza

NP:

Rahsaan Roland Kirk: _Rahsaan - The Complete Mercury Recordings Of Roland Kirk_ (Disc 3)


----------



## Barbebleu

Monk’s Dream - Steve Lacy and Roswell Rudd. Very, very fine work by two terrific artists.


----------



## Neo Romanza

NP:

Thelonious Monk Quartet: _Misterioso_


----------



## Rogerx

Swallow Tales

John Scofield (guitar), Bill Stewart (drums), Steve Swallow (bass)



Scofield, John
Stewart, Bill
Swallow, Steve


----------



## Barbebleu

The Monterey Quartet - Dave Holland, Eric Harland, Chris Potter and Gonzalo Rubalcaba. Stellar playing from the 2007 Monterey Jazz Festival.


----------



## starthrower

Sampling two albums I'd like to pick up. Keith Jarrett: The Sun Bear Concerts, and Steve Kuhn w/ Joe Lovano: Mostly Coltrane. It's a great sounding quartet album with Joey Baron on drums.


----------



## Barbebleu

The Montreal Tapes - Charlie Haden’s Liberation Music Orchestra. Superlative live gig from 1989 catches this band in great form.


----------



## starthrower

Barbebleu said:


> The Montreal Tapes - Charlie Haden’s Liberation Music Orchestra. Superlative live gig from 1989 catches this band in great form.


I miss Charlie. He was a sweet guy with a big, soulful sound. I have the Egberto Gismonti, Joe Henderson, and Cherry/ Blackwell editions from those '89 concerts. Don't tell Metheny but I bought the bootleg CD of his performance.


----------



## Floeddie

Yellowjackets - Raising Our Voice


*YELLOWJACKETS ARE:*
Russell Ferrante: Piano & Synthesizers
Bob Mintzer: Woodwinds & EWI
Will Kennedy: Drums
Dane Alderson: Bass

Throughout their storied 43-year history, the Yellowjackets have recorded 25 albums, received 17 Grammy® nominations – won 2 – performed countless sold-out tours, and enjoyed worldwide critical acclaim and commercial success.

The Yellowjackets formed in the late 1970’s as the backup band for guitarist Robben Ford. They recorded their first album together in 1980. Shortly after that recording, however, Ford decided to part ways and go in a different musical direction. As a result, the modern day Yellowjackets were formed — a trio with Russell Ferrante, Jimmy Haslip and Ricky Lawson. Since then, and with the addition of Bob Mintzer, the Yellowjackets have gained and maintained prominence as one of jazz’s most influential and loved groups.

Over the years the band has undergone numerous lineup changes. Never failing to rise to the inevitable challenges of adjustment, the Yellowjackets - Russell Ferrante, William Kennedy, Bob Mintzer - have maintained an extraordinarily high quality of musicianship that is the rival of many but a surprise to no one who knows and appreciates the band and their music.

The most recent addition to the band adds Australian bass player Dane Alderson in to the mix. With his exceptional rhythmic sensibility and natural disposition toward groove, Dane brings a new energy to the band and adds a youthful approach to the music.


----------



## norman bates

Paul Bley - Alone again (1975)

This album reminds me for its atmosphere and use of space and silence as a sort of jazz equivalent of Musica Callada (Mompou).


----------



## Barbebleu

starthrower said:


> I miss Charlie. He was a sweet guy with a big, soulful sound. I have the Egberto Gismonti, Joe Henderson, and Cherry/ Blackwell editions from those '89 concerts. Don't tell Metheny but I bought the bootleg CD of his performance.


Saw him and the LMO in Glasgow in the eighties. They were fabulous but my goodness for a sweet guy he was a cantankerous so and so. His opening remarks were if anyone dares to take a photo he would terminate the gig immediately and that would be that. Being Glasgow I think he might have found his next gig a mite difficult with broken bones and broken musical instruments if he had walked off, regardless!😂


----------



## starthrower

Barbebleu said:


> Saw him and the LMO in Glasgow in the eighties. They were fabulous but my goodness for a sweet guy he was a cantankerous so and so. His opening remarks were if anyone dares to take a photo he would terminate the gig immediately and that would be that. Being Glasgow I think he might have found his next gig a mite difficult with broken bones and broken musical instruments if he had walked off, regardless!😂


Was he still doing drugs back then? I think his behavior improved after he cleaned up. Metheny jokingly remarked that Charlie was 18 years his senior but immature so that evened things out and they were best buddies..


----------



## tortkis

QB - Paul Smoker Trio








Paul Smoker (trumpet), Ron Rohovit (bass), Phil Haynes (drums), Anthony Braxton (alto sax on 3 tracks)
recorded 1984

Saeta reminded me of Bitches Brew.


----------



## thejewk

Felt like some big band swing this afternoon so broke out the LP of Duke Ellington and Count Basie from the early 60s where each band is given their own channel in the stereo mix. Mine's called Basie Meets Ellington, but I think it was called First Time! in the US. It's a great session if you like that sort of thing. Some really great rhythms and solo spots.


----------



## starthrower

Joyous encore!


----------



## tortkis

Ahmad Jamal Live in Paris (1971)








Ahmad Jamal (piano, fender rhodes), Jamil Nasser (bass), Frank Gant (drums)


----------



## starthrower

Red Hook Records CD 1002 / Released 2022

New album I just picked up. Trumpet, drums, and synthesizers that are used for a textural and electronica vibe. It's very nicely recorded with a big, expansive sound.


----------



## Barbebleu

Echoes of Prayer - Grachan Moncur III & The Jazz Composers Orchestra. Fantastic album from 1974 released on the JCOA label.


----------



## starthrower

1992 In + Out Records

Lester and band recorded live at the Moonwalker Club in Aarburg, Switzerland. Featuring Don Moye, Bob Stewart, Fank Lacy, Vinnie Johnson, and others.


----------



## Barbebleu

Good Vibes - Gary Burton. Ok but fairly routine for Gary. He has been more adventurous.


----------



## tortkis

With Grace In Mind - Dreamstruck (Fundacja Słuchaj)








Marilyn Crispell (piano), Joe Fonda (bass), Harvey Sorgen (drums)
recorded 2021


----------



## SanAntone

*George Russell: The Jazz Workshop* (RCA Victor)
George Russell (comp, arr, boombams), Art Farmer (t), Hal McKusick (as, f), Barry Galbraith (g), Bill Evans (p), Milt Hinton, Teddy Kotick (b), Joe Harris, Paul Motian and Osie Johnson (d). Rec. 1956






One of the most important jazz albums ever. Using just six players, Russell achieves wonderful orchestral textures within these 12 compositions, thanks partly to guitarist Galbraith, and introduces the world to modal jazz (and Bill Evans) en route. Strange new harmonies, polyrhythms, pantonality and extended composition – with Russell and Gil Evans, jazz just became a complete new zone of potentialities. More influential on the jazz community directly, on Miles, Coltrane and Oliver Nelson, than through its sales, this is the one that so many musicians still check out. A masterpiece of small group playing and a masterclass on the role of composition in the music. (jazzwise)


----------



## Rogerx

the sound of listening

Mark Guiliana


----------



## Rogerx

Belonging

Keith Jarrett (piano), Jan Garbarek (saxophones), Palle Danielsson (double bass), Jon Christensen (drums)


Recorded: 1974-04-25
Recording Venue: Arne Bendiksen Studio, Oslo


----------



## starthrower

Solo piano concert recorded October 17, 1988

Just got this one. Great music!


----------



## Rogerx

Sinatra And Jobim @ 50

Daniel Jobim


----------



## Jay




----------



## starthrower

Ron Carter: Finding the Right Notes | PBS


An intimate portrait of the quiet genius who brought the upright bass into the spotlight.




www.pbs.org





Superb new documentary film!


----------



## Rogerx

Somethin' Else

Cannonball Adderley


Davis, M: Somethin' Else
Kosma: Les feuilles mortes
Porter, C: Love For Sale


----------



## starthrower

Recorded November 1985
Ron Carter: bass
Al Foster: drums


----------



## starthrower

This tune is on the Joe Henderson album in trio form. Here's Mr. Carter's rendition from a Japanese release. It features two basses, piano and drums.


----------



## starthrower

1983 trio concert from Lugano. Some great performances of Eye of the Hurricane, Speak Like A Child, and several more. Billy Cobham on drums.


----------



## Rogerx

Undercurrent

Bill Evans (piano), Jim Hall (guitar)

Heusen: Darn that dream
Lewis, John: Skating in Central Park
Rodgers, R: My Funny Valentine


----------



## Barbebleu

Giant Steps (60th anniversary edition) - John Coltrane. Fabulous.


----------



## Rogerx

With a Song in My Heart

Guy Barker (trumpet), Mark Murphy (vocals), Ralph Salmins (drums), Simon Wallace (piano), Gill Manly (vocals), Mark Hodgson (double bass)


----------



## mikehewer

This cropped up on my YT feed this a.m. I've been a huge fan of Veronica Swift for some time now, believing her to be one of the greatest scat singers of all time. Here she sings a terrific duet with Benny Benack (also great), full of charm and brilliant vocal improv, accompanied by a slick trio backing.


----------



## Barbebleu

Live at the Village Vanguard Vol. 2 - Steve Coleman & Five Elements. Excellent.


----------



## Jay




----------



## Andrew Kenneth

*Nabou* - You Know (2021)


----------



## starthrower

2009

I'm over a dozen years late getting to this one but I'm glad I bought a copy. It features 11 selections written or associated with Coltrane, and two Steve Kuhn pieces. I'm not normally attracted to tribute themed releases but this one is very satisfying.


----------



## Floeddie

Keith Jarrett - The Survivors Suite


----------



## starthrower

Just received this set.


----------



## Barbebleu

Hotel Hello - Gary Burton and Steve Swallow. Wonderful album by two terrific musicians at the top of their game.


----------



## Rogerx

The Unity

Adonis Rose, Nicolas Payton, Anthony Wonsey, Tim Warfield, Reuben Rogers


----------



## Rogerx

Birth Of The Cool

Miles Davis


----------



## tortkis

Hat Trick - Jackie McLean meets Junko Onishi (Blue Note, 1996)








Jackie McLean (alto sax), Junko Onishi (piano), Nat Reeves (bass), Lewis Nash (drums)

McLean's tone is very distinctive. I like Onishi's powerful improvisations in the lower-middle register.


----------



## Floeddie

Duke Ellington - Jazz Masters 4


----------



## Rogerx

Milestones

Miles Davis

Adderley, Cannonball
Chambers, Paul
Coltrane, John
Davis, Miles
Garland, Red
Jones, Philly Joe


----------



## Barbebleu

Miles at the Fillmore - Miles Davis Bootleg Series Vol. 3. Excellent.


----------



## starthrower

Hang Up Your Hang Ups


----------



## Jay




----------



## tortkis

The Off-Off Broadway Guide to Synergism - Tyshawn Sorey (Pi Recordings)








Tyshawn Sorey (drums), Aaron Diehl (piano), Russell Hall (bass), Greg Osby (alto sax)


----------



## Rogerx

Cool Jazz For Hot Nights


Baker, Chet
Braff, Ruby
Gillespie, Dizzy
Kent, Stacey
Phillips, Flip


----------



## starthrower

Joe Lovano / Greg Osby 1999 Blue Note









2006 Blue Note


----------



## Jay




----------



## Rogerx

Erik Söderlind - Twist For Jimmy Smith

Erik Söderlind (guitar) with Kjell Öhman (hammond organ), Magnus Lindgren (tenor saxophone, flute), Martin Sjöstedt (double bass) & Moussa Fadera (drums)


Bacharach: Wives and Lovers
Carmichael, H: The Nearness Of You
Heusen: Polka dots and moonbeams
Mandel, J: The Shadow of Your Smile
Ronell: Willow Weep for Me


----------



## pmsummer

THE NEW QUARTET
*Gary Burton* - vibraphone
Mick Goodrick - guitar
Abraham Laboriel - bass
Harry Blazer - drums
_
ECM_


----------



## Rogerx

A Thousand Evenings

Dave Douglas (trumpet), Guy Klucevsek (accordion), Mark Feldman (violin), Greg Cohen (bass guitar)


----------



## tortkis

Going Public - Loren Stillman + Bad Touch








Going Public, by Loren Stillman + Bad Touch


8 track album




lorenstillman.bandcamp.com




Loren Stillman (as), Nate Radley (g), Gary Versace (organ), Ted Poor (d)
recorded 2012


----------



## tortkis

Countdown - Steve Kuhn (Reservoir)








Steve Kuhn (piano), David Finck (bass), Billy Drummond (drums)
recorded 1998


----------



## starthrower

Kurt with a Portuguese big band sounding great!


----------



## Chat Noir

Saxophonist James Moody killing it on flute with Dizzie Gillespie's ensemble. Good transcription underneath.


----------



## Rogerx

Passengers

Pat Metheny (guitar), Steve Swallow (bass), Dan Gottlieb (drums), Eberhard Weber (bass)


----------



## tortkis

Don Byas Quartet feat. Sir Charles Thompson (Storyville)








Don Byas (tenor sax), Sir Charles Thompson (piano), Isla Eckinger (bass), Peter Schmidlin (drums)
recorded live 1967


----------



## starthrower

This young woman is a great pianist. I figured fans of jazz and classical might enjoy this.


----------



## Floeddie

starthrower said:


> This young woman is a great pianist. I figured fans of jazz and classical might enjoy this.


if youd done two posts instead of one you would also have gotten


----------



## starthrower

Such a great archival release! The music is incredibly soulful.


----------



## Rogerx

Petite Fleur

Adonis Rose, New Orleans Jazz Orchestra & Cyrille Aimee


----------



## starthrower

Soul Note Records 1983

From this box.


----------



## tortkis

Live at Café Montmartre 1966, Vol.1 - Don Cherry








Don Cherry (trumpet), Gato Barbieri (sax), Karl Berger (vibes), Aldo Romano (drums), Bo Steif (bass)


----------



## Rogerx

The Long Kiss Goodnight

Neneh Cherry, Carla Thomas, Otis Redding, Marvin Gaye, Semisonic, L.A. Ganz, Joe Hinton, Gus, Santana, Junior Parker, Muddy Waters (vocalist), Francis Clay (drums), Jimmy Rogers (guitar), Willie Dixon (bass guitar), Tom Tom Club, LaBelle


----------



## eljr

*Samaya*

Harpreet Samaya

*Release Date:* 27th Jul 2018
*Catalogue No:* 3779042
*Label:* Jazzland


----------



## starthrower

1983


----------



## jim prideaux

Right now on YT.......

Pat Metheny Group Japan Tour 1995.

Wonderful.


----------



## Barbebleu

Satu - Edward Vesala. Superb.


----------



## tortkis

Revival: Live at Pookie's Pub - Elvin Jones (Blue Note)








Elvin Jones (drums), Joe Farrell (tenor sax), Billy Greene (piano), Wilbur Little (bass)

Exciting live performances recorded in 1967. Larry Young played piano on Ginger Bread Boy.


----------



## Rogerx

The Song Is You

Enrico Rava & Fred Hersch


----------



## Jay




----------



## starthrower

Grant Green: Solid / Catalog No. 50274 / Remastered 2012

Got this one from Deep Discount. It's a great sounding remaster! Features Joe Henderson, James Spaulding, McCoy Tyner, Bob Cranshaw, and Elvin Jones.


----------



## starthrower

2019 Greenleaf Music

I just discovered this band on the label website which is owned by Dave Douglas. I got their CDs from Bandcamp.


----------



## Manxfeeder

tortkis said:


> Live at Café Montmartre 1966, Vol.1 - Don Cherry
> 
> 
> 
> 
> 
> 
> 
> 
> Don Cherry (trumpet), Gato Barbieri (sax), Karl Berger (vibes), Aldo Romano (drums), Bo Steif (bass)


I didn't know about this one. I'm dropping everything and listening on Spotify (Vol.2). I'm enjoying Gato Barbieri's take on Albert Ayler's Ghosts (Suite for Albert Ayler).


----------



## Rogerx

Birth of a Bird: Celebrating the Music of Charlie Parker

WDR Big Band Cologne


----------



## tortkis

Live From The Room At The Top - Pepper Adams with the Tommy Banks Trio (Reel to Real)








Pepper Adams (baritone sax), Tommy Banks (piano), Bobby Cairns (electric bass), Tom Doran (drums)
Recorded live at The University of Alberta, September 25, 1972


----------



## starthrower

Great rendition of this Dylan classic.


----------



## Jay




----------



## Barbebleu

starthrower said:


> Grant Green: Solid / Catalog No. 50274 / Remastered 2012
> 
> Got this one from Deep Discount. It's a great sounding remaster! Features Joe Henderson, James Spaulding, McCoy Tyner, Bob Cranshaw, and Elvin Jones.


What a brilliant lineup. 😎


----------



## starthrower

Barbebleu said:


> What a brilliant lineup. 😎


That particular CD edition has great sound too! Especially the drums.


----------



## Red Terror

*The Grand Wazoo (1973)*
_by Frank Zappa_


----------



## Rogerx

Adventures In Jazz

Stan Kenton


----------



## starthrower

1995


----------



## PeterKC

James P Johnson...The Father of Stride.


----------



## Barbebleu

Larry Coryell/Philip Catherine - Live at the Berlin Philharmonic 2017. Such a good album and so sad to think that he died in his sleep from heart failure four weeks after this performance. My introduction to Larry Coryell was on Gary Burton’s album, Duster in 1968. He played a fantastic solo on the track, General Mojo’s Well Laid Plan.


----------



## Rogerx

Downright Upright

Brian Bromberg, Jeff Lorber, Boney James, George Duke, Rick Braun, Vinnie Colaiuta, Gannin Arnold


----------



## tortkis

PeterKC said:


> James P Johnson...The Father of Stride.


I love James P. Johnson, a great pianist & composer. Now listening to Reminiscing at Blue Note.


----------



## starthrower

2021 CD re-issue of the enja album. I've been slowly collecting Formanek's releases over the years and I just got this one. A similar line up to his debut album, Wide Open Spaces, but with Tim Berne replacing Greg Osby.


----------



## tortkis

Swinging Macedonia - Dusko Goykovich (enja)








Dusko Goykovich (trumpet), Nathan Davis (soprano/tenor sax, flute), Eddie Busnello (alto sax), Peter Trunk (bass), Mal Waldron (piano), Cees See (drums)
recorded 1966


----------



## starthrower

I found this one in a local used shop. The playing is quite adventurous. As you can probably tell by the orange print it's on the Hat Hut label.


----------



## Floeddie

Keith Jarrett - Still Live


----------



## tortkis

Floeddie said:


> Keith Jarrett - Still Live


One of my favorite albums of the trio. My Funny Valentine is incredible. I like Standards trio best in the late 80's.


----------



## Rogerx

Smokin' At The Half Note

Wynton Kelly Trio, Wes Montgomery (guitar), Paul Chambers (upright bass), Jimmy Cobb (drums), Wynton Kelly (piano)


----------



## starthrower

Charlie Watts: Our Complete 1994 Interview


On Historic Drummers, Drum Kits, the Blues, and the Rolling Stones




jasobrecht.substack.com





You can read the first part of this interview on Charlie's favorite jazz drummers, free of charge.


----------



## tortkis

Bashing Mushrooms - I.P.A. (Cuneiform)








Atle Nymo (tenor sax, bass clarinet), Magnus Broo (trumpet), Mattias Ståhl (vibraphone), Ingebrigt Håker Flaten (bass), Håkon Mjåset Johansen (drums)
recorded 2018


----------



## Rogerx

At The Deer Head Inn

Keith Jarrett (piano), Gary Peacock (double bass), Paul Motian (drums)


----------



## atsizat

I don't know if this counts as Jazz


----------



## atsizat




----------



## Rogerx

Blue Light, Red Light/ Harry Connick Jr.,



Harry Connick Jr., Jeremy Davenport (trumpet), Mark Mullins (trombone), Leroy Jones (trumpet), Roger Ingram (trumpet), Louis Ford (clarinet), Craig Klein (trombone), Dan Miller (trumpet), Lucien Barbarin (trombone), Ned Goold (tenor saxophone), Will Campbell (alto saxophone), Jr. Harry Connick (piano), Jr. Harry Connick (vocal), Russell Malone (guitar), David Schumacher (flute), Brad Leali (alto saxophone), David Schumacher (bass clarinet), David Schumacher (baritone saxophone), Shannon Powell (drums), Benjamin Jonah Wolfe (bass), Jerry Weldon (tenor saxophone), Benjamin Jonah Wolfe (bass guitar), Russell Malone (acoustic guitar), Dave Schumacher (baritone saxophone)


----------



## tortkis

Life's Magic - Steve Kuhn Trio (Sunnyside Records)








Steve Kuhn (piano), Ron Carter (bass), Al Foster (drums)
recorded live at the Village Vanguard, 1986


----------



## PeterKC

That girl Gershwin.


----------



## starthrower

I have a bunch of albums but this is the only CD I can find at the moment.


----------



## jegreenwood

Just listened to Samara Joy for the first time, courtesy of Tidal. She was the subject of a New York Times article this week, where I discovered she is up for several Grammys including Best New Album and Best Jazz Vocal Album. A real throwback. Her voice reminds me of Betty Carter, whom she admires. A little more embellishment that I'd like, but a great jazz sense.


----------



## Jay




----------



## Rogerx

Vincent Herring - Night and Day

Jeremy Pelt, Mike LeDonne, Brandi Disterheft, Joe Farnsworth, Vincent Herring


----------



## Chat Noir

Just chanced on this fine rendition of the jazz standard _It's The Talk Of The Town_ on YT. always great to see young folks playing jazz.


----------



## starthrower

I'm liking this one!


----------



## Barbebleu

starthrower said:


> I'm liking this one!


I’m liking it too but I’m not sure I would class this as jazz!😎


----------



## starthrower

Barbebleu said:


> I’m liking it too but I’m not sure I would class this as jazz!😎


What is jazz? It doesn't sound much different than some of electric Miles stuff.


----------



## starthrower

Here ya go, Barb! A real jazz guy!


----------



## Barbebleu

starthrower said:


> What is jazz? It doesn't sound much different than some of electric Miles stuff.


Yeah, you’re probably right. Frank wandered into jazz territory many times although he would be the last to admit it! At the end of the day it’s all music. It’s certainly more jazz than the likes of Harry Connick Jr.😎


----------



## starthrower

Barbebleu said:


> Yeah, you’re probably right. Frank wandered into jazz territory many times although he would be the last to admit it! At the end of the day it’s all music. It’s certainly more jazz than the likes of Harry Connick Jr.😎


Harry is a really good pianist when he's not trying to be a Sinatra wannabe. But with his looks he may as well do a bit of crooning for the ladies.


----------



## Floeddie

Barbebleu said:


> I’m liking it too but I’m not sure I would class this as jazz!😎


I would. Because Frank did.


----------



## Rogerx

Floeddie said:


> I would. Because Frank did.


And it use to be filed in shops under Jazz, just like Prest and JPC doing


----------



## Rogerx

Winter Nights

Al Di Meola


----------



## tortkis

Night and Day








Rüdiger Carl (tenor sax), Alexander von Schlippenbach (piano), Jay Oliver (bass), Sven-Åke Johansson (drums)
recorded live at the FIRST nightclub in Berlin on June 15th, 1984.

Free jazz musicians playing jazz standards in a straight-ahead way. Caution: the club guests are very noisy.


----------



## starthrower

I don't know if this is jazz? But it's an awesome performance of Approximate.


----------



## tortkis

New Beginnings - Jason Marshall (Cellar Live)








Jason Marshall (baritone sax), Marc Cary (piano), Gerald Cannon (bass), Willie Jones III (drums)
recorded on Januray 30, 2022


----------



## starthrower

I bought the 2 CD set but you can read the review and listen to the album at this link. Elvin Jones quartet with Joe Farrell on sax captured in a tiny NYC club in July 1967.



https://tinnitist.com/2022/11/18/albums-of-the-week-elvin-jones-revival-live-at-pookies-pub/


----------



## tortkis

Cerebral Caverns - Reggie Workman (Postcards)








Reggie Workman (bass), Geri Allen (piano), Al Foster (drums), Gerry Hemingway (drums), Julian Priester (trombone), Sam Rivers (tenor sax, soprano sax, and flute), Elizabeth Panzer (harp), Tapan Modak (tablas)
recorded 1995


----------



## starthrower

Just finished listening to this one. What a great record! Here's a track:  892 Teeth - YouTube


----------



## Rogerx

Leosia

Tomasz Stanko (trumpet), Bobo Stenson (piano), Anders Jomin (double bass), Tony Oxley (drums)



Stańko, T: Die Weisheit von Le Comte Lautréamont
Stańko, T: Morning Heavy Song


----------



## Barbebleu

Rogerx said:


> Leosia
> 
> Tomasz Stanko (trumpet), Bobo Stenson (piano), Anders Jomin (double bass), Tony Oxley (drums)
> 
> 
> 
> Stańko, T: Die Weisheit von Le Comte Lautréamont
> Stańko, T: Morning Heavy Song


Nice to see Tony Oxley getting an outing. One the great pioneers of the British avant-garde scene.


----------



## Jay




----------



## Rogerx

Duke Ellington - Tootin' Through the Roof (1939-1940)

Selected works including 'Doin' the Voom Voom' ,'Serenade to Sweden' and more

Duke Ellington (piano), Ivie Anderson (vocal) and more

Duke Ellington Orchestra


----------



## starthrower

Recorded 1969









Recorded 1970


----------



## Barbebleu

starthrower said:


> Recorded 1969
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Recorded 1970


Two great albums.


----------



## starthrower

Barbebleu said:


> Two great albums.


I should have bought more Elvin CDs when they were more readily available at a good price. I need to find copies of Heavy Sounds, and a couple others.


----------



## Rogerx

On a Clear Day: The Oscar Peterson Trio Live in Zurich 1971

Oscar Peterson



Goodman, B: Soft Winds
Rodgers, R: South Pacific: Younger than Springtime
Weill, K: Moritat von Mackie Messer (from The Threepenny Opera)


----------



## starthrower

Recorded 1970 / Charlie Haden, Dewey Redman, Ed Blackwell ...and the voices of friends and neighbors


----------



## pianozach

Linus & Lucy
Vince Guaraldi Trio


----------



## tortkis

Concerts Inédits (solo/duo/trio) - Michel Petrucciani (Dreyfus Jazz)








listening to CD1 solo live recorded at Antibes Juan Les Pins Jazz Festival on July 27, 1993


----------



## Rogerx

Chet is Back

Benoit Quersin (bass), Daniel Humair (drums), Chet Baker (trumpet), Amadeo Thommasi (piano), Rene Thomas (guitar), Bobby Jaspar (flute), Bobby Jaspar (saxophone), The Swingers (vocal)

Ennio Morricone


----------



## tortkis

Foreground Music - Ken Vandermark and Pandelis Karayorgis (Okka Disk)








Ken Vandermark (reeds), Pandelis Karayorgis (piano)


----------



## Rogerx

Kind Of Blue

Miles Davis (trumpet), Julian Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Paul Chambers (bass), Bill Evans (piano), Jimmy Cobb (drums), Wynton Kelly (piano)
https://d1iiivw74516uk.cloudfront.n...0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE2MzIzMTU4NTF9


----------



## tortkis

Billy Harper Quintet Live In Brooklyn








Billy Harper (tenor sax), Eddie Henderson (trumpet), Barney McAll (piano), Gregory Ryan (bass), Newman Taylor Baker (drums)
recorded 1999

I love this My Funny Valentine arranged in a spiritual jazz style.


----------



## Rogerx

The Köln Concert

Keith Jarrett


----------



## Jay




----------



## Rogerx

Keith Jarrett: Creation

Keith Jarrett (piano)


----------



## Floeddie

Cowboy Bebop (Netflix) - Yoko Kanno & Seatbelts


This is an excellent album that is greatly overlooked.


----------



## Rogerx

Animato

John Abercrombie (guitar), Vince Mendoza (synthesizer), Jon Christensen (drums/percussion)






Recorded: 1989-10-06
Recording Venue: Rainbow Studio, Oslo


----------

