>>60713220
>I am just in between flights at the airport
#dedicationto/blindfold/
Contributing a bump and I'll post track reviews then.

like 3/4 listens

1)
That drum is really hitting hard and I think he's the most famous guy from the record. The sound remainds me of Art blakey but the style is completely different. Maybe Tony Williams?

2) High free vibes here. really unsetting and challenging

3) some more "classical". dont really know the bill evans style but may be him since it's clearly a trio spinning around a piano. the quality of recording is not as good as the tracks before.maybe chick corea. I dont think it's modal but it uses a blues progression

4)
It's a dissonant orchestra, could be sun ra, the drum reminds me of (1), could be the same. could be anything, the sax may be the central guy but I dont recongize him (it reminds me of albert ayler)
desu it's quite good and reminds me of Out to lunch!

5) for sure post 60s, I would say about 65 it's all very engaging.

6)what

7) FUCKING CARAVAN DUDE. Have no idea who is playing. Maybe miles? for sure not art blakey
implying both artists ever had a release on impulse

8)what

10) well hello Coltrane, how you doin?
first time I do this

>>60713276
>#dedicationto/blindfold/

Not much else to do during my hour layover and free wifi. I figured I'd check if anybody had started the thread. I'm dl'ing the tracks now so I will probably listen to them on my flight and post again in a few hours. Hopefully the thread stays bumped.

>>60713220
So my internet just came back after two weeks without it this morning so I've only listened to these once with a few rewinds to hear sections I liked. I'm also high and was high writing the reviews so it'll be interesting to read the sort of stuff I noticed when I'm sober.
>Track one
I feel like I recognise this tune or maybe even this recording. After wracking my brain, the closest thing I could come up with is that it sounds like Eric Dolphy's Out There (among a few other tracks, I first went to Iron Man because I thought that might be the track I was hearing).
Dolphy didn't record for impulse so unless it's a cover, I think I might just be getting hung up over Dolphy's influence on the composer.

>Track two
I liked the very cacophonous and unhinged feeling this one had throughout. It's fairly atonal but the drummer and bassist play pretty rhythmically straight for the most part. The section where the steady rhythm drops out and the instruments become more discordant is really great. They all just subtlety started playing less before the drummer bringing back the less free rhythm of the track.
The piano playing way particularly fantastic on this.

>>60713513
Forgot the name.

>>60713357
Some really good picks this week. One of the best we've had.

>Track three
Well the song is "you'd be so nice to come home to". The quietness of this track is really good. I'm not sure if the recording set up or mastering is causing this but the piano sounds very restrained and doesn't really get that loud. It's a nice effect in any case.
No clue about the artist but I'm interested to hear who it is.

>Track four
There's a very Charles Mingus esque feel on this one. The sax player sounds a lot like the player Mingus had on a lot of impulse records like Black Saint too and there's enough instruments on it too but I don't recognise the track at all so it's not anything I've heard from Mingus so it's probably not one of the bigger albums.

>>60713575
Track five
Tubas in modern jazz are usually really really bad. So I was really happy with this player who seems to really gotten the purpose of the tuba as a bass instrument and doesn't try too hard to sound like a soloist. With that in mind it adds a really nice colour to the lower end of the track. I'd be really interested to hear who that is because I don't think I've actually head tuba being played this way in this sort of free/post bop setting.
The sax playing is top notch aswell. Suitably straddled the line between free and post bop.
The head is surprisingly catchy and has more of a marching band feel than the rest of the track.

Track six
The piano and sax duet at the start in this one is lovely. The pianist fills out the track really nicely but is really carefully not to step on the toes of the sax player. The rhythm section was really subtle about joining them and played really quietly. The change in pacing it brought really lifted the track though without changing too much about the piano and sax being the center of attention.

>>60713603
>Track seven
Gotta love Caravan. This must be one of the most commonly occurring standards in these blindfold listens. I was thinking of doing a Duke Ellington tunes theme and it had a really cool version of Caravan on it but I feel like it comes up way too much.
It's a great song anyway and this version is done similar to the way Dizzy Gillespie arranged it but with a few nice changes to make it sound more modern.
The trumpet solo was great. It's striking how much the way Duke Ellington wrote the track bleeds into the style and melodic choices of the soloists. Even in this sort of bop setting. Which suits me fine because I love Ellington and it's interesting to hear this sort of pastiche in bebop.

>Track eight
There's a lot of nervous energy in this one. The piano played beating his piano ought to be a sort of release for that but it just feels more nervous. Which feels like the sort of overall goal of this track. It's very intentionally got that feel and the players do a great job of fostering it.
The more minimalist section in the middle was fantastic. It sounded a lot like a jazz interpretation of the sort of minimalist improv that some prog/psych rock bands like King Crimson sometimes did. The head just sounded hilariously out of place after that section. The end itself was really nice though.

>>60713652
>Track nine
This track was very cute. The sax and trumpet player doing everything in unison was really nice, it's got the feel of two friends singing about something which follows over to the solos which are just full of personality. Very melodic too which reminds me a bit of Louis Armstrong.
Louis Armstrong probably won't wind up on many blindfolds playlists because he'd be too easy to guess. Which is a shame and he'll definitely end up on one of my future ones, even if it is dead obvious when it's him.

>Track ten (my fave of the bunch)
This was really nice as a closer to the tracklist. The beginning of the place felt very much like a lament but the way the mood shifts makes the piece feel a lot like it's telling a story in that sort of romantic tone poem sort of way.
The bowed bass was a really nice touch. It really suited the feel of the piece more than pizzicato would have.
The sax soloists style feels very familiar, could be Coltrane but I'm not really sure, which is odd because normally I'd be sure it was him, maybe he's just am influence? Both the tone and the way he keeps playing patterns and then variations on those patterns is pretty Coltranesque.

Gonna bump while waiting for more people.

>>60713308
>really unsetting and challenging
This.
>could be sun ra
I've heard an embarrassing amount of Sun Ra and I don't think it's him. It's not his style really.
>6)what
We hearing the same 6? That duet was beautiful.

>>60713716
Forgot the overall impressions thing. Yeah, that's a good excuse to bump.

>Overall I really enjoyed this weeks selection. There's a couple of these I'm really interested to check out and there's nothing I know I know for sure.

I don't know if blindfold guy has another playlist figured out already for next week or not but I've got a playlist of 2015 jazz ready to go

here's >>60713308

I should add: I'm really happy that I decided to take part in this, I'm looking forward to see what artists were, because some tracks really are amazing, those rhytimical parts!

>>60713937
>We hearing the same 6? That duet was beautiful.
yeah it was good, the"what" means: I've no idea what style it is, who's playing, literally nothing

>>60714021
I'm working on a "Dedications to other jazz musicians" themed playlist nearly finished too but if yours is done and ready to go, it's probably better doing that.

Bumping

Where everybody at? Flux? Jazzpossu?

File: 061442.jpg (27 KB, 600x600) Image search: [Google]

27 KB, 600x600

bump

I'm on phone rn and I prolly won't be able to participate in this weeks thread, shame coz past two weeks dl and listened to the tracks but never got around to posting my thoughts

>>60715454
If jtg has aspirations to post his thoughts in a few hours >>60713357
there may be hope for you.

Track 1:

This is a bebop tune. Head is very unusual. Contrafact to Summertime?
The drum sounds a lot like Max Roach during Powell because of the brush work and fast tempo.

the only track i recognize is caravan played by freddie hubbard.

>>60715963
>>60713513
Yep. I missed the Dolphy part. Track one is Mama from Percussion Bitter Sweet (Max Roach recorded in 1961, released on Impulse! Records)

>>60716375
>>60715963
Funny, it didn't even occur to me that Dolphy mightn't be the leader.
I may have gotten this if I was thinking like that.

>>60716450
yep. this is so fucking arcane probably because the bass sounds horrible.

>>60716553
The mixing in the track isn't fantastic. Part of the difficulty of having four horns and a drummer as a leader. Not much room for the bass and piano with everything else so loud in the mix.
For his part, the Art Davis isn't playing badly from what I can hear. The drum solo towards the end of the track really highlights how drowned out he is. You can't hear him at all whenever Roach is playing.

track two:
Some Ornette Coleman track. Probably his later work. Piano is completely wacko from 2:40 onward. Pretty cool.

track three:
I don't know who this is. Never studied piano. Unrelated but Xiu Xiu's rendition of `You'd be so nice' is way more coherent than other attempts.

>>60716740
You are right about the mix. I was talking about the notes Art Davis played though. Too many octaves and fifths I can't tap my feet to it.

>>60713575
track four is probably form mingus dynasty big band so it's not mingus

>>60717055
I suppose I kind of like that sort of playing.
The piece as a whole isn't really on the toe tapping end of the jazz spectrum anyway though.

Impulse! is probably my favorite jazz label of all time, so I was pretty excited about this week.

> Track 1

This one has a bit of a Blue Note-y mid 60's post-bop feel, like something involving Jackie McLean. Pretty prominent trombone solo - Grachan Moncur III or Roswell Rudd seem like likely options. Rudd made an album for Impulse! as a leader, so maybe this is from that.

Not a very typical style for Impulse!, I would certainly guess this was a Blue Note recording, but of course many musicians recorded for both.

> Track 2

Started off as a pretty sophisticated medium ensemble track, but then pretty surprising free jazz stuff with that Cecil Taylor -style percussive piano with those pretty dissonant cluster chords. Impulse! was certainly at the forefront of the then new avant-garde and free jazz styles, but this style is not very common as Coltrane's influence was so big.

Pretty cool mix of avant-impulsiveness and sophistication. Did Oliver Nelson or someone like that do a free jazz album when no one was looking?

> Track 3

There's not a lot of gentle piano trio music in the Impulse! catalog, so I have to primarily guess McCoy Tyner who did several trio albums for them, although it doesn't really sound like hi, but someone more old school.

In the early 60's Impulse! featured more classic jazz talent like Duke Ellington and Count Basie, but I think Ellington's Impulse! albums were always co-lead by a sax player (Coltrane and Coleman Hawkins) and I think Count Basie also did some larger ensemble thing, but maybe there was some previous generation piano player who did this in like 1961 or 1962.

Not a great track for me, but pleasant enough.

> Track 4

Sweet larger ensemble sound with a little bit of a cinematic feel even. I was first thinking this was some arranger-type like Gil Evans or Oliver Nelson, but then after a few minutes some parts of it start sounding very much like Mingustome, so I think this is a track from Mingus Mingus Mingus Mingus Mingus instead, since it's definitely not from Mingus Plays Piano or The Black Saint and the Sinner Lady and I think those three are the only Mingus albums on Impulse!

If this is Mingus, it's from his more convential sounding end that I don't like as much as his more raucous side, but it's a pretty good track in any case.

> Track 5

When this started, I didn't know what it would be, but then when the soloing starts especially from 1:48 onward I think this is very likely Archie Shepp who did a lot of albums for Impulse! It's good stuff. Fairly tight track for Shepp if it is indeed from one of his numerous Impulse! releases - I think the fun head and wild soloing come together nicely here. Made me smile when that theme came back after the bass solo, great ending!

> Track 6

This is a track I know very well. It's Coleman Hawkins playing Love Song from Apache from Today and Now. Probably one of my favorite sax ballad tracks of all time, I think I've posted it to /mu/ threads multiple times. What can I say, it's just a wonderful track.

I've wondered whether Hawkins was inspired by Yusef Lateef's Love Theme from Spartacus that came out earlier.

> Track 7

The bass at the start had this sense of urban excitement to it, so I have to say I was surprised when it turned out to be Caravan. Pretty traditional take, has to be early 60's. Can't think of who these people would be - probably players who are more known for their stuff done for other labels.

Duke Ellington who made this tune famous recorded for Impulse! but no way is this from a Duke Ellington meets a tenor sax player -album. Trumpet appears to be the most prominent horn - I don't think I associate any trumpet players with Impulse!, so don't know who this is.

Caravan is one of those tracks that usually works out just fine if you don't try to do anything fancy with it - this doesn't and ends up being "just fine".

> Track 8

This track is pretty awesome and I'm annoyed at not knowing what it is. Similar Cecil Taylor-style free jazz excitement in the piano as in Track 2 but even wilder this time around, could be the same person. Some Pharoah Sanders tracks end up having really dissonant noisy passages with similar piano, so maybe thís person played with Sanders, but I don't think it's Joe Bonner or Lonnie Liston Smith. I don't think Sanders is involved, though. For the trombone, similar to Track 1 this is likely Roswell Rudd or Grachan Moncur III.

Maybe Track 5 wasn't Archie Shepp after all and this is instead. This is almost like Track 2 meets Track 5.

Guessing that there are people involved who also recorded for ESP-Disk and BYG Actuel labels - has that sort feel to me. Great track.

> Track 9

This has to be from that J.J. Johnson & Kai Winding double-trombone album (or did they do several, I forget) that I think was the very first Impulse! release. Wasn't a very prophetic choice for the label. The story of Impulse! to me is jazz moving forward from music like this - this is just too cute and safe for my taste.

I don't actively dislike this, but I can't say I have an urge to hear it again. I think I would like it a lot better live.

track five
prone to the aesthetic of psychedelic youth. just a bunch of FUCK MY SHIT UP MUMBO JUMBO college age post-war pseuds depicted perfectly in Pynchon's V. Nothing more than a disenfranchised relic from the 60s.

track six
the most generic genre jazz. Probably Japanese

track seven
Caravan. Never heard this version with inverted bass line. Pretty gud 9/9.

track nine
Solid swing tune. Something my high school jazz band teacher would make me play. Bass is on point.

track 10
wew lad

> Track 10

Can't have an Impulse! -week without Coltrane. This is of course Nature Boy from the "John Coltrane Quartet Plays" -album. I really like the way the track begins with that pretty classic spiritual jazz way. I'm certainly a big fan of Coltrane's music in the early-to-mid 60's and this is a very representative track from that period, so it's right up my alley.

Recorded pretty shortly after A Love Supreme which is probably my all time favorite album - there's a lot of similarity here, but more of a sense of searching and moving on where A Love Supreme feels like the definitive statement of this period of Coltrane's career.

I used to at first always think that this was an earlier recording than A Love Supreme because that album just seems like so definitive that it would make perfect sense he would have moved to a clear reboot with Ascension straight from ALS.

>>60715088
I was out at a gig, so a bit later than usual.

As an overall impression I really loved this week as an Impulse! records fan and it was really quite cool how being familiar with the label and who recorded for it made it a lot easier to identify and guess the players and see them as part of the bigger picture of the label's history.

bumpu

>>60717418
>This has to be from that J.J. Johnson & Kai Winding double-trombone album (or did they do several, I forget) that I think was the very first Impulse! release. Wasn't a very prophetic choice for the label. The story of Impulse! to me is jazz moving forward from music like this - this is just too cute and safe for my taste.
I got a box set of J.J. Johnson stuff that included this album but I wasn't that crazy about the first three albums from it that I heard and didn't bother listening to this and the other one included because: "two trombones? One was bad enough.".
If this is from that, I may need to rethink that though because this is very cute and I like me some cute.

>>60716375
Interesting, I wasn't thinking of that at all - Dolpy being involved makes sense.

I don't think I've heard that album, actually. Sounds like pretty different stuff from It's Time! based on this track that he did for Impulse! in 1962.

>>60717355
>>60717355
Are you black?
What instrument do you play?
What's your day job?
What kind of gigs do you play?
What's your YouTube channel if you happen to have one?

>>60718173
>Are you black?
>tfw never going to feel like a legitimate jazz player because Irish people can't play jazz

Nice to see the thread taking off. I had a long plane ride so I wrote a lot on these tracks.

Track 1- This has a nice sort of frantic swing on the melody. It’s nice how they do part of it in unison and then break into parts for part of the head. I’m pretty sure I’ve heard this track before. I’d guess this is Curtis Fuller on trombone- decent solo but no real standout moments. The drummer is going crazy. This has got to be a Max Roach record. I think he only recorded a few on Impulse. I liked the tenor solo, not sure who it was though. The trumpet solo was very good, it reminded me a bit of Freddie Hubbard, the way he hits those high notes. I’m pretty sure Freddie didn’t play on any of those records though. Probably Booker Little. The biggest downside is that it sounds like the piano player is playing good stuff but you have to really strain to even hear him. I understand that it’s supposed to be a drum feature but then really why even have the piano player at the date if you’re going to put him so low in the mix and then play over him the whole time. Oh well, there was a lot of other good stuff here.

>>60718392
Track 2- I recognize this one too. This is from Into the Hot I believe. I think this might be the first track on that record. It’s really cool compositionally. There’s a lot going on here and it’s a lot to digest at once but most of it is based around blues riffs. I’ve been listening to a lot of Andrew Hill recently and this is reminiscent of his music in a way. The alto solo is very good. it’s mostly simple ideas but he really carries the ideas through to their conclusion and meanwhile let’s the rhythm section throw in variations on the patterns as well. Parts of the alto solo make me think of Dolphy but it’s a bit too restrained. Oliver Nelson maybe? I can’t remember who played alto here. Obviously it’s Cecil Taylor on piano. I think he came out of the gate a little too strong here and didn’t really have anywhere to go with it. Still, some of the patterns he gets into between his hands are nice. I remember that it’s Archie Shepp on tenor on this track, I’m not sure if I would have guessed him or not. Sounds like Cecil is taking pretty much the same approach behind his solo that he did behind the alto players. It might have been nice to hear him try something different. I like the ending although it comes kind of abruptly.

Track 3- That’s McCoy. Oh and the tune is “You’d Be So Nice to Come Home To.” I don’t recall what record this is from. The restraint here is really nice. It’s almost Ahmad Jamal-esque. Especially that vamp at the beginning It’s nice to hear Tyner really “playing the changes” and not resorting to too many pentatonic runs. But then it’s nice that as the solo progresses he takes more and more liberties with the changes and phrasing. Could be anybody on drums and bass, neither of them did anything spectacular. Short and sweet, I like it. Nice to hear something like this from McCoy.

>>60718173
Man, I don't play jazz (nor am I black), but I listen to plenty of it.

I also seem much more knowledgeable than usual since this is my favorite label. I recommend Ashley Kahn's book The House That Trane Built: The Story of Impulse Records for anyone interested in the label.

There's also a decent four-CD compilation with the same name, also available on Spotify for a crash course in the music.

took a long break from /mu/.
find it's worse than ever.
but this exists. and now i have a reason to come back.
thanks for everyone who's taken the time to organize this and participate. fucking fantastic.

>>60718417
Track 4- This started as basically a tribute to the Ellington band and then developed into something more interesting. Judging by that I’d say it’s got to be Mingus. Not sure of the album or the players though. Mingus didn’t have that many on Impulse did he? Was the solo section all just a 2 chord vamp? If so the band did a pretty good job keeping it interesting enough.

Track 5- Very cool. Sounds like Freddie on trumpet but I have no idea what this record is. Sounds to me like the tenor player can’t quite keep up with him. Oh it’s Archie Shepp. I don’t have much to say about his solo. The drummer and bass player seem pretty comfortable in the style. Is it Richard Davis on bass? Or maybe Cecil McBee? This was a good track. Definitely the best part was when the two horns were soloing together, even if Hubbard (?) was blowing Shepp away. I would have liked to hear them make more of that.

Track 6- Very pretty. The single bass notes with chords remind me of Satie. Even more so once that haunting melody comes in. I can’t decide if I like the vibrato or not. I suppose I like it, there are some notes he holds pretty steady and gives almost no vibrato to so it makes a good contrast. It’s got to be either Ben Webster or Coleman Hawkins. I wonder who is on piano though. I have no good guesses. This was a good choice for a ballad for the list.

>>60718447
Track 7- Caravan is becoming sort of a favorite in these blindfold threads isn’t it. This is Freddie Hubbard’s version. It’s great the way that melody is harmonized between the three horns, I wonder if anybody has done a big band chart based on this harmonization. Then that countermelody during the bridge is awesome too. Hubbard is doing some pretty awesome stuff but it sounds like the rhythm section can’t keep up with him. Especially the piano player doesn’t seem to be able to follow what Freddie’s doing. Too bad. It’s a good trombone solo, Curtis Fuller I think, but coming after Hubbard’s solo it falls a bit flat. I don’t know who this is on tenor. Charlie Rouse or somebody like that? Not great. The piano player’s solo is actually pretty good- boppy but with some pretty cool phrasing. Too bad he couldn’t do better in the comping. Hank Jones or Tommy Flannagan maybe. This is a really cool arrangement and Hubbard’s solo was good but the rest was kind of flat. Piano solo was good too.

Track 8- This is kind of cool. I like the way that it hints at time signatures but never really settles into a solid time feel. Fuck the piano player. If you’re going to do that, don’t hold down the sustain pedal. It’s not Cecil is it? Somebody who’s listened to him I’d say. I liked the trombone solo. I’m thinking this is Grachan Moncur with Marion Brown. There were some cool moments but to me it sounded like everybody in the band was too eager to do whatever they wanted to do rather than listening to each other and trying to make coherent, engaging music out of it.

>>60718472
Track 9- The double trombone quintet eh? It’s got to be JJ Johnson and Kai Winding. This is that song Side by Side, kind of cheesy, maybe that’s what they were going for. Sounds like JJ soloing first- he is the more interesting soloist I think. He is contributing the bulk of the ideas with Kai just kind of answering him. Cheesy but fun.

Track 10- I was starting to wonder if we were going to get some Coltrane or not. How can you not on an Impulse theme? Sounds like it’s with the quartet. Oh it’s Nature Boy. It’s a nice rubato buildup that feels good when it finally breaks into the time feel. I’ve accused McCoy Tyner of being a one-trick pony before but man that trick sure works well within this Coltrane group. This is very good because they’re all listening to each other. You can hear bits of A Love Supreme sprinkled all throughout here. The band isn’t operating on the level they were for ALS but this is that same sound and done pretty well.

>>60718417
what's up with Into the Hot anyway?

Credited to Gil Evans Orchestra like Out of the Cool and also similar cover, but other than Evans no one else appears on both and Evans didn't apparently write or arrange any of the music on Into the Hot and on every other track it's apparently Cecil Taylor's quintet or septet.

>>60718417
>That’s McCoy
He's one of my faveourite pianists it I wouldn't have guessed him at all on this. Much more like Jamal as you pointed out.
>>60718424
You should participate! We're always short on people. Whether you like a lot of jazz or not.
>>60718472
>Caravan is becoming sort of a favorite in these blindfold threads isn’t it
It really is. I have two other versions I have aspirations of including in future track lists.

>>60718933
fearing when we'll decide to do a Caravan theme week

>>60718472
indeed appears to be Marion Brown - I've only heard Geechee Recollections and Sweet Earth Flying from his Impulse! recordings and they are very different from this, so he certainly didn't cross my mind

>>60719000
In a years time, we'll do a best of the blindfolds theme and half the tracks will be versions of Caravan.

>>60718855
I've never really been able to get to the bottom of what happened when recording/releasing that record. I think I heard Gil was there "supervising" the sessions but that he was mostly just slapdicking around and they ended up just putting his name on the thing.

>>60718933
Yeah this is pretty uncharacteristic for McCoy. If you played me just a clip of the solo section I'm not sure I'd guess it was him but that vamp at the very beginning gives it away with the left hand voicings.

who /bass/ here?
>most under-appreciated jazz instrument other than steel pan
>everyone starts chatting during solos
>big and heavy
>no one cares about the bassists other than Jaco

Thanks for starting the thread jtg. I'm glad to see that it's doing so well and that we have some new people participating. I'm going to take a half hour and read everybody's comments.

I have nothing planned for this week so either jtg or satch if you want to email me your playlists we will use one of those.

>>60719549

/mu/ should have a jazz general to be honest family

>>60719661
Might as well use this as the jazz general

>>60719549
I don't mind. Whatever jtg thinks. I have a few tracks in mind I could pick ten out of and order but I haven't extensively gone through my library looking for stuff. It's just things that came to mind. >>60719661
This kind of is an extension of /jazz/. People can and do just post regular jazz discussion too and the thread is made up of people who like jazz so chances are someone will want to talk about whatever.

>>60719933
Well jtg just sent me his so let's just go with that for next week. I'd like to do your playlist next week though.

Same goes for any other of the participators in this thread. Let me know if you'd be interesting in compiling a tracklist.

>>60720103
Kk, I'll try get you my playlist by the end of this week.
Also, predicting something off the new sipiagin album from the jtg playlist.

Here are the links for next week.

http://www50.zippyshare.com/v/Kj3eKdV2/file.html
https://mega.nz/#!VtRX3AYD!rr1CBdnYyxrUdGCMnRY-UhG8TufYXkmexNubwX9JkY8

The theme is 2015 releases.

>>60719497
I am here.
I feel like you might be exaggerating how underapriciated we are just a smidge though. We don't have it that bad.

>>60720651
wew lad. I don't listen to new jazz other than Keith Jarret.

>>60720743
I suppose that makes his an interesting opportunity for you to sample what's come out this year.

who /jaco/ here?

>>60720787
dat caravan tho

bump. Going to post the reveal soon

One last bump.
Good thread guys, see y'all next week!

Here's the reveal

1. Mama by Max Roach
from Percussion Bitter Sweet (1961)
Booker Little- Trumpet
Eric Dolphy- Bass Clarinet
Juian Priester- Trombone
Clifford Jordan- Tenor Sax
Art Davis- Bass
Max Roach- Drums

2. Pots by Gil Evans
from Into the Hot (1962)
Jimmy Lyons- Alto Sax
Archie Shepp- Tenor Sax
Cecil Taylor- Piano
Henry Grimes- Bass
Sunny Murray- Drums

3. You'd Be So Nice to Come Home To by McCoy Tyner
from Today and Tomorrow (1964)
McCoy Tyner- Piano
Jimmy Garrison- Bass
Albert Heath- Drums

4. Celia by Charles Mingus
from Mingus Mingus Mingus Mingus Mingus (1964)
Rolf Ericson, Richard Williams- Trumpet
Charlie Mariano- Alto Sax
Dick Hafer- Tenor Sax
Quentin Jackson- Trombone
Jerome Richardson- Bari Sax
Jaki Byard- Piano
Jay Berliner- Guitar
Charles Mingus- Bass
Dannie Richmond- Drums

5. Shazam by Archie Shepp
from The Magic of JuJu (1967)
Martin Banks- Trumpet
Archie Shepp- Tenor Sax
Mike Zwerin- Trombone
Reggie Workman- Bass
Beaver Haris- Drums

6. Love Song from Apache by Coleman Hawkins
from Today and Now (1962)
Coleman Hawkins- Tenor Sax
Tommy Flanagan- Piano
Major Holley- Bass
Eddie Locke- Drums

7. Caravan by Freddie Hubbard
from The Artistry of Freddie Hubbard (1963)
Freddie Hubbard- Trumpet
Curtis Fuller- Trombone
John Gilmore- Tenor Sax
Tommy Flanagan- Pano
Art Davis- Bass
Louis Hayes- Drums

8. New Blue by Marion Brown
from Three for Shepp (1967)
Marion Brown- Alto Sax
Grachan Moncur III- Trombone
Dave Burrell- Piano
Norris Jones- Bass
Bobby Capp- Drums

9. Side by Side by JJ Johnson and Kai Winding
from The Great Kai and JJ (1961)
JJ Johnson, Kai Winding- Trombone
Bill Evans- Piano
Paul Chambers- Bass
Roy Haynes- Drums

10. Nature Boy by John Coltrane
from The John Coltrane Quartet Plays (1965)
John Coltrane- Tenor Sax
McCoy Tyner- Piano
Jimmy Garrison- Bass
Elvin Jones- Drums