>Track 1
Sounds like late-60's Miles Davis in a sewer. Wasn't sure for a while if it was going anywhere but the groove just started. There were some nice sounds in the intro and it only just got tiring. Now that it's in full swing I'm enjoying it, but these instruments sound so dated so I dunno if I could take it seriously for long periods of time. Kind of like the razor tone on the solo instrument though, and it's complemented by the fact that he's dancing pretty tightly around a few notes for most of it.

>Track 2
Sounding like a Deep Purple song at the intro, sans guitars... Improves drastically once the solos kick in - that intro/head was naff. Some Miles influence in the trumpet, in that he leaves a lot of space around it. I'm generally getting the feeling that this is some early-60's Blue Note stuff, but I can't identify the players. It's all very bluesy and this sort of playing doesn't do much for me really, enjoyable as it can be occasionally.

>Track 3
Think I'm gonna like this one more. Sweet bass tone and tight drums. I love this mix of groove and noise, and what the sax is doing as it comes in is perfect. Sounds like Ayler on Spiritual Unity as it continues, but that's all I've heard of his so I don't know if this could be him. I like this track a lot.

>Track 4
It's Diz! This one's called Ool-Ya-Koo - I know it from the Victor compilation. It's cool how when they do it live they use it as a vehicle for all this scat improv. I guess there's an air of novelty about it but I don't care, it's super entertaining and I bet it would've been awesome to see his band back in the day...

>>61488450

>Track 5
So I cheated and paused this one whilst I worked out what the tune was. It's Sonny Rollins' Oleo, and I'm fairly certain this is Miles. If not then they're doing a damn good impersonation of the version on Relaxin'. I presume it's some version of the first quintet - maybe with Wynton Kelly instead of Red Garland? The levels are all messed up and the arrangement is a bit disorganised, so I guess this is maybe a bootleg? Look's like there's no Coltrane on here actually. Still fairly sure that was Adderley though. Not the best Davis recording, but the funky levels did highlight what the rhythm was doing and it was interesting to hear the massive difference between the backing for the two solos.

>Track 6
I like all the timbres in this, and what the sax is doing is pretty interesting. Some nice really minimalist guitar too - makes a change from Charlie Christian and Joe Pass. Beautiful tone on it too. I like how the bass has kept the pulse steady whilst everything else escalates. I think this one has intrigued me the most so far - I don't know much modern stuff and I want to hear more of this.

>Track 7
I'm a little bit allergic to string sections so we'll see how this goes. Oh - I wasn't expecting this at all. Erm, it sounds a bit like a TV theme from the late eighties? Or the hold music where I work... Yeah I can't even listen to all of this, sorry...

>Track 8
That's more like it - back to the start. It sounds like Satch to me, but would that be too easy? Liking the stop time at the end, and the stride/ragtime feel to the piano in general.

>>61488467
>Track 9
Well I don't know any French jazz artists that weren't in the QHCF so that's me out of the running for this one. Very boppy, has a 50's feel but the recording sounds a lot more recent. Whole thing is played very safe if it is modern, but it's tight and groovy anyway.

>Track 10
I thought I recognised this, then I realised it's our weekly dose of Caravan. You know I don't actually know this tune too well other than from these threads? Anyway, I like that sort of vamp thing the bass is doing. In fact in general the bass is kicking ass on this tune. I'm more interested to hear how he cycles through these changes than anything else. Piano was actually a bit heavy handed at times, but what he was doing was neat I guess.

What happened to nothing but jazz January?

>>61488236
I'll do either bebop or big band next week
I'll have to pause my Roy Haynes to do this

> Track 1

At first with the water drop effect, I though this might be some modern experimental thing, but then it got all early 70's with that echo effect that brought John Klemmer's Waterfalls into mind.

So I thought it's some edgier 70's fusion, but after that buzzing organ came in at 03:19, I think this is some prog/jazz-rock group instead of someone more known for playing fusion - by far the likeliest candidate being Soft Machine who made music very much like this in the early 70's.

I used to listen to a lot of 70's prog before I started digging jazz and I still listen to it somewhat - didn't actually hear Soft Machine until later, though. You'll find more exciting soloists in jazz, but this music is still all right by me.

> Track 2

Something about this track feels like 70's to me - something in that band sound. I was first thinking that maybe it's a Maynard Ferguson thing, but he was deeper into pilfering sounds and styles from popular genres beyond jazz.

So, maybe Thad Jones - Mel Lewis orchestra?

I'm not terribly excited by this music, but I'll listen to it. In larger ensembles, I like it when the soloists are strong enough to rise on top of the ensemble - the trumpet here is nice and strong, even though those piercing sandoval-style notes aren't my favorite thing in the world. Maybe it is Sandoval on trumpet? I'd expect some latin flavor, though.

> Track 3

Hmh. Some contemporary free blowing. I'll listen to music like this gladly and enjoy it - a lot of jazz fans are turned off by the static harmony and repetitive rhythm, but I enjoy minimalism and krautrock and stuff like that, so I don't mind. The sax player is also pretty all-in on overblowing and other trickery.

Can't think of who these guys are, but I'm sure they are familiar names - very few free jazz style saxophonists stick this closely to a simple pattern, but there is power in repetition.

I'm curious who these are and will probably check more of their music.

> Track 4

Some good natured scatting. I don't listen to male vocalists doing scat all that much so don't really know who these guys are - Adam Lambert, Jon Hendricks, Mel Tormé?

Could be primarily an instrumental musician or two doing the scatting. There's a nice casual feel to the whole thing. There's a fun album this brought to mind featuring Slam Stewart and Major Holley called Shut Yo' Mouth! Both were bass players known for singing along with their bass solos - Steward an octave above and Holley in unison.

Scatting often comes across as too humorous and light-hearted to really take seriously for me, but sometimes it's nice to hear someone having a good time.

> Track 5

Good old fashioned bebop here. Pretty lengthy track, but sounds also like a live recording - mid- to late 50's I'd guess anyway.

Trumpeter sounds like Miles to me, but I don't recall a Miles album that would sound like this, so who knows. I don't really know whether I've even heard any live 50's Miles albums, though. Definitely a bigger fan of Miles' music from '59 onward.

> Track 6

At first I didn't know what this would be, apart from being something contemporary, but then that faster alto lick at 01:25 sounds so much like Rudresh Mahanthappa and continues to sound like him that given his popularity on /mu/, I can't imagine who else it could be.

Based on the instrumentation, I guess this is from the Gamak -album. The first time I really listened to Mahanthappa was when I saw him live playing Gamak material (with a different guitarist) and he really blew me away - couldn't really get into the album, though, I think I only listened to it once. I like his playing here, but the song drags on a bit.

Someone who I think sounds like Mahanthappa is Steve Lehman - I guess a part of that is that both do microtones, Mahanthappa with the Asian music influence and Lehman with his spectralism. Lehman's octet is fantastic, so I'll recommend them here to anyone who likes Mahanthappa.

> Track 7

What's this then... Sounds like one of those contemporary American fusion bands with soul/r&b influence like Snarky Puppy or Badbadnotgood. I'm certainly not a purist when it comes to mixing creative playing with styles and forms from other genres, but this is just too sunshine soul-y to me.

I like Daptone-style retro soul, but this is just too sweet for me.

I could actually see John Scofield do a track like this - he does some pretty fluffy tracks, although he would be doing bluesier phrasing.

Not a fan of this one, feels like a modern incarnation of those sickeningly sweet smooth jazz records from the likes of Grover Washington Jr.

> Track 8

Proper old time stuff. My knowledge of trumpeters of this era is limited, so I have to go with Armstrong or Bix Beiderbecke, pretty strong presence, so maybe Louis is more likely of those?

I can't help but feel a lot of the music of this era sounds same-y to me and I don't really want to spend time to start telling this stuff apart with all the other good music in the world. I'll appreciate it for it's influence and occasionally listen to for historical perspective, but not all that much.

> Track 9

I have no idea what this is. Very generic feel all around - this could even be some library jazz recording for when you need generic jazz music playing in the background of some production.

The bass solo I guess is my favorite part of this.

> Track 10

Well, it's Caravan. Makes up for no one sounding at all like Monk this week. Pretty modern take, in 5/4 for the heck of it.

I think Caravan works best when you don't try to fuck with it and just play Caravan like people know it with all it's faux-exotic flavor and all.

I don't really have a good guess who these players are.

Overall I liked this week's selection very much - good variety and some very interesting ones.

>>61488236
Will be watching the thread for a while and I'll probably respond to a few people later on before I post the tracklist. Actually got organised this week and did it up earlier.

>implying i have the ear for this shit

Anyway what's number 3, i like that shit.

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>critical listening
>jazz

Lol ooh look a note out of ke- ohh i mean an """"""""""""accidental"""""""""" how musically interesting. Must be some advanced mode :0 Hey look, a rythymic pattern cheifly lying on the ANDS of beats. Syncopation truly is amazing :-DD

So glad I chose to critically listen and broaden my musical knowledge *tips fedora and pushes up glasses"

>>61489332
I don't know why you insist on shitposting on one of the few productive and legitimate generals on /mu/, but whatever suits you

>>61488567
>At first with the water drop effect, I though this might be some modern experimental thing, but then it got all early 70's
It's funny you say that, because not long after listening to this track I listened to Marion Brown's Afternoon of a Georgia Faun, which is both modern experimental AND from the early 70's. And features an almost identical water drop effect right at the start.
>>61488848
>There's a fun album this brought to mind featuring Slam Stewart
I've been wanting to hear that album ever since I heard Slam Stewart playing bass with the Gillespie sextet. His solo on All the Things You Are is super simple but it swings so hard I just can't get it out of my head even when I'm listening to Bird of Paradise.

>>61489287
Tracks are gonna get posted later on in the thread. Whenever it seems like there won't be more posters.

>>61488236
Alright I'm gonna do this after I finish Pres and Teddy

>>61489374
>productive

>>61489490
>discussing music
>discovering new artists and exposing ourselves to new styles
>developing our ear for new sounds and a style may of us are not inherently familiar with

It's sure as hell more productive than most of the threads on the board
I really don't see the point you're trying to make

>>61489374
Because you have autism. Jazz is archaic music that people convince themselves to like so that they can appear "refined" and different.

t. Someone who played in jazz band in hs

>>61489622
>>61489332
This guy is pretty mad. Maybe we should call off the thread guys?
Quick, everybody stop having fun.

>>61489622
>Jazz is archaic music that people convince themselves to like so that they can appear "refined" and different.

That is most certainly not true. Jazz, in its later forms, was based entirely around eschewing conventional structures and manipulating the very rules of music, but even if you find this to be self-indulgent bullshit, the roots of jazz are based in the traditional music and blues of America, and could often be construed as dance/entertainment music. With a label that covers everything from the early swing of New Orleans to the boundary-pushing and abrasive sounds of Cecil Taylor, jazz is simply a genre too wide to ignore.

In every facet of it, it's based around the individualism of the soloist, but also the sounds of the ensemble. It's really the only form of music based entirely around interaction, and no other genre really scratches that itch. From the unbearably complex and esoteric, to the simplest of swing and blues standards, jazz is an epitome of a musical style that's built on an entirely different language than anything that preceded or followed it.

t. someone who played in jazz band in HS, multiple jazz/classical orchestras and independent ensembles, and was formally educated in music in both the academic sense and by a performer who played in Carnegie Hall

:)

1. Hm. Well between the drippings and the e. piano this makes me think of Yes. Wasn’t it Ambassador Satch who put the Steve Howe track in a previous theme? Hm well finally the song seems to get going. This seems like maybe Glasper or something. Is that sax? Why does it sound so sickly? It’s just heavily processed or something. Well I think that really holds back the success of the song. The playing is not bad. The 7/8 groove is kind of cool and the bass player is playing some interesting stuff. The sax player sounds like he’s playing some good things, but all the effects added really limit his expression and so the band just kind of sits in one place and can’t really go anywhere besides that. It’s not bad but not great. The bass was very much in the foreground so I’d guess this is maybe some Thundercat thing.


2. I recognized this pretty quickly one from the Eternal Triangle record that Freddie Hubbard and Woody Shaw did. Unfortunately, I think this is one of the weaker tracks on the album. The solos are all pretty good however the rhythm section sounds very uninterested in playing this tune. Freddie Solos first here and I love that reference to Miles’ “So What” solo that he puts in there at the beginning. Yeah the rhythm section sounds pretty bored during Hubbard’s solo. Mulgrew Miller’s solo isn’t one of his best. Mulgrew sounds much more interested in comping behind Shaw’s solo. Especially those bits where they go out a little bit together. Still the drummer sounds bored as hell. Is it Tony Reedus? Kenny Garret’s solo gets a pass just because he swings so goddamn hard. I get that this is supposed to be more of an old school bluesy track but it’s not one of the stronger ones from this record. Shaw’s solo was the high point for me.

>>61490050
3. This is sort of unhinged with all the excess noise as a result of the ridiculous reverb put on the drums. Well I find this pretty uninteresting because there is just no communication going on musically. The bass and drums are setting up a fine groove but then the saxophonist is playing things that don’t seem to have anything to do with what they are doing. Likewise, they don’t seem to really care what he is doing, but just keep up that same groove. Sure the drummer gets busier at some points but it doesn’t really seem to reference what the sax player is doing much. At least not until the very end, until it’s too late. To me this one was pretty pointless.

4. Well that’s a legit horn section. Oh so that’s Dizzy, but I couldn’t tell you who the other vocalist is. This is a fun piece. This is the kind of thing that’s fun to end a concert with and it sounds like they’re really playing it up for the crowd. The other vocalist almost reminds me a little bit of Frank Rosolino’s kind of comical scat style. This was a fun one.

5. I’ve heard this one many many times. This is Oleo from the live recording of Miles Davis at the Blackhawk. Wow in Miles’ solo you can really hear the direction he wanted to head with his second quintet. He’s doing quite a bit to obscure the form though the rest of the band still keeps it. Haha then the sax solo starts on the bridge. Mobley’s tenor solo is great and very Sonny-esque. He really swims through the changes with ease. I like how the piano player (Wynton?) stays out of it but then marks the bridges. A nice short piano solo as well.

>>61490076
6. Well this one I know pretty well, though I can’t think of the name of it off the top of my head. This is from Rudresh’s Gamak record from a couple years ago. The guy’s got a very distinctive tone and a very distinctive style of playing which I think makes him one of the best players of this generation, even without considering his composing. This was a good choice to include on here because the interplay on this track is exceptional. Fiucinski definitely adds his own ideas to the mix and gives a nice challenge for Rudresh. Listening to this track out of context of the album I can hear quite a bit of Bill Frisell influence in Fiucinski’s playing. And some of it even sounds Fripp-esque. Good track.

7. Somehow from that opening I just knew there was going to be a backbeat coming in. I’m half expecting to hear Frank Ocean’s voice any minute. There’s not really a lot to comment on here. It’s got a nice groove, but the chord progression and melody seem pretty simple, with a lot of repitition. It’s pleasant but not really all that interesting.

8. Well this has got to be Armstrong. A duet with Fats Waller maybe? I don’t think I recognize the tune though. Armstrong’s phrasing and rhythmic complexity is of course miles ahead of what anybody else was doing at the time. A nice track.

>>61490105
9. I have a feeling I’ve heard this before. It sounds pretty much just like a basic jam session blues. This almost sounds like a band playing on an Aebersold play along or something. It’s a more modern recording but they’re just playing very much in the style of 50’s hard bop players. And there are a lot of “cliché” kind of licks that we’ve all done before but this just seems to be full of them. Like when the bass player does that ascending triplet lick. It almost sounds like a university jazz ensemble. It’s definitely not bad, just full of clichés.

10. And there’s Caravan. Seems it’s a duet. Possibly the bassist is the leader. I don’t think I’ve heard this version before. Interesting how they keep that groove going when they go to the bridge. I was kind of looking forward to the swing. It’s pretty nice. Bits of what the pianist is doing reminds me of John Taylor who just passed away recently. I don’t think it’s him though. This was a cool duet version.

Shit guys I won't be able to do it this time around
Call from work

1. well, this prog-like synth start goes on for much longer than necessary. at around 3:00, something finally starts going on. this feels like something the Flood-era Herbie Hankock could cook up, although it sounds more modern. Interesting stuff coming from the rhythm section, but whatever is the electrified stuff playing the lead (is that a sax? keyboards?) is gets on my nerves pretty fast. Enjoyablethough, but if the whole album is like this, count me off

2. This is definitely more like it. Oh boy, you can't miss that Woody Shaw playing! There is one nice relaxed atmosphere going on, the two trumpet players go on well together and the alto definitely adds up to it. although I don't know who the others are, this was the kind of stuff you would expect to hear at mid-set time in a club

>>61488986
>feels like a modern incarnation of those sickeningly sweet smooth jazz records from the likes of Grover Washington Jr.

When I read this I realized that it's got to be George Benson on the track. It didn't occur to me earlier when I was listening but now I'm sure that's who it is.

>>61488566
So your playlists aren't ready to post this week yet? I'm making a "chordless" theme playlist if you want to use that this week Blindfold I'll send it to you.

>>61490731
I'll be posting mine next week, when I have the time to make it
Your idea sounds good

>>61490695
3. This is some blowing I don't enjoy. Too bad though, the locked groove created by the bass and the drums is simple and very good.It get more appreciable to me from around 4:00 onwards. Could this be, but this isn't really my jam

4. This is more like it once again. Can't miss Gillespie on vocals! Very entertaining track that I would, judging from the excellent scat improvisation and the fact that it's a live take, goes back to the 50s? Maybe Pleyel 53 or Newport 57?. Very fun listen anyway

>>61490731
>I'm making a "chordless" theme playlist if you want to use that this week Blindfold I'll send it to you.

That sounds good. I'm writing up my thoughts now. I'll post them soon.

>>61490877
5. Now, this is Oleo. Can't miss that groove. This definitely sounds like Miles. I think it's Chambers on bass. Is this Sonny Rollins playing? the intonations sound like it is, but the whole thing doesn't remember me anything from the version I heard on the Bag's Groove session

6. Well I'm lucky on this one, because I was going back through my 2015 albums, listened to Bird Call agin because I didn't for quite some time, and went back to this one some hours after. I can't remember the name , although I'm pretty sure it was in the middle of the album

>>61491476
7. Now this is going stringed, and it is also going quite funk right after! This is a nice, repetitive groove like El Mitchels Affair would cook, but I doubt it's this recent. This sounds more like late 70s/early 80s. It would also be nice in a 2-3min version, I feel like taking it to nearly 6min is dragging it for too long

8. This is something old, although the sound quality is acceptable. Probably Armstrong on trumpet, but I don't know who it is on piano. This made me think of one recording of his I have at my parent's place called Mostly Blues, but this is really a wild guess

>>61491748
9. I am absolutely positive I heard this already. Especially the bass patern. Giving up after two listens, will probably slam forehead with hand when seeing the answers

10. /Caravan/ is back! This is a very interesting duo version that pushes the binary shape of the regular interpretations away. This heart-lighted piano playing doesn't sound unfamiliar, but I can't put a name on it. Very enjoyable track

I didn't have a chance to write very detailed thoughts this week. Oh well.

1. I can’t tell how many keyboards are going on here but it makes kind of a nice atmospheric effect with all the rain sounds. Then when the groove comes in it’s really nice. Also the constant motion of the bass and energy of the drumset keeps this one interesting all the way through. It sounds like rock players playing jazz but pretty effectively. 3.5 stars.

2. This tune sounds kind of more old fashioned than the recording quality does It has kind of a nostalgic quality to it. The trumpet player really stands out with some nice soloing so if I had to guess I would say maybe this is maybe Wynton Marsalis. The trumpet solos are pretty good but the rest seem pretty average and this gets kind of samey by the end. 3 stars.

3. The drums sound like they were recorded in a giant metal cavern. It’s a pretty cool effect. It almost sounds like marching band percussion doing cadences. Then the bass comes in with a very nice groove. I’m not really a huge fan of this kind of sax playing but I think it kind of works with this noisey drumset and heavy bassline. The sax player sounds like his only idea is to just try to be abrasive but it’s not too long so it’s still a pretty good track. 3 stars.

>>61492508
4. Scat singing is something we haven’t heard of very much. Scat singing can be kind of cool sometimes but a lot of times it seems like kind of a gimmick. I recognize Dizzy’s voice in there. This is fun but I think it falls into the gimmicky category. Or like it’s just kind of a joke tune. 2 stars.

5. I am sure I have heard this tune before but I can’t place it. I am pretty sure that this is Miles on trumpet though. It’s that muted sound. Plus you have to love all the space he uses. The sax player reminds me of Sonny Rollins because he really seems to embrace the bebop feel of the tune. The piano solo was very nice too but I have no guesses for who it is. 4.5 stars for this one.

6. This one took me a little bit but by the end I’m pretty sure this has to be Rudresh. I liked Bird Calls from this year so I sampled a few tracks from Gamak and I’m sure this has to be from that. This confirms that I’ll have to give the full album a listen because I found this track to be really good. I especially liked the guitar playing and I can’t really think of any other jazz that I’ve ever heard that has guitar playing that sounds like that. 4 stars

>>61492537
7. This sounded very hip hop influenced. Honestly I didn’t think it was very enjoyable. The tune itself was ok but the guitar player really didn’t seem to be able to do anything interesting. It kind of sounds like a decent high school aged guitarist messing around in garage band and trying to make smooth jazz hip hop. 2 stars.

8. Well since Ambassador Satch chose this tracklist I’m guessing this has got to be his namesake. It’s shameful to admit but I haven’t really listened to that much of Armstrong. This was pretty entertaining though and I liked the stride style of the pianist. 4 stars.

9. I’m not sure who any of these people were because this one sounded fairly modern but kind of like track 2 it really sounded like a throwback to the styles of people like Blakey and heavy swingers like that. It was fine but not really memorable at all. 2.5 stars.

10. I knew you were going to throw Caravan on there somewhere. So this is a piano bass duet version. I like it. I have no guesses for who the players are but I like the way they changed up the rhythm and the pianist adds some different chords in there. 4 stars.

1. Pretty cool. The intro with small psych vibes makes me thing of the sound of Canterbury scene bands, but I'm not so sure as the music goes on. The production here makes it sound very similar to Steve Reid's Nova which is nice, although the sound in here is not as groovy imo.
2. Good stuff, the horn section on the tune is what really gets me going, the piano solo isn't too remarkable but is also not too long. The other solos I can get more into. And I like how the tune comes back when the song is ending.
3. The bass and the drums make up for a nice rythm, a bit heavy and catchy, but not really changing, whereas the saxophonist plays free jazz. It's kinda nice but I'm not sure how I'd like it in larger doses.
4. The vocals kill this for me I think. I don't really like the style and there's not much to the rest of the ensemble. Even though their use is kinda interesting, especially towards the end, it's not my thing.
5. This reminds me of a handful of stuff. Off the top of my head, the trumpet sounds like the stuff in Milestones. I was mostly paying attention to it, but I liked the rest of the ensemble as well
6. Fusion as well but unlike the first track, this sounds recent. I can't get into this though. I don't know why, the overall sound is not something I like.
7. This sounds familiar, at least the first two minutes or so, but not from an album. Maybe as background music somewhere. Which is also what I think it would be nice for, but in here it gets too long.
8. This is nice, old stuff of which I've barely heard anything, so more or less all the same to me.
9. Pretty sure the guy was counting in French. No idea who these people could be anyway. The music is very standard (?) and not remarkable in my ears.
10. I'm not sure I've heard a bass / piano duet before. It was a bit minimalist for me. I don't think I've grasped it on just one listen, so not a lot to say about this either.

>>61491937
I got it! #9 was Captain Grisou by Yvan Capelle, with the mighty Pierre Boussaguet on bass!
It took me some time, but it finally came back out of nowhere

>didn't get caravan
:(
I can actually see it now, but since the version I have been playing the most lately has been King Cole's what has stuck the most with me is his voice on it.

I had also heard Rudresh's album from this tracklist, sometime in the summer of last year. I didn't particularly like it either. Maybe it's his style, I dunno.

And favorite tracks were probably 1, 2 & 5.

>>61488450
>late-60's Miles Davis in a sewer
Interesting way to describe it. I can well see the swear thing though, the production on this album is quite odd.
>razor tone on the solo instrument
I love the edge to it aswell.
This keyboard player has better perfomances than on this track but he's done some very interesting stuff with that tone too.
>Track 3
At least someone liked where he was coming from. Imo the track is supposed to be appreciated more from a textural point of view because Harmonically and melodically, it's fairly stagnant.
>it's super entertaining and I bet it would've been awesome to see his band back in the day
Yeah, I think that the silliness of this one has the potential to turn a lot of people off but I think it comes off really well. I've a high tolerance for this sort of thing though so I love all the mugging with the crowd and the general comedy routine going between the two singers.
>>61488467
>Track 10
Even when he's not soloing, that bass player is always doing very musically interesting things. Such a great player.

Ehh, was gonna reply to more people but I'm heading out with the mates. Might come back later on to reply more because there's been some interesting things said but I'll be baked by then so I can't promise I'll make as much sense as I'd like.

Drummer here, new to blindfold test and only an intermediate jazz listener
>Track 1
Interesting textures at the beginning. The drummer sounds like Tony Williams, but I'm not sure it's him. Maybe Lenny White. I guess it could be some of Tony's stuff from the 70s but I'm not sure at all. Maybe Return to Forever but I'm not too familiar with them or their instrumentation.

>Track 2
Ooh, shit, I think I've heard this before. This is that Freddie Hubbard/Woody Shaw record. I forget the tune though. Rhythm section is swinging but I could use more bass. Sax player sounds almost Gerald Albright esque but he did alright.

>Track 3
Damn, this is the shit! The bass sounds like it's sampled. Maybe a Ron Carter sample. Not sure about the drummer, maybe Mark Colenburg? I'm probs way off with that. Hearing the sax come in, I've never heard Mark in that context so it must be someone else. I have a hard time telling sax players apart when they do the whole overblowing/ screaming kind of thing. Maybe Pharaoh Sanders? But this would have to be a pretty old Pharaoh. I hav no idea about this one.

>Track 4
Sounds like Dizzy scatting. I'm sure of it. Is the other guy Al Jarreau? Maybe not. Drags on a little too long, I would have liked to hear something else happen.

>Track 5
Oleo, live. I've heard them play this arrangement but not this live version. it's definitely Miles Davis and Sonny Rollins. Probably Paul Chambers on bass and that's definitely Philly Joe Jones. Not sure about the pianist, though, but I've been transcribing Wynton Kelly on Freddie Freeloader, and he plays one of the exact same licks as is in the piano solo. I'll guess Wynton Kelly.

>Track 6
Sounds like it might be Kenny Garrett and Pat Metheny. If so the bass player is probably Nat Reeves and the drummer Jeff Tain Watts.

>Track 7
I think I've heard this, it sounds a lot like some Grant Green stuff. It might be from the album "Easy". I'm almost certain it's Grant Green

>Track 8
Gotta be Louis Armstrong. Wow...I don't know the tune but this is really great. Pianist is maybe...Willie the Lion Smith or Fats Waller

>Track 9
I think I heard the guy count off in French, so I have no idea who this is...ignorance on my part! The head is alright but I don't hear a lot of feeling in this. Sort of... academic

>Track 10
Caravan. Never heard it done in 5/4. Interesting stuff happening, really stretching the rhythm out. I remember seeing a YouTube video of Kenny Barron and Dave Holland doing a duo, maybe this is them. I don't know either of them too well, but this seems to be something that Holland might think up.

bump I guess

>>61489374
>I don't know why you insist on shitposting
story of my life

Link for next week

http://www88.zippyshare.com/v/bDoYJh9j/file.html

>on the general consensus on track five
The sax player on this one is playing differently to how I've heard him ply and the sort of playing you'd expect. A few people have said Sonny Rollins which is a pretty fair guess based on the playing though.
>on track 9
I'm inclined to agree with people that it's a tad generic. I'm fond of the opening melody. Catchy as fuck.
>track 7
Lel I am very unsurprised this smooth jazz one got slaughtered. I think as far as smooth jazz goes, this album is tolerable.
>>61488567
>track 2
I think you're overestimating the size of the ensemble on that one. There's always a lot of stuff happening and two trumpets so I can get how you'd get that impression on a blind listen.
> track 3
I'd be surprised if you didn't know these guys but this one isn't as big an album for them.
>track 4
>too humorous and light-hearted to really take seriously
I understand a reaction like this completely. It is a silly performance and is supposed to be taken as a bit of fun rather than a serious musical statement. It's still a pretty impressive performance all the same.
>Bix on track Seven
Bix'd want to be on an awful lot of cocaine.

>>61496274
Soz, meant to post with the name.

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bump

Probably gonna post tracks in a min. Doesn't look like anyone else will be posting.

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>>61497366
and I'm gonna sleep soon

>Track 1
Soft Machine – Drop
Album: Fifth (1972)
Elton Dean – alto saxophone, saxello, (Fender Rhodes) electric piano
Hugh Hopper – bass guitar
Mike Ratledge – (Lowrey) organ, (Fender Rhodes) electric piano (the screechy synth was this guy, not a sax)
Phil Howard – drums

>Track 2
Freddie Hubbard and Woody Shaw – Down Under
Album: Eternal triangle (1987)
Freddie Hubbard: trumpet, flugelhorn
Woody Shaw: trumpet
Kenny Garrett: alto saxophone, flute
Mulgrew Miller: piano
Ray Drummond: double bass
Carl Allen: drums
>Track 3
Fire! – If I Took your Hand
Album: You Liked me Five Minutes ago (2009)
Andreas Werliin: Drums
Johan Berthling: Double Bass
Mats Gustafsson: Tenor Saxophone

>Track 4
Dizzy Gillespie – Ool Ya Koo
Album: Carnegie Hall Concert(1961)
Dizzy Gillespie - trumpet, vocal
John Frosk, Clark Terry, Carl Warwick, Nick Travis - trumpet
George Matthews, Arnett Sparrow, Britt Woodman, Paul Faulise - trombone
Gunther Schuller, Jimmy Buffington, John Barrows, Richard Berg - French horn
Don Butterfield - tuba
Leo Wright - alto saxophone, flute
Lalo Schifrin - piano, arranger
Art Davis - bass
Chuck Lampkin - drums
Ray Barretto, Julio Colazo, Jose Mangual - percussion
Joe Carroll – vocal

>Track 5
Miles Davis – Oleo
Album: In Person: Friday and Saturday nights at the Blackhawk (1961)
Miles Davis – trumpet
Hank Mobley – Tenor sax
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums
>Track 6
Rudresh Mahanthappa – Are There Clouds in India
Album: Gamak (2013)
Rudresh Mahanthappa: alto saxophone
David Fiuczynski: electric guitar
François Moutin: acoustic bass
Dan Weiss: drum

>Track 7
George Benson – Breezin’
Album: Breezin’ (1976)
George Benson – guitar
Jorge Dalto - piano, clavinet
Ronnie Foster - electric piano, Moog synthesizer
Phil Upchurch - rhythm guitar
Ralph MacDonald - percussion
Stanley Banks - bass
Claus Ogerman - arranger, conductor
Harvey Mason – drums

>Track 7
George Benson – Breezin’
Album: Breezin’ (1976)
George Benson – guitar
Jorge Dalto - piano, clavinet
Ronnie Foster - electric piano, Moog synthesizer
Phil Upchurch - rhythm guitar
Ralph MacDonald - percussion
Stanley Banks - bass
Claus Ogerman - arranger, conductor
Harvey Mason – drums
>Track 8
Louis Armstrong – Weather Bird
Album: Hot Fives and Seven’s Vol. 1-4 (JSP) [or your compilation of choice] (1928)
Louis Armstrong : Trumpet
Earl Hines : Piano
>Track 9
Yvan Capelle – Captain Grisou
Album: Captain Grisou(1993)
François Biensan : trumpet
Pierre Boussaguet : bass
Yvan Capelle : drums
Olivier Leveau : piano
André Villéger : saxophone

>Track 10
Pierre Bousaguet and Alain Jean-Marie – Caravan
Album : Still Dukish (2009)
Pierre Bousaguet : Bass
Alain Jean-Marie : Piano

>>61497788
Just so I know, are #9 and #10 taken from the rips I made back in the day? If so, I'm happy they travelled this far!

>>61497894
I usually don't use archive stuff nowadays but I've had them long enough that it could have been.