>>61844221
Oh cool the threads up. Sorry I couldn't make it last week, Bowies death was a big deal in my house so I was getting hammered with the parents.
I'll post my thoughts in a min, bumping in the meantime.

>Track one
I like the drum groove on this. The opening melody was nicely written too. Pretty simple at first and mostly playing around with the arpegiating the I7 and ii7 chords but the bit around 30 seconds in sounds deadly where the little chromatic thing comes in and the end of each phrase goes down another semi tone till it gets to the v of the D#. It sounds great and makes for an interesting sounding progression that leads nicely back into the first thing. Catchy melody/10
I was afraid the drums were gonna be doing the same thing throughout the piece by the end of the head and I was glad when the piano came in with the key change and change of pace. The solo was enjoyable, really nice varying in dynamics and tasteful reference to the head. Couldn’t tell you who anyone is but I enjoyed what everyone was doing. Maaaaybe Bud Powell on piano, but that’s more a stab in the dark and he’s probably just an influence on the pianist. Especially considering how good the recording and production quality is.

>Track two
Ooh. That’s a very dissonant/ominous piano chord. Some unusual percussion in the background too, very spooky. The cello and horns were very menacing too, appropriately it’s all very cinematic. The timpani is on point too, I was sad then it left for the more conventional drum set of the main body of the piece. When it becomes funkier, it reminds me of something that could have been in La Planete Saufage. Especially with the electric piano and the mood of the track. It’s been a long while since I listened to that soundtrack but I don’t remember there being any tracks longer than 2-3 mins on it. Maybe another soundtrack by Goraguer though? I’m not familiar with the rest of his work but this sort of electric Miles influenced, funk vamp jam with all the menacing orchestration at the beginning is reminiscent of that soundtrack.

>Track three
This one sounds like it could be Duke playing with a small ensemble. It’s not anything off Anatomy of a Murder which is the only soundtrack I know by him. The sax is quite like Johnny Hodges too. It’s a really nice ballad in any case. Some lovely lyricism from the sax and consistently engaging throughout.

>Track four (my fav of the bunch)
This ones was really cute. Based on the sax player; who sounds very like Paul Desmond and the gentle touch on piano, I presume this is Dave Brubeck. It almost sounded odd when Brubeck would stick in some blue notes because of how upbeat the whole thing sounded. Like around, 52 seconds in, it just sounded a little out of place with the cute staccato chords.
Desmond kills this too. Some really nice melodic ideas and as usual, he can just glide over the chord progression like he’s been playing it his whole life. It’s a really nice progression too, real upbeat and Desmond and Brubeck pull some interesting ideas out of it.


>Track five
The drums on this one reminded me of the drums for Billie jean. I went and got my bass to see what the bassline for Billie Jean would sound like over it if I played it in the same key. It fits in nicely with the ostinato and there isn’t any harmonic movement so I was happy just playing Billie Jean over this still everything but the sax dropped out.
I don’t actually have much else to say about this one but the whole Billie Jean thing kept me very amused so I’m gonna say I enjoyed this one.

>Track six
I happened to be playing this one around my Mum and she figured it was from some 70s or 80s tv show like Mash or something. She asked my Dad what he thought it was and he said the one she was thinking of was The Odd Couple but that they agreed the track wasn’t the same but sounded similar.
I liked the sax player’s tone but on the whole, this one didn’t really make much of an impact on me.

>Track seven
Some very dramatic bowed bass. Ehh the chords were interesting but I wasn’t all that blown away by this. That little rhythmic pattern they kept going back to got tiresome pretty quickly for me. This is probably something relatively modern. I could fault the pianist for not really being all that expressive and not giving the listener a lot of breathing room but I’m also hung over from two days in a row of heavy enough drinking and smoking so I may just not be in the mood right now.

>Track eight
Didn’t really like the dissonance in the ensemble and the unusual melodies they were playing. Those straight crotchets they were doing with the drums just didn’t sit well with me. The trumpet was also mixed waaay too low in this considering he was the soloist. The echo on the trumpet was really off putting too. It was the most poorly recorded but it was given the most to do. The bass was just walking but it had way more prominence in the mixing.

>Track nine
Oh now this is interesting. The chords in the guitar are cool and his tone blends nicely with the horns.
I like hearing violin as a soloing instrument. I don’t know enough about it in a jazz context to have any guesses, it’s not something I’ve heard too much of so it always comes across as quite exotic to me.
There’s really nice build up in this. The individual melodies and ostinatos that come and go in the ensemble are quite simple but they work together quite nicely and give a nice arc to the piece. I enjoyed the guitarist's soloing with a bit more distortion. He seemed more like a rock guitarist but it worked surprisingly well over the ensemble.
The bit where everyone dropped out towards the end was really cool, it sounded like the guitarist was just gonna fade out with the feedback but coming back in with the arpeggios for the ending was a nice touch.

>Track ten
Some nice hard bop. A pretty decent sized ensemble too by the sound of it. The guitarist could be Wes Montgomery, his tone has that lovely round and warm sound that Wes could get out of his thumb style playing and he moves through single notes, octaves and block chords like Wes would.
On first listen, I didn’t like how the pianist played the latter half of his solo with the dense sustained arpeggios but it grew on me and I like how it contrasts to the single note playing in the first half of the solo and the pretty sparse beginning of the sax solo. I’m guessing the sax player is someone younger as his tone becomes less controlled at points and more overblown and he plays outside a lot more than the others did. There’s some pretty overt playing of the opening melody too though which is interesting, like he got tired of playing weirdly and went for the most conventional thing he could which was to quote the head.

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>>61844221
Bumping for posterity

bump, I'll get my thoughts down in a bit

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bump

I'd participate but I'm really to busy shitoposting, besides i dont have an ear for jazz

Sorry I can't post today. Everything has been crazy

good to see there is a thread this week. I waited some times for last week's but ended up going to bed

01. I definitely heard this theme before. I like how fluid the pianist is, he really links his ideas together well. Great support from the bassist as well as from the drummer. This sounds like something that could have been as well in a Polanski as well as in a 30/40ss-themed american movie. After two listenings, I still can't get over what movie is this theme from though

02. Now this is very different. This sounds kinda like Hammer movies meet Shaft, going from free stuff to pretty funky sequences. Cool percussions, nice sustained bass pattern. Is this Hancock ? I only know Blow Up and Autour de minuit as movies he did a soundtrack for, but I can't remember a single track from these movies that sounded like this. Oh, the synth at the very end doesn't sound Hancock-y at all, so it probably isn't him.

03. This would fit well in a 50s Hollywood movie.this piano was quite aerial but I don't know if that can be Duke playing. The sax brings on an easily memorable theme, just what it takes for a movie. I'm pretty sure I heard this one already as well, but my movie enthusiast times are starting to be a little old

04. This very clear, light-hearted piano playing is something I like here, as well as this quietly walking bass at work. Again, something that works good for a movie theme thanks to the sax interesting phrasing and theme

05. Now this quite clearly sounds more modern than the rest. This is strangely reminding me of the Pink Panther atmosphere. This saxophone build-up tells me I should know who this is, especially since the low amount of movies with a free sounding soundtrack I know of, but once again it doesn't ring any bell here

06. Welp, 2am coming back from a beer drinking session is definitely not a nice time to do the blindfold test. There is once again something I am positive about having heard used in a movie. Sounds like 70s jazz trying to emulate older stuff

1. Was pretty positive I knew the song based on the opening melody but now I'm not so sure. Sounds like it might be either Oscar Petersen or Vince Guaraldi, but there are countless of other cool jazz piano trios it could be. Very satisfying samba, really enjoyed the soloing.
2. I recognize this! From the Death Wish soundtrack by Herbie Hancock right?, my dad used to play the death wish st all the time. They're like his favorite movies, he has this vigilante fetish from having to move away in the 80s. Right away I recognized that bassline, Hancock really excelled at those infectious basslines, he should of composed more action film ost's. I especially like how the percussion and those frenzied piano chords, really sets the tone well.
3. What a pleasant melody, what I think of when think of "rainy day jazz." Sounds like what Clint Eastwood or Scorsese or one of those jazz disciples would use to set bittersweet tone. Was kinda disappointed the sax didn’t take a solo, but the piano did a very good job.
4. Also know this one, from When you Wish Upon a Star by the Dave Brubeck Quartet. I used to own Dave Digs Disney, DBQ was really the first ensemble I really explored. I'd say Paul Desmond's soloing never really went anywhere past the cool jazz idioms he started with, but he really was the best at it, making a very agreeable and lyrical sound, as evidenced by this track. The ambling bass and drums were very appropriate for a Disney cover and I'll always love block chords and such

07. Something modern again. there is some interaction I really enjoy between the bowed bass and the piano, although this definitely goes on for too long. I can almost figure out the jump cut use one could do between two quiet and action scenes with this

08. This is something that sounds very Miles-y, although I can't think of something this big-bandy he would have done. This one had a lot of stuff going on despite its short length, I especially appreciated how the whole thing was built up by every instrument coming in

09. Very enjoyable use of a similar theme by successive isntruments. Unexpected but really good use of the effect pedal on the guitar, bringing in some Hendrix vibes. Oh, I wouldn't hae guess that almost folky part at the end. Was that the credits time or something?

10. I don't know why, but this sounds like some nouvelle vague stuff. That guitar solo was excellent, but I didn't dig the sax one as well. The backing bass and drums are doing a simple yet effective work. After listening more closely to the sax, its tone sounds pretty familiar. Is this Hank Mobley? This amble style could be him in a cooler trend. Nice comeback of the whole gang at the end gang to conclude

This was an enjoyable session! i'll look toward the answers and watch the movies when I got the time

bump
1. Nice, I like the pìano melody over the course of the song and I the solo as well as the changes (?) on the drums.
2. Starts off strangely, didn't expect the electric stuff to kick in. The bass has a nice melody even though I'm not sure it has changed a lot during the whole song.
3. The piano has a very swell tone and the sax goes very well with it. Barely noticed the bass but I think it works better that way.
4. Kinda got lost in this. Sounds nice and the playing is good but does not cause any feelings on me or anything.
5. I like this, especially when it builds up on the second half, one of the saxes sounds groovy while the other goes wild, and the drummer keeps a nice rhythm throughout.

6. The tune is familiar, but I'm not sure from where (some stuff makes me think of moanin' vaguely, but I don't think this has anything to do with it). There's some nice interplay so this could be an ensemble that's already familiar with eachother.
7. Starts off somewhat dynamic. But I don't really care for the piano solo around two minutes in, or most of the stuff he does after. Maybe I'm just having a problem following him up because he's constantly at it.
8. It's intense at first, but then it just sounds like regular swing to me (I don't really know) until it ends. Probably old because of the bad recording quality.
9. More strings, cool. This has a very nice sounds that develop very interestingly and subtly, like with the distorsion on the guitar. The acoustic part at the end is nice though I don't know why they would put it there.
10. I like the sound of this on the start. Cool guitar solo, shame there's not more guitar playing after it, and that the rest of the horns only come back at the end of the song. Still, the rest of the players do a nice job here.

And here's the track info:

Track 1:
Vince Guaraldi Trio - Samba de Orpheus
interpretation of music from the soundtrack of Black Orpheus

Vince Guaraldi - piano
Monty Budwig - bass
Colin Bailey - drums

Track 2:
Herbie Hancock - Fill Your Hand
from the Death Wish soundtrack album

Herbie Hancock - keyboards
Bennie Maupin - saxophone
Paul Jackson - bass
Bill Summers - percussion
Mike Clark - drums
+orchestra

Track 3:
Krzysztof Komeda Quartet - Ballad for Bernt (1962)
from the Knife in the Water soundtrack album

Krzysztof Komeda - piano
Bernt Rosengren - tenor saxophone
Roman Dylak - bass
Leszek Dudziak - drums

Track 4:
The Dave Brubeck Quartet - When You Wish Upon a Star (1957)
interpretation of music from the soundtrack of Disney's Pinocchio

Dave Brubeck - piano
Paul Desmond - alto saxophone
Norman Bates - bass
Joe Morello - drums

Track 5:
Angelo Badalamenti - Red Bats With Teeth (1997)
from the soundtrack of David Lynch's Lost Highway

Bob Sheppard - tenor saxophone
Henry Kranen - baritone saxophone
Ronald Brown - baritone saxophone
Angelo Badalamenti - piano
Ernest Hamilton - bass
Ralph Penland - drums

Track 6:
Eddie Harris - Exodus (1961)
interpretation of music from the soundtrack of Exodus

Eddie Harris - tenor saxophone
Willie Pickens - piano
Joe Diorio - guitar
William Yancy - bass
Harold Jones - drums

Track 7:
Kari Ikonen Trio - Poorab Disa Se (2015)
interpretation of music from the soundtrack of Bollywood movie Suraj Aur Chandra

Kari Ikonen - piano
Ara Yaralyan - bass
Markku Ounaskari - drums

Track 8:
Martial Solal - La Mort
from the soundtrack of the Godard movie À Bout de Souffle (Breathless)

Pierre Gossez - alto sax
Paul Rovère - bass
Daniel Humair - drums
Martial Solal - piano
Roger Guérin - trumpet
Michel Hausser - vibraphone

Track 9:
Bill Frisell Quartet - Tales from the Far Side (1996)
Quartet version of music Frisell wrote for the soundtrack of Gary Larson's Tales from the Far Side animated short film

Bill Frisell - guitar
Eyvind Kang - violin
Ron Miles - trumpet
Curtis Fowlkes - trombone

Track 10:
Sonny Rollins - Alfie's Theme
from the Original Music from the Score "Alfie" -album

Sonny Rollins - tenor sax
Phil Woods - alto sax
Danny Bank - baritone sax
Frank Dunlop - drums
Walter Booker - bass
Kenny Burrell - guitar
Roger Kellaway - piano
Bob Ashton - tenor sax
J.J. Johnson - trombone
Jimmy Cleveland - trombone

>>61853776
>>61853794

A few random notes on these selections:

>Track 1
This track was released as a single to capitalize on the bossa craze, but it was the B-side Cast Your Fate to the Wind that became a hit and actually got Guaraldi the Peanuts soundtrack gig he is today best known for.

>Track 2
This is the same band that plays on Herbie's Thrust. I think it's kind of interesting that here they feel more like Herbie's earlier Mwandishi-period than the groovy funk outfit they are known as.

>Track 4
The bass player here has no connection to the Psycho character of the same name. He didn't record anything after Psycho came out, though.

>Track 6
The most interesting thing about this track is probably that the 2 minute single version was a huge hit and sold over 2 million copies becoming one of the most sold jazz recording ever in 1961 apparently beating Take Five to being the first certified gold record in jazz and established Eddie Harris' career.

final bump

bumping because Tuesday is as good as Monday and someone might have a theme idea they were nearly done making for next week.