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hello!

jazz is nice

i like it!

>>64071258
You should join in with the thread then

hello thread

1. This has a wild west kind of sound. Jazz sax with a string quartet? I wouldn’t have said that it’s a good idea but it’s kind of cool. Is there improvisation in here or is it all composed? This was really cool. I’m not sure what saxophonists would have done something like this. Maybe Michael Brecker? I think this could have gone very wrong but it actually succeeded. 4.5 stars.

2. I think I am a sucker for violin because I found this really beautiful. It seemed more simple and repetitive than most jazz but I think that makes it very accessible and easy to like on first listen. I don’t really know many violin players. The bass player is doing some cool fills too that keep it interesting even though the song is kind of simple. 4 stars.

3. The juxtaposition of this one is interesting. It’s like a pretty waltz but then the harsh saxophone tone is kind of foreboding. It’s cool then when the violin comes in with the melody too. Like I said I’m a sucker for violin. 4 stars.

4. Have we had any clarinet in the Blindfold tests before this? Other than maybe in a big band track or something. This is interesting because it’s obviously very free and that’s not really something you hear with clarinet. The only person I can think of is Anthony Braxton but I think usually he does more with trying to achieve interesting tones on the instrument than this. I think this is the kind of thing that takes more than one listen to appreciate so I’ll give it 3.5 stars for now and come back and listen to it more later.

5. Is this Nat King Cole? I usually consider this kind of stuff to be more like pop-jazz. The pianist did play some cool bluesy licks though in the short solo. 3 stars.

>>64071771
6. Hey I actually recognize a standard and know the name for once. It’s Take the A Train! And it sounds like it’s being played by about 8 different saxophonists. There were a few parts that were cool in there but for the most part this was just kind of a mess I think. There was so much going on that you can’t focus on any of it. 1.5 stars.

7. Some metal and rock influence on this one. This was pretty cool because it’s very different and I can’t think of anything else that really sounds like this. That’s not saying that much though. 4 stars.

8. This one sounded very poppy. It reminds me of some of the things I’ve heard in the last few years that have more influence from electronic music. It was a nice song though and the solos ended up being pretty cool. I like what the piano is doing but I don’t really know how to describe it. Normally this kind of thing doesn’t really grab me but this one was pretty good. 3.5 stars.

9. Now we’ve got more free jazz. This is probably the first track where I’ve actually missed the drums. Without any drums this kind of stuff falls very flat and has no sense of texture. Not sure what else to say about it or who it could have been. 2 stars.

10. This one is cool. Kind of like tracks 2 and 8 this one seems simple but very beautiful because of that simplicity. I like the atmosphere that the instruments created together. It was almost ambient at times. 4 stars.

>1
I think this track sounds very interesting. The string instruments and saxophone is a fun combination.

>2
This track has kind of a 70's folky vibe.
It reminds me a lot of Comus - First Utterance, which is very nice since it's one of my favorite albums.

>3
Nice saxophone playing. The String instrument at the end gets really interesting too.

>4
what

>5
Don't know much if anything about vocal jazz, but I somehow think this isn't too old.

>6
This track is pretty confussing.
Most of the time it just seems to be a bunch of instrumments attempting to play together, but only partially succeeding.

>7
This is the strangest thing. A saxphone(electric?), an electric guitar and an accordion(?).
Never have I heard something like this. But I actually liked it, the track created a lot of energy with this strange combination of instruments.

>8
This track creats a very nice mood. It has some very nice melodies.

>9
Sets a sinister and dark mood. I could see this fit right in to some old silent horror movie.

>10
Some parts and melodies from this track actually reminds me a little bit of this jazz-rock fusion kind of band called Tatran.

Heyo!

>Track one (my fave of the bunch)
Oh wow… What’s this? I like this. That string arrangement isn’t like anything I’ve ever heard on an “x with strings” record, it’s like a modern classical arrangement and the sax player is fucking killing playing over it, especially considering it’s so volatile.
Cool use of that pedal point in the opening, introduces a lot of tension. The facility with which the sax player works off that arrangement is actually kind of making me doubt whether he’s actually improvising. It’s all too perfect… the dynamics of his solo, how he’s picking up on and responding to themes, how well composed the melodies are, how fucking spot on his delivery is, etc.
Like, listen to 1:00 onwards, holy Jesus this is fucking smoking. Like a lot of the rest of the song there’s some quite dissonant harmony and it’s used to build tension for the crescendo which resolves itself on something that could have come straight out of a spaghetti western soundtrack or something. Jizzed my pants so hard at the break around 1:16, oh man when the strings came back in to finish out the rest of the crescendo.
I love all the knotty pizzicato playing in the violin toward the end too. Between that and the quite repetitive basslines, there isn’t really a want for any percussion in the piece. It moves along a little like a string quartet or something.
Maybe this isn’t actually a jazz track at all and it’s spotlessly composed and practiced to within an inch of the guy’s life.

>>64071892
>Track two
It took me a few listens and banging my head against my kitchen table but I remembered who this was. Something I haven’t heard in at least two years, Al Di Meola’s Renaissance from The Rite of Strings. I remember thinking this was a cool record at the time when I first heard it but it’s obviously left a stronger impression on me than I thought cause I found myself humming along with a lot of the melodies. I’ll have to relisten to it cause this is actually way better than I remember. The acoustic guitar is mental. It’s very impressive how quickly he’s able to move through chords to single note runs to harmonics and all with spotless articulation but more importantly, the melody is really catchy and it's managed to stay in my head after two years without hearing it.
Good track.

>track three
Is the sax player flutter tonguing? This is real Albert Ayler-tier messing around with extended techniques. If I didn’t know the theme, at this point I might be wondering if it was a “with strings” theme rather than a drumless one. Very harrowing cello in this one. At first everything is quite anchored and there’s some simple ostinatos keeping everyone in check but past the bit where the cello drops out and adds a few harmonics, he starts leading them into less tonal territory. I like the gradual development in how abstract their playing gets and how right as it’s kind of getting messy, they all drop out and come back to the head. Very neat.

>>64071771
1. The sax soloist does improvise

2. This is a track I really liked when I first heard it a long time ago. It does feel repetitive, it wasn't originally composed for a drumless trio and I think the bass player is overcompensating a bit.

5. You're close, it's a tribute

>>64071850
7. For this particular track the alto sax was recorded through a small guitar amp to get a harsher sound, nice catch - it's certainly a group with a very unique sound.

>>64071955
>track four
I recently started recording a free jazz ep with a friend(long story) and I think I get this track a little more than I would have having tried my hand at this sort of playing. We don’t have a drum either and my experience (and how I imagine these guys are feeling it) is that there’s a lot of awareness of how much sound is filling the space and interplay becomes a lot more apparent. The opening is fairly jagged sounding but things kind of calm down and everyone becomes a lot more conservative with how they’re playing in response to the sax player growing quieter after the sustained notes around 27 seconds.
When the sax player plays that little descending run and the bass player starts punctuating notes as if he’s finishing off the phrase. I like how responsive they all are to each other and it's cool what professional musicians can do with this sort of approach.

>Track five
Holy direction change Batman! Some comparably easily digestible lounge jazz. The singer swings, it’s got a nice chord progression and the melody is simple enough, you can sing along to it after two or three listens.
I don't have much in particular to comment on but this was enjoyable.

>track six
Man, Jazzpossu sure is keeping us on our toes this week… the most bizarre thing about this is how well it works. It’s a very novel idea anyway and Take the A Train is an odd vehicle to use for your sheets of sound free sax ensemble but it sounds really cool. It’s kind of gloriously messy, I’m thinking this is actually the same sax player dubbed over himself several times rather than a sax ensemble which is probably part of the reason it sounds very cacophonous. Bar the bits where he had worked out the arrangement, he seems to have just decided to have every take soloing at once.

>>64071892
I'm actually not sure of how much of the sax is written - i'm aware of another recording by a different artist of this work, so maybe a comparison listen might be interesting.

>>64072121
>Track seven
This is maybe Bill Friesel or perhaps one of those off the wall Japanese zeuhl/jazz rock ensembles? Someone who isn’t skittish about pushing what he’s playing and incorporating a few different stylistic influences. I wasn't really feeling this one tho.

>Track eight
Just a wild guess but this isn’t from that Victor Iyer album, the techno one or whatever that came out last year is it? I haven’t heard the album but this sounds fairly modern and like it’s influenced by house music or something.
With the bass and piano playing the same lines, the timbre sounds almost electronic and the repetitive melodic figures fit that sort of style too.
I wonder where that violin player is from… there’s some stuff he plays that sounds downright middle eastern or something.
Interesting melting pot of ideas on this one.

>Track nine
I’m thinking once a week, in contrast to the rest of my reviews where I tend to (poorly) over explain myself, I might just have one track a week where I only use one adjective to describe a song.
Stiff.

>Track ten
I love the chords on this one. They’re pretty epic sounding, a little renaissance-esque or medieval? I’m not sure that’s it but it’s like something Rush might do and it sounds very grande with the harp and vibes supporting the guitar. It’s interesting instrumentation cause they’re all sort of chord playing instruments but they’re playing around with arpeggios and broken chords a lot. They’re also not instruments typically heard together and certainly not by themselves which gives the track interesting colour.

>overall impressions
This was a really interesting selection of tracks. Nice variety and some quite unusual pieces.

>>64071955
Almost spot on down to the track name, it's a Jean-Luc Ponty composition though. Fun to see someone else having a similar history with this album.

>>64072163
Is it a jazz saxophonist we might be familiar with or who has otherwise worked in more straight ahead jazz? It's a fantastic performance, improvised or not.

Interesting picks this week. I had a lot to say about them.

>Track 1
Kind of odd mixing on this one. The sax sounds very distant. This has sort of Copeland-esque quality to it that makes it seem very American. Lee Konitz has some records that are a bit like this but this is tenor. Oh I think it’s Stan Getz though. That would be why the playing reminds me of Konitz. I know it’s cheating but I had to look it up and find out if this was Getz and it looks like he does have an album that this might be from. It’s very good. The string arrangements are great and Getz’s playing works well. This actually reminds me of a couple of the tracks from Chris Potter’s most recent album. I’m surprised I don’t know about this record. Good find.

>Track 2
Well track 1 couldn’t have flowed any better into this one. So already we’re going heavy on the strings on this track. Kind of a gypsy jazz feel but very nice bass playing. Bits of this make me think of Larks’ Tongues in Aspic. Well the simplicity of this is nice on one hand but I think the tune could use a bridge. Or maybe there was one in there somewhere… I couldn’t quite tell with one listen. Anyway the four bar progression gets a little bit stagnant by the end. Nice playing though. Well the obvious guess for this would be Stephane Grappeli, this would be in his wheelhouse, but I don’t know a lot of violinists. The other thing that came to mind is that this reminded me a bit of some of the stuff that Mark Feldman and John Abercrombie have done together… all of their stuff that I’ve heard has drums though. Overall pretty nice.

>>64073301
>Track 3
I don’t know quite what to make of this one. First off, I’ve never really been a big fan of this kind of saxophone tone. To me it feels a lot of the time like these kind of players focus more on having an interesting tone than playing interesting ideas. Maybe some people like that but to me it’s like reading a book that is written in cool fonts but doesn’t say anything interesting. Anyway, looking past that, this seems to be a very simple song that focuses on melody, but I didn’t think it was a particularly strong or memorable melody. Maybe that would change with repeated listening I don’t know. Around halfway through I actually liked it quite a bit when the cello(?) took over the lead role in the melody. My only complaint with this section was just that the cello became a little bit too loud. I would have preferred a more even mix of the three instruments. No doubt this is somebody European- Mats Gustaffson maybe. Anyway, in conclusion I didn’t really care for the first half but the second half of the track was pretty good.

>Track 4
Ah well the clarinet is a dead giveaway. This is from Jimmy Giuffre’s Free Fall album. This is the kind of free improvisation I like a lot, where they leave plenty of space and are very clearly listening to each other. Although I tend to think that it makes for stronger music when the players closely follow and build on each other’s ideas. This is kind of a different approach where they mostly play in contrast to each other. Both make for good music but I think the first way makes for a more rewarding experience on repeated re-listening. And of course as soon as I got done typing that they started the section around 2:10 that has all three players picking up on and expanding on Guiffre’s rhythmic idea. What if Bill Evans played on this album instead of Paul Bley? What would that be like? Anyway this is a good track. A good example of good free improvisation.

>>64073359
>Track 5
Aha when I saw this was a drummerless theme I was hoping for some Nat Cole trio. I was hoping for an instrumental track though. A lot of people remember Nat now as a vocalist but he was also a really great pianist. I remember I transcribed one of his solos at one point and everything he played was so simple but just absolutely tasteful. This doesn’t seem to be one of his better piano solos though. There are a lot more generic blues licks than I remember him playing and it’s missing that signature great phrasing.

>Track 6
Oh I can’t take this. “Take the record off Leonard”. First off, I can’t stand this tune anymore. Second, it’s just too much at once. If you cut the number of saxophonists in half it would maybe be ok but as it is it’s just a nonsense festival. Third, without any drums in there everybody’s time is just SLIGHTLY different but it’s enough to give you a very unsettling feeling when listening to it. I made it through about 2 minutes then I had to turn it off. I’m sure these are fine sax players but this is just not something that should have been attempted.

>Track 7
Guitar, saxophone, and harmonica? I’m not sure quite what to make of this one. I think I actually would have enjoyed it with drums and taken at a faster tempo. Without drums it just sounded kind of messy. I think I liked the sax playing the best about this one. It reminded me a little of David Binney. This is interesting but probably not something I would listen to for enjoyment.

>>64073381
>Track 8
Back to strings I see. This seems like probably a cover version of something. I don’t recognize the melody though. There seems to be a trend of this kind of thing of jazz guys doing electronica/techno influenced stuff but with mostly acoustic instruments. To me that approach tends to be very hit or miss. The improvisation is pretty on point here so maybe this is more of a hit for me. Still, my problem with this kind of music tends to be that even during the improvisational sections the accompanying instruments tend to stick very much to patterns which doesn’t leave much room for interplay. Then again, just a couple weeks ago I was talking about how I love Afro-Cuban music which takes a similar approach so maybe I’m just being closed-minded about this. I don’t know.

>Track 9
This has a sort of tone-row-esque quality to it. Well this one is fairly similar to track 4 in that it’s pretty much just trio free improvisation, but I think track 4 is done much better. On this track there is just so little variation and almost no contour to the music. Very little changes throughout and the music never seems to be moving toward anything. Well here at the end we have the melody statement from the beginning so I suppose the piece isn’t all just free improvisation. Maybe with some more listening the improv here would turn out to be related to that melody in some way but I didn’t really hear it.

>Track 10
This feels like probably a cover of a popular or folk song. Guitar, vibes, harp and bass maybe? This was a pleasant piece and a pretty tune but nothing about it really stuck out to me. The guitarist at times sounded a little bit uneven with his time. To me this sounds like something from a university student’s senior recital.

>>64070877
>Posting with names or tripcodes is encouraged as it makes discussion much easier.
join a forum you faggot

>>64072210
>Just a wild guess but this isn’t from that Victor Iyer album, the techno one or whatever that came out last year is it?
Are you talking about Vijay Iyer?

>>64073301

1) I'm very surprised you weren't familiar with this - I think it's one of the definitive sax+strings albums and one of Getz's best. I thought it was quite widely known.

>>64072007
>5. You're close, it's a tribute
Oh so it's not Nat?? That would explain why the piano solo seemed off. Re-listening to it now and I do notice that the singing is lower than Nat's voice.

It's a pretty good impression though. I don't know that I've heard anybody imitate NKC before. Except for Dave Chapelle.

i think it says a little something about jazz music that these threads even exist and that it is considered an interesting challenge to be able to figure out who is playing a certain tune.

>>64073359
3) unsurprisingly it's European, but not someone as prominent as Gustafsson

4) indeed from Giuffre's Free Fall with Bley on piano - one of my first thoughts s about mäking a drumless list was to have some Giuffre in there

>>64073381
5) not actually Nat King Cole, but it is a tribute to him

>>64073960
Were you looking at the thread? For the most part, that's secondary to saying what one thinks about the tracks.
>>64073840
I think that's the one. The album was called Break Stuff and I think it was on ECM. I remember seeing a couple of anons arguing about it last year.

>>64074064
yes, i realize that.

>>64074064
>The album was called Break Stuff and I think it was on ECM
Yeah I actually thought of that album when listening to this track. There was one track on that album that was obviously very influenced by techno. It was called Hood (in reference to Detroit techno producer Robert Hood) and I think it managed to have obvious dance music influence but stay very dynamic and spontaneous.

>>64074182
Hood is a really great track IMHO. I'm personally a fan of that kind of "electronic music done by humans"-kind of thing like Dawn of Midi for example - there's something interesting to me about humans trying to sound like machines.

Surprised about this connection though - I wouldn't have thought this album being at all similar to Break Stuff - probably the damped piano strings give this track that kind of feel.

>>64071892
Glad you are back this week!

>>64073381
>Track 5
I'm glad somebody else thought this was Nat King Cole too.

>>64074163
Yeah, I've always found it funny that some people find /blindfold/s to be elitist and pretentious.

If it was a bunch of people guessing whether a riff was played by Tony Iommi or Jimmy Page people would see it differently.

The way I see it is that like every singer has their own voice, so do musicians, but identifying someone from playing isn't as natural as from speaking or singing so it takes some effort and thus makes for a fun activity.

>>64073960
What do you think it says about jazz?

>>64074461
I didn't know the person singing was actually a decent singer before hearing this track

>>64074182
It sounds like an interesting concept but I was never very interested in that sort of music by itself. Maybe jazz musicians interpreting that style would be more interesting though. The track from this week was pretty fun.
>>64074400
>humans trying to sound like machines.
Jaki Liebeziet made an entire career out of that and he's (rightly) considered one of rock's great drummers around here as a result.
>>64074461
Hopefully I'll be around for the foreseeable future. I might miss a week around exams but imma try and make it at least.

>>64074400
I find it to be a turn off a lot of times but that Iyer track was done right I thought. With everybody playing spontaneously rather than making everything but the "soloist" pattern based. I haven't heard Dawn of Midi but do they take a similar approach? Or can you think of any other jazz artists who do take a similar approach as that one track?

>>64073381
>I made it through about 2 minutes then I had to turn it off.
I know you've been pretty harsh on some tracks before but have you ever not finished listening to any of them?

>>64074742
Yeah I don't think I've had to turn any off before.

>>64074742
Honestly laughed reading that review.
>this is just not something that should have been attempted.
Lel, I don't think I've ever disliked a track so much I had to turn it off. I don't even remember people saying they turned off that particularly long Resonance Ensemble track I put on one week.

>>64074834
Interesting, it's a group that was quite critically acclaimed in it's time (and someone I expected people to recognize just from the style and Instrumentation) but certainly an earful.

Interesting to hear what you guys make of them in this blindfold context.

I haven't been around in a couple weeks but I'm back this week. Listening to the tracks now.

>>64074704
Dawn of Midi goes very deep on repetitive patterns, so considering how low you rated GoGo Penguin's new album you probably wouldn't like them much as they go even deeper into repetitive patterns with very little room for traditional jazz style soloing.

I think Iyer is probably the best at combining electronic influences to jazz creativity.

Esbjörn Svensson is of course the big name in this style of playing and his influences in contemporsary European jazz is considerable.

>>64075532
Oh yeah, most of the EST records I've heard do that fairly well. Forgot about them.

>1
This is really cool but I don’t know if I’d consider it jazz. I like the composition and the matchup of the strings with the saxophone. I’d probably call this classical music though. That said, it’s pretty cool.

>2
It’s got a sound to it that makes me think of folk music and even early country music. But it also sounds European in a way. I think of this as being pleasant background music or music that would be good for driving but once again I don’t know if I’d call it jazz or get a lot out of relistening to it.

>3
Great track. The song itself sounds kind of happy and carefree but the darkness from the saxophones gives it kind of an angry sound. And the whole track builds up slowly with all the instruments changing roles around. I want more of this.

>4
Another good one. This time they using a lot more minimalistic style and they are all playing with more traditional tones on their instruments. But you can tell they’ve played together a lot and that they know how to make interesting music even when they’re improvising with no structure. I need more clarinet free jazz.

>5
This track feels much older and even for an older recording it feels pretty corny. Like something you’d see in a black and white movie. Definitely not my favorite.

>6
Sounds like all saxophones. It’s a cool effect when they are all playing at the same time and it just makes a wall of noise but you can also still follow the progress of the song a little bit. It’s interesting for something different but I don’t think I would want a whole album of this.

>7
Very cool. I love unique instrumentations like this and when they do stuff to alter the sounds of the instruments. I think it’s saxophone but it sounds very distorted. I loved this one and I would like to hear more like this.

>8
This came off as sounding a little bit “smooth” or I guess you could call it “nu jazz”. To be honest I lost interest in this one half way through and wasn’t paying very much attention to it. Maybe that’s my fault but I didn’t think it was a very interesting track.

>9
I was hoping I was really going to like this one but it turned out to be a letdown. I have the feeling that these guys could really do something cool if they let loose and got crazy with it but they never do. So to me this track was just kind of a waste.

>10
I lost focus on this one too. This one feels more like background music to me too. Not bad but not really good either.

>>64070877
>NEXT WEEK: Criss Cross
>COMPILED BY: JTG

Should be interesting. I haven't liked very much that I've heard from any criss cross albums so hopefully jtg will include some hidden gems or something. I will try to make it next week.

is the 2nd one bela fleck?

>1
yeah p cool
>2
it's ok
>3
i can appreciate it
>4
it's not bad
>5
it's good
>6
i can listen to this
>7
nice, i guess
>8
it's cool
>9
i guess it's alright
>10
it's nice

>>64076918
It's not Bela although I can certainly see the resemblance - the correct ID is already in the thread.

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bump

>>64077241
Did you ever start working on a "connecting links" theme? I'm working on putting together a list for that theme now.

>>64078364
I don't think it's a theme that grows stale, so feel free to use it - I don't think our stuff will overlap.

On the topic of themes, one thing I thought could be cool was two people exchanging themes for the other to do.

How would that sound to other regulars? I'd love to do a theme someone else picked for me.

>>64078884
I've actually had that idea before. I'm not really very creative at thinking up theme ideas but I'm always open to suggestions for new ones that I can do.

I'll try to think of one for you to do. Maybe duets? Nobody's done that yet I don't think.

>>64079299
I'll trade duets for me to "groups I've seen live in the last 48 months" to you :)

>>64079604
How about just "players I've seen live in the past 48 months"? A lot of the shows I've seen have been players I like but with groups who haven't necessarily recorded together. Although if they have recorded together I will try to give priority to that...

>>64079720
Sounds good to me - I'm just curious to get a little glimpse into what the landscape of jazz you see live looks like

>>64079299
>>64079604
These both sound like cool ideas.

I had an idea for maybe odd time signatures if either of you wants to do that one.

>>64080350
I feel jtg could do a great odd time signatures one - I'm not stricgly opposed to trying though

I'm out for tonight - I'll keep bumping if thread is alive when I wake up

Reveals coming at some point Saturday

>Track 1
Immediately this track listing is interesting. Wasn't expecting something orchestral right off the bat. Nice, dry, sax tone. I will say that it's not particularly interesting to me, given that without the occasional dissonance that is there it would feel sort of poppish in my opinion. 2.5 stars
>Track 2
Quite like the guitar, as well as the violin. This might seem odd, and it might just be the instrumentation, but it reminds me of Dirty Three. Liked the guitar solo quite a bit. I don't find the bass playing very inspiring, especially the tone. The snapping just sounds sort of strange and out of place to me. 2.5 stars
>Track 3
I KNOW THIS ONE. I also love it, so that helps. This is the first or second track off of Vincent Courtois' album Mediums. I know it's the title track, at least. I love this track with a passion, its absolutely brilliant in terms of dynamics and interaction. The flexible way the simple instrumentation of tenor, tenor, cello is used is incredible. I was actually thinking of this song with regard to this tracklist, and I cannot commend the choice enough, as this song is perpetually stuck in my head with it's addictive interacting lines and textures. 5 stars
>Track 4
Nice to hear some clarinet. Already like the bass playing. Really like the way the piano and clarient are interacting. Interesting and mild track. 3.5 stars
>Track 5
Obviously the tune is "It's Only a Paper Moon". Love playing this song myself, especially the bridge. Don't know the singer off the top of my head, reminds me of a lot of crooners. 3 stars

Still listening, will post other half when finished.

On the subject of theme ideas here is the list of previous themes we've done.


Sep. 28- BLUE NOTE (JTG)
Oct. 5- ALTO SAX (BLINDFOLDTEST)
Oct. 12- LIVE (JTG)
Oct. 19- SOLO JAZZ (AMBASSADOR SATCH)
Oct. 26- TRUMPET (BLINDFOLDTEST)
Nov. 2- MEDIUM ENSEMBLES (JTG)
Nov. 9- WILDCARD (BLINDFOLDTEST)
Nov. 16- POPULAR SONGS (JAZZPOSSU)
Nov. 23- MONK TUNES (JTG)
Nov. 30- IMPULSE! (BLINDFOLDTEST)
Dec. 7- 2015 JAZZ (JTG)
Dec. 14- JAZZ DEDICATIONS (AMBASSADOR SATCH)
Dec. 21- CHRISTMAS JAZZ (JTG)
Dec. 28- PIANO TRIOS (TUESDAY ANON)
Jan. 4- WILDCARD (AMBASSADOR SATCH)
Jan. 11- CHORDLESS RECORDINGS (JTG)
Jan. 18- SOUNDTRACK JAZZ (JAZZPOSSU)
Jan. 25- PIANO TRIOS PT. 2 (TUESDAY ANON)
Feb. 1- LATIN JAZZ (JTG)
Feb. 8- BLUE NOTE (BLINDFOLDTEST)
Feb. 15- FLUTE JAZZ (JAZZPOSSU)
Feb. 22- VOCAL JAZZ (AMBASSADOR SATCH)
Mar. 4- WILDCARD (JTG)
Mar. 11- ORGAN JAZZ (JAZZPOSSU)
Mar. 18- SEXTETS (BLINDFOLDTEST)
Mar. 25- PIANO TRIOS (JTG)
Apr. 1- BOSSA NOVA (MEDITATION)
Apr. 8- WILDCARD (CLUELESS)
Apr. 15- DRUMLESS (JAZZPOSSU)

>>64080689
>Track 6
"Take the A Train" by Billy Strayhorn is the tune. Like the use of the bari. A lot of the rhythmic interaction is pretty cool. Having only saxes is definitely cool, I expected there to be a piano and bass coming in. The arrangement is quite good, I love the way the gaps are filled. Very creative indeed. Nice ending too. 3.5 stars
>Track 7
Interesting guitar tone. Reminds me of a lot of rock guitarists, which makes the introduction of the horns a very nice contrast. Like the ending a lot. 3 stars
>Track 8
Like the use of the synthesizer. Gives a very strong sense of rhythm with its percussive nature. I'll be honest and say this reminds me a bit of video game music. I'm trying to think of who would do something like this, and I have no real idea. I assume there's one keyboard/piano player, and two violins? Actually might just be one violin now that I listen more closely. I'm not the best at identifying string instruments. I think that this is a bit overlong given it's fairly simple both rhythmically and harmonically for the most part. I do like a lot of the melodies though. 2.5 stars
>Track 9
Bass, flute, and piano is an interesting trio. This track reminds me of Bill Evans' recording of We Will Meet Again off of You Must Believe in Spring. 3.5 stars
>Track 10
The guitar intro reminded me a little of Kurt Rosenwinkel's Stella by Starlight. I swear I know this tune but I can't name it. Reminds me of the Beatles a bit in its composition. Really like the vibes (the instrument). 3 stars

Overall I really enjoyed this week. Great track choices, and made me think more about what drums contribute and take away in the traditional setup.

Is it ok to ask for some recs here?

Can anybody recommend some contemporary piano players to check out? My favorites are Monk, McCoy Tyner, and Jaki Byard.

>>64081540
Vijay Iyer
Jason Moran (was trained by Jaki Byard)
Danilo Perez occasionally reminds me of McCoy Tyner

Those are just off the top of my head though. Sorry I couldn't come up with more.

>>64081338
Glad you could join in this week. Hope you can make it back in the future.

>>64081540
The only one I can really recommend is Orrin Evans.

>>64081923
Yeah, unfortunately I often forget about it. It really is such fun.

I'm thinking of doing a "pairs" theme. Not sure what to call it but there'd be 5 compositions and two versions of each composition with the focus being on comparing the two different approaches to the same song.
I might see if I can get that done for next week or the week after but I've got a few tracks picked out already so it shouldn't take me that long.

>>64078884
That'd be really cool.

>>64081983
Muh Thelonious Monk reincarnated and with less autism

>>64081540
>Monk
Orrin Evans
Vijay Iyer

>McCoy Tyner
Luis Perdomo
Mulgrew Miller
Harold Mabern
(those last two are less "contemporary but worth checking out if you don't know them"

>Jaki Byard
Jason Moran is a good rec. I forgot he studied with Byard
Aaron Diehl maybe

>>64082268
I was thinking something along these lines. I was thinking two different versions of standards.

>>64081724
>>64081983
>>64082278
Thanks!

>>64082368
Tbf they probably all will end up being standards. Whatever I think is worth sharing.

so I'm new to this thing but i love music of all kinds and this sounds like a great way to learn about jazz. A genre which I have always been meaning to explore more. So the music for next friday willl be posted tomorrow? is that right?

>>64082673
Yep. The reveals for this week's tracks won't get posted until tomorrow so feel free to join in this week too.

>>64082784
This. It's a cracker of a playlist this week too.

>>64082825
>t's a cracker of a playlist this week too.
Is that a good thing?

>>64082938
It's a good thing.
I think it might just Irish/British slang. I get a bit more colloquial when I'm drunk

>>64083036
What does an Irish /mu/tant drink?

>>64083282
Jameson mixed with whatever shite I have lyring around the house. I was on lucozade sport tonight. The things you do when your dealer flakes off at the last minute when all the shops have closed.

>>64083518
It's my first night in a while with no gigs/rehearsals/lessons so I'm going to drink tonight too.

>>64083657
I wish I was so busy with music. What are you drinking?

>>64083670
Just beer for now but I've got almost a full bottle of bourbon to start on after I finish this beer.

>>64083847
I suppose you probs have paid jobs so you need to have your wits about you but do you drink or smoke much for gigs? It's a running joke in my band that I can't show up to gigs sober.

Do you guys ever criticize the music or is it all just one big circlejerk

>>64084123
Jtg proper tore into one with an all sax ensemble doing Take the A Train. Shit was jokes

>>64083970
We used to have that joke with the salsa band I played in. To the point where when we would do gigs in the morning or where we couldn't drink it would feel very weird. But it just depends on the gig really.

I've never really been into smoking before performing. Maybe for a low key jam session or rehearsal or something.

>>64084123
Did you even read any of the comments? Seems like people are usually pretty open about what they like or dislike.

>>64084203
I get that. It's real enjoyable but weed does make me sloppier than drink does. Very easy to forget where you are and try playing beyond your means.

>>64084518
Practicing while stoned can be pretty helpful though

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bumping with some upcoming releases I'm excited about.

this comes out next week

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>>64085242
This one came out today but I can't find it anywhere yet.

>>64084123
A few of us were pretty hard on some of the tracks this week.

also bump

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>>64085806
This one comes out in a little over a month.

>>64080689
3) I am quite surprised that someone else on /mu/ is actually familiar with Vincent Courtois' Mediums trio - good job! It is indeed from that album - the second track to be precise.

Very charming band to experience live and rather representative of this kind of style that combines a fairly gentle tonal chamber music style head with a practically free improv section mixing things up that appears to be quite common in France these days based on my record collection.

>>64084123

just check in next week - I have a reputation to uphold in these parts with regards to Criss Cross :D

(I'm sure jtg will pick some good ones, though)

>look up jazz artist that was recommended to me
>he has over 20 albums of his own and plays on over 20 other albums

Is it really best to just start with the first one or what?

>>64087822
I'd say just going chronologically isn't as good a strategy with jazz as with rock in general, but if you really pay attention it's a great way to hear a musicians progress

a practical method that has served me well with American jazz is checking allmusic.com for the highest rated albums and starting with those - depend on the artist and why exactly the artist was recommended to you, though.

>>64071258
here's the front
spine
and back!

>>64087822
A good first step is to check out who else plays on the albums. Check and see if any of them have other players you like.

If you're still clueless after that, then allmusic.com reviews can be a good thing to check out to read what the albums sound like. Their ratings usually aren't too far off too as Jazzpossu said.

bumpin'

last bump from me for a while

bamp

1. The string orchestra backing a jazz artist immediately reminded me of that scene in the Simpsons where Cypress Hill gets backed by the London Symphony Orchestra, and Marge remarks:
>now this I like
https://www.youtube.com/watch?v=BV3CYz34ziE
there's a long history of jazz relating to orchestration via its pop contingent: jazz singers mostly, but even Charlie Parker during a pop compromise like on his "...With Strings" album tried it (and apparently liked it)
I wonder about it as an attempt to "Europeanize" jazz (which ignores how fundamentally westernized black jazz music has always been), or as a misguided attempt at bridging the gap for the sort of people who'll never accept it on the same level as classical music.
That out of the way, I didn't dislike it at all. It's energetic and I'm wondering who the sax player was. I'd place this recording in the 90s, which means I probably have never heard of him before.
2. I'm going to guess ECM label, 80s, no clue on personnel. The violin melody reminds me of some theme from some 90s Final Fantasy title - hard to describe what I get from it: mysterious - vaguely Celtic? I love his tone.
3. This drives home one of the things I learned while getting into classical string quartets: lacking percussion, the pulse tends to be generated by at least one of them doing pizzicato throughout the piece. At the start this shows that perfectly.
I really enjoyed this one. The loose, slurred tones of the saxes is fun, and the repeating patterns they play give me the effect of an accordeon playing a French popular tune in waltz time
4. Anthony Braxton or else I'm way off. but the Webern influences I think I'm hearing - plus reading in Down Beat how Braxton said he was influenced by him, I'll guess that's him.
5. Nat King Cole - Paper Moon. also, now I realize how walking bass is the jazz equivalent of pizzicato strings.

bumps

bumpin'

concerning track number 7, hehe thought from the verry beginning that this was a accordion i realise however that this is harrmonica. no idea however who this could possibly be, the first name, and momentarily only, name that comes to mind when talking about jazz harmonica players is Toots Thielemans but this one seems verry unlikely given the sound.
new to this thread btw and im sorry for not being able to post abot the whole album this ones, but i'll make sure to get back to this thread next week!

I've been looking all week but I never found the tracklist until now. Will have to rush through them

>Track 1
This is some curious instrumentation. I really like what the strings are doing here. It's nice to hear a full string section used like this, instead of the sentimental "with strings" crap that was going on with Norman Granz in the 40's/50's. Something about the way they're arranged reminds me of Duke Ellington and how he can get so many colours out of a fairly small palette. Or maybe Black Saint is a better comparison. It sounds sort of like an overture - no ideas are held on to long enough to develop but I definitely want to hear more.

>Track 2
Is this guitar, bass and violin? That's the same lineup as the String Trio of New York, but I only know their first album which is nothing like this. Actually I think there might be another guitar? This almost sounds like a fusion record except with accoustic instruments, if that makes sense? Like how the bass holds a groove instead of being heavy with improvisation. I reckon this is some classic ECM record, with one of their famous guitarists. Maybe Ralph Towner? I enjoyed it.

>Track 3
Well that farty sax sound was definitely unexpected after the pleasant pastoral guitar(?) intro here. Not that it doesn't stay pleasant, but that was maybe not the best note to start on. Oh, maybe the intro was on bass then? I like the bowed bass with the wind instruments backing. It was a nicely played solo that reminded me of a Bach concerto at points.

>>64095459
>Track 4
Well this combination of instruments immediately suggests Jimmy Giuffre. I'm reasonably familiar with Fusion, and this could be the same players? Though it's definitely free-er. The piano is more like what Paul Bley went on to do later - very minimal. I think I prefer it with a bit of a swing behind it, but this piece was interesting. Now that the clarinet is squealing at 3 minutes in I think maybe it's later than Jimmy Giuffre? Someone who's listened to enough Dolphy?

>Track 5
I like this guy's voice, it has a mellow quality.

>Track 6
This is Take the A Train, right? I've heard of sax quartets, but never actually listened to any. I don't know how I ever could based on this. It's like everyone's fighting to be in front...

>Track 7
I was gonna say something sarcastic like "that was a nice soundcheck" but once the piece starts proper this is kinda cool. The guitar playing reminds me of some off the weirder and grungier funk rock bands like Primus or something.

>Track 8
To be honest I wouldn't have thought of this as jazz if I'd heard it out of context. I guess I can see where the connections might be but I'm still not sure... The folky fiddle is lovely. Not much to say about this one as once it gets into that groove it just sticks to it, but that's no bad thing. Fiddle definitely had the best solo.


That's all I can manage for now - might try to finish it off later.

>>64095459
Track 2: fusion with acoustic instruments is actually a very good description for this

>>64095473
Track 4: it is indeed the same trio as Fusion, well recognized

>>64095630
I should have been more confident in my first guess. I'll have to check out Free Fall asap.

Great play list this week, there's a few more to add to my list after you post the reveal.>>64071850
>Comus - First Utterance
One of my favourite albums too, and I can see where you got that from, but on second listen I realised what it was reminding me of (mostly superficially) was It's About Time, by H.P. Lovecraft (the band, not the guy).
>>64074940
I've turned tracks off out of boredom before, but I also had to turn this one off before the end because my ears hurt.

bumping with some history
https://www.youtube.com/watch?v=ZO1uMjz3n3w&ab_channel=mytoxx
>your parasol is juicy boy - Louis Armstrong

Haha, good job including one Kalle Kalima track in there!

Track 6 must be Take the "A" Train by World Saxophone Quartet.

>I’m sure these are fine sax players but this is just not something that should have been attempted.
Hamiet Bluiett, Julius Hemphill, Oliver Lake and David Murray were out of their minds!

>>64097666
right on

Here's the link for next week

http://www58.zippyshare.com/v/18nM0DFx/file.html

I guess I'll start dropping reveals one by one soon...

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Track 1:
Stan Getz - Night Rider
from Focus - Verve (1962)

Stan Getz - tenor saxophone
Alan Martin, Norman Carr, Gerald Tarack - violin
Jacob Glick - viola
Bruce Rogers - cello
Eddie Sauter - arranger
Hershy Kay - conductor

Stan Getz's Focus released in 1962 just a few months before his first bossa album that he remains best known for, is for me the classic strings-with-a-sax-soloist album featuring nice string arrangements by Eddie Sauter, who made his name doing arrangements for the likes of Red Norvo, Artie Shaw, Tommy Dorsey, Woody Herman and Benny Goodman and inspired soloing by Getz.

There was some talk of how much of the sax is improvised - Internet sources say that Sauter's arrangements contain no written parts for the sax, but of course that doesn't tell us how much Getz prepared beforehand.

Hello, I'm new to jazz. What should I start listening to?

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Track 2:
Stanley Clarke, Al DiMeola, Jean-Luc Ponty - Renaissance
from The Rite of Strings - Gai Saber/I.R.S Records (1995)

Stanley Clarke - bass
Al DiMeola - guitar
Jean-Luc Ponty - violin

Three stars of the 70's electric fusion era got together in the mid 90's to make some acoustic music. In addition to this studio album The Rite of Strings, there is a live DVD from Montreaux from this trio's first gig together.

I remember liking this track Renaissance written by Jean-Luc Ponty when I was first getting into jazz, but hadn't listened to any of this album for a long time when I suddenly remembered it when thinking about drumless trios.

I think this is an improvement over the original version from Ponty's 1976 album Aurora:
https://www.youtube.com/watch?v=NXgz1JoAyTs

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Track 3:
Vincent Courtois - Mediums
from Mediums - La Buissonne (2012)

Vincent Courtois - cello
Daniel Erdmann - tenor saxophone
Robin Fincker - tenor saxophone

When I went through my record collection in search of drumless jazz albums, I noticed that I have several recent French releases with a chamber jazz feel and no drums.

One of these is this trio led by french cellist Vincent Courtois featuring two tenor saxes played by Daniel Erdmann and Robin Fincker. The name Mediums comes from all the three instruments being from the mid-range of pitch. This title track has a pretty nice contrast of a melodic head with very free form soloing.

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Track 4:
Jimmy Giuffre - Threewe
from Free Fall - Columbia (1963)

Jimmy Giuffre - clarinet
Paul Bley - piano
Steve Swallow - bass

Jimmy Giuffre led multiple drummerless trios, this one with Paul Bley on piano and Steve Swallow on bass was especially influential in the more spacious and quiet end of free and avant-garde jazz.

The aptly titled Free Fall album from 1963 contains five solo clarinet pieces, two duets and just three pieces for the trio.

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Track 5:
Oscar Peterson Trio - It's Only A Paper Moon
from With Respect to Nat - Limelight (1966)

Oscar Peterson - piano, vocals
Herb Ellis - guitar
Ray Brown - bass

The drumless theme lends itself easily to all kinds of weirdness and I found myself with a collection of half very abstract things and half pretty melody driven, but very little traditional swinging jazz, so Oscar Peterson gets to represent probably the most classic no-drums instrumentation in jazz of a piano-guitar-bass trio.

Before I heard this cool version of It's Only A Paper Moon from Peterson's tribute to the recently deceased Nat King Cole who popularized the song, I didn't know that Peterson was also a totally decent singer.

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Track 6:
World Saxophone Quartet - Take the "A" Train
from Plays Duke Ellington - Elektra/Nonesuch (1986)

Hamiet Bluiett - baritone saxophone
Julius Hemphill - alto saxophone
Oliver Lake - alto saxophone
David Murray - tenor saxophone

One of the longest standing group in jazz with no drummer is probably the World Saxophone Quartet formed in 1976 and continuing to play with the original lineup featured on this track until Julius Hemphill had to step down in the late 80's and after that with other saxophonists taking Hemphill's place until this decade.

They were surprisingly popular in the 80's despite often being fairly challenging listening even ending up on a major label with this tribute album to Duke Ellington being their first Elektra release.

Here their take on Ellington's bands signature tune Take the "A" Train written by Billy Strayhorn disintegrates into a chaotic swirling mass of sax lines in the solos showing that even when they were "selling out" playing popular standards on their first major label release, they wouldn't play it safe.

>>64100243
Ok I would never have guessed this. It's crazy because I've heard him song before, but the soloing so subdued. More Nat King Cole than Oscar Peterson I guess.

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Track 7:
Kalle Kalima & K-18 - Los Olvidados
from Buñuel du Jour - TUM Records (2014)

Kalle Kalima - electric guitar
Mikko Innanen - alto saxophone
Veli Kujala - quarter-tone accordion
Teppo Hauta-Aho - bass

Finnish born, Berlin-based guitarist Kalle Kalima's K-18 group plays music inspired by movies with three albums out inspired by Stanley Kubrick, David Lynch and Luis Buñuel (K-18 is the Finnish term for x-rated). Their music is very adveturous avant-garde incorporating some free improvisation and strong micro-tonal elements - accordionist Veli Kujala plays a quarter-tone accordion of his own design. This track Los Olvidados from the Bunuel-album is among their most accessible music and is a rather fun track.

In the liner notes Kalima has this to say about Los Olvidados:

The film is a realistic, hard picture about youth in the slums of Mexico City. It is a story of how children and youngsters living in poverty can become killers. The film is very direct and its visual presentation is incredibly strong. Prior to making the film, Buñuel visited slums to study the life of the people living there. The film was a comeback of sorts for Buñuel and it was considered a great success for him after a long period with less attention.

The composition also has a harsh and aggressive feel to it. It is based on a hammering rock groove played on a microtonal version of an open bluegrass guitar tuning. The saxophone is equipped with a contact microphone and played through a guitar amplifier, sounding a bit like a blues harp.

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Track 8:
Iiro Rantala String Trio - Freedom
from Anyone With A Heart - ACT (2014)

Iiro Rantala - piano
Adam Baldych - violin
Asja Valcic - cello

All three members of pianist Iiro Rantala's String Trio have experience in classical music and also do many genre crossover projects and this String Trio also combines elements from different genres. The instrumentation of piano/violin/cello is uncommon in jazz, but it's what classical musicians would call a "piano trio".

Rantala has gone from being a bit of a mischievous enfant terrible to being an unabashed romantic with a love for pretty melodies which are plentiful on the album.

Anything similar sounding to Sakamoto desu ga's OST?

https://www.youtube.com/watch?v=Xc2JV9n741U

Track 9:
Free Fall - The Spell of Introspection
from Furnace - Wobbly Rail (2002)

Ken Vandermark - clarinet
Ingebrigt Håker Flaten - bass
Håvard Wiik - piano

When I was going through my albums looking for the final track for this weeks list, I found Ken Vandermark's Free Fall - trio that drew much of it's inspiration from Jimmy Giuffre's trio featured on track 4 down to even being named after that Giuffre album, so I thought it would be fun to put it here to see whether people notice and comment on the direct lineage.

With Vandermark in this trio are two Norwegians - bassist Ingebrigt Håker Flaten is best known from The Thing with Mats Gustafsson and Paal Nilssen-Love, pianist Håvard Wiik I'm not really familiar with.

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>>64101266
pic related

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Track 10:
John Zorn - Kotlenu
from The Testament of Solomon - Tzadik (2014)

The Gnostic Trio:
Bill Frisell - guitar
Carol Emanuel - harp
Kenny Wollesen - vibraphone

John Zorn is often remembered for his more extreme and violent music but in this century he has also put out more quiet and introspective music. The gentlest sounding of all groups performing Zorn's music is probably The Gnostic Trio featured on this track from their third album The Testament of Solomon.

When this album came out for some reason I found myself listening to almost obsessively to this track Kotlenu. Something about it's dreamlike atmosphere really appeals to me. Also it somehow reminds me of Ennio Morricone's music, but I have no idea why that is.

That's it for this week!

Thanks to everyone who contributed and see you all next Friday for some Criss Cross!

>>64101493
Thanks for putting the playlist together this week. It was some interesting stuff.

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>>64099851
>>64100782
>>64101266
Mostly new names to me. Interesting that the Ken Vandermark thing is directly inspired by the Giuffre trio.

>>64099350
I will have to listen to this whole record. I've seen it before but never heard it. I did recognize Getz's playing though.

>>64099649
Interesting. I've heard Aurora but I definitely didn't remember this tune.

>>64100243
I've heard Peterson sing before but he didn't even cross my mind here. Which is interesting because when I saw you were doing a drumless playlist I thought that either the NKC trio or this Peterson/Ellis/Brown trio would be good picks. I think all of the playlists that you've put together have at least one that tricks me.

>>64100410
Yuck

>>64101056
It doesn't surprise me that this is something from ACT. I think I remember seeing this when it was released and deciding to skip it.

>>64101464
Interesting.

On the subject of Zorn here's another new release from this year that I haven't been able to find yet. It's Craig Taborn, Christian McBride, and Tyshawn Sorey playing Zorn's music.

>>64102193

Need to check Flaga out - sounds interesting

>>64093601
1. Stan Getz away from his bossa nova records sounds completely different to me. Pretty cool
2. I said it sounded vaguely Celtic and it turns out that Ponty was born just outside Brittany - clearly he didn't need to look very far for his musical heritage. I imagine Japanese video game composers were probably digging these guys, or Ponty's work in general
3. I mentioned the French sound in this - et voila
4. I was way off
5. Oscar Peterson singing - I figured it was a later recording of Nat King Cole
6. This one I actually guessed right, but was too tired to write anything.

Starting to get into Wes montgomery. Which of his work has the most prominent guitar?

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Can anyone point me a direction into John Zorn discography? This guy has more than 150 records under his name, and I would like very much to heard some of it.
My favorite subgenres are post-bop and avant-garde, if that helps. Thanks in advance

>>64105861
try starting with Masada

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>>64105435
worth mentioning that Peter Broetzmann is currently touring Austria, Germany, Poland and Sweden in April, and will be coming to North America this May:
http://www.peterbroetzmann.com/datestours/tours.php

>>64105900
thanks, i'll check alef