>>64442760
>Song Pairs?
Let's go with that.

Finishing up reviews in a min.
bumping with some more vibes in the meantime.
https://www.youtube.com/watch?v=EmIxswvPByA&ab_channel=ossopalatino
Featuring Scott LaFaro with the most well played 350+ BPM walking bass I've ever heard.

i'll be writing about the compilation when i get home, have been listening to it just now!

On my way home, getting started this week listening in about 45 mins...

I was playing with the vibes idea for a while, but didn't really get to a meaningful 10, so glad to see someone else do it.

I have an Eurojazz 2016 list basically ready so I can take the week after Satch with that.

Guess I'm the first to post my thoughts this week. I actually liked this theme a little bit better than I thought I would.

>1
I mostly like this but as usual with this type of thing I wish they would take more risk with the solos. It had potential to be very good but it turned out to be kind of dry.

>2
These solos are much better. If these players played the song from track 1 I think they could do some much cooler things with it. This has a 60’s post bop sound so I will guess it’s Bobby Hutcherson who is one of the only vibraphone players I have listened to very much before. It’s a pretty nice track over all.

>3
Piano and vibraphone duet is kind of interesting. Again I think it was a cool song but I think the solos ended up kind of dry like track 1. They were a little better here but still not nearly as good as with track 2.

>4
This one was even worse. I think maybe this was some very early jazz though and I know that this was more the style back then but it just sounds very predictable and repetitive compared to 60’s jazz. Maybe that’s just my taste though.


>5
I liked this one a lot. It had an interesting melody at the beginning that kind of reminded me of Track 1 but with more going on. Then the solos were pretty adventurous too but they kept coming back to parts from the melody. This sounded much more modern but almost as good as track 2.

>>64443451
>6
This one sounds much older too, maybe just because of the clarinet but I liked it much better than Track 4. Maybe it was just the faster tempo. That and the melody was pretty upbeat and entertaining too. This is probably one of the best things with clarinet I’ve heard.

>7
Nice one. It reminds me of track 5. I think it’s something more modern too and it was pretty good. I like that it kept switching between drum feels and stuff. Pretty good one.

>8
This reminded me of some Dave Brubeck that I’ve heard. I’m not sure if he ever did anything with vibes or not. It wasn’t my favorite but it wasn’t bad either.

>9
Kind of cool. There was almost too much going on in this one though. But I liked some parts especially the saxophone and piano solos. The vibraphone solo was good too I guess. But overall just too much going on in the track.

>10
This one had an older sound to it too but for some reason I thought the solos were more interesting. It stayed swinging the whole time but I feel like the players tried to do more interesting stuff with it. Not my favorite but not bad for a track that is all swing.

Going to wait a little bit to post mine because I think there are some major spoilers in there. Also because I still need to listen to the fixed track.

>>64443293
Are you new this week?

>Track one
Cool intro on this one. Everyone comes in in 3/4 but it’s like they’re all a bit out of sync but once the drummer goes into the 4/4 swing feel, they all snap into it as well. It’s so smooth I didn’t actually catch the transition on first listen. There’s once or twice over the piece where someone starts playing that 3/4 feel over the 4/4 backing. You’d think it’d be really jarring but nobody misses a beat. Band is tight in general and the chemistry between the vibes and piano was particularly good.

>track two
This is probably something from the mid-60s. I know a few vibe players but not well enough to be able to single them out by style but based on the period and unusual sense of harmony there’s a decent chance it’s Bobby Hutcherson.
Standouts were the sax and drum solos. The sax’s use of melody, harmony and timbre were all pretty inventive and he get's some pretty diverse ideas across at a nippy enough tempo. The drummer’s comping is on point, him and the pianist respond to each other really well but the solo was particularly cool. Some tasteful grunting, which can be a turn-off for me with some musicians but it fits in with what he’s doing and the…aesthetic of the piece so it came off well.

>>64443810
>track three (My fave of the bunch)
I’ve been meaning to listen to more of this record. This is from that Chick Corea and Gary Burton duet album. I’ve only listened to it a handful of times in an effort to give Chick a fairer chance than I did when I was just getting into jazz. It’s a good album, I was gonna do a duet playlist a while back and I was gonna use stuff from this cause ye can hear yourselves, it’s like they’re reading each other’s minds.
They keep together through pretty fluid time and the piece plays like a conversation. There’s good development of the themes from the head, they play around with the main melody a lot in the first half but they also turn that simple bassline into a major thematic device and both take turns soloing over the other player keeping that syncopated rhythm going.
It’s one of those pieces where you wonder how much of it was planned out. It’s got the feel of something that was improvised but they’ve gotta be lovingly staring into each other’s eyes or something cause the two of them are just flawless.

>Track four
>cool jazz over a 12 bar blues
Who is Milt Jackson? Oh and that sounds like Ben Webster on sax. Mostly cause of the breathiness and the lovely lyricism. I had a comment from early about how this would be nice music to listen to while it's snowing. It actually just started snowing where I am so I'm listening to this as I post. I'm enjoying it more now that it's snowing.
Holy shit there was just a flash of lightning really close by. There are car and house alarms going off. Irish weather is fucking weird. It was sunny earlier.
This is no longer suiting the mood. It's more sleeting now anyway.

>track five
Pretty tense. There’s not a lot of particularly fancy stuff going on with the harmony but the syncopation and disjointed staccato playing is making a lot of the simple ideas pretty effective at building tension. I’m not fond of the head melody on this but the soloing was nice.

>>64443994
>Track six
Gonna make another guess based on period and recording quality and say that’s Lionel Hampton on vibes. Could be Benny Goodman on clarinet too, the guy is sufficiently technically proficient (and is give enough blowing time) that it could be one of his sessions. It fits Goodman’s style too, he likes to almost overload pieces with ideas, to the point where it almost sounds like a Dixieland chorus but it’s still got that swing era style. I think it makes for exciting listening. The breaks around 2:20 in are a favourite device of Benny’s too so I’m reasonably confident in that guess.

>Track seven
Normally I’d be quite happy to have bass so loud in the mix but the guy spent the track playing roots or root/fifth the whole track. The guitar kind of had the same problem. The soloing isn’t bad but I would have liked the accompaniment to be a bit more involved and I think as a result that progression got tiring pretty quick.

>track eight
This is a cute little waltz. The guitar is very tasteful, not overdoing it but it’s enough in this sort of track to just have a few chords and he’s playing them very well. For the most part he’s kinda just coming in on the 2nd beat of the bar but he goes off on a few excursions that show he’s got nimble fingers. Could be Jim Hall, I’ve certainly heard him play like this. Only thing I’d say is that it’s too short. I actually thought it was much shorter than it is. I was enjoying the sax but I’d have liked to hear that guitarist get a solo. Might pick this one up just to hear that…

>>64444065
>track nine
Some unusual instrumentation on this one. That synth player sounds like he’s having fun. Listen to him there in the back! It sounds like he’s twisting knobs and just having the time of his life messing with his tone.
Speaking of which, I might just be imagining things but did anyone else think the tone of the vibes sounded odd on this? Like they were less “bell-like” than I’m used to.
The drummer is fantastic on this. He gets around the whole kit and varies what he’s playing a lot which works really well in this sort of track. Sometimes it’s nice having a good swinging background but the way he’s playing makes everything feel a bit more freewheeling. The end of his solo was fucking genius. It sounded like he was trying to simulate an echo effect which was such a cool idea. Really suited the synth.
>track ten
I thought from the opening bars that it was gonna be a cover of The Sinister Minister. Ehh based on the fact that it’s from the 50s-ish and a 12 bar blues, I’m going to say that this is also maybe Milt Jackson. Because one of them probably bags. It’s a well played blues but not much else to comment on. Enjoyable but nothing to write home about.

>>64443451
>some very early jazz though
Maybe not as early as you think

>Track 1
Pretty neat way this transitions from the 3/4 intro to 4/4 - makes me think of the West Coast.

Specifically makes me think of the Modern Jazz Quartet, so Milt Jackson on vibes.

I'm not too familiar with their music aside from the best known stuff, but this really feels like MJQ to me. Pretty nice track - kind of a classical music vibe with a nice playful attitude.

>Track 2
Mid-60's atmosphere on this one so I guess you have to guess it's Hutcherson on vibes. Sounds like one of those Blue Note things from that period.

Sax player is cool - I really like the solo. Joe Henderson maybe or Sam Rivers even?

This is a pretty great track.

>Track 3
This one I recognize - Chick Corea with Gary Burton. Opening track of the Crystal Silence ECM album from the early 70's - Senor Mouse I think is the name.

The piano-vibes duo sound doesn't quite stay interesting enough for me for a whole album, but I like this track. Kind of a typical Corea 70's composition.

Some people only like Corea's pre-fusion material, I draw the line mostly at about My Spanish Heart - his 80's stuff is pretty terrible especially in how poorly the sounds have aged, but his early 70's fusion stuff and this album and whatnot is fine by me.

I saw both of them live fairly recently - Corea twice even with his Vigil groups, kind of interesting how he went from a poor copy of his 70's fusion style to almost completely acoustic while keeping the same project name, Burton's quartet with Julian Lage on guitar, Jorge Roeder on bass and Henry Cole on drums was a very pleasant positive surprise - he's still making pretty interesting music.

>>64443994
>Who is Milt Jackson? Oh and that sounds like Ben Webster on sax
Neither actually

>>64444091
>The drummer is fantastic on this.
Yeah I love the drumming here.

>>64444391
Lel, yeah I imagine I'm wrong on most of those guesses. I was kinda just stabbing in the dark.

>>64444664
You got some others right.

>Track 4
Pleasant, traditional jazz. Sounds like some standard one ought to recognize - a somehow familiar tune.

You walk into a random jazz club and hear a group playing music like this and you'll enjoy it. It's a different thing whether I'd specifically seek this out to listen to again.

Sax player has a nice smooth sound - Stan Getz/Paul Desmond/Coleman Hawkins/Ben Webster -type stuff for your smooth ballad needs.

Nice, but feels very "typical".

>Track 5
Surprisingly punchy groove when the vibes come in with the bass and drums.

Certainly feels very contemporary. These people are certainly switching it up a lot - maybe a Criss Cross release.

Some of Dave Holland's bands have vibraphone, don't they. Could be one of those.

Kind of neat, but not sure whether these guys really got dividends for all their efforts. One of those things that I'm sure rewards multiple listenings.

>Track 6
Well, this is all old timey. 40's or even 30's.

Didn't Lionel Hampton introduce vibes to jazz basically? He's the only one I can think of who this could be, but I'm no early vibes expert.

Nice track for that time period - the rhythm really draws me in. Sound quality is what it is, but on this track it doesn't distract too much.

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>>64444340
>Some people only like Corea's pre-fusion material
I prefer his non-fusion stuff too but I make an exception for his stuff around the late 60s/early 70s with Circle and Miles. It's some of the wildest fusion I've ever heard.
That stuff doesn't really get brought up in /jazz/ (understandably) but it's an interesting side to Chick which ought to be acknowledged more.

>Track 7
Contemporary fusion-ish thing.

Kind of surprising to have this style of music with vibes being so prominent - I have no idea who makes music like this.

It's not bad, but I'm not really feeling it. I think the bass solo is my favorite part.

>Track 8
I really want to say the sax player is Paul Desmond, but no idea what would be an album he plays on that sounds like this.

Stan Getz and Cal Tjader had some band together I think - maybe it's them. Yeah, probably more likely than Desmond. Desmond and Getz sound pretty similar to me.

Pleasant jazz waltz. I think a lot of Europeans were copying some elements of this style playing in the late 60's - I wouldn't actually be surprised at all if this was some mid-60's European thing.

Nice enough. I ended up listening to it twice in a row which is a good sign.

>>64444932
yeah, the Circle/A.R.C stuff is pretty exciting

>Track 9
Wow, I'm really not in the mood for this track at all right now. :)

What's up with those background synth sounds?

Flute playing is rather nice, but this has a kind of a cruise ship entertainment vibe that makes the overall thing feel cheesy to me.

Drumming is pretty tight, but it's the kind of drumming that I don't really enjoy in my jazz.

>Track 10
It's Duke Ellington's birthday today, but this is not Caravan.

The very opening reminded me of Bela Fleck & The Flecktones Sinister Minister, but I'm sure it's just some fairly common chord progression.

I feel like this would need a little heavier playing from the drums Art Blakey style to really get going. Now it feels kind of sluggish.

The sax player is playing some really familiar licks - I'm sure it's someone I know and someone one should recognize by now.

I'll just guess it's early 60's and the sax player went on to do greater things.

Oh wait, it's Coltrane on sax isn't it? This context feels really weird, but I think it's him.

Interesting.

>>64444091
^5 for thinking of Sinister Minister on that one :D

>Track 1
Well this has got to be the MJQ. They’re doing some kind of a 3 part canon so I’d say it’s got to be them or somebody doing a tribute. It works pretty nicely with both melodies going on at once. And I like that the melody mixes up the arrangement and improv. John Lewis’s solo was particularly nice and a great example of why they used to call cool jazz “cool bop.” He’s using bop phrases and harmonic tendencies but really just simplifying it and really laying back in the slow tempo. It’s great. The slow down at the end was kind of odd but I think I liked it. It’s a nice short piece. If a white group did this exact thing everybody would consider it “soulless” and “too intellectual” but since a black group did it I guess we’re allowed to like it. I guess that’s the point of the blindfold test. We’ll see what others think about it if they don’t recognize it’s the MJQ.

>Track 2
I’d have to assume this is some BHutch. Definitely the Blue Note sound. At first I thought this was Sam Rivers on tenor but then he plays some Joe Henderson licks, like right at 1:06. Doesn’t sound like McCoy on piano so I think it’s got to be Herbie. It’s a nice vibes solo but it doesn’t really match the intensity of the sax solo. I would have placed the vibes solo first then sax. This sounds like a fun tune to solo over. No wait it is McCoy on piano. I think it’s probably Joe Chambers on drums. I’m trying to think which Hutcherson album has this lineup… I thought Patterns had James Spaulding on it. I’m not sure.. there are a couple I’m forgetting. Anyway whichever album this is I should listen to it some more because this is great. Fine post-bop. The only thing I’d change is to have the vibes solo first.

>>64446031
>Track 3
This is Chick Corea and Gary Burton. I think it’s Senor Mouse from their Crystal Silence album. My favorite track is Crystal Silence from this album but this track is very good too. It’s been a while since I’ve listened to this but I’ve listened to some live stuff from this duo that they’ve done in the past 20 years. I think I actually like those live recordings a little better than these ECM ones. There’s a coldness to the sound on these. It works for something like Crystal Silence but I think on a tune like this the live recordings are better.

>Track 4
Very simple and easy to pick out AABA form. Probably a standard. This is one of those tunes that you only need to hear a couple times or take a quick glance at the lead sheet and you’re ready to solo over it. It’s all kind of simple and jam session-y. Is that Stan Getz? It’s kind of odd to have him not play on the head. I think his solo stood out more than the others because he really just simplified the hell out of it and plays so melodically. It’s memorable compared to the other solos. He almost sounds like Lester Young at times. Well the sax definitely stood out the most to me here. If it is Stan Getz then I bet this is from that Hamp and Getz album.

>Track 5
I know this one. It’s a Dave Holland Quintet track. I’m not sure of the name but I think it’s from What Goes Around. The shifting time feels during the head are nice. Nice bass solo too. It’s easy to follow. And what can you say about Chris Potter’s solo. Insane. I like how it goes back and forth between the swing and the funk groove. Robin Eubanks might not be my favorite trombonist but he probably does have one of the most distinctive sounds on the instrument. Yeah cool track.

>>64446062
>Track 6
Ah something old school now. Only Benny Goodman plays clarinet like that. Must be Lionel Hampton with him. This track is just cooking. It’s a cool head too. Wow what a crazy ending too. Great track.

>Track 7
Pretty cool. I like this middle section when the bass goes into a more Latin feel. Gary Burton maybe? He’s got a lot of stuff and I’ve only heard a very small portion of it. Nice bass solo. Actually I wouldn’t be surprised if the bass player was the leader here. This was cool. I’ll look forward to seeing what this was.

>Track 8
More Stan Getz? Or maybe that wasn’t him earlier because I’m pretty sure this is him. These changes sound kind of challenging, especially in that bridge. It’s like Waltz for Debby almost. Well the vibes didn’t play a very big role here… blink and you might miss them. So no idea who the vibes player was but I’m like 90% sure that was Getz.

>>64446219
>Track 9
Something pretty modern. Although the synths sound kind of 80’s/90’s. So far I think this would have been much better with no synths. Yeah to me the synths are just distracting during the solo. I like the vibes solo other than that though. This is sort of an updated Bobby Hutcherson style. Excellent drumming and bass playing.
Nice Rhodes solo also. This alto player reminds me of Kenny Garrett. Cool track. I like how the feel kept changing and there were some written interludes. That’s that shit that I like. Could have been a really great track if they had just done away with all the synth nonsense. No guesses about this except maybe Kenny Garrett on alto.

>Track 10
I think I’ve heard this before. So it’s a blues just built on this one simple repeated melodic theme that gets echoed around. Oh that’s a nice swing. This bass player is laying wayyyyy back. I can’t tell who the vibes player is but I like his playing. Starts out very simple but then gets faster. Ohh it’s Coltrane. I couldn’t tell on the head but I knew right away on the first few notes of his solo. So this must be the Bags and Trane record. This would be a cool solo for a tenor player to transcribe. He really sticks to the blues changes but is also playing a lot of signature Coltrane stuff. Piano solo was too short. I had to go back and listen to it twice. Wynton Kelly maybe or Tommy Flanagan? Not bad for a bowed bass solo. Well this is a cool track. Nice job throwing some Coltrane in there.

>>64446236
bumping in celebration of agreeing on a lot with jtg this week

have you changed the tracks in the map since you first posted it? track number three is definitely not chick corea in my files. it sounds like it's in a language from around the baltic states or maybe romania. there's like banjo a trumpet a tuba or perhaps french horn bass (think its electric) and drums. not in my taste but certainly intressting. sounds like its from a theme album since the song sounds like it transfers directly from another tune and there's at least 2 changes to the track. theme or maybe from a musical or alike. just me? it's definitly in a european language.

>>64447254
OP says:
> (If anybody downloaded the playlist from the thread last week there was a mistake track in there. This is the fixed version)

>>64447299
aaaahaa! haha xD this was a cool track, caught me offguard as hell though haha xD relistening to the new folder now! :)

>>64443994
I was actually also considering this very track as a duet playlist option

>>64446745
I'm surprised that we're the only ones who recognized Trane on this last track. He's almost always unmistakable to me. Although I'll sometimes mistake early Trane for Sonny Rollins. Or vice versa.

>>64447299
sorry for interrupting with that, have been away from home most of the week, workrelated stuff, som totally missed the update.

>>64446031
Track 1
kinda missed that imitative contrapunctal on the theme on the return of it, was really nice.

>>64448178
oh, no worries, it's uncommon that I pay any attention to the OP beyond the download link myself :D

>>64446236
>>64446236
>>64448012
>Coltrane on 10
It seems so obvious now listening back but man he didn't even enter my head on first listen.

>>64448321
yeah, I almost couldn't think of who the hell that was even if I recognized that it was someone I'm very familiar with because I don't think I've ever heard that particular album more than once or twice and in general have listened to Giant Steps-and-later 'Trane way, way more than his earlier stuff

>>64444340
Nice guesses on all of these.

>>64444774
Pretty good guesses on these too but not quite on the money.

>>64445104
>I have no idea who makes music like this.
I was hoping this one would be new to most people. Looks like nobody knows who it is.

>>64445505
>Drumming is pretty tight
I'm glad people noticed the drumming on this one. It's one of my favorite things about this group.

>Sinister Minister,
Might have to check this out since both you and Satch mentioned it.

>>64448586
>Drums on 9
that style of drumming is kind of interesting - I think it's a sound and style that's superior if your playing in a large outdoor venue, stadium or very large concert hall, but in a more intimate club setting or on records it doesn't sound very good to me compared to more nuanced drumming

Antonio Sanchez sometimes plays like that - Manu Katché also had a similar vibe when I was him live, even a fairly large concert hall seemed small, no wonder stadium rock artists like Peter Gabriel have used his talents. Also whoever plays drums for Kenny Garrett these days.

It's a funny thing how venues affect what works (at least for me) - as examples, Corea's first iteration of the Vigil band that I mentioned earlier played in a fairly large concert hall after playing clubs for the rest of the Euro tour and sounded awful, Garrett's band on the other hand came to a modest concert hall here after outdoor festival gigs and just played too loud and strong

Having a sound that scales well to large venues is certainly something I think fairly few jazz drummers have.

>>64446031
>If a white group did this exact thing everybody would consider it “soulless” and “too intellectual” but since a black group did it I guess we’re allowed to like it.
Wow, getting serious here. Personally I've never understood the whole black vs. white thing in jazz.

>Track 2
The only one you're wrong about here is the drummer.

>>64446236
Actually pretty accurate guesses on most of them. I'm glad you didn't get 7 or 9 though.

>>64448586
>Might have to check this out since both you and Satch mentioned it.
You'd probably like The Flecktones. They've one of the best electric bass players ever.
https://www.youtube.com/watch?v=eynnYLXW3Fo&ab_channel=AccoladeVideo

>>64449021
Honestly, I'm a little embarassed for having once liked Flecktones as much as I did. :D

Victor is for all his technical proficiency definitely too wanky these days for me (especially his solo albums that are not very good at all - worse than Thundercat), although I do feel nostalgic affection for many Flecktones albums. He's like a more extreme version of Jaco in good and bad, but especially on the bad.

But with tracks 7 and 9 on the list - you should certainly check Bela & the Flecktones out, they are somewhat iconic after all.

>>64449236
Oh yeah for sure, his solo albums are complete garbage. The guy has no skill as a composer and when left to his own devices, his soloing looses all enjoyability outside of appreciating his ridiculous technical prowess.
What's nice about the Flecktones is that he's got other musicians there grounding him a little.
It's enjoyable stuff but I've a similar relationship with them as you. Used to love em as a kid/teen and Victor was an early inspiration to me as a bass player but it's been a while since I've actually put on an album by them.

>>64445505
>>64444091
>Sinister Minister

I forgot to comment on this. Very odd that both of you know this track. It's one of the only Bela Fleck tracks I know.

When I was in school I was in the "fusion" ensemble for a semester and the prof who led the ensemble decided that we were going to play that tune. He gave us the recording and told us to go home and learn it and that we'd play it the next rehearsal. Of course it sounded terrible. The bass player was a fucking dumb dumb so me and the guitar player ended up transcribing and notating pretty much the entire bass part on the record for him just so that we could get through the song and he still wouldn't do it right after wasting hours of time rehearsing it. And the professor still insisted that we perform it. It's probably the reason I've never listened to anything else from the Flecktones.

>>64449461
Apparently it was a single release and even an "MTV famous" track in the 90's with a music video and everything - unfortunately YouTube doesn't appear to have the video, I'm sure it could give this classic Chick Corea Elektric Band jewel from the 80's a run for it's money https://www.youtube.com/watch?v=sSJYlfHjrTE .

Also the track won a Grammy in 1997 although released in 1990, go figure.

Here's a cheerful Flecktones track I still listen to occasionally - lol it's called Almost 12 because it's in 11/12 and all that:
https://www.youtube.com/watch?v=Hm0WmvhY71Q

>>64448925
>Wow, getting serious here. Personally I've never understood the whole black vs. white thing in jazz.
I agree with you though. But on /mu/ there seems to be this common perception that white people introduced complexity and scholarship to jazz or that once music reaches a certain level of complexity it must lack "soul" which is just ridiculous when you listen to music like this. I suppose I'm probably preaching to the choir though.

>>64449838
I had no idea it was so popular. Unfortunately I think I am forever emotionally scarred from enjoying anything by the Flecktones.

Oh btw I was bored this week so I put together like 6 new themed playlists, so just let me know when we want to use one of mine.

Big Band
SteepleChase Label
Connecting Links
Live groups I've seen
Wayne Shorter Compositions


Ok maybe it was only five. Looks like Satch has this week and Jazzpossu has the week after but whenever we want to use one of mine we can. Maybe you can vote on them or something.

>>64450580
vague votes for Groups You've Seen (because I suggested it) and Shorter Compositions (because I'm sure I'd love many of them)

I'm thinking of doing Connecting Links next because I'm basically done with Eurojazz 2016 and that's all going to be somewhat obscure and all contemporary, so I want something that forces me to focus on classics for a change and Duets after that for the variety

>>64449838
Sometimes, I have difficulty conceptualising the idea that this Chick Corea is the same one who played on today's track and >>64444932

>>64450803
You've never done a wildcard one have you? You should do one of those too. They're fun and quick to put together.

>>64450299
the best thing about the Flecktones is that they are IMHO a step up from the most cringey 80's stuff like Corea's Akoustic and Elektric Bands

there was a time when I thought that young people who like jazz are basically supposed to like fusion jazz and then I saw The Yellowjackets live and my world changes, so Flecktones aren't *that* bad

>>64450920
yeah, I could do one of those too, although I think it's generally more fun to come up with themes

I guess a really varied 10 track selection on the theme of "I like these kinds of musics" would be a cool thing to do

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>>64450878
He's done a lot of diverse stuff. I'd say more than Herbie and Keith Jarrett who were the other two jazz piano giants going into the 70's. I guess Herbie got pretty far into funk and hip hop which Chick never really did as much.

Anyway have you ever heard of these recordings? Some of it is pretty free in the vein of Circle but with Horn players and more of a post-bop feel at times. Plus checkout that dank lineup.

Horace Arnold – percussion, drums
Chick Corea – piano, electric piano
Jack DeJohnette – drums
Dave Holland – bass
Hubert Laws – flute, piccolo flute
Bennie Maupin – tenor sax
Woody Shaw – trumpet

>>64450927
It's kind of easy to dogg on them and when you're looking at groups you liked when you were younger and your taste was different, the inclination is to say they're not great cause they've come down in your estimations.
But I mean, I feel like if you had bebop players on bebop instruments playing something like
https://www.youtube.com/watch?v=UG826bSeGyA&ab_channel=sameljota
I don't think people would think it particularly out of the ordinary.

>>64451089
>no Chick playing hip-hop
I think we can take that as a sign that, if there is a God he isn't completely malevolent.

Also, holy shit that sounds amazing! Thanks for the rec!

>>64451089
Chick was definitely crazy talented - I've heard that when he got involved with scientology that Hubbard told him to cut it out with the avant-garde weird shit, but I haven't seen any proof of this beyond the general timeline of Corea first reading Hubbard's shit in 1968 and getting involved in Scientology at some point in the early 70's which matches the time when he stopped doing exploratory stuff.

I certainly agree that he seemed to be a more forward looking talent than Herbie or Jarrett (and in retrospect I can entertain claims that he has been).

Jarrett certainly particularly seems more like a regressive character for jazz piano in retrospect.

>>64450927
>the best thing about the Flecktones is that they are IMHO a step up from the most cringey 80's stuff like Corea's Akoustic and Elektric Bands
Haha the first Chick Corea I ever listened to was something from the Akoustic band that I found at the library after one of my teachers told me to listen to him. I really wanted to like it but I couldn't shake the feeling that it was actually pretty bad. I didn't seek out anything else by Corea for a while until I heard something from Now He Sings somewhere.

>>64451280
on this topic, did anyone else here catch Chick on the last year's Vigil tour?

I found it very interesting that between the Vigil shows I saw the thing transformed from a modern day incarnation of his 70's fusion ideals to a very generic CHICK COREA thing where electric keyboards where mostly a thing for introducing Spain as the encore.

Sure, Vigil's recorded material was shit and a poor imitation of the 70's fusion it was trying to sound like, but any insight into why he kept the Vigil name or how these shows felt would be appreciated.

>>64451280
I had to read this a couple times before I realized you weren't talking about Freddie Hubbard. I had no idea his move in a more conservative direction had anything to do with Scientology. Interesting.

My same teacher who told me to check out Corea once told me that Keith Jarrett "saved jazz in the 80's". I'm not completely sure I agree with that but it is interesting that he was one of the few huge superstars who could sell records of acoustic jazz standards at the time. But then he was also exploring a lot of other stuff too outside his "standards trio" which you can't really say about somebody like Wynton Marsalis who is the other major figure in jazz traditionalism.

>>64451432
Haha, I was already in that position of kind of judging every Chick Corea thing in relation to Scientology that I didn't even think of there being several Hubbard's in this context. :D

Chick has definitely been an active Church of Scientology figure from the early 70's going as far as making albums with the big man later on: https://www.youtube.com/watch?v=sF3B5yH5sJo

I can certainly believe that the Church of Scientology Crew told Chick to do more commercial material once he agreed to promote them, but haven't done deeper research on this - I do think Chick thanks L. Ron Hubbard on some of his 70's albums in the liner notes in any case (falsifiable claim! glad to hear whether he does if someone checks).

>>64451420
I don't think they came anywhere near me and I didn't hear much about it. If I had the opportunity I would go see him just out of curiosity though.

I expect it would be disappointing kind of like the Shorter/Hancock concert I saw. At a certain point I think your physical abilities restrict your creativity. I'd prefer to see these kinds of legends teaching and writing rather than still performing. I would read a Wayne Shorter book about composition.

>>64451726
I just watched Battlefield Earth a few weeks ago. One of my favorite bad movies. Why didn't they let Chick Corea write the music for the movie?

Sorry I haven't been in the thread too much. I've been busy today and I have stuff going on tonight too so I don't know how much I will be able to bump the thread.

>>64449021
Oh I didn't realize Wooten was in the Flecktones.

>>64450580
Awesome. I'd probably vote for the connecting links one as I think that sounds like a cool idea.

>>64451748
Chick is actually playing great still - I'm pretty sure he's far better than Herbie in terms of creative ability, but just as likely or even more so to be lured into a nostalgia trap.

You let Chick play whatever with no need or pressure to bring in old fusion sounds and he's actually going to be great (for some definition of great...) in my experience.

>>64451959
Man, Chick's magnum Thetan opus Space Jazz was THE OFFICIAL SOUNDTRACK OF THE BOOK for Battlefield Earth even on the cover.

https://en.wikipedia.org/wiki/Space_Jazz

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>>64451959
Imagine being Chick Corea

At least you played with Miles on Bitches Brew - that's a pretty steady merit

but down the line you released an album with PIC RELATED as the cover and it wasn't even the low point...

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>>64452320
then in the 90's you release this with no apparent weird cult pressure included!!!

Devastating.

Here's this week's tracks btw.
http://www70.zippyshare.com/v/WVvDyiv6/file.html
Theme is song pairs pairs. Mostly standards so I'd say y'all will recognise a lot of the compositions. I'm interested to see which of the versions of each y'all prefer.

>>64452545
is it two pairs of five in order or something trickier?
(I hope it's five pairs of two with same composition tracks paired...)

>>64452260
>>64452320
Actually now that you post this I remember hearing about it somewhere before. Pretty funny.

>>64452181
I'm getting ready to head out to a gig but I think we only play for an hour so I might be able to bump some before/after we play.

>>64452678
I'll go to bed within the hour, but if this is still up in ~8-9 hours I'll keep bumping

>>64450070
I guess those are the kind of stereotypes I want to get rid of by doing this kind of a test.

>>64450070
I believe that there are different traditions - actually for me one of the greatest things about jazz is how many different "real traditions" are there in this music, all you have to do is believe in that individuals can express themselves through music in new ways and new types of jazz appear

that makes jazz the greatest musical tradition for me

bumping with the most amazing use of vibes I've heard in recent years (yeah, I bumped a pre-hype thread with this one day)

https://www.youtube.com/watch?v=PzhGiFapY4k

the slight microtonal quality is completely amazing to me - Chris Dingman's vibraphone is specifically tuned a quarter-tone sharp on F, A and C-sharp so composer Steve Lehman can bring his spectralism to the vibes too - really exciting sound for me

>>64454051
Apparently he's got a new album coming out sometime soon. Although I think I read that it's mixing hip hop in with the spectralism and jazz so I don't know quite how that will be. I'll give it a fair listen though.

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Hey /blindfold/ I know this may be a toxic subject to bring here but with the recent anti-jazz anon being around jazz discussion, do any of his arguments hold water?

>>64452672
Yep. 5 compositions in groups of two..

>>64454175
Music is subjective. If jazz isn't his taste, that shouldn't have bearing on how anyone else responds to the music and there's no reason his perspective is more valid than anyone else's.

Which guy are you talking about in particular though? There's a few regulars who come buzzing around.

>>64454376

This one, he seems to describe jazz in his terms as a spectrum of 'disregard for structure'.

I think they refer to him as the 'generalizations guy'.
>>64444009

>>64454175
Nah that guy is a hilarious troll. Ever notice how he never comments on anything specific and always just insults jazz as a whole?

>>64454448
Now that you mention it he isolated a Cecil Taylor quote and then went onto apply this to all of jazz philosophy. A few anons laughed at him for it.

>>64454431
Aww, I was hoping it'd be the "jazz is just algorithmic complexity" guy or the grouchy hipster who hates /blindfold/.

>>64454844
That one sounds fun despite not noticing him.

But I guess from reading more, he means that his main argument is that jazz is lazy and harmful because it "breaks" boundaries rather than "bends" them since this is bad for his idea of music philosophy. I thought it'd be an interesting thing to talk about.

>>64454947
Well if we're discussing it, how deep do we go into jazz before we start saying it's "breaking" boundaries?
I mean, it'd be ridiculous to say the safest of poppy jazz is breaking too many boundaries but the problem with this thinking is different depending on where you draw the line at. Like, the discussion is different if you decide that everything past swing or everything past the edge of free jazz is "breaking" rules.
If you do mean all of jazz, it's just ridiculous how low you're setting your bar for when you say "these musical ideas are too abstract from the traditional western music I'm used to". Frankly, I don't think anybody could actually be that conservative about music.

>>64455507
Well I think he set the bar incredibly low since he called both Cecil and Tatum regressive. So I guess the conservative thing is probably a facade. However I believe his anger would be higher toward Cecil since he levels jazz as a spectrum of "unstructured".

Something else he spoke of was jazz setting the bar for it's own music (jazz and maybe others) to do no wrong; to as you might say "make good and bad the same" causing musicians of the sort to always justify the errors.

>>64455710
Well ok, at that level at least you're starting to get into territory where, things are actually abstract from the sort of musical expression most people are used to.
When one says they're just "breaking the rules", you gotta kinda think about how music hits your brain. Musical ideas that are unusual can still follow and play along with the same kind of tension and relief model that very rule abiding music follows and can have a pretty diverse range of emotional effects on a listener too if one is receptive to it.
To say that good musicians like Art Tatum or Cecil Taylor are just randomly plinking notes without any rhyme or reason, is underestimating the intent behind the stuff they're playing. Like there's usually a desired effect on the listener or they're making the music for the enjoyment of themselves/the other musicians( which can still be very enjoyable to hear). Either way, in my experience, even if you've thrown all of conventional ideas of harmony, rhythm, timbre, etc. out, the music can still be really enjoyable cause it's all still just artistic expression. Mind, I've a high threshold for dissonance so I don't get turned off so easily from free jazz.
If Cecil Taylor isn't within someone's threshold for dissonance, that's grand. though That is a fine and understandable opinion to have. The out there stuff is not everyone's cup of tea but there's a whole audience of people who love this sort of music and there is still plenty of rule following music elsewhere. So I can't really see why anyone would think it is actively harmful as a musical tradition. It's not like anyone is being assaulted with jazz so it's not really impacting negatively on people's lives or the music they like to listen to. I understand not enjoying jazz as a result of that but that's one group of people's experience which can't be extrapolated as some objective criticism of jazz and it's existence isn't really harmful just cause some people don't enjoy it.

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>>64456773
I think that sums up all the interests I had about the character, nice to see it's all a matter of perspective and expression again. Well I guess I'll go back to the jazz and thanks for the insightful talk.

One last interesting thing to note though, I found his relationship with overall improv interesting.

"Also note that improvisation doesn't necessarily mean jazz disinterest in structure. A genius enough could improvise a true composition -- it will just never happen because it exceeds our human IQs. Jazz refers to people who won't even try."

>>64457014
I wonder what he actually listens to. The way he's talking there is the sort of thing I'd expect an art music elitist to say.
Anyway, yeah. It's kind of an unsatisfactory way of resolving an argument. Usually when someone makes a sweeping generalisation of genre meant to discredit it, one ends up at a similar conclusion which is sort of a variant of "music is subjective so making these statements is meaningless."

>>64457337
Even with less satisfaction, a resolution is a resolution I guess and that's good. Maybe I should ask him next time his favorite music.

>>64457337
>>64457456
He did reveal his taste. Try not to laugh.
>>64406800

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>>64458746
Oh my.

bump again. Just got done watching Alex Sipiagin on the Smalls Live stream.

Anybody else ever watch stuff on that? I guess stuff is probably on late for you guys in Europe.

Do you jazz fans like classical music?

>>64462352
Yeah I like a lot of classical music.

I'm back now so bump.

>>64462352
I don't know much about it but I like Bach

last bump from me

Hey can anyone tell me the identity of track number 4 from the criss-cross blindfold test? I haven't been able to find it.

I spilt tea on my laptop and it's a pain in the arse trying to type. Not sure if I'll manage the whole playlist this week.

>Track 1
I like how the intro comes in as a round. This is a really interesting piece, really well composed. The piano is the highlight for me, constantly keeping it interesting. I suppose the obvious guess is MJQ, but I'm not too familiar with them beyond Django, so I have no idea really if this is their style. I think they sometimes played with classical forms, right? The way the vibes are used as texture is great - takes proper advantage of the instrument the way a lot of people don't. It kind of bugs me when there's vibes but they take the same role as brass or woodwind would in the ensemble, purely melodic; I'd like to see some of Bobby Hutcherson's stuff with Jackie McLean this week...

>Track 2
There's something weird about this sax tone that makes me think of free jazz. I suppose the outsideness of his playing helps with that, not to mention the way he ends it. His solo was probably the most exciting too. There's some surprisingly pleasant melody in amongst the chaos. No textural work from the vibes this time, sadly. But a decent solo anyhow. I think he's much more interesting over the second half of the changes, it's like each set of phrases has a dull set-up followed by an interesting conclusion. Maybe that's just the changes themselves though, since the piano sort of has that feel too. This was fairly enjoyable for me but never quite got to the next level - quite flat throughout and the solos were good but not great.

>Track 3
I downloaded the early version of the tracklist with the crazy oompah Gogol Bordello sounding song here.

>>64465444
>Track 4
Quite a low vibrato setting on this one makes it sound more old-fashioned. I like how well the vibes solo evolves out of the head melody. That style of soloing that starts off adapting the melody then ramps up can be really effective, but it seems to have fallen out of favour after earlier swing-influenced stuff. Other solos were quite nice too. I like the sax player - sounds like Stan Getz or Paul Desmond or something. I thought by the register it was an alto at first, but I've never heard alto this breathy. It's a shanme the sax and vibes didn't play more together though, that was my favourite part.

>Track 5
Sounds late 70's or 80's to me. Drums and bass have a funky sound to them - a great groove for the horns to dance around. This is by far my favourite so far. Trombone solo is fantastic how it starts subdued, with the rhythm section paring back, then lets rip toward the end. Sax player sort of reminds me of Dolphy, but not as out there. Goes funkier further in too. Everyone in this group knows how to play together.

>Track 6
Guessing this is Lionel Hampton, sine he's the only early vibes player I've heard of. There's some shit hot blowing going on here, from both of them.

>>64465493
>Track 7
Startling to trail off with what I can be bothered to type now. I like the feel of this track, and the guitar and vibes work well with each other. It's cool the way the guitarist uses muted single notes in the rhythm similar to how you might hear in funk but with a totally different feel. Would have been nice to hear him solo, but the track is cool anyway. I've never heard such considered comping behind a bass solo before. Vibist does great work there.

>Track 8
More breathy sax. Something about this style of playing fits well with relaxed vibes. This was nice to listen to but nothing revolutionary.

>Track 9
Too much fusion. Nah, this is okay, but I wouldn't seek it out. Actually the longer I listen the more I enjoy it. Not too overblown and once you get over the slightly annoying bass vamp some of the playing is tight. I actually quite like some of those dated synth sounds in the head too, they fit well.

>Track 10
Feel like I recognise the sax player here, we'll see when it's announced. Another pleasant jam but nothing special.

>overall
I don't think I can even name ten vibraphonists, and before this week I'd heard even less... The playlist did a good job showing the range of the instrument's capabilities. My favourites were 5 and 7.

>>64464412
Edward Simon- Tonada del Cabrestero

>>64448012
I was flitting between thinking it was him and thinking it couldn't be. Wish I'd said it now...

>>64454844
I'm fairly sure algorithmic complexity guy and generalizations guy are the same. He keeps making references to his own comments in previous threads.

bump

https://www.youtube.com/watch?v=fIk9yrquxXg

>>64465936
>Feel like I recognise the sax player here
You probably do!
>>64448321

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bumpin'

https://www.youtube.com/watch?v=ZG0Lf4ECIuI

>>64466558
John who?

Anybody else still listening to the playlist and planning to post some reactions?

If not I'm going to start posting the reveals soon.

>>64465444
>I'd like to see some of Bobby Hutcherson's
Hutcherson is on the playlist but not with Jackie McLean

>the tracklist with the crazy oompah Gogol Bordello sounding song here.
Still not sure how that happened or even what that song is. I guess that's what happens when you slap together a playlist in a hurry.

>>64465493
>Guessing this is Lionel Hampton
I think just about everybody guessed this was Lionel Hampton on this track. I'll reveal now that it's not him in case anybody wants to take other guesses.

>>64466151
>I was flitting between thinking it was him and thinking it couldn't be
It's funny how often your first reaction actually turns out to be right with these even when your logic is telling you you're wrong.

>>64468754
>Hutcherson is on the playlist but not with Jackie McLean
Yeah listening again to track 2 it makes sense it's him. Wouldn't ever have spotted that this was Henderson though.

Ok, just going to go ahead and post the reveals now.

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Track 1.
Fugato by the Modern Jazz Quartet
Lonely Woman (1962)
Milt Jackson- Vibraphone
John Lewis- Piano
Percy Heath- Bass
Connie Kay- Drums

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Track 2.
Black Circle by Bobby Hutcherson
Stick-Up! (1966)
Joe Henderson- Tenor Sax
Bobby Hutcherson- Vibraphone
McCoy Tyner- Piano
Herbie Lewis- Bass
Billy Higgins- Drums

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Track 3.
Señor Mouse by Chick Corea and Gary Burton
Crystal Silence (1972)
Gary Burton- Vibraphone
Chick Corea- Piano

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Track 4.
Louise by Lionel Hampton and Stan Getz
Hamp & Getz (1955)
Stan Getz- Tenor Sax
Lionel Hampton- Vibraphone
Lou Levy- Piano
Leroy Vinnegar- Bass
Shelly Manne- Drums

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Track 5.
Billows of Rhythm by The Dave Holland Quintet
Not For Nothin’ (2001)
Chris Potter- Tenor Sax
Robin Eubanks- Trombone
Steve Nelson- Vibraphone
Dave Holland- Bass
Billy Kilson- Drums

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Track 6.
The World Is Waiting for the Sunrise by Benny Goodman
From a television performance (1960)
Benny Goodman- Clarinet
Red Norvo- Vibraphone
John Bunch- Piano
John Mosher- Bass
John Markham- Drums

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Track 7.
Morning by Karl Berger
Around (1990)
Karl Berger- Vibraphone
Koji Paul Shigihara- Guitar
Santi Debriano- Bass
Leroy Williiams- Drums

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Track 8.
Liz-Anne by Cal Tjader and Stan Getz
Cal Tjader & Stan Getz Sextet (1958)
Stan Getz- Tenor Sax
Cal Tjader- Vibraphone
Vince Guaraldi- Piano
Eddie Duran- Guitar
Scott LaFaro- Bass
Billy Higgins- Drums

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Track 9.
Blackout by Stefon Harris
Evolution (2003)
Casey Benjamin- Alto Sax
Anne Drummond- Flutes
Stefon Harris- Vibraphone
Marc Cary- Fender Rhodes and Keyboards
Darryl Hall- Bass
Terreon Gully- Drums

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Track 10.
Bags & Trane by Milt Jackson and John Coltrane
Bags & Trane (1959)
John Coltrane- Tenor Sax
Milt Jackson- Vibraphone
Hank Jones- Piano
Paul Chambers- Bass
Connie Kay- Drums

I didn't have much to write about these since I just threw the playlist together quickly last week. Some of them were pretty easy to guess but it looks like I also put in a few that nobody recognized.

>>64469571
Hm. How did I forget about this one? I need to re-listen to this album.

>>64469723
>Red Norvo
Ah tricky

>>64469825
Interesting. I remember seeing this album but never listened to it.

>>64469723
Well, that was a lot more recent than it sounded like to me.

>>64469553
>MJQ covering Lonely Woman
Getting this to hear that.

>>64470824
>Ah tricky
I figured that might throw some people off. I don't really know how well known Red Norvo is.

>>64471516
But I agree that what they're playing sounds like it could be from the 40's.

>>64471605
I considered choosing that one but I like this track better.

>>64458746
he's back...

>>64474903
I don't think anybody here really cares about him. He seems like a clown.

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fuck totally forgot about it this week

>>64476742
Luckily there's always next week.