1. I recognize this one but as usual I don’t know it’s name. I don’t think I’d recognize it as a Wayne Shorter composition if I didn’t know the theme already. This trumpet player is really good, so I’ll throw it out there that it’s probably Alex Sipiagin. I’m not as into this sax player though but the rhythm section sounds great. There was some good interplay during the piano solo. Overall though it was fairly standard sounding and they could have done more to give it variety. 3 stars.

2. I don’t recognize this song but trumpet, bass, and drums is an interesting lineup. Like the last one this one sounds pretty recent. I like all the space and the tone of the trumpet reminds me of Miles Davis. The guitar solo wasn’t great but the bass solo is nice. This one was kind of long but I like the relaxing vibe and the trumpet. 3 stars.

3. I don’t really like the sound of the organ. Nothing against organs but it sounds kind of distorted on this. None of the solos were really that great here but the sax one was decent. My only guess for this one is Dr. Lonnie Smith. 2.5 stars.

>>66257327
4. This one is nice. It reminds me of a mix between Bill Evans and McCoy Tyner. It reminds me of some of Fred Hersch that I’ve listened to. This had a nice amount of abstraction and melody and some nice interplay in the trio too. It took a nice turn at the end too that was unexpected but nice. 3.5 stars.

5. I do know this one. Footprints. This is kind of a looser version of it. It sounds pretty free at times but then there’s times you can tell they’re all on the same page. I like the sax player’s sound. The intensity of the piano solo is great too. This was good all around. 4 stars.

6. This reminds me of track 2, especially the trumpet but I like this piano playing a lot. I like the dissonance in the piano solo. I don’t have that much else to say about it but I liked it. 4 stars.

7. This one seems kind of sloppy for some reason. I can’t figure out exactly what it is, maybe it’s just too many horns. I think the second sax might be a bari. It sounds like there might also be vibraphone in there too. This one wasn’t my favorite. Nothing really stood out as being good. 2 stars.

>>66257347
8. The rhythm section feels weird here and I spent a while trying to figure out what time signature it is. The piano and trumpet and the melody stand out to me a lot like they did on track 6. The sax solo actually reminds me of Wayne Shorter’s sound. This one was pretty good. 4 stars.

9. I recognize this one too. I liked the start to the piano solo. It reminded me of something Monk would do. Actually I got a Monk vibe from the piano a lot, but like if Monk had more technique. I’ll guess that this one is Orrin Evans based on the Monk vibes and I know that JTG is a big fan. I like the trading with the trumpet and sax and they play off each other really well. I said track 1 sounded like Sipiagin but I could see this being Sipiagin also. One of my favorites this week along with track 5. 4 stars.

10. Another track heavy in trumpet. I don’t recognize the song but it has kind of a Latin feel which I don’t think of with Wayne Shorter. I was thinking this one sounded pretty similar to some of the other tracks at first but it grew on me as it went on. I like how expressive the trumpet player is and how melodically he plays. The piano solo wasn’t really too special though. 3 stars.

Listening now. I didn't make this one by the way.

>>66257631
Oops I forgot to change it. JTG put together this week's.

on duty

I'll be at a jazz festival next week, so I'll be a little limited in participation, but I'll try to be as active as I can and find time to do the reveal.

On to this week:

1: This is E.S.P, originally from the Miles Davis album of the same name. Pretty fast tempo, but seems fairly faithful to the spirit of the famous recording.

Feels a bit like "we're playing this fast because we can". Fairly nice playing, though. Good trumpet and sax solos.

This kind of thing that's faithful to tradition with an added layer of technical competence makes me think of Marsalis brothers, but no guesses otherwise who's playing.

Pretty nice, but with the Miles recording around feels like this doesn't bring that much new to the table.

2: I don't recognize the composition. Feels like this might be a groovier and more swinging version of the tune than whatever the "canonical" performance is. The guitar and bass make this feel very relaxed, almost care-free.

Feels like this overstays it's welcome a bit, but it's a live recording and a little more long form soloing goes with the territory.

I like the bass solo.

Pleasant, I wouldn't have thought that this is a Shorter composition based on this recording.

3: Tune is Speak No Evil. This sort of hammond driven post-bop playing brings Larry Young's Unity album to mind, of course. Sounds like a much more recent recording, though

The guitarist has the sound of someone who has played a lot more blues than jazz. Some very bluesy phrasing that feels natural to the guitarist. Not a lot of jazz guitarists sound like this - Scofield sometimes and Mike Stern come to mind, but I don't think this was either.

The sax solo is pretty interesting - following the spirit of Shorter's playing, but some adventurous playing to keep it interesting.

I like Larry Young's Unity and I liked this. I guess this is a fairly recent recording from this century at least, I'll gladly listen to more of these guys.

>Track 1
So this is E.S.P., though obviously not the original version. The trumpet has a very strong and solid tone. Freddie Hubbard maybe? Though this sounds a little more modern to me. I like the ride patterns the drummer is doing. This might be a more recent European thing. The chords sound more open than in the original. Nice transition from the sax solo to the piano solo. I'm not really sure who anyone on this recording is, though I've definitely heard people playing in or at least close to each of their respective styles. The drummer is incorporating some rock beats into his solo which is pretty cool. I prefer the original, but very solid band overall. 3 stars
>Track 2
I've heard this tune but I don't remember it's name. So trumpet guitar duet? The trumpet does a lot of quoting in his solo. And he seems to quote almost exclusively tunes I've heard Miles play. Oh this is live. I did not realize there was a bass until the guitar solo. I wish basses were mixed louder for more recordings, though I understand live that can be difficult. This has a very intimate club feel to it. After I realized it was there, I probably enjoyed the bass playing the most out of the three. The trumpet has a nice tone, but for the most part his note choice doesn't interest me. Same for the guitar I suppose. 2.5 stars
>Track 3
The obligatory organ tune. I'm beginning to feel I really don't know Shorter tunes that well, because I don't know this one's name either. Interesting approach with the rhythmic feel they went for here. The guitar solo was fine, nothing enthralling though. I don't care for the sax either really. His solo lacked development. Most interesting was probably the drummer I guess. 2 stars

Still listening

>>66258418
>Track 4
Don't know this one either. I'll probably see the reveal and wonder why the hell I don't know the names of all these tunes I've heard before. I've probably even played some of them. I like starting off the solos with the bass. Adds variety. Lots of the things he's doing are things I associate with McCoy Tyner but I don't think this is him. I thought it might even be Keith Jarrett. Maybe his Standards trio? But I don't hear any moaning. Whoever it is, the piano player was very good, and the rest of the band was strong as well. 4 stars
>Track 5
This is Footprints. I like the sax player. And the drummer. The piano player is great too. I can't figure who the sax was though he sounds familiar. Piano solo has a really good use of voice leading. The rhythmic interaction in the entire band is great. The way the bass and drums lock in is fantastic. That huge sound in the left hand of the piano is fantastic. Lots of players on this sound very familiar, but I just can't quite place them. 4 stars
>Track 6
This was killing me until I figured out what tune it was. This is Nefertiti. So they're soloing over it, which sort defeats the point of the tune in a way. Just piano and trumpet is unique. I love the melody to Nefertiti, but this was mostly uninteresting. 2.5 stars

Still listening

4: McCoy Tynerish playing from the pianist to start off. Has that spiritual jazz-y feel in parts.

The piano sound sounds a little bit off to me.

Could this actually be like an 80's McCoy Tyner recording or something?

Felt like the pianist could have put a little more fire into this. Left me wanting for a little more passion.

5: Footprints.

These guys certainly aren't afraid of taking liberties with the source material. I like it.

This is the kind of playing that demands your attention, but luckily here it really demands it. Exciting sax playing.

The piano player is doing a lot of things to keep it exciting, but I have to say I preferred the sax solo - felt like he accomplished more with less.

Nice intense version.

6: the start just makes me think that maybe this is Bill Evans who will start playing Someday My Prince Will Come for some reason

However, the tune reveals itself to be Nefertiti. I'm a big fan of the Miles version and this one is sounding good too.

The trumpet player certainly sounds like he's been influenced by Miles - not a bad thing at all.

This is very good - certainly also a testament I think to how good this composition is.

>>66258570
>Track 7
I've definitely played this one before but I don't recall the name. I liked the first sax solo. The second I think is a tenor, but how much he uses the low range makes me question whether it's actually a bari. Why did it fade out like that? I was enjoying it. 3 stars
>Track 8
Sounds a ton like Dave Brubeck in the intro. This is Iris. Their interpretation of this tune is interesting, they've taken a lot of things from the Miles version, but done more stuff with the horn interaction on the head. I think they're also doing that thing in the solos where they play the chords through once and then again but at double time. I could be wrong though. 3.5 stars
>Track 9
I don't think I know this tune at all, though I certainly might've heard it. The heavy reliance on the blues from the piano is interesting. I've heard people do that rock-esque drum pattern before, and it fits well here against the piano's use of polyrhythms. The horns trading is different, but I always feel like trading horns over a long period of time lose the sense of development and progression a single solo gives. Piano player actually reminds me a bit of Red Garland in spots. Other times Oscar Peterson with those insanely fast licks. 3.5 stars
>Track 10
I don't know this tune. I remember Shorter writing some Latin stuff in the early 60s but those tunes never really stuck out to me I guess. Pretty playful recording. The solos weren't particularly interesting to me. I'd believe the trumpet was Kenny Dorham. Don't know the piano player. 2.5 stars

7: This sounds like these guys might be trying to obscure the original composition with some rhythmic changes or something. One of those tracks where it feels like they are just trying too much.

Is there a vibraphone in the background? Some late 60's Bobby Hutcherson flavor in that one bit.

This track doesn't feel like it's worth the effort.

8: Some familiar sounding piano playing in the beginning, but not sure who this reminds me of.

The composition seems familiar, but can't think of the name. There's specifically that one rising bit that first occurs at 1:07 that reminds me of some classical composition that I think I've heard on some Shorter-related album several times...

The sax solo captures the feeling of the original 60's recordings of these compositions pretty well.

This was OK, but felt like it needed something more to be really interesting.

9: It's funny how almost nothing that's going on in this track is connecting with me and I can't say exactly why.

Thoroughly unremarkable until the horns start soloing - their trading is the first thing I'm enjoying.

Still not my cup of tea.

10: Hmm. I'm sure I've heard the original of this many times. I think this is something originally from Adam's Apple. I think Adam's Apple is generally a little underrated in Shorter's discography.

The piano solo sounds to me like the pianist has listened to his fair share of Herbie's 60's playing.

This is a pleasant tune and a thoroughly enjoyable version of it. Nothing spectacular, but gets the job done.

Most of the tracks this week are pretty obscure. There weren't too many people recording Shorter covers before 1980 or so. Plus I didn't want to to have any of the tunes more than once. I'll actually be surprised if anybody guesses many of the players.

>>66257327
>I recognize this one but as usual I don’t know it’s name. I don’t think I’d recognize it as a Wayne Shorter composition if I didn’t know the theme already.
Bebob and Jazzpossu got it.

>>66257327
>I like all the space and the tone of the trumpet reminds me of Miles Davis.
It's not Miles but if anybody guesses one of the players this week it'd most likely be this trumpet player.

>>66257347
>It reminds me of some of Fred Hersch that I’ve listened to.
That's not a bad guess. It does sound a little bit like his trios.

>>66257347
>This one seems kind of sloppy for some reason. I can’t figure out exactly what it is, maybe it’s just too many horns.
I agree with this actually. It's not really very well-recorded.

>>66257366
>I’ll guess that this one is Orrin Evans based on the Monk vibes
It's not Orrin Evans but I can see where you're coming from with the Monk-ness of some of it. Also neither of your guesses of Sipiagin are right but he is on one of the tracks this week.

>>66258284
>with an added layer of technical competence makes me think of Marsalis brothers
That's a pretty good guess actually. This trumpet player has a lot of similarities to Marsalis.

>>66258284
>I like the bass solo.
I bet you could guess the bass player...

>>66258284
>The guitarist has the sound of someone who has played a lot more blues than jazz.
Pretty accurate observation

>>66258649
>Could this actually be like an 80's McCoy Tyner recording or something?
It's not McCoy... Interesting that you and Blindfold both thought of him... I don't really hear this sounding like Tyner all that much.

>>66258989
>This sounds like these guys might be trying to obscure the original composition with some rhythmic changes or something.
It's actually pretty faithful to the original I think... but it's one of the more obscure Shorter tunes I chose this week.

>>66258989
>The composition seems familiar, but can't think of the name.
Bebob got it.

>There's specifically that one rising bit that first occurs at 1:07 that reminds me of some classical composition that I think I've heard on some Shorter-related album several times...
Valse Triste probably...?

>>66259296
>Thoroughly unremarkable until the horns start soloing - their trading is the first thing I'm enjoying.
Interesting... I think it's the opposite. The piano solo is brilliant and the horn trading is just "pretty good"

>>66259296
>I think this is something originally from Adam's Apple.
It is from Adam's Apple

Ok, I know nothing and I won't dare put scores on things but I like Shorter so here goes:

1. Not much to say, recognize the tune but can't say what it is. Liked the, idk, 'motivic' playing in the sax solo. Overall a bit too "straightforward" though.

2. Nice trumpet, kinda "breathy" tone which sounded a bit odd but first but is cool. Not really fond of the guitar comping, could use more variation I guess, the solo is better. I always have a hard time with jazz without drums, they always feel missing, probably just me though.

3. Speak no evil, or maybe some oher tune from that album. Nice bluesy guitar playing, I really like the tone with a little bit of distortion/overdrive like that. The comping feels like it could leave a bit more space. Overall I love the sound of organ in jazz way too much so I can't really complain that the organist plays a lot.

4. Kinda Bill Evans style with the very active bass, don't know if he ever played any Shorter tunes though. It also sounds Tyner/Hancockish with a lot of those chords with just a bunch of fourths. Nice overall.

5. Footprints. Overall nice, sax reminds me of Anthony Braxton at times for some reason, don't think it's him though. Overall it feels like the sax is playing much more wildly during their solo than the other guys so it feels a bit disjointed, especially when he does that overblowing and stuff. It is also strange since it feels like the other guys start playing more wildly with dissonance and stuff once his solo is over, why didn't they do that earlier. Nice drum solo.

6. That Miles Davis quintet tune where the horns just keep playing the melody. Nice interplay, picking up on each others phrases and little melodies. As on track 2, I miss drums as I always do. Piano solo sounds like Ravel playing blues, some really cool harmonies there. I like the kind of hanging ending.

>>66260155

7. Cool syncopated rhythm stuff. I like that it keeps going under the solos and how the solists play around it. Would've wanted more solos and less head.

8. Vaguely recognize the melody. Nice back and forth stuff between the horns. The trumpet solo felt like it didn't have a lot of ideas but was overall nice. Saxophone sounds like Wayne Shorter himself.

9. Know the tune but not title. Piano solo feels very old school, I like how it starts by picking up the main motif from the head and the left hand countermelodies. Greatest solo so far imo, really wanna know who these guys are. I like that the horns sort of trade fours and play some kind of duet instead of soloing, just heads and solos gets a bit stale sometimes.

10. The latin tune from Adam's Apple, I suck at titles though. Great bass playing, does some neat stuff but doesn't overplay and nice rhythmic ideas. Nice interactions between drums and piano here, playing with and against the main rhythm giving it nice ebb and flow.

Favourite tracks were probably 6, 9, and 10.

For the record, I like jazz but don't really know anything so I might have said a lot of stupid stuff here. It was quite fun though.

>>66258418
>I like the ride patterns the drummer is doing.
The drummer is actually the leader here. And doing great stuff all the way through. The trumpet player is probably the biggest name here though.

>>66258418
>After I realized it was there, I probably enjoyed the bass playing the most out of the three.
The bass player and trumpet player are both pretty big names.

>>66258570
>Lots of the things he's doing are things I associate with McCoy Tyner
Everybody is hearing Tyner on this one... Maybe I'll have to listen again.

>>66258570
>I can't figure who the sax was though he sounds familiar.
I'll give a hint on this one. The sax player is somebody who played with Miles a bit later on but isn't really all that well known.

>>66258570
>So they're soloing over it, which sort defeats the point of the tune in a way
It makes it kind of hard to do as a duet otherwise. I think one of the things that makes it a cool composition is that it works the way they originally did it and it works as a tune to just solo over. I've even heard it as a pretty good mix of the two where everybody just kind of solos cooperatively while just hinting at the melody occasionally.

>>66258939
>I think they're also doing that thing in the solos where they play the chords through once and then again but at double time. I could be wrong though.
They're actually not doing that on this version.

>>66258939
>Piano player actually reminds me a bit of Red Garland in spots. Other times Oscar Peterson with those insanely fast licks
Those are interesting picks. I think both Peterson and Garland would inject a lot more blues into it.

>>66260155
>Liked the, idk, 'motivic' playing in the sax solo
Same, and the way the piano player picks up on some of the themes the sax player is doing.

>>66260155
>kinda "breathy" tone which sounded a bit odd but first but is cool
You guys should throw out some guessing for the trumpet player here. He's not somebody you'd expect to be playing a Shorter tune though I guess.

>>66260155
>I always have a hard time with jazz without drums, they always feel missing, probably just me though.
I used to have a teacher who would advocate for playing as often as possible without drums. He used to say "It takes a hell of a drummer to beat playing without a drummer." I do think it makes you a stronger player if you can play well without drums.

>>66260155
>Kinda Bill Evans style with the very active bass, don't know if he ever played any Shorter tunes though. It also sounds Tyner/Hancockish with a lot of those chords with just a bunch of fourths
BlindfoldTest also commented on Evans/Tyner vibes here.

>>66260155
>Piano solo sounds like Ravel playing blues
I like that description.

>>66260177
>Saxophone sounds like Wayne Shorter himself.
BlindfoldTest noticed this also and listening to it now it really does sound a lot like Shorter.

>>66260177
>I like how it starts by picking up the main motif from the head and the left hand countermelodies. Greatest solo so far imo, really wanna know who these guys are.
This guy gets it. This solo is brilliant for how he keeps coming back to that simple statement from the melody. Especially when he starts doing it in the left hand while his right hand keeps going with the 16th note lines. That blew my mind when I first heard it.

>>66260177
>I like jazz but don't really know anything so I might have said a lot of stupid stuff here.
Actually it was a lot of good insight.

>>66260125
>I bet you could guess the bass player.

oh, is it Chet Baker with NHOP on bass?

>>66260368
>The sax player is somebody who played with Miles a bit later on but isn't really all that well known.
Gary Bartz? Steve Grossman? Sonny Fortune?
>I think one of the things that makes it a cool composition is that it works the way they originally did it and it works as a tune to just solo over.
Chris Dave does one version where he brings the melody in as a mashup that I really like. I wasn't saying that it doesn't work, just that the point of the tune and a lot of stuff that group did in the first place was to move away from traditions. Playing it traditionally just seems like moving backwards. Fantastic tune, of course.
>They're actually not doing that on this version.
I guess some of the points with more frequent chord hits threw me off.

looks like pretty much everyone else is loving 9 so I'll give it another go

>>66260718
Yep.

>>66260752
>Gary Bartz? Steve Grossman? Sonny Fortune?
None of those

>>66260752
>Playing it traditionally just seems like moving backwards
Well given that the source material is that original recording I think doing it with the same approach that Miles' group did if the "traditional" way to play it.

>>66260752
>I guess some of the points with more frequent chord hits threw me off.
Yeah on this recording and the original recording the whole group really obscures the downbeats which is a cool effect but it makes it hard to keep track of the time. It's pretty difficult to play it that way too.

>>66260584
> left hand while his right hand keeps going with the 16th note lines

that part is pretty neat - I didn't even pay attention that it's indeed the same person doing both parts, somehow feels so much like it should be two different players

>>66261148
Yeah, as a pianist that's the kind of thing that jumps right out at me. I've been trying to do more of this kind of stuff in my own playing and it's not easy to do.

This guy's a pretty underrated pianist. I actually put another track by him on a previous blindfold playlist.

>>66261134
>None of those
That leaves Dave Liebman, Carlos Garnett, and possibly an obscure Kenny Garrett recording I haven't heard of.

>>66259920
>It's not Miles but if anybody guesses one of the players this week it'd most likely be this trumpet player.
>>66260718
I guess it's Chet Baker. You're right, that's not who I would have expected to be playing Wayne Shorter songs. Did anybody identify the title yet?

>>66259920
>Also neither of your guesses of Sipiagin are right but he is on one of the tracks this week.
There was a lot of trumpet this week but I'll guess that track 8 must be Sipiagin then.

>>66261572
>That leaves Dave Liebman
Yeah it's Liebman

>>66258284
>I'll be at a jazz festival next week, so I'll be a little limited in participation, but I'll try to be as active as I can and find time to do the reveal.

Anybody else want to do next week's playlist then? If not we'll just go with Jazzpossu's and hopefully he can find some time to join in the thread.

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Ok so what have you guys been listening to this week? I've been enjoying Cecil Taylor's early albums.

>>66260584
I think part of my problem with no drums is that the drumming was the thing that kind of got me into jazz so jazz without drums just feels wrong on some psychological level, it is something I am slowly getting over. Glad you liked what I had to say so I don't feel like a complete fool.

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>>66262001
I've been listening to John McLaughlin's Extrapolation which for some odd reason I don't think I've ever listened to before even though Mahavishnu Orchestra was one of the first jazz groups I remember liking

liking John Surman's sax playing on this album

https://www.youtube.com/watch?v=wwu57BeGgOY

I'm seeing McLaughlin live next Thursday - I don't expect much, but at least I can say I've seen him live

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>>66262001
Been checking out some AACM-related stuff, pic related is pretty cool modern takes on it but i've also listened to a bunch of Roscoe Mitchell and Muhal Richard Abrams stuff from the 70s.

>>66262819
Never heard of this before.

>>66262941
It's pretty cool. Flute/Cello/Drums, playing a bunch of tunes by AACM guys (Braxton, Threadgill etc.). Reid also made a pretty nice quartet record last year with Mary Halvorson on guitar so i found this when looking for stuff like Halvorson.

Man, can we get a hint who that is on track 9? I really wanna know who the pianist is

Bump.
Just got home, gonna get listening now.

1. This is ESP (didn't know it was a Shorter compositon), with a faster rhytm. Nice playing, the solos are all very fluid.
2. The trumpet/duo reminds me of Chet Baker and Philip Catherine, could be them I guess but I don't think they have many records together. He stays quiet for some time in this track. It's something I've heard him do before. After listening to thing I'm not as sure the guitarist is Philip though.
3. Post-bop mixed with an electric organ. The tune itself is not too spectacular for me, and I don't like the hammond in this. I'm not crazy for them usually.
4. At times it reminds me of McCoy in the 60s, but it doesn't get as crazy as I'm used to. Maybe in his early trio records like Inception, but I don't think he was be playing Shorter tunes back then. Also, the playing at the last minute is not something I associate with him, probably someone else after all. I dig the tune anyway and wanna know who the pianist is.
5. Quite energetic, my favorite thing in here is probably the pianist, even though the sax is very powerful here, the piano solo is great.
6. The space in here is nice I guess, gives a good atmosphere but it's still a bit too sparse for me sometimes.
7. This has more action, it's nice. I dig the vibraphone. Mostly the horns taking the lead every time, so it was nice to hear the piano doing something at the end.
8. I guess the intro was cool, and the piano is interesting at times but I don't like much else about this.
9. I didn't like this, it has a different sound to most stuff but none of it really sticks with me.
10. Latin jazz? Didn't expect it, though I'm really not familiar with Shorter. Maybe it's an latin jazz ensemble playing him, dunno. Either way not sold on this.

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I don't really like solo Wayne from what I've heard (which isn't a lot) but I enjoy his work with the jazz messengers and with Miles Davis. Free for all is probably my favorite tune by him:
https://youtu.be/tvswl5jqM8M

>>66258284
>I'll be at a jazz festival next week
:o
Which one?
>>66260718
>>66261134
So it's Chet. Who's NHOP though?
>>66262001
A bunch of Bill Evans. Pic related especially, I'll have to get around the complete sessions.
>>66266993
a latin jazz ensemble*

>>66267178
>Who's NHOP though?
https://en.wikipedia.org/wiki/Niels-Henning_%C3%98rsted_Pedersen
Great bass player.

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bump

one more bump

>>66263826
I can't really think of any good hints. He's not really a very well-known player but he's recorded a lot of good stuff. The sax player on this track is definitely the most famous but this was recorded before he was really well known. The trumpet player has also become a bigger name in the past 10 years.

>>66266993
>2. The trumpet/duo reminds me of Chet Baker and Philip Catherine
I'm glad somebody thought of Chet Baker on this one. He's one of the few who recorded albums in this trio format. Tom Harrell also did but mostly in tribute to Chet.

>>66267178
>Free for all is probably my favorite tune by him:
>https://youtu.be/tvswl5jqM8M
Both good but they're two different tunes. Dave Holland and Shorter both wrote tunes called Free for All

Hey y'all. Been a while. I', gonna come back to these threads! I'd hoped to get all the tracks done but I'm working and had plans tonight so I'm just gonna post what I got around to.
>track one
The word frantic comes to mind. Trumpet player has the sort of mechanical precision I'd associate with players like Clifford Brown though he’s just before Shorter’s time so I imagine this guy is a fan. I’d say Woody Shaw but I’m not sure he's sharp or bright enough.
This sort of playing can be a bit tiring to listen to and I feel like the sax and trumpet solos spent a bit too much time spurting those breakneck 16th note runs and it felt empty and a-melodic to me.
The drum solo was actually pretty kicking. The ideas were a bit more coherent than in the horn/piano solos and there wasn't a sense that he was struggling to be creative at that tempo.
>track two
This is more what I’m in the mood for atm, more nuanced and thoughtful playing. The guitar and bass comp pretty darn well on this. The trumpet player leaves a fair bit of room for the other two and they do a great job keeping the song together while still playing some pretty creative and interesting stuff.
The bass walked when it needed to and made sure the tune swung. His solo was pretty cool too. The bit where he seemed to go into double time was particularly fun and it was nice to see what he could do given some space. The guitarist was consistently contributing to the piece melodically either through single note playing or the Jim Hall-esque chord voicings. I don’t think his solo was as interesting but his comping really set off the trumpet playing and he had the sense to let the bass player run off on his own.
Trumpet player is definitely the star here for me though. It was hard to tell where the head ended and the soloing began. His playing is so damn lyrical. There was a smooth flow of ideas and a sort of gentle intensity to the breathy tone and the minimalist melodic lines. Enjoyable listen overall.

>>66271615
>track three
This is a pretty cool arrangement. I figure they’re playing off a head that’s fairly simple, maybe just that melody with the long held notes. Organ really suits this sort of a song cause of the sustain the guy can get on those notes. Those little riffs in the sax and guitar under the main melody are probably improvised and they sound pretty cool. I like what the guitar player is doing in the intro in particular.
Sax player is probs my favourite soloist on here. Between the rough tone/overblown notes , the pretty dense runs and the intense three note motif he started developing around 3:40 I’d wager this is 'Trane. It fits his style and he’s the sort of person who would try work in some fairly abstract ideas into a hard-bop track like this.
>track four
This seems to be a bit more of a modal piece based on that little descending melody more so than a chord progression. I like how the pianist incorporates the melody into his ideas and those chords he’s using are delicious. Plenty bluesy and dissonant.
I like how different the head felt by the end of the piece. Compared to how unsettled some of the stuff was right up until they started leading it out, they play the closing bars with such a light touch. It's a lovely contrast and a beautiful way to end the piece.

>>66271672
>track five
I like this group. The pianist and saxophonist suit each other. The pianist comped brilliantly over the saxophonist. All those staccato chords and short choppy phrases fit very well with the more unhinged and aggressive sax. I know it’s a bit of a cliché but it was like they were arguing and I was actually a little disappointed with the piano solo in comparison. There's a nice chemistry between those two. They're not exactly similar in playing style but their playing goes well together.

>track six (my fave of the bunch)
I like me some pedal tones. You can get a hell of a lot of expression out of some fairly simple ideas with them.
By far the best moment of this week’s tracks is that trumpet player’s lead in. It’s flawless. I could well picture myself listening to a whole album of these two doing duets.
The trumpet player sounds a little like Tomasz Stanko. Or at least, the little bit of him I’ve heard. Mostly for the timbre but this sort of thing is the sort of thing he would do and bar the more light-hearted stuff in the first half of his solo, it’s darn close to his style too. At least as far as I've heard it. I'm not as familiar with his work as I'd like to be but it definitely reminded me a little of him.

>>66271672
The prodigal son returns. Good to have you back.

>>66271771
I hope I can stick around again. I knew I'd be dropping out for a while with exams but I didn't mean to be gone so long. Obviously not going to get into it on 4chan but basically, the sky started falling and before I knew it a month had gone by. Things are a bit more relaxed now though so hopefully I can make this a regular thing again. I miss these threads.

I'm about to do this 9 beers deep

>>66271615
>track two
You are definitely familiar with the trumpet player and probably familiar with the bass player. Jazzpossu guessed them correctly earlier in the thread.

>>66271753
>The trumpet player sounds a little like Tomasz Stanko.
Not a bad guess for this one.

>>66270358
>He's one of the few who recorded albums in this trio format.
Could you recommend other trios with trumpet and guitar? I quite liked the one by Chet I've heard.
>>66270492
Oh. Makes a lot of sense then. I thought of the Birdland one as very different, but I assumed Dave was just taking liberties there.
>>66271615
This is nice, I like reading your thoughts.

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>>66272199
>Could you recommend other trios with trumpet and guitar?
Well you mentioned Philip Catherine. Pic related is pretty good, but basically a tribute to Chet Baker's recordings in this format. Tom Harrell is fantastic though if you're not familiar. Catherine also has two other albums with Harrell called Moods Vol. 1 and 2 that are different but really good. They also have some 80's synths layered in the background which might put some people off but I like the effect with the compositions they do.

Other than those I don't really know too many. Any time I hear that format it makes me think of Chet Baker.

>>66272156
>Chet
Yeah I can deffinitely see that. I really need to listen to more of his work but from what I've heard, it really fits my profile of him. He didn't have the greatest technical proficiency but he more than made up for it with the emotional intensity he could achieve.
>NHOP
What's an NHOP?
>Not a bad guess for this one.
Some other ECM trumpeter I'm probably unfamiliar with. I think ye give me more credit than I deserve as far as breadth of knowledge. I'm very much a classics man and I often don't know half the people y'all talk about.
>>66272199
Thanks! Careful though, if you inflate my ego too much, it'll pop.

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>>66272471
Thanks! Catherine is someone I wanted to hear more of, but didn't know where to start.

>>66272477
>I'm very much a classics man and I often don't know half the people y'all talk about.
This week is pretty modern and fairly obscure because I don't think there are a lot of Shorter covers prior to the 80's.

I also tried to avoid selections from "X plays the music of Wayne Shorter" albums. There's one in there but I think just one.

>>66272477
Niels-Henning Orsted Pedersen

4chan ate my fancy O

>>66272135
Well I'll be looking forward to reading your thoughts.

Should we all make sure to get drunk some week when we do the listening?

>>66272477
Glad you're back this week.

>>66273050
>I also tried to avoid selections from "X plays the music of Wayne Shorter" albums.
Why's that?

>>66274119
Just to make it more interesting and challenging to put it together. I started with four or five tracks I knew I wanted to include just because they were cool versions of Shorter tunes I'd heard on albums that weren't all Shorter cover albums. He's one of the most covered composers. I already did a Monk tunes theme but I'd also like to do Ellington tunes and maybe Coltrane tunes as a theme sometime.

For some reason I felt like doing ratings this week.

>Track 1
I think this is E.S.P., with a very similar sound to the original. I don't like the drummer, he's

imposing. Neither of the horn solos say very much, and both use too many notes to say it. The piano solo

is better. There are a couple of parts where he throws in bits of the melody that sort of catch me off

guard, I think it might have been cooler if he'd done more of that. And the drum solo was the nail in the

coffin. 2 stars.

>Track 2
This one is maybe from JuJu? This is a wonderful treatment of it. Trumpet player has a gift for melodies,

traditional but fresh. The only name that comes to mind is Kenny Wheeler but I'm not too familiar with

him. Wish this track was just a trumpet feature - I have nothing to say about the other solos. 3 and a

half stars - would have been higher without the other solos.

>Track 3
Another one I've heard a lot of, but can't place it at all this time. Very fusiony guitar in an otherwise

soul-jazz sounding piece - works for me. The solos in this one all have a nice mix of catchy bluesy stuff

and more adventurous runs that befit a Shorter piece. In that respect it reminds me of some of what I've

heard Charles Earland do, or perhaps Larry Young? I enjoy this but I wouldn't seek it out. 3 stars.

>>66276767
Fucking word wrap.

>Track 4
I think this might be Deluge? Not a clue who's playing it but I like the pianist a lot. The head had a lot of forward motion via the left hand, then the comping during the bass solo managed the same feel with much less. In fact the more he plays in his own solo the more I think of Ahmad Jamal. The sort-of fade out to the end was a good ending to a great piece. 4 stars.

>Track 5
I can just about pick out a recognisable melody from this one, so I think I've probably heard the original. I was actually expecting not to be so familiar with these tunes. I love how this sax player is all over the place, and how the rest of them keep up with him so closely. The piano solo is, for want of a better way of putting it, incredibly dramatic. I like this one even more than the last track. I have a feeling the players might be some names we see quite often on jtg's lists, but I'm still not very good with a lot of those. 4 and a half stars.

>Track 6
I did think this might be Nefertiti from the intro - trumpet confirmed it. Will be interesting to see if it sticks to the original's idea of keeping the melody fairly static and shifting up the rhythm. There's a Corea/Holland/Altschul version I've heard which doesn't, and I'm not too fond of it.

Nope, looks like we get a trumpet solo. That's a shame. One of the things I like so much about the original version of this is just how much Miles and Wayne make themselves heard through the really tight restrictions they impose on themselves. I suppose maybe there's only so much you can do with the concept, but I would like to hear someone else take it on like that.

Anyway, back to the start - the piano intro with the pedal point really highlighted how beautiful the harmony is, I enjoyed that. Even with his solos, the trumpet did a good job maintaining the legato(?) feel of the original. This was definitely more enjoyable than the Corea version for my tastes. 3 and a half stars.

>>66276783
>Track 7
Not sure what this one is either, but still one I know. Tight groovy feel in the drums and especially the bass. I really like what the bass player does throughout. Solos were short and sweet, though neither blew me away. Sticking the piano solo at the end was a nice move, but it was way too short - what I did hear of it I liked the most. 3 stars

>Track 8
Don't think this is one I know. Oh, nope, now the horns come in I know it. Iris? Something about the way they play the head is a bit off with me, like the trumpet and sax aren't quite in sync or something. The mix is a bit distracting too, drums are right at the forefront through the trumpet solo. Settles down for the sax so maybe the drummer was just playing too loud. Shame about all that, because the actual solos were really nice, and the piano was pretty. Can't really go wrong with this tune if you get the pace right. 3 and a half stars.

>Track 9
Another one from Juju or Speak No Evil I think? I like the way they've done the head, with a really defined pulse. Start of the piano solo was badass, he knew exactly what he was saying. Are there two pianists on this one? If not then it's a fucking virtuoso. That part with the fast runs in the right hand and the melody picked out in the left is awesome, and some of the stuff that follows is pretty impressive too. Great mixed trumpet/sax solo bit too, fantastic interplay. 4 and a half stars.

>Track 10
Finally one I don't know. There's been a lot of nice mellow trumpet playing this week. This is a little bit more upbeat but still really chill. Actually sounds a lot like Freddie Hubbard, is it him? Piano solo quite laid back and bluesy - didn't say anything new but said it well. Another 4 star track for me.

>overall
I've really liked this week. Really surprised how many tunes I recognised, even if I can't put names to them.

You guys think this guy >>66272135 made it past the first song ?

bump with Shorter's Wild Flower done in the style of an Erik Satie Gymnopedie

https://www.youtube.com/watch?v=zRMQx-QIMKk

>>66258284
Which festival?

>>66279837
http://porijazz.fi/

Well supposedly Wayne Shorter did at least one blindfold test for Downbeat but I can't seem to find much about it.

What would you play for Shorter on a blindfold test? I'd like to hear his thoughts on Coltrane's Naima and I'd probably play something by Joe Henderson.

>>66276767
>I don't like the drummer, he's imposing
Oh I disagree, I think he's one of the best things about the track.

>>66276767
>This one is maybe from JuJu?
Yep. I don't think anybody has identified this tune though yet. Kenny Wheeler is a good guess. His quintet album that was released on ECM last year made me think of this group at times.

>>66276783
>I think this might be Deluge?
Yep, I think you're the first one to identify this tune.

>>66276783
>I can just about pick out a recognisable melody from this one, so I think I've probably heard the original
I'm surprised you didn't recognize this one. It's definitely Shorter's most popular tune.

>>66276802
>Another one from Juju or Speak No Evil I think?
Not quite, but it does come from one of his Blue Note albums.

>>66276802
>Actually sounds a lot like Freddie Hubbard, is it him?
No, not Hubbard, but somebody probably best known for playing with Herbie Hancock.

>>66279013
Nice find.

Here's a version of Fall that didn't make this week's list. Which is too bad because it's one of my favorite Shorter tunes.

https://www.youtube.com/watch?v=eEb8L9j4aEA

Actually just Thursday night I was out seeing a group play and they did a really cool version of Fall with a rock beat. It took me a little bit to even recognize the tune.

>>66280398
I'd probably like to hear his thoughts on the more "out there" stuff. Play some Dolphy, some Cecil Taylor, some Ayler. Definitely the two you mentioned. Naima's a fantastic choice. Probably some Coleman Hawkins, just cuz I'd want to hear his comments on the progression of the tenor style. I think some Mingus as well would be good, hear his thoughts on a different compositional style.

>>66280820
Yeah I think Naima was probably a huge inspiration to Shorter with his ballad writing. It'd be nice to get his thoughts on Dolphy too and if the blindfold test took place in the 80's or 90's I'd like to get his thoughts on Mike Brecker also.

>>66280398
I'd like to hear what he would now say about some newer-than-70's fusion. Maybe Chick Corea Elektric Band.

He plays with Patitucci now and was at the forefront of fusion in Weather Report for a long time so would be interesting to hear how he views the direction where Weather Report took fusion in the 70's and 80's in retrospect.

>>66280927
Yeah the way it's phrased with leads into the downbeat certainly influenced Shorter. Iris holds a lot of similarity to Naima now that I think about it. Also of course the use of pedal point was pretty influential. If it took place now I'd want Brecker too and I'd really want Chris Potter. Probably that solo version of All the Thing You Are.

>>66280398
It would be pretty interesting to just play him all the tracks from this week's playlist and see what he thinks about all the different versions of his music.

>>66280492
>I'm surprised you didn't recognize this one. It's definitely Shorter's most popular tune.
Yeah, Footprints. The only 2nd Quintet albums I know well are ESP and Nefertiti. Miles Smiles is next on my list though.
>>66280492
>Not quite, but it does come from one of his Blue Note albums.
Soothsayer then - that's the only other one I know.

>>66281446
>Soothsayer then - that's the only other one I know.
I mean, apart from All Seeing Eye, and I'm almost certain it's not that.

It's a shame there weren't any from that - that's one of my favourite Shorter albums, and jazz albums in general.

>>66281446
>Soothsayer then
Yeah

>>66281469
>It's a shame there weren't any from that - that's one of my favourite Shorter albums, and jazz albums in general.
Well let me know if you can find any cover versions of anything from All Seeing Eye.

Anybody else planning on posting thoughts on the tracks or anything? If not I'm going to start posting the reveal info in about an hour probably.

>>66281729
i'm posting in 15 min

>1
From the way the play I would say it's hardbop. It kinds of reminds be of Clifford Brown and Max Roach, but I'm pretty sure it's not them. I liked especially the trumpet and the piano, but it didn't felt very original as a whole. Also the flight of the mumblebee quote is really cheap.
>2
The trumpet seems Miles to me. It also seems cool jazz. Interesting sound but overall it didn't get my attention.
>3
This one is also not captivating for me. Guitar plus "organ keyboard" so I would guess Wes Montgomery.
>4
I liked this, but I can't describe it well. I guess it's from the '90.
>5
This is definitely Footprints. I like it, very chaotic feel
>6
Don't like it overall; the duo is doing a good job but I can't tell where the music is going and it's kind of frustating. Maybe it's because I expect a well restrained form for jazz. Looking forward to knowing what this is
>7
nothing to say about this. 8/10

[spoiler]I don't have time for 8,9,10[/spoiler]

Ok. Reveal info incoming.

Here's the link for next week.

http://www76.zippyshare.com/v/0mP3YRNq/file.html

Spiritual Jazz by Jazzpossu

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>Track 1
Adonis Rose- E.S.P.
from Song for Donise (Criss Cross, 1997)

Trumpet- Nicholas Payton
Tenor Sax- Tim Garfield
Piano- Anthony Wonsey
Bass- Reuben Rogers
Drums- Adonis Rose

Shorter’s composition “E.S.P.” is the first track on Miles Davis’ 1965 album of the same name and introduced the group that would become known as “Miles’ second great quintet”. With a 32 bar form, it’s one of Shorter’s more “traditional” compositions for that group (but somewhat unusual for its ABAB’ form) and features a repetitive, memorable melody.

This version is taken quite a bit faster than the original. This quintet of (at the time) young worked together often and this was the first of two albums that they recorded for Criss Cross. You can hear a lot of influence from both Blakey and Miles’ quintet in most of their work but the Miles influence is especially prominent here for obvious reasons. Adonis Rose is an underrated drummer and I think the highlight here is how his energetic playing pushes the rest of the group to match his energy level.

>>66282526
>Tenor Sax- Tim Garfield
Tim Warfield*

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>Track 2
Chet Baker- House of Jade
from This is Always (SteepleChase, 1979)

Trumpet- Chet Baker
Guitar- Doug Raney
Bass- Niels-Henning Orsted Pedersen

“House of Jade” first appeared on Wayne Shorter’s second Blue Note release “JuJu” in 1965. According to the liner notes:

The first eight measures of “House of Jade” were written by Wayne’s wife, Irene. “She likes to play around on the piano occasionally,” Wayne says, “and she always comes up with something that strikes my ear.”

The tune is an unexpected one for Chet Baker to cover. Especially in his later recordings, Baker sticks almost exclusively to the standard repertoire, but I think the tune works remarkably well in this laid-back, sparse trio format. As you would expect, Baker’s solo is restrained and melodic but NHOP’s bass solo is also quite expressive.

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>Track 3
Chester Thompson- Speak No Evil
from Mixology (Wienerworld, 2012)

Brass- Joel Behrmann
Sax- Howard Wiley
Organ- Chester Thompson
Guitar-Barry Finerty, Chris Cain
Drums- Mike Clark, Brian Collier
Percussion- Kenneth Nash

“Speak No Evil” comes of course from Shorter’s third Blue Note release of the same name released in 1966. Another one of his most iconic melodies, the composition, the tune is also full of the chromatic chord motion that is a hallmark of Shorter’s writing.

Chester Thompson is not a well-known name in the jazz world, though he has received some recognition for his work in the band Tower of Power, and for the years he has spent recording and touring with Santana. In 2012 he released this album which falls more into the jazz tradition and features a number of standards as well as compositions by notable jazz player.

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>Track 4
Enrico Pieranunzi- Deluge
from Infant Eyes (Challenge, 2001)

Piano- Enrico Pieranunzi
Bass- Hein van de Geyn
Drums- Hans Van Oosterhout

This composition also originally appeared on Shorter’s 1965 album, JuJu, and takes its title from the descending melodic line and its attempt to describe “an overflow of something.” The original recording contains a number of Shorter’s compositional trademarks including a rubato intro, chromatic harmonic motion, and extensive use of the Maj7#11 chord.

This version of the tune comes from an album of Shorter’s compositions recorded by the prolific Italian pianist Enrico Pieranunzi in trio form. Their approach highlights the melody while using rhythm and reharmonization to pull the music in a different direction from Shorter’s original recording. As with most of his recordings, Pieranunzi also inflects the music with hints of his background playing classical music. I don't know much about the bassist and drummer on this recording but assumed they were Dutch based on their names. I thought that the bassist's name looked familiar and by strange coincidence he's the same bassist who plays on this>>66272471 album I recommended earlier in the thread.

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>Track 5
Quest- Footprints
from Circular Dreaming (Enja, 2013)

Tenor Sax- Dave Liebman
Piano- Richie Beirach
Bass- Ron McClure
Drums- Billy Hart

Probably Shorter’s best-known and most-covered composition, “Footprints” first appeared on his 1967 album Adam’s Apple, but the most popular version was released a year later on the Miles Davis Quintet’s album “Miles Smiles.” The composition is Shorter’s tweak on a C minor blues form and explores cross-rhythms extensively as the quintet explored superimposition of African 12/8 and 4/4 swing rhythms.

Quest was one of the jazz “super-groups” that formed in the 80’s playing adventurous post-bop. Their most recent release focuses on the music recorded by Miles’ 60’s groups and includes this excellent version of Footprints, which the band explores rhythmically, harmonically, and formally with a strong sense of spontaneity and energy.

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>Track 6
Tim Hagans and Marc Copland- Nefertiti
from Between the Lines (SteepleChase, 2000)

Trumpet- Tim Hagans
Piano- Marc Copland

“Nefertiti” of course is the title track from the 1968 Miles Davis album and another one of Shorter’s best-known compositions. The tune is most memorable for it’s unique approach of having the horns repeat the melody while the rhythm section improvised loosely around them.

This duet version keeps the loose feel but takes a closer look at the excellent melody and harmonic color of Shorter’s composition. Tim Hagans and Marc Copland are both underrated players (Copland is probably best known for his work with John Abercrombie) and play together extremely well throughout the album, which is highly recommended.

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>Track 7
Mark Shim- Ping Pong
from New Directions (Blue Note, 2000)

Alto Sax- Greg Osby
Tenor Sax- Mark Shim
Vibraphone- Stefan Harris
Piano- Jason Moran
Bass- Tarus Mateen
Drums- Nasheet Waits

I wanted to include at least one of Shorter’s compositions from his time in the Jazz Messengers and though it’s not one of his best-known, Ping Pong is one of Shorter’s better hard-bop inventions. The tune was first recorded for a Blue Note session in 1961 but not released until 1970 on Blakey’s “Roots and Herbs”. The earliest released version of the tune appears on a 1963 Riverside album called Ugetsu, which was recorded live at Birdland.

Blue Note organized this recording of some its brightest young players to record compositions by well-known Blue Note artists (Shorter, Hancock, Henderson, Morgan, etc.) as well as several originals. The results are uneven, and most of these players have recorded a lot of stronger material, but the album remains a pretty interesting recording of some younger up-and-coming players of the ’90’s.

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>Track 8
Alex Sipiagin- Iris
from Mirages (Criss Cross, 2008)

Flugelhorn- Alex Sipiagin
Tenor Sax- Seamus Blake
Piano- Mulgrew Miller
Bass- Boris Kozlov
Drums- Johnathan Blake

Of course I had to include a version of my favorite Shorter ballad, Iris, which first appeared on Miles’ 1965 album E.S.P. The composition is very indicative of Shorter’s writing, especially chromatic motion of the chords, unusual chord structure (AbMaj7#5) and the tendency for the melody notes to land on the upper extensions of the chords. In addition, the tune also has another unusual compositional facet: the speed of the chord changes doubles every other time through the form, while keeping the underlying 3/4 feel the same, creating an odd, 24-bar form.

Alex Sipiagin’s version, from his 2009 album Mirages, keeps the melody and harmony of the original tune intact, while adding Sipiagin’s trademark polyphony through a new countermelody, played the second time through by Seamus Blake.

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>Track 9
George Colligan- The Big Push
from The Newcomer (SteepleChase, 1997)

Trumpet- Ingrid Jensen
Tenor Sax- Mark Turner
Piano- George Colligan
Bass- Dwayne Burno
Drums- Billy Drummond

“The Big Push” is one of my favorite Shorter tunes, but one that is not covered very often. It was recorded in 1965 for a Blue Note session but not released until 1979 on The Soothsayer. One of Shorter’s more straightforward and hard-bop influenced compositions from this period, the tune relies on its simple melody, subtly harmonized between the three horns (Shorter, Hubbard, and James Spaulding.)

This version, recorded by George Colligan, sticks closely to Shorter’s original feel and arrangement of the tune and allows the players to use the melody as a jumping off point for their improvisation. The references to the melody are especially explicit in Colligan’s solo that starts out with simple variations of the main melodic line, then as his right hand lines get more and more complex, he returns to variations of that main melodic theme in his left hand underneath the 16th note lines going on in his right hand.

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>Track 10
Eddie Henderson- El Gaucho
from Colors of Manhattan (Gazebo, 1990)

Trumpet- Eddie Henderson
Piano- Laurent De Wilde
Bass- Ira Coleman
Drums- Lewis Nash

This composition comes from Shorter’s 1966 album Adam’s Apple and is one of his more often-covered tunes. It’s notable for it’s moderately traditional bossa nova feel which makes it fairly unique in Shorter’s compositional catalogue. This version by Eddie Henderson stays fairly true to the original tune and comes from his early 90’s album Colors of Manhattan. The album is one of several that Henderson recorded with French pianist Laurent De Wilde, who is probably now best known for his Monk biography, rather than his playing.

Sorry most of this week's artists were kind of obscure. Hopefully you guys found something new that you liked though.

>>66282879
>creating an odd, 24-bar form
In the Miles recording it's 25

Alex Sipiagin is ridiculously consistent though. I'm so glad you introduced me to his stuff.

what is all this vanilla shit? where is the classic jazz?

>>66283029
>In the Miles recording it's 25
Oh you're right. I forgot they keep the extra bar of Db in the last measure. Ever played the tune? It's not easy to play even with everybody playing clear time but when you try to obscure the time like they do on the original recording it's really challenging.

>Alex Sipiagin is ridiculously consistent though
Yeah, I've never really been very disappointed with anything he's done. Some of it is better but none of it is bad. He's a great arranger as well as a composer. I've probably included more of his arrangements on these playlists than his original music.

>>66283182
Yeah the way the first note starts off on and the and of 3 and then after that even the chord is uneven (2 bars, 1, 1, 1, 1, 2) really encourages that ambiguity. Playing on horn with a band isn't as bad but if i try to play it solo on piano i always end up adding an extra bar at measure 11.

>>66282962
The Chet Baker one was a nice surprise. I will probably also check out the Enrico Pieranunzi and Quest albums. I've never heard of them before.

>>66283102
The whole theme of this week was people covering Wayne Shorter (classic jazz). As always you're more than welcome to make a playlist for the thread sometime with a theme of your choosing.

>>66282910
Gotta listen to this now, best piano solo I've heard in a while and Mark Turner is usually pretty cool.

>>66283938
That album is pretty good but I think my two favorites of his are Ultimatum and The Facts. His original material has a very Joe Henderson-esque quality to it, especially his albums that are quartets with saxophonists.

I never have anything to say that's worth posting in the threads but I usually skim through the playlists and I just want to say that I appreciate that you guys do this every week.

>>66284662
Even if you feel like you have nothing to say, just say whatever comes to mind anyway, you probably have more to say than you think. It's also a lot more fun to try and say what you think about the tracks

>>66284662
Second what the other guy has said. It's always great to get more participators. Any contribution is welcome.

>>66284662
yeah at the very least you should just take a second to post which tracks you liked and which ones you disliked.

Ok does anybody have any recs for me if this track was my favorite this week. I have never heard of any of these people.

>>66282733

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>>66285939
For more Quest check out Quest II. For something a little different but that you'd probably like check this one out.

>>66286675
Listening now and it's pretty good. Any recs from others are welcome.

I missed last week but I listened to the tracks this week. I'll just summarize by saying tracks 4 and 7 were the only ones I liked at all. The rest were pretty meh.