>>60274344
>Next week's theme is: POPULAR SONGS
>Tracks were selected by: JAZZPOSSU
Nice, new person selecting tracks.
Bumping while I finish typing up thoughts on track 10.

>>60274399
Glad you're back this week.

>>60274344
>Track 1
The head of this sounds familiar. There might just be a few idioms that I’m hearing and being like “Yes that’s a thing I’ve heard before”. Like the first 8 bars or so sound quite “modern”(we love that word round here) and the trumpet tone and piano calling rhythmic responses reminds me of something that Woody Shaw (though it’s obviously not him) might do. But then the preceding section with the way the drums accent the horn lines and in particular the melody sound like it could have come straight off Buddy Rich’s Big Swing Face.
Far as the sax solo goes, it’s nice. Pretty standard sounding but the piano playing is lovely. It isn’t overpowering the solo but there’s some nice melody lines supporting it. The drumming is pretty great. He keeps the pace very well, has good sense of swing and is throwing in some cool fills. I’ll stand by my previous guess of Buddy Rich. Feels like a reasonable enough guess. Whoever he is, he’s got chops.
That continues into the trumpet solo which I preferred to the sax. I particularly liked the bit around the 2 min mark where the soloist does little variations on that rhythm line.

>>60274486
Track 2
First thought was Joe Pass or maybe Jim Hall based on the guitar tone and the very cool understated drumming and bass. Pass really knows how to pace his pieces well and plays the silences in a track really well while still showing off a great deal of virtuosity. I’m not sure I recognise the specific track but I feel confident it’s Pass.
The bass playing really caught my ear. The player is not just walking blindly over the progression, there seems to have been a decent amount of thought put into at least the shape of what he’s playing. Around 1:15 when the guitarist I’m assuming is Pass goes on his bird tier run, the bass hangs on the E in straight quarter tones. It gives an interesting change of feel to the song for the 6 bars or so he does it before going into a walk again. Around 1:37 I caught the bassline and realised the song was a cover of MJQ’s Django. I’m surprised I hadn’t caught it by the head but I love that bassline so there’s no way I’d miss it. I may have given unfair credit to Pass early on for the excellent composition of the song, his solos were pretty awesome and it’s a nicely executed, concise arrangement of the song.

>>60274475
So am I. I'm off this week so I actually have room to breath again.

>>60274502
>Track 3 (my fave of the bunch)
Sounds like something that could have been on Sketches of Spain. Very Spanish influenced but still very firmly within a post-bop setting.
The drumming is obviously something that attracts a lot of attention, it’s very restless and a lot of the time the cymbals are there to provide texture to the song as wells as to keep rhythm.
The there’s the trumpet playing, which is fantastic. There’s a free sensibility and a desire to try and do interesting things with the instrument outside of regular playing but a restraint in how often he actually does push his playing.
Around 1:05 onwards is spine tingling and I got a little obsessed with it when I first heard it. You could draw a fairly smooth graph of the pitch of his notes and see this ascension upward and the slow crawling back down as he goes down the scale, way up in the higher register of his trumpet. His tones still holds pretty damn well up there. I spent ages trying to figure out what I was hearing when he was coming back down. He plays that pattern that’s like a descending major scale, descending at first as if it’s in C# and then as if it’s in F#. This explains why it gets dissonant here because it’s in G, especially towards then end because the F# and G# are pretty well vocalised and held for a decent amount of time. Then after the laborious climb down, he just shoots up again in a Davis tier squeal, oh God it’s fucking great. Though I don’t recognise it, I kinda want to say it is Davis and it’s just some album by him I haven’t hear by him but I’m more just stabbing in the dark with that. I think more likely, it’s someone who was a big fan of Davis.
Very interested to see what it is. I’d well listen to the rest of this album.

>>60274541
>Track 4
The actual recording space on this one is notable. Very echoey acoustics. It adds a really nice timbre to the sax player who already has a pretty lovely and breathy tone and augments the very subdued and melancholic atmosphere of the song.

>>60274556
>Track 5
Damn the head on this one is just great. All the instruments doubling up on melody lines are class. Makes everything sound really odd. You could kinda tell it was going to be a bit out anyway but I really wasn’t expecting that sax solo. That shit went Dolphy tier pretty fucking fast. The bass player just keeps plucking away through the free soloing which was pretty awesome though. The contrast between the two is kinda jarring at times because of how relatively conventional the bass playing is.
Rare trombone solo spotted. I generally don’t like post war trombone playing anyway and this wasn’t an exception desu. I felt like the song may have gone on a bit too long. The sax solo was very engaging and I really enjoyed it but felt the piece as a whole dragged on bit.

>>60274579
>Track 6
Listened to this one high and thought I was hearing a baritone sax. Sober I don’t think that’s what it is, he’s just playing low for a lot of his solo. It’s lovely whatever it is though. Pretty well paced solo with a lot of good ideas. Clearly pre-Charlie Parker, could be Coleman Hawkins based on the fact that there’s bop elements there but it isn’t quite there yet. I’m a bit fuzzy on non-big band stuff that happened just before bebop so there’s a good chance I’m completely wrong there.

>>60274613
>Track 7
The subtle changes in phrasing in the drums are really cool in this one. They change the feel of the song in a way that is very fluid but not immediately in the centre of the listener’s attention. I like that sort of playing around with phrasing in 3 / 4 though. The other musicians keep up with it really well and there’s a real fluidity in how in mid solo the rhythm will change and they adapt their playing very well.
Really enjoyed the flute solo on this too. I really don’t know enough jazz with flute in it but it usually sounds pretty great. As a whole all the soloing was pretty great on this. The pianist was particularly good, nice mix of chords and melodic playing.

>>60274636
>Track 8
I know we have a tendency to just see Monk everywhere (one of the great things about these blindfolds is that I’ve gotten a better grip how big a fucking deal he was)but that dissonant piano chord for the first 10 just screams Monk. It’s pretty cool though and the bass just going along playing the root note really helps with the tension building into the more melodic section.
It’s definitely not Monk though. All the call and response type stuff and the very lively, busy playing isn’t Monk’s style. Their sense of rhythm isn’t wonky enough either.
Trumpet solo was pretty great. It might just be because the bass is quite well recorded in this one but I was very aware of how well the bassist was supporting the solo. When he was walking and otherwise. Same thing with the sax solo too. He’s just comping really well.
Wasn’t disappointed when the pianists solo came around. I’m more confident it’s not Monk now but you can still hear an influence there. It’s quite bluesy playing at times too; I wish he could have gotten more time though. Feels like he was kinda cut short.

>>60274659
>Track 9
The sound of the Hammond and Sax doubling up on the all the melodies in the head was pretty cool. Brian Wilson always did this where he’d double up instruments because when they played at the same time it would produce a different timbre. I feel like that effect is kinda going on here and it’s nice. I’m not really familiar with jazz that uses Hammond so it’s a bit foreign to me to hear it in place of a piano.
Too bad the organ solo was a bit underwhelming. I was more interested in the guitar solo but the organ was mixed a bit too high here so it was often drowning out what the guitarist was doing.
I’m not sure about players but I’m going to wager that it is newer than it’s letting on. Doesn’t feel like it was actually part of the actual hard bop wave but is an album that was made later on.

>>60274681
>Track 10
The sax player’s playing sounds familiar in this. I don’t recognise the song but the actual style of playing and the tone is reminding me of something. The one thing I will comment on is that I really liked that pattern he was playing around 2:02 where he keeps ending on the two high notes but then he misses it the third time around. Really let the wind out of the otherwise good solo right at the end.
The bass playing was pretty damn solid throughout the whole piece too. Good sense of swing and he added some really nice melody and shape to the piece, even when he was just walking.

>>60274541
Track 3 is probably my fav as well. I'm curious to see if anybody will guess it. I tried to go with some more obscure stuff this week so I'm glad to see I got some that stumped you. It's interesting that you hear Monk vibes on track 8.

Commenting as I go along, three tracks per post...

Also, it was a lot of fun picking tracks for next week, so I recommend it to anyone on the fence about participating in that way.

>Track 1
I wish this track had more bass to it, sounds like the players are having a really good time with this. Mid to late 50's? Philly Joe Jones on drums maybe? I really like the drumming, wish it was more prominent.

>Track 2
The tune is Django by John Lewis, made famous by the Modern Jazz Quartet.

Grant Green's Idle Moments was the first Blue Note album I ever bought when I started getting into jazz. It was a bit of a disappointment at the time as I expected something more lively, but I did like his version of this tune and that's how I originally know this tuen (and the rest of the album grew on me later...)

That said, this is not him. I don't think I've heard this one before. Some nice fluidness in the soloing, Joe Pass maybe?

>Track 3
Great track - I like the fluttering bass, the restless cymbals that bring Tony Williams to mind and the boldness of the trumpet. When the other horns enter it reminds me of Eddie Gale's Ghetto Music.

A lot of 60's Blue Note and Miles influences here, but I think this is a more recent recording. Curious to find out who these are.

>>60274863
>It's interesting that you hear Monk vibes on track 8.
His influences more than anything else. I think that trying to place musical ideas that you associate with certain players when trying to guess who an artist is, I tend to just arrive at "yeah that's a fairly monk thing to do" more often than I do for say Bill Evans or Bud Powell. Even though they're hugely influential, there just seems to be so much more Monk DNA everywhere than I would have thought prior to these threads.
>>60274983
>but I did like his version of this tune
Yeah i agree, it's lovely, it's my favourite Grant Green performance. When I got into jazz, I don't think his playing had enough edge or pop appeal for me to really love but I've grown more fond of him over time.
>Tony Williams
Didn't think of that when I first heard it(maybe I should have, been listening to Out to Lunch a lot of late) but I really wouldn't be surprised if it was him.

>>60275198
I think the blind listening really helps you hear how players influenced each other. A lot of times you tend to think that a track sounds like a player you know but you realize it can't be him because of other things on the track.

>Track 4
Nice old fashioned breathy ballad playing on the sax. Reminds me of Coleman Hawkins, but sounds like a more modern recording.

I'm not a huge fan of ballads in general, but when they work they're pretty sweet and this one definitely works for me.

>Track 5
I'm very sure I've heard another recording of this track many, many times and it's bugging the hell out of me that I can't remember what this is - I can definitely hear the supposed original in my head. From some very high-profile album by some very high-profile leader - Miles or Mingus or Coltrane?

I like the unhinged sax solo, nice Dolphy-style free'er playing. When the trombone comes barging in I'm reminded of Mingus again. Maybe an 80's or newer recording by someone influenced by 60's avant-garde like David S. Ware or someone like that. Wild guess that it could be Albert Mangelsdorff on trombone.

>Track 6
An older recording, 40's even? I'm thinking of Lester Young for some reason, but not sure at all. The sax sound seems a little unusual, but could be just the recording.

>>60275317
going to post mine when you're done

>Track 7
These guys take their 3/4 time pretty seriously - pretty heavy handed snare-action from the drummer.

Pretty unremarkable track for me overall, I quite like the chirpy flute solo, though.

>Track 8
Starts out cool and dangerous and I wish it continued more that way instead of dipping into more conventional jazz forms. I like the bold sound on the sax, but I have no idea who these people are..

The bit of 7/4 riffing and those very short bits of latin influence like at 4:40 feel like pretty sophisticated touches for me, so I'm guessing this is more recent than the 60's. Pretty interesting.

>Track 9
I have a feeling like I'd heard this one before right from the start. I was thinking first that maybe this is something pretty recent with like Larry Goldings on organ and Peter Bernstein on guitar, but when the organ solo comes on, I get a really, really strong feeling that this has to be Larry Young instead. This is not from Unity which is my favorite Larry Young album, I'm guessing this is earlier than that since he was going in another direction later on.

>Track 10
This is one of those tracks where the styles in general sound very familiar, but I have no clear idea who these are. It's pleasant enough, but doesn't really excite me all that much.

>>60275972
Nice thoughts again. I'm looking forward to listening to all of your tracks for this week.

Track 1- This is pretty nice. Very hard-boppy, bluesy swing. Sounds like rhythm changes with an altered bridge. I would guess this is a Horace Silver thing but it doesn’t sound like him on piano. Both the alto and trumpet solos were pretty good but not really all that memorable. There are some good moments in the piano player’s solo but he also fumbles the ball a few times. Particularly the fast runs at the end of the piano solo were good. I’m not sure who the alto player is… sounds like maybe Lou Donaldson or Sonny Stitt. Trumpet player sounds like Lee Morgan to me, or maybe Donald Byrd. I’m not sure about any of the other players. It’s pretty good.. the altered bridge changes keep it interesting enough for me.

Track 2- Ah, I almost didn’t recognize the tune for some reason but then once the swing comes in I caught it. It’s the MJQ’s Django, but this sounds like the Joe Pass version. Nice choice. There aren’t many guitar players who play bebop lines like this and what a great tune. In listening to it now I wonder how many of these lines were worked out note for note. Occasionally the way he plays makes me think some of them were. Oh well. Great tune, great solo.

>>60276264
Track 3- This is very nice. Sounds like late Blue Note type stuff… at first I was thinking this was some kind of Freddie Hubbard thing, the trumpet player sounds a lot like him. I love the interaction of the bass player too. The drumming doesn’t sound like anything I’ve heard on any Blue Note records like this though. It actually sounds much more modern. The sound quality doesn’t sound modern though. This is maybe something recorded in the 80’s? I love the excitement and twists and turns in the composition. The trumpet solo was great and the way the band played together was fantastic. Great track. I’m looking forward to seeing what this was.
Track 4- Oh that’s breathy. It’s got to be Ben Webster. I don’t think I know the tune. The adult tempo and space of it is very nice. The bass player deserves some credit here for holding down the tempo and playing more when it’s needed and less when it’s not. No guesses about the piano player though. Possibly Ellington but I doubt it. This was nice. People who like that breathy tone of Ben Webster should check out Stephen Riley for a modern approach to that sound.

>>60276284
Track 5- Nice, it’s Syeeda’s Song flute. I haven’t heard this version in a while but it’s great. This is a perfect example of a great re-imagining of a tune. You will definitely recognize it if you are familiar with the tune, but it’s changed in such a way that it’s really a new idea of the tune. As good as this is, I still wanted Shepp to start out his solo the same way Coltrane starts his on the tune. That would have been cool. The arrangement is almost Mingus-esque and I like the way the other horns add contributions during each other’s solos. I’ve never been a huge fan of Shepp’s tone but his solo is nice. Just as it starts to get boring he starts quoting the melody and it seems to bring about plenty of new ideas. I can’t remember who this is on trombone… is it Grachan Moncur? Very good track. What a great arrangement and pretty good solos as well.

Track 6- I recognize this tune but I can’t come up with the name of it. This sounds like a late 40’s or early 50’s kind of thing. The tenor player reminds me of Warne Marsh. Actually I think it is Warne Marsh, because the phrasing is so ridiculous. So I’m guessing this is a Lennie Tristano thing, though definitely not one of Tristano’s best solos. This would have been much better with a drummer I think, but I hand it to the bass player for holding it down pretty well, even through Tristano’s crazy rhythms. The second half of the piano solo was better than the first. Pretty good. Marshe’s playing was on par but Tristano’s was underwhelming. Drums could have helped.

>>60276312
Track 7- Now this sounds Blue Note-y. You can tell by the sound of the drums and piano. This sounds sort of like some Horace Silver funk but the pianist sounds more like a bored Herbie Hancock. Wait that’s Joe Henderson on tenor so that makes me think this is a Horace Silver record… but no that’s definitely not Silver on piano. I think this is a Duke Pearson record, and there’s flute so that’s probably James Spaulding. Now that I think about it, I think there is a Duke Pearson record with Joe Henderson, James Spaulding and Donald Byrd. That’s got to be this. Anyway, the tune itself was nice but not really that creative. The trumpet and piano solos were below average, and the flute solo was pretty good. This track for me was really saved by the tenor solo. It sounds like he can’t wait to start blowing and once he does he just lets loose. Pretty average track saved by a great tenor solo.

Track 8- Ooh right away there’s that awful bass amplification. What a cool tune though. It’s bluesy but with a dark edge to it. This tenor player sounds like he has listened to a lot of Coltrane. And some Wayne Shorter. Joe Farrell maybe? I thought the tenor solo was too short actually, I wanted it to build more. The trumpet solo wasn’t especially memorable. Pretty good bari solo as far as bari solos go but I could have done without it. Maybe this is an early Ronnie Cuber record from the 80’s? The piano solo was very good. It reminds me a little bit of Richie Beirach. I liked this track quite a bit. I would have preferred to hear fewer, but longer solos. The awful bass amplification took away some of my enjoyment too but overall nice track. I’ll be interested to see who this is.

>>60276264
>>60274983
>>60274502
I'm a little bit surprised everybody recognizes track 2. I didn't know it was so well-known.

>>60276341
Track 9- From the melody I thought this was Joe Henderson again with Grant Green. But now in the solo I think it’s got to be Sam Rivers so this has got to be from that one Larry Young album that I can’t think of the name of at the moment. A very nice tenor solo but then Grant Green flounders a little bit in his solo. It ends nicely though. Sounds like Tony Williams on drums, this album definitely wouldn’t have been as good with a lesser drummer, his busy playing is adding a lot to the music. Larry Young’s solo is very good too. Not the most memorable tune but the tenor and organ solos were both very good. The guitar playing was average and the drumming was excellent. Actually I take back what I said about the tune not being memorable as I’m listening to the head out. It’s a pretty cool tune.

Track 10- This sounds like more Blue Note. Maybe Hank Mobley? We haven’t seen much of him on these blindfold tests yet. Doesn’t sound like Mobley in the tenor solo. Maybe Ike Quebec or someone like that? Definitely the best part of the tenor solo came near the beginning where the piano player was doing a rhythmic pattern on a weird kind of suspended chord. The trumpet solo isn’t great but the rhythm section is doing some nice stuff behind him. The piano player sounds quite a bit like Wynton Kelly or maybe Tommy Flannagan. Some pretty nice long bop lines in there with a lot of that ornamentation. Pretty good track. Maybe I’m wrong about this being Blue Note and it’s a Tommy Flanagan record.

Final thoughts- Pretty nice choices all around and it sounds like some more obscure players and records. I was hoping for a little more variety out of a “wild card” week

>>60276312
ah! Syeeda's Song Flute it is!

Interesting that I didn't recall this one, I've heard Four for 'Trane more than once and like a lot of Shepp's albums - somehow I kept thinking this is something more recent than that

>>60276312
You're on the right track with a lot of these- I'll give you some hints.

Track 6 isn't Lennie Tristano on piano.

Track 10 is from a Blue Note album but none of your guesses about the players are correct.

>>60276360
Oh, deadly so it is Pass? I hasn't heard that version. Just a recognizable tune with a recognizable player.

>>60276457
You guessed that it might be Coltrane though. And interesting that we both heard some Mingus influence in the arrangement.

>>60276529
So that implies that it is Marshe? Maybe I will give some second listens and throw out some more guesses when I get home.

>>60276312
>Lennie Tristano
I'm vaguely aware of him as someone who was playing free jazz before it was really a thing. Didn't realise his playing style was like this though.
Is he worth checking out, beyond just being an historical oddity?

>>60277068
He recorded a couple tracks that are some of the earliest recorded examples of free jazz/time-no-changes style playing. They are worth checking out for their historical importance but they are also pretty good-

https://www.youtube.com/watch?v=WeBwO8OddD8

His playing style isn't really like that track- It's not him apparently >>60276529 I guess it explains why I thought it wasn't his best solo.

His normal playing style emphasizes long beboppy lines with extreme rhythmic hemiolas. Definitely worth listening to because it was a pretty unique style at the time and it influenced a lot of people after him. Especially horn players I think.

https://www.youtube.com/watch?v=Il01bRtcK0U

>>60277202
>1949
Jesus that's ahead of it's time. The interplay between the musicians and the quality of their playing is pretty incredible, especially considering there wasn't exactly a precedent for this type of playing.

7 sounds like the milestones quintet w/ garland trane etc, though im not aware of trane ever playing flute w/ miles ?

>>60277348
Any thoughts about the other tracks?

>>60277298
wow I'm pretty sure I know you bruh. good to see you

>>60277348

3 sounds late 60s early 70s, as someone else i hear miles and spain, but the drummer seems postbop influenced

4 the tremolo on this tenor is superb, i wanna say sonny but this blindfold listen is making me more aware than ever of how few tenors i can pick out by their sound.


im too unsure about the rest gr8 thread tho. interesting the way im listening to these tunes

>>60277715
Ben?

>>60277758
Well thanks for listening and posting. Stick around for the reveal of the tracklist later tonight.

>best thread on /mu/ only has 6 posters

I'd contribute but I'm at work

>>60278569
Things kinda move slow in these threads and people come in gradually. Someone like FLUX might come along and there'll be an increase in posting for a while and then I'll quite down for a bit until someone else comes along.
The thread will probs still be up when you get home, you should give the tracks a listen and post!

>>60278606
*it'll quieten
Those typos caused me physical pain.

>>60278569
Come back and post when you're off work friend.

Another busy week, another set of shitty, rushed reviews. Here goes

1: Aight 50s style bebop lets go. two horns playing really tight together.really like the piano work once the one horn takes over. i kind of wish the horn didn't sound so old school, because it kind of takes away from the song for me. the rest of the band is killing it. interested in who bassist is, theyre doing a great job. ok trumpet solo. dont have much to say, was prety solid. piano solo time. good use of the left hand. fast playing, but not too cluastrophic. sounds like someone who was born and raised to play in clubs. refrain. end

pretty fun, nothing special in terms of the song, but solid group. 7.5/10

2: mmm smooth guitar, defs in the mood for this after the last track. beginning is very meditative. enjoying how its picking up and how the band joined in. drums is complementing the guitar really well. bass too, but a little less noticably. really like the playign around 2:20 where he goes mid low lower, high med low.

this is a good song for strutting down the street. 8/10 would strut down street to. dunno many jazz guitars besides grant green and wes montogmery. couldve been them but probably not

>>60278851
Glad you've got time to post this week

>>60278851

3:drum work in the beginning is very cool. love the slow melody especially when the louder horn comes over top. ooohh just picked up, getting little weirder, i dig it though. this drummer is fucking stellar. bass is pretty good too. horn work got a little crazy there, but its been mostly pretty chill. kind of makes me think its early 60s, bcus ppl are still not ready to go full avantgarde.

not too normal not too weird, didn't really find anything to grasp on to (even though i liekd the drums they still didn't stick with me) 6/10

4: this is very cool. at first i thought it was west coast, but could be east too, i dont really know enough to distringuish. nothing too exciting, although the playign is all around solid. like how the piano is withheld until the trumpeter stops then he plays a few chord patterns. drums are almost stagnant. bass is barely audible. this feels like the end of the night.

7/10 a little uninspiried, but the kind of thing i'd thrown on to chill out after a night of heavy drinking

nerds

Called it >>60278606
>>60278851
>this is a good song for strutting down the street. 8/10 would strut down street to
You should give the origional a try if you haven't. Vibes have never seen so much swag.
A few ppl ITT figured out track two and mentioned the origional.

>>60279075
baka desu senpai

( ˢᵐʰ ᵗᵇʰ ᶠᵃᵐ )

>>60274344
This is an awesome idea. How long has this been going on? I'm downloading the tracks now. Will post back in a little bit.

5: ahhh another song i know super well. but it sounds like a slightly different version. or maybe its the pitch-shifting that is apparently done to the tracks.Is this mingus?? sounds like his hectic-yet-understandable play style. whatever lets focus on the song. like the pace the drummer is pushing. really like the solo from 1:00 - 2:00 (so far) doesnt feel the need to play too much, knows when to shut up. bass is really pushing the pace too. ok trumpet (i think) steppin in. playing some big booming notes. seems to be breaking apart a little bit. not quite dead but bolts are loosening. bass solo is sweet, especially the drumming during. liked the end, not as big a breakdown as i wouldve expected but still good.

8/10, really dug that one, even though i was a bit distracted during listening

6: oh man this recording is like through a paper towel cylinder. sax is very graceful. moving very fast but nothing too sharp. the section around 1:52 is really cool, everyone is playing deeper and deerp, i dunno that stood out to me. wow this pianist can fly. dont have much to say about the solo. really liked how the sax joined back in after the solo though.

7/10 again pretty distrateced.

gunna take a break and do some work, but i'll defs be back tonight

>>60279405
It's probably been 7 or 8 weeks now. Every Monday. Hope you like the tracks.

If you post your thoughts consider posting with a name. Especially if you see yourself posting in future threads.

>>60279478
Wow. I guess that shows how little I lurk /mu/ anymore

>>60277298
Yes. The interesting thing is that Tristano and co. just did it as kind of an experiment and didn't really pursue it much further but then 10 years later people took the idea and built their whole style around it.

>>60276529
Well if it's not Tristano I'd guess it's maybe Ronnie Ball or Joe Albany. I haven't listened to either one enough to really recognize their playing stylistically.

>>60279769
Did he make many comments about all the credit people like Coleman got for developing an idea that he had in an embryonic stage much earlier? I mean, obviously this is still a few steps away form the 60s movement but the idea was there.

>>60280219
There's an interesting paper that goes into pretty deep detail about the similarities and differences between the free improv of Tristano and Coleman.

I don't think I've ever read any direct quotes by Tristano about Coleman but i think I've read that in interviews generally Tristano was somewhat frustrated and bitter about how little attention his music recieved during his life.

>>60280407
Would read/10
I've never read an academic description of free playing before.
Understandable reaction though. Even in retrospect he doesn't seem to have gotten a huge amount of popularity.

7: like the geometric background on this one for the sax to work over, at the beginning. ok drums just picked up a bit. ok nvm back to normal. drums are playign it a little too strict, i feel like he could do a little flair at the end of every secound bar or something. piano also a little boring. even the sax is keeping it pretty tame. i wonder who this group is. playign picking up a little around the 3 min mark. wish the sax would play a litle louder even. secound around 3:40 is nice, but i wish we could see more of that in the song. flute stepping in. always like a nice flute section. he flutters around a lot, doesnt stay high or low, always scaling up or down. pretty nice solo, although i'd like a little more passion. piano time. nice chords with the left hand. i like how hes not afraid to use the higher notes on the piano, even if only for a bar or two. back to the refrain then play out

i wanted to liek this, but it didn't really give me much to like. It was well executed but pretty plain. 6/10. interested in who it was though

>>60280912
Oh I meant to post the link to it as well.

>>60280912
Haha goddammit I still forgot it

http://ethesis.siba.fi/ethesis/files/nbnfife20031086.pdf

>>60279405
Me again. Back with some thoughts but no real good guesses.

1- Loved this track because the swing of it was great. The horn solos were awesome but the piano solo was just ok.

2- This track wasn't really that interesting to me. The slow part was kind of boring. The fast part was pretty good but seemed too samey to me.

3- I haven't listened to very much free jazz like this. Or maybe this isn't really free jazz because it sounds like some parts the band is playing together. I don't know what to think about this.

Track 4- This is the kind of stuff I like a lot. It's very calming but very engaging to me a the same time. Is this considered cool jazz? I like it.

Track 5- This sounds very hectic and has weird harmony but I kind of like it. All except for the sax solo. Not trying to troll but it sounds like he barely knows how to play the sax. The other solos were a little bit better.

Track 6- This also sounds like cool jazz and it makes me think of Stan Getz. It's good but not as good as track 4.

Track 7- I like the playful bluesy feel of this. It sounds like good hard bop. This is one of my favorites of the bunch so far.

Track 8- There's just too much going on here for me to enjoy. The two sax solos were pretty good though. It sounds a lot more modern so I didn't like it that much.

Track 9- This one has a very soulful vibe to it that I like but then the sax player doesn't really impress me. Everything else was pretty good though.

Track 10- I liked this one all the way through. There weren't any great spots but also no weak spots in the whole thing.

>>60281543
Thanks for joining in. Hope to see you back next week.

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Speaking of next week, here are the links for this week's tracklist.

http://www65.zippyshare.com/v/JZdh4jzH/file.html
https://mega.nz/#!c1R2HKoI!xCd6BeIW6PGK797slVWl5doTq2-bO7h-RqIjWLO7mx4

The theme is jazz versions of popular songs. Chosen by jazzpossu

>>60281543
>Not trying to troll but it sounds like he barely knows how to play the sax
It's actually kind of nice to see opinions like this.
/jazz/ will comment on this with stuff along the lines of:
>muh pseudo-free Eric Dolphy influences
Like we don't really have time for full free improv and brotzman/zorn tier stuff and that kind of gives the impression that as a community we are a tad reactionary but people like Dolphy are basically held in the similar esteem as Charlie Parker or Coleman Hawkins.

>>60281751
I'm not exactly sure what you're saying here

>>60281821
Just that voices form outside the regulars are refreshing.
There's a consensus in the community that playing as free as that on the track is completely fine and it was fairly well received but to an outsider it's just incompressible garbage.

>>60281983
Well I have never really listened to much free jazz but it seems to me like it's possible to do free jazz and still play with good technique and a tone that isn't offensive.

>>60281745
Should be an interesting theme

>>60282150
Yeah, definitely. That's why I wouldn't have specifically guessed Dolphy. Dolphy adheres much more to vague bebop language and does interact with the complicated structure of his pieces and generally doesn't try and make his tone vary like this guy dose.
I'd say this guy is probably an Albert Ayler fan too.

>>60282413
I have never listened to Dolphy so maybe I will check him out. What you recommend for someone who doesn't really like free jazz?

>>60282489
Outward Bound with Freddie Hubbard is a really nice album that's not very free. It's one of his earlier ones. There's bits of off the wall playing but it's very tame compared to what he'd be doing later.
I wouldn't bother rushing into free jazz until you feel like it though. I dove into that stuff before I really had a grasp of the rest of jazz and most of it flew over my head and I wrote off a lot of artists that I love nowadays.
I didn't like Eric Dolphy initially but with more perspective and experience, I really grew to appriciate this sort of playing and I listen to Out to Lunch habitually now.
Also, drugs. I reccomend drugs.

>>60282729
thank

Alright I don't think we're going to get many other posters so here's this week's track info. It was a pretty good turnout and a good thread overall this week. I hope everybody comes back next week.

1. Wake Up! by Gigi Gryce
Gigi Gryce and the Jazz Lab Quintet (1957)
Gigi Gryce- Alto sax
Donald Byrd- Trumpet
Wade Legge- Piano
Wendell Marshall- Bass
Art Taylor- Drums

2. Django by Joe Pass
For Django (1964)
Joe Pass- Guitar
Colin Bailey- Drums
Jim Hughart- Bass

3. Nieskonczenie Maly/Infinitely Small by Tomasz Stanko
Music for K (1970)
Tomasz Stanko- Trumpet
Zbigniew Seifert- Alto sax
Janusz Muniak- Tenor sax
Bronislaw Suchanek- Bass
Janusz Stefanski- Drums

4. When Your Lover Has Gone by Ben Webster
Ben Webster Meets Oscar Peterson (1959)
Ben Webster- Tenor Sax
Oscar Peterson- Piano
Ray Brown- Bass
Ed Thigpen- Drums

5. Syeeda's Song Flute by Archie Shepp
Four for Trane (1964)
Archie Shepp- Tenor Sax
Alan Shorter- Flugelhorn
John Tchicai- Alto Sax
Roswell Rudd- Trombone
Reggie Workman- Bass
Charles Moffett- Drums

6. Daahoud by Joe Albany
The Right Combination (1957)
Warne Marsh- Tenor Sax
Joe Albany- Piano
Bob Whitlock- Bass

7. My Secret Passion by Johnny Coles
Little Johnny C (1964)
Johnny Coles- Trumpet
Joe Henderson- Tenor Sax
Leo Wright- Flute
Duke Pearson- Piano
Bob Cranshaw- Bass
Pete La Roca- Drums

8. Mister Mysterious by Mickey Tucker
Mister Mysterious (1979)
Cecil Bridgewater- Trumpet
Frank Foster- Tenor sax
Pepper Adams- Bari sax
Mickey Tucker- Piano
Cecil McBee- Bass
Eddie Gladden- Drums

9. Paris Eyes by Larry Young
Into Somethin' (1956)
Sam Rivers- Tenor sax
Larry Young- Organ
Grant Green- Guitar
Elvin Jones- Drums

10. Somethin' Special by Sonny Clark
Leapin' and Lopin' (1962)
Tommy Turentine- Trumpet
Charlie Rouse- Tenor sax
Sonny Clark- Piano
Butch Warren- Bass
Billy Higgins- Drums

>>60283351
>Tomasz Stanko
Oh I know him! he's been on my list of people to investigate further for ages. I have Dark Eyes by him which is such an incredible record. I'd highly rec it to anyone who's a fan of ECM style jazz or just dark and subdued modal playing in general.

>>60283436
His earlier albums are god-tier.

>>60283468
I figure that'll be what I take from this weeks tracklist, more Stanko in my life is nessesary.
See y'all next week!

god jazz is boring

>files not in lossless
>participants listening through cheap speakers/cans

Dropped.

>>60283645
why don't you put together a flac tracklist for us next time anon

>>60283645
I actually prefer taking in the vibrations rectally. You lose less of sound quality that way and there's next to no leakage.

>>60283719
Too bad it's impossible to put together a blindfold test to see if he can even tell the difference between flac and 320

>>60283737
>2015
>not absorbing your vibrations exclusively through your urethra

it's like you don't even want to experience them correctly

>>60283351
>3
Polish Jazz. I should have known. Somehow those records always sound somehow modern and old fashioned at the same time.

>8
Who the hell is Mickey Tucker? I feel like I've never even heard that name. Looking him up now it seems like he plays on a fair amount of Muse and Xanadu albums. I thought I was starting to get familiar with those labels but I guess not.

Pretty good choices with these obscure ones. They're not impossible to guess or figure out but they're not the first things that necessarily come to mind.

>>60284102
I'll take that as a compliment I guess. It's kind of a fun challenge making a playlist. Both of those albums I downloaded just as a whim without knowing anything about the artists.

>>60283351
dont have time to do the rest of the reviews (coding is dumb)
not gunna do the rest of the reviews today

interesting choices

So this is like the secret klub for all the kool jazz kiddies?

>>60284324
If it's a secret we are doing a shit job of keeping it that way cause we keep trying to advertise it to get more people to participate.

Can we change the titles of the threads to this from now on>>60284324

>>60284432
This. It should at least be in the op text.

>>60284432
>>60284470
lol

>>60277774
From St. Louis. If you spent some time there, you're who I'm thinking of. I'll stay anonymous for now though.


On a separate note, this is a dope idea for a thread and I'm excited about contribootin

Ok jazz people. Post for me a jazz solo where you feel like the player "plays the fuck out of" his instrument

>>60284793
It's not too late to contribute to this thread

all jazz sounds the same

>>60284793
Nah man, I'm Irish.

>>60284848
https://youtube.com/watch?v=MSFLtm_bMXs

Ralph Bowen's tenor solo on this. I listen to it often and it always leaves me out of breath.

Keeping the thread alive for a little bit longer.

what the fuck are you faggots doing actually discussing music? are you lost?

>>60286505
sometimes you need a break from all the memes

Last bump before I go to bed.

I will give a bump as well

I preferred /jazz/ before the test... I don't have the time to listen to all those tracks so there's no discussion for me.

>>60283351
oh, Stanko makes perfect sense for track 3

somehow I was in the mindset that these threads usually have American players, so I was trying to think along those lines

for anyone curious about these threads, I think my picks for next week might be a good point to get started as even if you don't recognize any jazz musicians, you can still identify the original tracks and analyze how jazz musicians approach pop and rock music