Welcome to the weekly Sup Forums jazz Blindfold Test thread. Every Friday and Saturday.
If you're new, the point of these threads is to have fun and encourage critical listening, discussion, and general enjoyment of jazz. All critical music listeners are welcome. The more participation we have, the more fun and successful these threads will be. In the interest of keeping the thread alive and bumped, any general jazz discussion is welcomed here as well.
For more information about how the threads work and listening suggestions, please refer to the pastebin: pastebin.com/5cjEr3A6
THIS WEEK'S THEME: Wildcard COMPILED BY: Bebob
NEXT WEEK: Wayne Shorter Tunes COMPILED BY: JTG
If you missed last week's thread, DON'T WORRY. It's not too late. Here are the links for the mystery tracklist. Download the tracks, record your thoughts/guesses/evaluations for each one, and then come back and post them in the thread. Remember, people will be posting guesses and thoughts in this thread so don't read the thread until you have listened to the music and collected your thoughts in order to avoid spoilers. Track info for this week's tracks will be posted on Saturday, so if you see the thread is close to dying before then, give it a bump.
1. This was really cool. I like how the rest of the band stays in that ominous groove that they do while the sax player is free to explore above it all. I highly doubt this is Coltrane but honestly I don’t really know that many other soprano players. Plus it sounds more modern than anything Coltrane did. 4 stars.
2. I think this is a standard. I recognize it but I’ve never heard a version like this before. I like it though. The piano player moves through a lot of different feels. At first it was sounding like Art Tatum but then sometimes it sounds like Bill Evans but with a modern group. More electronic influenced. If this was a standard then it was a nice modern update. If it was an original it was pretty nice too but then not as impressive. 3.5 stars.
3. I’m guessing this is Eric Dolphy on bass clarinet so that must have been Coltrane on sax earlier. Now that I know it’s Coltrane I recognize it as a ballad I’ve heard before but the bass clarinet really takes over and gives it a new feel. The piano solo was good too and I like the way the bass and drums start to become more active at the right times. This was good. 4 stars.
Logan Lopez
4. This sounds kind of like hard bop but it also reminds me of just bebop sometimes. It reminds me a little bit of Art Blakey and since there’s sax, trumpet, and trombone I think I’ll guess that it’s some later recording by the Jazz Messengers. I especially enjoyed the trumpet solo. It was bluesy but there was a lot more to it then that. The piano solo sounded a little bit Monkish though. I know Art Blakey recorded an album with Monk. 3.5 stars.
5. I feel pretty confident in identifying this as Bill Evans. There was a track a few weeks ago that was a lot like this with the bass playing the melody. This sounds pretty typical of most of the Bill Evans stuff I’ve heard with lots of back and forth between piano and bass while the drums hang out in the background. It’s pretty good for one where the bass takes the role of the lead instrument. 3.5 stars.
6. This sounds like dub step played with saxophones. It must be some kind of cover but it sounds like they’re staying pretty close to whatever the original is instead of doing their own thing with it. I wonder if these are well known sax players but I’ve never heard anything else like this. 3 stars because it seems like a cool idea but I think they could have done something more original with it.
Isaac Ward
7. Very chill feeling. I like the combination of the sax tone with the lazy playing of the guitar in the background. It started out pretty good and I was enjoying it but I got pretty bored of it by the end. 2 stars.
8. Some heavy sounding spiritual free jazz. It sounds like there’s some Eastern influence going on here almost the way Coltrane would do it. The sax never really lived up to what I expected though. I kept waiting for him to go crazy but mostly it was the piano player who did the best. The drummer kept up an intense energy level too but the sax player didn’t seem to want to do it. 2.5 stars.
9. This sounds like it might be the same tune from track 5 so it’s probably a standard. From the slightly messy tone of the trumpet I’m going to guess this is Miles Davis. It’s most likely his second quintet in a live recording. I’ve only heard some of their studio albums but it sounds like it’s them. I really like the way the mood keeps changing. The drummer, probably Tony Williams, is in charge of it all and it’s like the rest of the band can sense what he’s going to do. Even though this was the longest track the time flew by while I was listening to it. 4 stars.
10. It sounds like the three of them can’t really get on the same page here. They’re all doing cool stuff and it seems like it should work but they just never really fall in together to where it really sounds great. Maybe this is three well known players who decided to record together but then it didn’t really work as well as you’d expect it to. That’s what it makes me think of. 2 stars.
Wyatt Jackson
bump
Gavin Morales
bump
Jose Fisher
Track 1: Well, isn't this ominous. Sounds pretty modern - certainly from this century, I'd say.
The dark and moody sounds reminds me of something that Matthew Shipp might play piano on, but the piano is not very distinctive here.
Pretty cool mood - I'm kind of interested in how this fits with the rest of this groups music. I'd guess it's probably not that representative of their music overall as it's so short for a modern live recording.
Track 2: Kind of interesting how it starts like a Bill Evans-y piece with some crazy technical flourishes.
When the band comes it, this starts to sound a whole lot like Robert Glasper, so I'll just guess it's him. Chris Dave on drums maybe.
Hmm. This sounds awfully familiar. Is this from the Covered album? I have it on vinyl, but haven't listened to it this much, but I think I've heard this track before.
I like some of Glasper's music but not a huge fan. This track kind of feels like there's just a lot of Glaspery stuff going on - not sure if it actually adds anything to the composition (that I did not recognize, but based on the playing in the start it sounded like a standard?)
Track 3: So is this Naima or some variation of it?
Sounds like Dolphy on bass clarinet, so a live version of Naima with Coltrane on sax is probably what this is.
Naima is a beautiful tune and this is a very nice take on it.
Blake Wilson
...
Christian Smith
Track 4: Pretty cool how this goes from that knotty thing to some latin groove.
The composition and piano playing certainly have that angular Monk feel to them.
Sax player seems familiar, but can't place who it reminds me of exactly.
Pretty neat track.
Track 5: That's some strong bass. Could be Bill Evans on piano.
There was some Evans track on an earlier blindfold that had really strong bass playing like this from Eddie Gomez, so maybe it's Evans' trio with him on bass.
Doesn't really feel like much of a standout track for me.
Track 6: This is fun. Is this two saxes and drums?
Reminds me of two British bands somewhat (that happen to share a drummer) - Acoustic Ladyland and Sons of Kemet, especially Sons of Kemet but their line-up is sax+tuba+two drummers.
I'll gladly check out more of this band.
Angel Thomas
So there are some underlying themes going on here, I'd be interested to see if some of you guys pick up on them.
On a side note, the power supply on my computer died last night so now I have to retype the descriptions I had for the tracks on my phone.
Matthew Davis
Track 7: I don't know what to make of this.
The combination of kind of poor recording quality, but fairly modern feeling guitar playing is odd. This could be a recording from a practice session or something.
I don't think I really want to hear this again, but I'm kind of interested what it is.
Track 8: Hmh. World music influenced spiritual jazz.
A very busy sounding ensemble, a little bit hard to listen. Feels like these guys are trying to do too much at the same time.
Seems very much influenced by Coltrane/McCoy Tyner.
I really wish the drummer was playing less.
That was almost great for my tastes, but couldn't really get into it - I'll give it another listen at some point.
Logan Cook
Track 9: Is this Miles? Sounds like Miles to me. Haven't ever been a huge fan of live Miles recordings. The playing just sounds so sloppy sometimes.
Assuming it is Miles and not some impostor playing Miles licks, the rhythm section sounds like the second great quintet. I guess their live material was often very different from the studio albums.
I like the sax solo a lot better than the trumpet.
Track 10: I like how these guys really put their weight behind the playing. Some very nice moments.
They kind of lost me on the other half of the track - I had greater hopes based on the first couple of minutes.
Absolutely no idea who these musicians are.
Chase Powell
bumping with something I've been listening to this week
1. Spacious playing but still pretty bombastic, I like it. I suppose it's a contemporary free improv group. 2. This is pretty good, the piano has a romantic sound like Evan's but it's definitely not him. The playing is very engaging all the way through. Also, the drums give a contemporary touch. 3. I think that's a bass clarinet so I'm gonna assume it's Dolphy, it's who I associate it the instrument. The track itself is gorgeous, sounds like some early 60s Coltrane imo. 4. Nice hard bop, sounds pretty standard but it works. 5. Seems like a bass led piano trio, not a lot comes to mind. Either way the bass sounds a bit dull and therefore so does the rest of the trio. It changes when the piano takes the lead, it's rather nice, but very short timed. 6. This feels like brostep or whatever it's called. I guess I prefer it played by horns but I'm still not a fan. It's interesting though. 7. Not in the mood for this right now I guess, it just drags and drags. Sounds like a bunch of guys chilling playing laid back stuff and I prefer the slow stuff to be more 'moving'. 8. I wonder what's playing at the beginning. Probably some traditional instrument as this is spiritual jazz. It was a bit unfocused at first, but it's pretty great, and very energic. 9. Trumpet sounds like Miles, could be him. His live recordings often have tracks exceeding the 10 minute mark. Sounds like bop mostly, but it kinda changes drastically about 8 minutes in, which is refreshing, 10. Some nice sounds here and there. But I'm not sure what they're trying to do, sounds aimless.
Kevin Evans
It looks like we had some of the same thoughts about 4 and 5
Jaxon Ross
Track 4 is not from Art Blakey's messengers with Monk as far as I know. I don't really dig the record myself, both of them play quite differently and it doesn't blend well. >When the band comes it, this starts to sound a whole lot like Robert Glasper, so I'll just guess it's him. Chris Dave on drums maybe. Yeah, I think it could very well be him now that you mention him, really sounds like Glasper.
Caleb Richardson
Did my listening early and I've got a couple minutes to post some thoughts.
>Track 1 I’d like to hear more interplay. I guess it’s cool how the rhythm section keeps their thing going but then definitely catches the cue for when to go wild right around the mid point of the track. Then they reign it back in a little. This reminds me of the way the way mid-70’s King Crimson did improvisations at live shows. Maybe I’m thinking that because the drums sound a lot like a rock kit. I think it’s probably Shorter’s quartet? If it is it’s definitely not their strongest track. It’s nice how the sax player sticks with that little motif but I’d like to hear him build on it. He just keeps coming back to it but with no variation.
>Track 2 It’s Stella but a very maximalist style. But then it settles down there in the head toward the end. Then the hip hop beat… It’s got to be Glasper. Wow. This is probably the most impressed I’ve been with his technique. Some of the stuff going on in there was really great. I liked what he was doing with doubling his melodic lines but in thirds between the hands… I think that’s what it was. Not all of it was clean but it doesn’t have to be. This was very good. Really my only complaint with this is that I wish the drummer would have added more variation in what he was doing. Even just some breaks or some subtle cross rhythms in there could have been very cool. Still, I like it. Stella is probably my favorite standard and I like this approach.
Julian Fisher
>Track 3 Well it’s Naima. Another one of my favorite tunes. But with the melody sort of inverted. Obviously Coltrane playing it though. Ah and Dolphy so this must be the version from the Vanguard. It’s almost like it was planned to go to that double time. Anybody else here some relationship to the last track with this one? With Garrison just hanging out on those pedal tones and Elvin holding things together on brushes? Also it’s great those few times when Garrison does those slides. The tension buildup is great toward the end of McCoy’s solo. This is great. My only criticisms are- why fuck with the melody like that? and why didn’t Coltrane take a solo?
>Track 4 This one has me stumped. It’s very good though. I like the twists and turns in the head and the pianists solo was great. His comping is very good at times too. The trumpet player reminds me a little of Freddie Hubbard, maybe a little of Kenny Dorham at times. I don’t think it’s Freddie, could be Kenny. The sax is weird, at first I thought it was Cannonball, but I think it’s tenor. Sounds like somebody imitating Cannonball on tenor. Anyway, none of the solos were as good as the piano solo but overall a pretty good track.
Brody Gray
>Track 5 Stella again. Bass on the lead. Sounds like the Bill Evans trio. Eddie Gomez possibly on the bass. Yeah that’s Bill for sure on piano. I want to trade 4’s with him on this tune. His melodic lines are just genius. I would have rather had more piano and less bass on this track, or better yet, a more active dialogue between piano and bass like what Evans and LaFaro did. Nothing will ever be that good.
>Track 6 This is Moonhooch. I think this kind of music is inevitable but I see these guys as really more of a novelty act. I guess I never stopped and listened to a whole tune of theirs. I think the thing that sticks out most to me about this is how they’re able to imitate the synths and effects in dance music pretty accurately on sax.
>Track 7 This trumpet tone sounds very familiar to me. Nick Payton maybe or even Christian Scott. Somebody with that New Orleans sound. I didn’t mind the trumpet solo but the guitar solo got old fast. He just didn’t do anything interesting melodically or rhythmically or dynamically or anything I guess. Overall not bad, I think it just could have been more definite. Everybody seemed kind of hesitant. It gives it a nice laid-back feel but I’d rather hear one of them play something and really mean it. Background music.
Parker Thomas
>Track 8 This was a mess. I guess I’ve just never understood this approach to drumming. It’s ok when it happens occasionally but how can anything musically good happen when you’ve resigned yourself to playing this way no matter what else the rest of the band is doing. It actively prevents the music from having shape. Speaking of shapelessness, the “melody” didn’t help things either. It was a thoughtless pentatonic tone poem that didn’t go anywhere. I think this piano player could have been good in another setting. Sometimes he reminded me of those 80’s post-bop guys who occasionally did some more free stuff- Kenny Kirkland, Mulgrew Miller, Kenny Barron. Actually maybe everybody could have been good in another setting. This track was ruined mostly by the drumming.
>Track 9 More Stella?? It’s Miles though. The interplay between Herbie and Miles is unbelievable. I’m pretty sure this is from the Plugged Nickel recordings, I think this was one of the first tracks I ever heard from this quintet. A former teacher told me I needed to hear them and suggested which of their versions of standards I should listen to. Yeah I remember that lick that Miles gets into around 4:24 that sets everything in motion for Shorter’s solo. This track is the exact opposite of the previous one. This music is all about the players listening to each other and building shape and contour. You can just tell that whenever one of them starts to get bored with what’s going on that they know exactly what to do to change everything up. I know I’m listening to good jazz when every solo has a very distinct sound to it and they all sound very different. This is an amazing recording.
Asher Kelly
>Track 10 I liked the second half a lot better than the first half. Well the unaccompanied piano bit at the very beginning was nice too. I think the main thing I didn’t like here was that the pianist just played too much. By far the best parts were where he was just playing simply. I think the track would have been much better if he had stuck to just trying to play simply and only play good ideas.
Levi Murphy
If you post yours we'll have four versions of Stella in this thread
Nicholas Williams
You guys have some interesting guesses on 4. I can tell you it's not Monk, but the piano player is the leader.
Noah Gutierrez
Wow this is Wayne Shorter on track 1? I haven't heard him play soprano but I guess I knew that's mostly what he plays these days.
Leo Foster
listening right now
Samuel Brooks
Always good to have new comers
Justin Evans
bump
Daniel Howard
Bump.
What have you been listening to?
Dominic Long
Cycling through all of Jackie McLean's Blue Note albums
Caleb Carter
How is that Mingus album btw?
Parker Adams
I should too, I liked destination out and I've heard good things about the rest. The Mingus record, is pretty great, really like it like everything he puts out. A small ensemble, but lots of action. It has Jane Getz on piano, who was also on one of the tracks of the prestige blindfold and led me to listen to the this record. Also Clifford Jordan on tenor sax who is a player I like a lot too.
Justin Wood
bump
Mason Watson
>I should too, I liked destination out and I've heard good things about the rest.
I really liked One Step Beyond. It's probably my favorite besides Destination Out.
>It has Jane Getz on piano,
Oh cool. I will have to check that out then.
Connor Walker
this came out last month finally getting around to it
Anthony Diaz
bump
Levi Martin
That's a good one. Haven't heard much from 2016 but that's a highlight. You're probably familiar with his art of trio series, if not, highly recommended.
Adrian Ward
last bump tonight
Carson Johnson
Bump
Brayden Smith
Is there a spotify playlist or something with all his albums?
Jack King
I'm not sure
Austin King
How are you listening to them then?
Sebastian Ward
Soulseek
Samuel Rivera
Ah ok then, thanks.
Brandon Kelly
bump
Grayson Peterson
bump
Mason Howard
Bump
Anthony Thomas
bump
Cooper Fisher
bumpu
Colton Ramirez
Which one is your favorite?
Justin Wright
Who here plays jazz music? Also, is anyone here a professional?
Yay, no reveal yet. I'm going to start listening now and tell you what I think in a few.
Benjamin Robinson
Alright I guess I'll post reveal after this guy posts his thoughts
Liam Russell
about halfway now! shouldn't be too long.
Adrian Gray
I'm typing along while listening, so some stuff may not make total sense.
1. Nice high-pitched wind instrument (it's pretty bad that I don't dare guess what it is right...). It starts out really spacious and then gets filled with a piano once in a while, which fills it up nicely. I guess I'm not really feeling the wind thingy and the drums together, don't really seem to be playing as a group, but the piano resolves this in places. 2. Very expressive piano playing in the beginning, followed soon by nice soft drums and a nice subdued bass. I guess that means it's a piano trio, but I can't really figure out who it is, even though I have the feeling I slightly recognize the piano playing. Piano playing gets a bit more 'free' in the middle, which is nice, but I feel like it loses a bit of its expressivity. I have no idea how I'd describe this kind of drumming, could anyone help me out here? 3. I guess this is an alt-sax? I love the low-pitched sounds coming from it, the faint piano in the background is nice, but I wish it was just a tad bit louder. Hm the piano gets louder about half-way through and it makes me more sure that it should've been louder while the sax was still going. 4. Groovy bassline. Playful piano playing. There's two wind instruments I think? Again, I don't really dare to guess which they are, but I'm pretty sure one is some form of sax. The one that comes in first doesn't really seem to fit all that well with the piano for some reason (is it a trumpet...?) 5. Not sure I like jazz that is this bass-heavy. I guess it's nice enough, but it just isn't that much of an expressive instrument. I'm guessing the bass-player is the leader here, but not really sure who it is. 6. Hm, what is this. Really not sure about it. Interesting to see what kind of grooves they can create with the grating sounds going on, but I guess it isn't really for me. 7. Pretty nice and laid-back at the beginning. Don't really like the guitar (?), but it isn't all that bad. (½)
Ethan Wright
8. A lot of interesting instruments are used and they actually blend really well together, the players seem to fit each other well. Huge amounts of energy in this track. 9. Again, the trumpet is recognizable, but I'm not to sure, maybe Miles? I guess it's a live track because of the clapping. It's nice, but goes on for way too long. It gets more piano-heavy towards the end, which is a nice change. 10. This track kinda feels like a mess brought together by the drums. It works really well and the piano is fucking great.
Thanks for waiting for me bebob! I'll try and join again next week :)
Ryan Edwards
So before I post the reveal, I did mention some underlying themes and I guess I'll reveal those first. Every track is a live recording. Every track is either from the 60s or the 10s. And of course three tracks are Stella by Starlight.
Joshua Watson
>Track 1 Wayne Shorter Quartet - "Myrrh" from Without a Net (2013) Wayne Shorter - soprano sax Danilo Perez - piano John Patitucci - bass Brian Blade - drums A shorter track from the 2013 album. I really like a lot of this quartet's output, probably my favorite recording actually being the version of Orbits off this album. This holds an interesting place in their work given its length and the context it occupies in the album.
Henry Bennett
>Track 2 Robert Glasper Trio - "Stella by Starlight" from Covered (2015) Robert Glasper - piano Vicente Archer - bass Damion Reid - drums I really like the drumming on this track, and it shows off some of Glasper's technique you don't typically hear from him. It's a decent modern interpretation of an old standard and has a more subtle integration of hip hop than Glasper's other recent work.
Aaron Ward
>Track 3 John Coltrane - "Naima" from The Complete 1961 Village Vanguard Recordings (1997) John Coltrane - tenor sax Eric Dolphy - bass clarinet McCoy Tyner - piano Reggie Workman - bass Elvin Jones - drums Given the unusual playing of the melody and the lack of a Coltrane solo this holds a unique place in his discography. I do really like hearing Dolphy playing with him; their styles complement each other in such a unique way. Reggie Workman also serves as an interesting alteration to the normal quartet.
Ayden Parker
>Track 4 George Russell Sextet - "121 Bank Street" from George Russell Sextet at the Five Spot (1960) Al Kiger - trumpet Dave Young - tenor sax David Baker - trombone George Russell - piano Chuck Israels - bass Joe Hunt - drums So this is a David Baker composition, and given his death this year I thought it'd be appropriate. This sextet holds an interesting place in the post-bop shift of the 60s, and I think their stuff is often underappreciated. Dave Young has a great sax style and all of the other players are very good as well.
Leo Moore
>Track 5 Bill Evans - "Stella by Starlight" from At Shelly's Manne-Hole (1963) Bill Evans - piano Chuck Israels - bass Larry Bunker - drums So same bass player as the last track, which was unintentional. As you might be able to tell, I really like Stella, and wanted to take the Wildcard opportunity as one to have comparisons of different interpretations of the same tune. The bass lead on this track is mainly what makes it interesting for me, and Evans' solo is of course fantastic.
Thomas Martin
>Track 6 Moon Hooch - "Tubes" from NPR Tiny Desk Concert (2014) Mike Wilbur, Wenzl McGowen - tenor saxes, one with a traffic cone in it James Muschler - drums This group is the definition of the word unique. Being heavily EDM-influenced and using no electronic instruments, as well as being pretty out there in terms of their tone usage, certainly makes for some decent fun. I really enjoy this track, but as others have said it is sort of a novelty.
Asher Peterson
>Track 7 Christian Scott - "Isadora" from NSJ Club in Amsterdam (2012) Christian Scott - trumpet Matthew Stevens - guitar Luques Curtis - bass Corey Fonville - drums Christian Scott is a good player who I think has attached himself to an interesting direction in jazz. This song is a little unusual for him, but I was interested to see what people what think of a track that was mainly just Scott. Although you don't really hear it on this song, Corey Fonville is a pretty great drummer and probably one of the main reasons I'll continue to keep track of Scott's output.
Juan Smith
>Track 8 Franklin Kiermeyer - "Maftir" from Further (2014) Azar Lawrence - tenor sax Benito Gonzalez - piano Juini Booth - bass Franklin Kiermeyer - drums I've heard a lot of people call Azar Lawrence a Coltrane imitator, and even more call Kiermeyer's drumming nonsensical. But there's something endearingly honest about the way this band makes spiritual music. Perhaps it's not for everyone, but this music appeals to me no matter what mood I'm in.
Thomas Lopez
>Track 9 Miles Davis Quintet - "Stella by Starlight" from The Complete Live at the Plugged Nickel 1965 (1995) Miles Davis - trumpet Wayne Shorter - tenor sax Herbie Hancock - piano Ron Carter - bass Tony Williams - drums So the Plugged Nickel recordings are incredible and everyone should listen to them. While I love their studio work, hearing what the quintet does with tunes I know well just impresses me beyond belief. This recording in particular is just as fantastic, although actually not my favorite from the collection (I might have trouble picking one). I think live recordings like these really cement why these players are held in such high regard, and should be. If everyone played jazz like this, there wouldn't be a point in listening to other music.
Jason Robinson
>Track 10 Vijay Iyer Trio - "Combat Breathing" from Bimhuis Amsterdam (2016) Vijay Iyer - piano Stephan Crump - bass Marcus Gilmore - drums Marcus Gilmore is another one of my favorite modern drummers, and I think a lot of this trio's stuff shows how much time they've spent working on their interaction. A lot of their live stuff is great to watch as well as listen to because of this. I find that the ways they interact are often subtle and thus make their recordings rewarding for multiple re-listens.
Hunter Russell
Thanks for participating and I'll be interested in seeing your thoughts next week.
Leo Cook
Very interesting choices, thanks!
Leo Campbell
Do you know what instrument is used for the intro?
Samuel Walker
Nice picks! Haven't heard any and will definitely check some of them out.
Evan Smith
I actually have no idea. I remember reading somewhere what it was but I don't remember.
Daniel James
Is this whole concert available somewhere?
I saw Iyer's trio live twice last year and was impressed with how they built the arc of the whole set and both shows were quite different, so I'd be keen on hearing a good quality recording set of a recent show.
Adrian Sullivan
Also thanks for introducing me to Bimhuis!! I'm Dutch and jazz clubs always seem ungoogleable, but this looks great. I guess I'll go and check out one of the Bennink shows and the Chess thingy!
thanks - looks like just a two track thing, but better than nothing
are you going to North Sea Jazz Festival in Rotterdam next week? I'd love to go there one day - always seems like it has one of the most extensive programs from all European jazz festivals
Nope, I agree that it seems interesting sometimes, but the main crowd seems to come for stuff like James Blake, although they do seem to have minimized that stuff this year. But I can't really afford it and some of the most interesting concerts are always 'plus concerts' which basically means you have to pay money for them on top of the festival ticket :/ The same team has started a smaller festival this year though, called Transition. I had a ticket and everything, but couldn't go last minute, which was a shame.
