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/UiCCG28N
THIS WEEK'S THEME: Piano trios play Ellington COMPILED BY: JTG
NEXT WEEK: ??? COMPILED BY: Jazzpossu
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. I don’t recognize the tune but it sounds like McCoy Tyner on piano. It seems like every time I guess that it’s wrong so maybe I will guess Ahmad Jamal as a secondary guess. This starts to get repetitive. It sounds like this player usually does a modal style that they are trying to add into whatever Ellington tune this is. It’s not bad but I bet the piano player sounds better on original songs. 3 stars.
2. This one I recognize but I don’t know the name of it. This version sounds pretty standard though. The pianist has a weird style that I don’t think I like. His timing feels off or something. I don’t have too much else to say about this. 2 stars.
3. I actually know this one. It’s In a Sentimental Mood. The tune of the last track kind of reminded me of this one. I’ll guess this is Bill Evans because of how much he is playing the left hand chords to match the rhythms of the solo. If it’s not Bill Evans it’s somebody who sounds like him. The bass sounds like the recordings of Scott Lafaro I’ve heard. This one was pretty nice. 3.5 stars.
Christopher Richardson
4. Take The A Train. Another one I actually recognize. The intro was pretty obnoxious but then the melody is pretty standard. The solo gets pretty good and I like that the pianist is playing some out there stuff and the drums follows what he is doing pretty well. Monk influences? The bass started off pretty average but then there was some good interplay with the pianist. I guess this could be Keith Jarrett. Other than that I don’t have any guesses but it was a pretty nice version. 4 stars.
5. This one is back to a more traditional ballad feel. This one wasn’t doing much for me but I did like the dramatic pauses going into the piano solo. It was kind of cool that they kept up the low volume for the whole song and it was kind of dramatic for that but otherwise this one wasn’t really very exciting or memorable. 3 stars.
6. More Monk influences. I like the mixture of the traditional swing feel with the light dissonance and offbeat timing of what the piano is doing. I think that’s what reminds me of Monk. It sounds like he’s playing blues licks but outside of the key and with weird timing and it’s a nice sound. The bass solo was decent too. This was probably my favorite of the week so far. 4.5 stars.
Jace Anderson
7. This has the most modern sound of anything so far this week. It sounds like some influence of Bill Evans during the bass solo to me. The piano solo started out not very interesting but then it got more energetic as it went. The second half of it was pretty nice. It starts to get kind of long going into the drum solo. It would have been better if they’d ended the song at about 6 minutes. 3 stars.
8. It Don’t Mean a Thing. It’s nice to have a couple that I recognize on here. This one sounds older so I’m thinking maybe it’s Red Garland or somebody like that. The bass solo takes up a lot of the track though so maybe this is a piano trio led by the bass player. This one wasn’t too great. 2.5 stars.
9. The bass and drums don’t really seem like they fit with what the piano is doing. It’s weird but the more it goes on I kind of like it. It would be better with more texture change though. They mostly stick to the same thing the whole way through. 3.5 stars.
10. It’s a nice fast version of Caravan! It feels pretty standard but with nice playing at some bluesy feels. I’ll guess Oscar Peterson. Actually as it goes on it sounds more like Bud Powell than Oscar Peterson. This was pretty good overall but sometimes it felt like the pianist wasn’t quite with the bass and drums. The ending was cool. 3.5 stars.
Cameron Rodriguez
Out at the pub for a few beers - posting my comments maybe in 2 hours or so.
Next weeks theme will be two takes on the same tune.
Ian Sanders
bump
Isaac Taylor
Good guesses on 1 and 3.
I never thought of 4 as being that influenced by Monk but I guess it probably is on some level. Track 6 definitely brings the Monk influence though.
Bud Powell is a pretty good guess for 10 but it's not him.
Lucas Brown
bump
Logan Reed
Still at the pub -bump - home soon
Asher Morgan
1. This is a fairly standard trio, not much stands out. The pianist manages to do some nice stuff that keeps this from getting boring, but the rest of the band is sounds pretty much the same throughout. 2. This track has some more space in it. Seems the opposite to track 1 for me, as the pianist is pretty hit and miss in here but the drums and the bass are ok. 3. Oh I know this one, in a sentimental mood, and the lineup is Bill Evans, Jack DeJohnette and Eddie Gomez. One of the things I like about Evans' trios is how clear it sounds that they're all at the front and just as important, rather than being a trio where only one player leads (which is not necessarily a bad thing either though). 4. Piano and drums in here sound very familiar but I dunno, can't place them. Anyway I really like this, the trio is playing very well together and able to pull off anything they try. I'd really like to hear more of them. 5. A slower track, can't say I really care for the tune and it's a bit too long, but at the same time there's nothing really bad about it.
Still listenin
Christopher Bell
6. I like this too, the pianist particularly. Makes me think of Monk especially, and Hill in how they played pretty hard on it, I really like that. The drums accompany it very well too. 7. This is great as well and I wouldn't have minded more of it even after the almost ten minutes, it's very lively and full of energy. 8. This could be from the early 60's or something. No idea who is playing really. This is another of those tracks where I don't really have any strong feelings either way. 9. Didn't like it I guess. I don't understand what they're trying to do for the most part, the piano and the drums seem to be playing pretty different things and I can't really follow the music. 10. Had to be Caravan. I know this version actually, from the Kenny Drew trio self titled. Haven't even listened to the record in full, but this version of caravan, especially the opening, is pretty memorable. The drummer does a very good job, though I don't remember who he is. Bassist is Paul Chambers I think.
Some very good picks, will look forward to the reveal of 4, 6 & 7.
Ryder Thompson
Also I recently listened and really liked this, I was wondering if you had any similar recs.
Alexander Thomas
Alrighty, drunken comments coming through.
1: this bounce makes me think of Mack the Knife for some likely Sonny Rollins related thing.
Not unlike the Oscar Peterson Trio take on It's Only A Paper Moon I had on one of my lists, so I'll just guess this is Peterson.
Oh, switching back to Windows Media Player, I see that not doing pitch shifting takes it's toll again and WMP tells me this is someone else by showing the album cover.
Have to say that I didn't hear the guy at all since his influence on very different kind of playing is so strong.
Nice classic jazz track, but not anything I could see myself as going for.
2: I like this kind of mysterious style - the way this is sad in both a sentimental but also a dangerous way. This has that film noir feel that combines sadness with an overwhelming feel of helplessness - shit just happens and you can't stop it from happening, you just have to deal.
Feels like a soundtrack due to that - and in a very good way.
I think this kind of music has it's place and this particular track is right in there. I think this catches a particular mood very well - and if you are in the mood for this it will touch you deep. Great track.
3: In a Sentimental Mood. Bill Evans, I'd say.
This is not my favorite context for this tune - you can do In a Sentimental Mood in a very lush, overly sentimental and romantic style and it will work out, here it's three cats that can make anything traditional work in a smooth way and you just wonder why they chose to play this.
It's very nice, of course. Just not the best of the players or the unique values of the composition.
Logan Richardson
4 and 6 are some of my favorites from this week too. Even though I normally don't really like Take the A Train this version is pretty good.
I didn't think anybody would identify this version of Caravan. Nice.
Ayden Cruz
Unfortunately I don't think Herwig has recorded any other albums with Ralph Bowen. If you liked the sax playing the best you should check out Ralph Bowen's album called Keep the Change, it's also with Orrin Evans on piano. He's also got one called Power Play that has the exact same lineup as Voice Through the Door but minus Conrad Herwig.
If you liked the trombone playing and the tunes you might want to check out Herwig's album called Unseen Universe.
Wyatt Ramirez
Thank you, Evans & Rowen were definitely great on that record (and Conrad of course) so I'll listen to their releases as well.
Eli Rivera
4: Intro has some jarring quality to it, but soon enough I realize it's just Take The A-Train.
There was some excitement to how these guys played the intro that I miss when they go to the solos. Bass solo is my favorite part of this so far.
This could be Orrin Evans - I've been listening to some of his music lately.
I'm sure everyone has already noted that I'm a fan of trading twos, fours or eights between someone and the drummer and I sure as hell like the trading here.
I like the way the track comes to a definitive end. The re-introduction of the head and the end is just great, I think.
5: Some cheap plastic imitation of Bill Evans? Geez, this track has a dreadful late-70's-or-80's feel hanging over it. I'm sure I've heard this composition many times before, but can't think of the name.
At about 2 minutes in I went to the bathroom and while I was there I got the idea that this was maybe "In a sentimental mood", but then I came back and it doesn't really sound like that at all, but just wanted to let you know.
I think the pianist should send Bill Evans regular checks for creating him a space to work in with his piano playing. Sure, these guys could play in a cocktail bar creating atmosphere, but not a recording I see the point of.
This is not far in style and spirit from a 60's Krzysztof Komeda track, though, but it just feels to lack something, these guys just do it too safely. One of those tracks that I could see my personal appreciation change a lot with very small changes.
6: Another one ruined by Windows Media Player recognizing the album. Safe to say I would have never recognized this "? plays piano" person otherwise...
Kind of an academid approach to playing out a little bit. Yup, today I'll play the harmony a little adventurously, but we won't touch the precise rhythm.
Weird academic feel of almost monk-like harmony and wooden white boy rhythm. Sounds like an exercise in a style not familiar to the pianist.
I like the bass solo most.
Jeremiah Morales
7: A very contemporary sound - I have to say that these /blindfold/s have managed to increase my appreciation for contemporary American post-bop.
Could be a Dave Holland thing, all things considered, although I don't recall any recent prominent trio dates for him...
For my tastes, this is particularly nice contemporary post-bop playing - they are not going overboard with tropes and trickery, but that flavor is still there along with the easily grooving more traditional jazz feel.
Goes on longer than it needs, though.
8: Yeah, Monk playing It Don't Mean a Thing. I was expecting something from Monk plays Ellington here.
Oscar Pettiford is a great bassist - I like his playing a lot here. Great track.
Grayson Murphy
>1 >Not unlike the Oscar Peterson Trio take on It's Only A Paper Moon I had on one of my lists, so I'll just guess this is Peterson. That's an odd guess. I don't hear much of a Peterson sound to this at all.
>2 >I think this catches a particular mood very well - and if you are in the mood for this it will touch you deep. I think that's mostly due to the strength of the composition. One of the best Strayhorn/Ellington tunes. And this is a pretty faithful version which is somewhat surprising considering who the pianist is...
>3 >you can do In a Sentimental Mood in a very lush, overly sentimental and romantic style and it will work out Man I get really tired of hearing (and playing) it in that approach. I've always liked this approach just because it's something different.
>4 >This could be Orrin Evans - I've been listening to some of his music lately. It's not Orrin Evans but that's not a bad guess
>5 >I think the pianist should send Bill Evans regular checks for creating him a space to work in with his piano playing. He's not ripping off Evans THAT much... I could find you some pianists who do it more. Anyway I think this is another track that works well due to its faithful interpretation of the composition. And I enjoy it from a pianistic perspective- it's very hard to play at that tempo and at such a low volume and make it sound good.
>6 >Weird academic feel of almost monk-like harmony and wooden white boy rhythm. Sounds like an exercise in a style not familiar to the pianist. I can't help but wonder if your thoughts here are tainted by knowing who the artist is...
Ayden Nguyen
9: Hmh. Just the opening makes it clear this is some composition I'm super familiar with. Also gives that awkward feeling when I can't combine the track with a name. I've probably had this as another version on one of mine, for crying out loud.
Oh yeah, this is Mood Indigo that I had on my Duos list played there by Charles Lloyd and Jason Moran, isn't it...
After the opening these guys are going pretty deep - not sure how much I like it.
It's nice that there is so much contrast between the three instruments, but I have to say I don't think I fully get the point. I'll check these guys out - I have a feeling it's worth digging deeper to find out what they are trying to do.
10: Can you get an additional brownie point this week by pointing out that Caravan was composed by Juan Tizol and not Ellington himself?
Another one that Windows Media Player shows the cover for, but it's a rather abstract purple-and-black cover design with illegible text that I don't recall seeing before with one of those Japanese Obi-side sash thingies
Very hip take on Caravan - I'll guess this is late 50's or early 60's, but as far as Caravan's go, this is borderline fantastic for a piano trio version. Good job!
Blake Richardson
>Can you get an additional brownie point this week by pointing out that Caravan was composed by Juan Tizol and not Ellington himself? Several of the tunes this week were actually composed by Billy Strayhorn too. I was just going for tunes that are associated with Ellington. I'm putting together a playlist for Joe Henderson tunes and that's going to be a similar situation too. Not all of them were actually composed by him.
Charles Phillips
Hello jazz fellows, I'm wondering if anyone can identify the song in this video. I love it but can't find any source and it's driving me crazy.
1: must be something incidental - here's that track again that just came back to my mind when I heard this: youtube.com/watch?v=OL2xg-k7r4c
6: very likely - I've found in these blindfolds that when you fixate on some aspect, all your other thoughts just naturally wrap around to rationalize that initial feel
yeah - not surprised, just need to cash in all of these Caravan brownie points whenever there's a chance
Grayson Williams
on more general /jazz/, any of you guys have any thoughts on the new Bad Plus album?
they've gone back to their hit-music-covering roots, but I have to say my personal tastes have moved on and it feels like their capability of bringing out additional flavor from pop-tunes really hasn't, so it feels like a bit of a disappointment
I like it better than their previous album with Joshua Redman, but 2012's Made Possible hinted at greater things
James Nelson
I can't really come up with anything worthwhile or interesting to say about the songs so I just wanted to say I'll be keeping up with these threads and start posting a bit more when I get more used to the genre.
Carter Sanchez
I've heard about it but I haven't listened to it yet. I'm not very familiar with the band anyway, I've heard the rite of spring and was thinking of going with the Joshua Redman one next, but reading your post I think I'll try to made possible next. That's okay, any track you particularly liked?
Wyatt Williams
bump
Carson Richardson
bump
Easton Cruz
bump
Jaxon Allen
Remember when charlie brown straight up namedropped vince guaraldi
Jayden Jones
1. Not bad kinda standard though. Nothing really makes it good or bad though.
2. Not too into this one. It's pretty and delicate, but that's all it really has going for it.
3. I think I know this version it's Bill Evans right? Anyway I like this. I always like the way Bill uses chords in his melodies and his lines.
4. I like how the band almost flirts with some avant-garde style particularly with the rhythm and approach the basic structure of the tune. The drummer on this one keeps changing stuff up and I dig it. I wonder if it's his recording.
5. I really like the lines on this one. They actually all sound like little melodies. I know that's theoretically the goal when improvising, but this guy is doing it very well.
6. I like the down and dirty blues thing they're going for, but I wish they would actually play louder and go for it. It sounds like the band wants to just go crazy, but they keep it to a mezzo forte at loudest.
7. I like the recording and quartel chords in this one. It's a real nice modern sound. The track is a little long though.
8. Sounds like someone doing a Monk impression of It don't mean a thing.
Robert Smith
This is probably the only place anyone would care, but last night I went to my local jam session for the first time in a few months. They had some guy I'd never played with before on keys and started playing some quartel chords behind the soloists. It was crazy since that was the first time I has to solo over anything like that and it just changes your perception of the music so much. If you think that stuff sounds floaty it feels even floatier when you try and solo over it.
Elijah Parker
what tune?
Benjamin Ortiz
bump
Brayden Green
bump
Andrew Hall
>I think I know this version it's Bill Evans right? Anyway I like this. I always like the way Bill uses chords in his melodies and his lines. Nice catch. It is Bill Evans.
Colton Edwards
It was all the things you are. He switched from normal chord voicings to quartel during the last 4 or so bars of the C section. Normally during that part I'm just trying extra to keep my place in the form because the transition from the C back to the A gets me if I zone out. So once the pianist through that at me it was kinda like the floor fell out from me for a few bars.
Ya you recommended me a live album with him California Here I Come where he plays the head almost the exact same way. That's why I knew it was him.
Christian Thomas
>So once the pianist through that at me it was kinda like the floor fell out from me for a few bars. Yeah its always fun to let the harmony get a bit out at the end of phrases and then everybody can land back in together at the beginning of the next phrase.
>he plays the head almost the exact same way Wow very good catch. Yes this is from Evans' recording that was discovered and released just this year and when I heard this track I was amazed at just how similarly Evans plays the head. I'm going to post some more about that when I post the reveal info tomorrow.
Julian Fisher
bump
Samuel Rodriguez
wow some of these are pretty lose interpretations, I hardly even recognized some and i thought i knew ellington pretty well
Daniel Murphy
But there are some that are very faithful too. I thought it would be fun to have a mix
Luis Harris
bump
Robert Cruz
next week I'll join I swear it seems very fun
Blake Moore
It's not too late... The reveal info won't be posted for another 10 hours or so
Julian Barnes
bump
Wyatt Phillips
bump of the hour
Mason Anderson
1 - I don't recognize the tune, but I really liked this one. The beautiful tone of the instrument 2. I know this tune, but I can't remember where it comes from. I think this pianist is slightly stiff in his playing, which I felt from the first phrase, and continued throughout the piece. 3. Don't recognize the tune, and the playing didn't really connect with me. I think I recognize the bassman's playing though, and will toss a guess out: Ray Brown? Whoever it is, he's the standout for me on this track. 4. Take the A Train, though I'm wondering more who the drummer on this is. Bass is solid, the pianist is good, but I'm not sure I'm feeling where he's coming from - like the loss of the perfect arrangement of that melody gets lost, without compensating us something worthwhile in the trade. 5. Isfahan, from the Far East Suite. Duke's saxman bears the melody during the original, but this is a fine cover. I'm glad they all cut out for those moments of silence, which I anticipated and expected. I'm curious who the pianist is on this.
Jacob Lopez
6. I may see where this is coming from once the reveal happens, but the melody is so fractured in this piece that all I could make out were the "Shortnin' Bread" quotes strewn throughout. 7. It's not a straightforward cover - they do that descending pattern, which is the quote - and everything else is a whole 'nother piece to me. I know I've heard it before, though. Good track, everyone is solid on this. The bassman gets a bunch of interesting tones and other sounds out of his instrument, which I appreciate. 8. It Don't Mean a Thing (If It Ain't Got That Swing). I think is is the earliest recording in this blindfold test so far. It feels the most "old-fashioned" in its style, which is an observation, not a critique. This track is well done, and I like all the players. 9. I have a sense that I'll recogize this one after it's revealed, but I can't say for sure. I really didn't connect much with the is piece - I was confused by the drummer's eccentric pattern, which just seemed hyperactive to me. 10. Caravan - did Duke write that? From the drummer's stick pattern, the must be those desert horses from Hidalgo. Fun, quick version of that classic. No complaints from me.
>5 >I'm glad they all cut out for those moments of silence I think those moments really make the track
>8 >I think is is the earliest recording in this blindfold test so far. true
Blake Hall
Oh and I meant to say it's not Ray Brown... but it's a relatively well-known bassist
Connor Cook
bump
Jace Miller
I'm going to start posting the reveal info soon
Hunter Nguyen
Only managed to listen to 5 this week:
>Track 1 This is a nice tune, whatever it is. I suck at identifying Ellington tunes, and I'm sure I read he wrote over a thousand of them. Anyway, I'm not particularly interested in any of the playing here, though towards the end the drummer wakes up and injects some fire into it. The pianist sounded fairly generic to me - nothing to latch onto in his playing. He did a lot of wild runs up and down the keyboard that weren't accompanied by any nice melodic ideas.
>Track 2 Ooh, I know this tune. It's not Chelsea Bridge is it? Okay I just checked and it is, cool. I like this piece - it invites some really gloomy playing. Like how he plays the chords in the opening, and the way the bass comes in and rumbles behind the drawn out notes. Noir as fuck. The bassist isn't afraid to assert himself, but doesn't get in the way with anything too flashy, which is just what the piece needs. So far they've spent, like, half the recording just playing the head. It was worth it though.
I think now he's throwing in a lot of chromatics, which is all it needs to take it to the next level without going nuts on the solo or writing a whole new melody or something. This was a really nice treatment of this tune, and just the right length.
Just a shame the drums were mixed like shit.
Liam Ross
>Track 3 I know this one too, but can't name it. Oh actually, it's In a Sentimental Mood? I'm used to hearing it slower and with less swing, though that's only from one or two recordings so maybe this is the more normal pace? Overall this style makes me think of Bill Evans - the mix of melodic single lines and block chords, the overactive bass player. About 1:30 most of what the piano player is doing sounds too bluesy to be Bill though, but maybe he was just feeling that way. Definitely the way he comps the bass solo makes me think it could still be him. That was a cool way to end that solo too, with the double stops.
One of my favourite parts in that piece was at about 0:30 where he finished the head with some descending chords in the left hand and then kept them going for the first bar of the solo. That was smooth.
>Track 4 So this is Take the A Train? Nice variations on the opening bit. I'm not sure if this is a feature for the drummer or if he's just playing too much. Ah, we've got a singer too - pretty sure it's the pianist. I'd like this minimalist approach to soloing if the drummer wasn't making such a racket. A bit like track one, I didn't feel like this one had much to offer, though I think if I heard the pianist in another context I might like them. I like the way he plays so percussively in his bit with the drummer - makes it feel like they're actually trading ideas rather than just playing one after the other.
>Track 5 I don't know this one. Some of the chords sound similar to Chelsea Bridge, but overall it's less seedy and more wistful. The stops and starts were unexpected - nice twist. Love that bass tone on the long low notes too. Pianist seems really inventive through this, I think it might be one of my favourites. The chord voicings and the different ways he plays them - but mostly in low-ish registers - gives it a unique sound. I can't really explain it more than that though.
Gabriel Collins
Ok here we go
Originally I intended this playlist just to be cover versions of tunes associated with Ellington and his band. As I was putting it together I realized that 6 of the first 8 tracks I wanted to include were piano trios so I decided to just limit the entire playlist to piano trio versions.
Zachary Jenkins
>Track 1 McCoy Tyner- Solitude from McCoy Tyner Plays Ellington (impulse!, 1965)
Piano- McCoy Tyner Bass- Jimmy Garrison Drums- Elvin Jones
This track comes from an album of Ellington covers that Tyner recorded with his colleagues from the John Coltrane quartet. I think his version of “Solitude” is one of the more interesting pieces on the album as it really blends Tyner’s modal style with the original tune. “Solitude” is usually taken as a very slow ballad and the tune works surprisingly well here at a medium swing. Tyner alters the harmony quite a bit with his quartal voicings but the melody is preserved.
Anthony Rogers
>Track 2 Ethan Iverson, Albert Heath, and Ben Street- Chelsea Bridge from Live at Smalls (Smalls LIve, 2010)
Piano- Ethan Iverson Bass- Ben Street Drums- Albert ‘Tootie’ Heath
This recording is an interesting matchup between The Bad Plus’ pianist Ethan Iverson and legendary drummer Tootie Heath, who played on many classic jazz recordings. Iverson is known for his individualistic style and interesting re-interpretations of other people’s compositions but their version of Chelsea Bridge is surprisingly faithful.
Lincoln Walker
>Track 3 Bill Evans- In a Sentimental Mood from Some Other Time: The Lost Session from the Black Forest (Resonance Records, 2016)
Piano- Bill Evans Bass- Eddie Gomez Drums- Jack DeJohnette
These 1968 studio sessions were only recently released and mark the only studio recording that Bill Evans ever did with drummer Jack DeJohnette. What struck me about this track was how similar Bill Evans’ interpretation of the melody is to a version he recorded almost a year earlier on his live album “California Here I Come.” The voicings and rhythmic phrasing of the melody is almost exactly the same as Michael pointed out earlier in the thread.
This reminded me of Fred Hersch’s blindfold test in Downbeat from a few years ago where they played him a Bill Evans solo track and Hersch commented that Evans’ voicings were great but that most of it seemed to be very meticulously worked out ahead of time. Comparing this version of “In a Sentimental Mood” to the version on California Here I Come definitely supports that.
Luis Bennett
>Track 4 Paul Bley- Take the A-Train from The Nearness of You (SteepleChase, 1989)
Piano- Paul Bley Bass- Ron McClure Drums- Billy Hart
Throughout the 80’s and 90’s Paul Bley recorded quite a few trio albums for SteepleChase and this is one of them that consists entirely of interesting takes on standards. The tune is still very recognizable and the band never quite leaves the form of the tune, but I always enjoy hearing how far Paul Bley can stretch the melody and harmony without completely breaking away from the tune.
Gabriel Thomas
>Track 5 Bill Charlap- Isfahan from ’S Wonderful (Venus, 2002)
Piano- Bill Charlap Bass- Peter Washington Drums- Kenny Washington
Some of you noticed that this pianist seems to be especially traditionalist in his approach. I would agree that Charlap does take a very faithful route in interpreting this Ellington composition and I’d argue that while his approach might not be especially groundbreaking, this track is all about the execution. I especially admire his light touch, restraint and the very slow tempo that the band really nails.
Thomas Brown
>Track 6 Bob Brookmeyer- Things Ain’t What They Used to Be from Holiday: Bob Brookmeyer Plays Piano (Challenge, 2001)
Piano- Bob Brookmeyer Bass- Mads Vinding Drums- Alex Riel
This is an album I’ve featured before on /blindfold/ playlists and it’s one of my favorite trio albums. This track is one of my favorites on the album as I think Brookmeyer’s deconstructionist approach works especially well in the simple context of the blues. Without a lot of “piano chops” to use, Brookmeyer simplifies and builds his solo on very simple melodic ideas that the rhythm section is able to pick up on and emphasize as well.
Ian Cruz
>Track 7 George Colligan- Sophisticated Lady from Past-Present-Future (Criss Cross, 2003)
Piano- George Colligan Bass- Vicente Archer Drums- Bill Stewart
George Colligan is one of my favorite pianists and this track is a good example of one of his strengths- creating an interesting new arrangement of a tune that combines the strength of the original tune with Colligan’s personal sound.
Jonathan Watson
>Track 8 Thelonious Monk- It Don’t Mean a Thing from Thelonious Monk plays Duke Ellington (Riverside, 1955)
Piano- Thelonious Monk Bass- Oscar Pettiford Drums- Kenny Clarke
As I was putting this together I started to wonder what the earliest Ellington tribute record was. There’s not really a way to search for that info, but this was one of the earliest I could think of. The only earlier one I could think of was “Oscar Peterson plays Duke Ellington” recorded in 1952. Anyway this track is really more of a feature for Oscar Pettiford than Monk but it’s a nice faithful rendition of the tune and there are still some telltale Monkisms in the piano playing.
Carson Foster
>Track 9 Matthew Shipp- Mood Indigo from To Duke (RogueArt, 2015)
Piano- Matthew Shipp Bass- Michael Bisio Drums Whit Dickey
This is probably the most abstracted interpretation of an Ellington tune that I’ve included this week. Shipp plays seven classic Ellington tunes on this album, all with a slightly different and highly individual approach. For Mood Indigo he focuses on juxtaposition between the piano and rhythm section. His playing is actually fairly traditional, while the bass and drums keep up a busy tirade underneath him.
Piano- Kenny Drew Bass- Paul Chambers Drums- Philly Joe Jones
This is a pretty faithful take of Caravan, composed by Juan Tizol (as a few of you pointed out) but made famous by Ellington’s band. Kenny Drew’s playing is pretty solid all the way through but I especially like the extended ending of this version that comes off almost like a piano cadenza in a classical concerto.
Hunter Green
I need to check this one out. I remember liking the other track from this a lot too
So he apparently plays trombone as well, interesting, I'll look forward to hearing one of his trombone records too. Cool
Josiah Lewis
Yes, he's far more famous as a trombonist. He did put out an interesting album with Bill Evans though where they both play piano. The story goes that they were scheduled to record an album with Brookmeyer on trombone accompanied by the Bill Evans trio but that there happened to be two pianos in the studio. Evans had heard that Brookmeyer played some piano so he suggested they play some duets together while they were waiting for the engineers to get everything set up. They apparently had so much fun both playing piano that they decided to record the album with two pianos rather than trombone.
Ayden Reed
That sounds pretty interesting as well, don't think I've ever heard a record with just two pianos, seems like a rare thing. By the way, while looking for the records on the reveal, I stumbled upon one review of yours on rateyourmusic, do you mind if I add you?
Cameron Turner
Sure. I started using it. I thought it'd be nice to have all my reviews in one place.
Jayden Jones
meant to say I *just started using it
Jonathan Watson
Alright, added! I don't write reviews on it myself since my skills at it are awful (I suppose writing them could help me improve but...). But it's pretty good for keeping track of what I listen to and discovering new music.
