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: Two versions of the same tune COMPILED BY: Jazzpossu
NEXT WEEK: ??? COMPILED BY: ???
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.
This was one of the best threads we've had I think
Jace Perry
alright first time trying this kind of thread
Jason Peterson
>Track 1 I don’t think I know this tune. But I feel like it’s one I should know. Vibes plus clarinet obviously makes me think of Benny Goodman/Lionel Hampton though. This clarinet player sounds a little more hip than Benny Goodman at times though. It also sounds like a more modern recording. Maybe some kind of a Goodman tribute? Anyway for the most part this is a very traditional sound and quite nice to listen to for the simplicity of the melodic improvising.
>Track 2 This sounds like it was played through a 10 watt amp, recorded on a laptop microphone and then posted in a Sup Forums vocaroo thread. The playing is pretty sloppy and the time feel is pretty shaky. It sounds like a challenging arrangement for solo guitar but the playing is so rough that it’s not really enjoyable to listen to. The middle section was somewhat interesting and I think they’re going for a Monk on guitar thing and it kind of works in that middle section. I think this would have been better if they had just gone for a very abstract version of the tune with the sound of that improv section. This is maybe like a Fats Waller tune or something…?
Jose Edwards
>Track 3 Ah it’s Lennie’s Pennies. I’m pretty sure this is the Anthony Braxton version from his Eight Tristano Compositions record. This has always been one of my favorite Braxton records. I think the sort of intentionally sloppy way they play the melody is kind of cool. Tristano’s heads are so precise and they’ve got it down, it’s just like they didn’t take much time to rehearse it and figure out the phrasing and everything and it’s kind of a neat effect. I always like to hear Braxton in this sort of regular jazz setting. Who’s the pianist? I feel like it was somebody cool like Mal Waldron or something. Anyway he did a cool fill near the beginning of Braxton’s solo. I don’t remember who the bari sax player is either. His style fits pretty well with what Braxton was doing. It’s taken at such a fast tempo that I don’t think Braxton or the bari player could really “make the changes” even if they wanted to but the pianist does a pretty good job. But also manages to take things out in a nice way too. I’d say his solo was definitely the best. It almost sounds like somebody even more mainstream like Kenny Kirkland or someone like that. The drum solo was a bit much. Overall I like this rendition of Lennie’s Pennies. Piano solo was best.
>Track 4 So now another version of Lennie’s Pennies. Yeahhh this is the good stuff. Right in the first minute the bass and drums are already doing some great things. This is the stuff you can listen to a lot of times and not get tired of. Konitz obviously comes to mind as the alto player here but I’m thinking this might be somebody a bit more modern. It does sound quite a bit like Marsh and Konitz once they start playing together though. Anyway, it’s very very good. The alto player is fantastic but he wouldn’t sound nearly as good if the bass and drummer weren’t doing their jobs so well, luckily they hit it out of the park. Very nice.
Carter Brooks
>Track 5 Donna Lee. This sounds like the arrangement from the Art Pepper + 11 record. I think Marty Paich did these arrangements and they’re all really good. Pepper’s solo is pretty good, definitely Bird influenced by not to the extent of Lou Donaldson or Phil Woods or anything like that. Pepper Adams on bari maybe? I’d like to point out that the drumming is really great here too. I don’t remember who the drummer is. The best thing about this is the really good arrangement.
>Track 6 So this is apparently going to be another version of Donna Lee. Woah this is really cool. I don’t know who this is and I feel like I should because this is the kind of thing I like a lot. It’s a good deconstruction of the tune since it’s still obviously recognizable. The two handed playing is really really good and really makes the track. There aren’t too many guys who can play this way. It might be Eldar Djangirov? I think he’s got the technique but this is more tasteful than most of his stuff I’ve heard. I will be checking out more of whoever this pianist is though.
>Track 7 Sort of a hokey third line feel. Ah shit.. I know this tune but I can’t place it. Oh it’s Blues Connotation, the Ornette Coleman tune. Haha oh I think this is Orrin Evans. The stuff he starts doing right at 2:50 gave it away. He loves doing out of key blues licks. This is from “It Was Beauty” which is probably my least favorite album of his I’ve heard. The last two minutes of this are better when he starts putting a little character into his playing but overall this doesn’t get a pass from me. On paper this is a good idea- Orrin Evans playing a bluesy New Orleans take on an Ornette Coleman tune. But for the majority of it there’s just no character in his playing and it sounds like it could come from some undergad student’s senior recital. Perfect recording quality though… just listen to those drums.
Adrian Gray
>Track 8 So short. Well the recording quality makes it tough to listen to and it’s so short that nothing really interesting happens. Then again, I have a feeling that not too much interesting would have happened if it had gone on long either. The drumming seemed a bit over the top and makes it hard to focus on what’s going on.
>Track 9 70’s big band. This sounds familiar… especially the vibraslap. I’m not sure I know the tune. That strings sound hasn’t really aged well and makes this feel a little bit dated but overall I like the chart. I like the changes to the tune and the sax solo was pretty good.
>Track 10 A pretty cheesy sound- a bit like the 70’s Cannonball Adderley stuff… I’m still not sure of the tune. The solos are pretty good though. The trumpet player had some Dizzy Gillespie licks in there. The sax player’s solo was nice too. I have a feeling I know who this sax player is. So boring tune, pretty good solos.
Jordan Baker
>tfw I'd like to participate but I'm too much of a casual to recognize certain playstyles or anything like that so all of my comments would be something like "I like this one because it has a good melody" or "I think this is quite boring"
>captcha: STOP just Yeah, exactly, just stop
Kayden Foster
It's good to get those kind of opinions too.
Just start out just posting whatever you think and read some other people's comments and decide whether you agree or disagree with them and eventually you'll get better at talking about the styles and sounds and stuff.
William Russell
1. This has an old timey feel to it. I guess you don’t hear very much modern clarinet. The clarinet playing and vibe playing were both very easy to follow and so I like it. I think it would be better to see live than to listen to the recording though. 3 stars.
2. I don’t think I’ve ever heard a stride interpretation on guitar so that’s kind of cool but I don’t know if I like the lo-fi. The end of the solo before he started playing the melody again was nice too when he started doing the dissonant intervals. I don’t think I’ve really heard much of that style of guitar playing too. I guess I’m curious to see what this is. 3 stars.
3. This one is kind of lo-fi and messy too but very fast. The sax players sound like they are mostly just playing free but the rhythm section mostly stays with a swing feel. The piano player was different though because he sounded more beboppy and modal sometimes too. He reminded me most of McCoy Tyner. 3 stars because the band didn’t really seem to be on the same page but it turned out ok after all.
4. I like this better because there is some good interplay. First between the sax and the rhythm section and then it gets even better when the other sax comes in too. But then it sounds to me like they start to get in each others way and they should have both probably played less. Still this is my favorite so far. 3.5 stars.
5. It sounds like a pretty regular big band arrangement. I think this is something Charlie Parker plays. Maybe something that Gil Evans did. Nothing really stands out here other than the alto sax solo which was nice. 3 stars.
Ryder Richardson
6. Piano trio that starts to sound like McCoy Tyner at first but then turns much more modern. The two handed stuff that the piano player is doing is cool and it reminds me of a track that JTG used one week. I just looked it up and George Colligan was the pianist in that track so I’ll guess this was him. I wouldn’t have recognized this as the same track if I didn’t know that was the theme. This was my favorite yet though. 4 stars.
7. This one doesn’t stand out to me very much and it sounds like a pretty basic blues track. It kind of sounds like jazz you’d hear in a movie or something but the pianist does some cool stuff occasionally. The rhythm section isn’t very interesting though. 2 stars.
8. I don’t really know what this was. Just sort of a quick burst of free jazz based on that same melody from the last tune. Nothing else to say about it really. ? stars.
9. This sounds like the ‘70s and has a cheesy disco feel to it. It’s kind of hard to appreciate because it sounds pretty dated and I don’t think anybody would ever make music that sounds like this again but I bet it was pretty cool at the time. 2.5 stars.
10. This has a soul jazz sound and it reminds me of some things we’ve had on blindfold playlists before. Overall I don’t have too much to say about this one except that the trumpet solo was probably my favorite. I wish it had been longer. 2.5 stars.
Joseph Fisher
>4. I like this better because there is some good interplay. Agreed
>6. I just looked it up and George Colligan was the pianist in that track so I’ll guess this was him. I'd be pretty surprised if this was Colligan, but yeah the two handed melodic stuff was definitely the standout on this one.
Easton Lee
Oh well, my knowledge of modern players is pretty lacking.
>Donna Lee Oh so I was right, it is a Bird tune.
Asher Davis
Fats Waller is certainly close for the origin - before it got lyrics and the name it's better known as today it was originally first recorded by Waller in 1929.
Track 1 is from an album that is probably best known as an audiophile favorite live jazz recording - more modern than any Goodman/Hampton recording people will naturally think of, but both of those gentlemen were still active and recording when this was made.
I personally like the rough and sloppy feel of Track 2 - there is a certain charm to it that I think fits the lyrics. Certainly aware that most people will feel different. :)
Oliver Ward
Spot on on track 3 - it is indeed Braxton. I've never been that big of a fan of his original compositions, but I've been listening to his standards albums lately and they have a lot of great moments.
Close on 4, too...
Alexander Anderson
>5 Ding, ding. Is indeed that very thing. It's a very delightful album, I'm pretty sure we've had a track from it before on a /blindfold/ but I couldn't remember which.
>6 this was one of the first tracks that made me want to do a list like this - it's a great version I think. I'm curious to know whether people are aware of the pianist in general. He's a European who I don't think is that widely known in the states.
>7 Correct once more!
David Morris
>5 it is certainly a tune connected to Parker
>9 Certainly very reminiscent of 70's big band stylings (and originally composed and performed in the 70's) - recording is from the early 80's, though
Looks like I made very, very mediocre choices for your tastes this week.
Ian Young
Fun Donna Lee fact: I originally had Jaco Pastorius' conga-backed bass version here, but then I remembered how impenetrably weird the tune felt when that was the first and only recording I'd heard of it, so settled on a more traditional version for track 5
Lucas King
What do you think of the Orrin Evans track? I remembered you saying you had been listening to him more. I like most all of his Criss Cross albums but that record was really just missing something all the way through.
Jose Carter
Yeah. Not many standout tracks for me this week.
Jaxon Morris
It's cool for what it is, I think.
I have to say that it's here mostly because of the huge contrast to the other version - I wanted some that were very different and some that had some clearer connection between them - and because I thought it would be cool to have a very easy going take on an Ornette Coleman composition with no twists to it. Sometimes playing it straight is unexpected.
What are you asking? Those are all real clips from real videos..
Jeremiah Reyes
Im saying like all other music it's all the same tune, especially jazz. That's why it's dying
Jacob Lee
well, jazz players do play a lot of licks
just the other day I was amused to hear 'the lick' make an appearance on some recent record I was listening to, but can't remember what it was
Camden Ross
I think it's a pretty big leap to say that because you can find 30 or so videos of jazz musicians using the same melodic lick that "it's all the same"
With only twelve notes in Western harmony, eventually some melodic ideas are going to get repeated. The "lick" is really just a very simple melodic idea that expresses the Dorian mode well. I'm sure you can find plenty of examples of it in classical music as well.
Ryan Bell
soo.,.. anyone familiar with a quartet called Amok Amor with Peter Evans on trumpet with German based musicians Wanja Slavin on sax, Petter Eldh on bass and Christian Lillinger on drums?
The local We Jazz festival just announced their line-up for this year and this seems like a pretty interesting group I haven't heard of before: youtube.com/watch?v=kOzUZzpL7Lo
William Butler
Bumpin' with additional commentary
>8 This album really has a very annoying 80's sound to it - especially the reverby drums (of which there are two sets of).
It's also a somewhat paradoxical style of music making, I think. On one hand, one of it's most defining features is it's unpredictability and violent, chaotic nature, but what I've found is that the culprits music in this style actually becomes enjoyable for me once I've heard a track enough times to know what's coming so it's possible to actually get into the groove.
I think it's probably something that's a lot easier to appreciate live when you have visual cues of what the hell is going on. A lot of more avant-garde type jazz is like that at least for me.
Samuel Bennett
I haven't heard of that group before but based on the first 5 minutes or so of that video they seem like they would be exhausting to listen to a lot of. Maybe if they were recorded in a studio with the drums and bass mixed properly it would be a bit better. Or maybe just a different bass player.
Wyatt Scott
they released a studio album last year, just hunting it down - I don't like forming my opinions on jazz groups based on live YouTube videos, I've so many examples of groups that sounded great live sounding terrible on a YouTube video, but sometimes that's all that's easily available for more marginal groups
Carson Cruz
I've found the opposite more often. Where I stumble upon an amazing youtube video of some player I've never heard of and eagerly hunt down his only studio release and it's not very good.
Kevin Williams
Interesting - I don't think that's ever happened to me
So, any interesting gigs you guys are looking forward to in your area?
Here, for international guests, next week I have a chance to see both Jochen Rueckert's quartet with Walter Smith, Lage Lund and Orlando Lefleming on Thursday and Jerry Bergonzi with an otherwise Nordic quintet on Saturday.
Next month Billy Hart is coming to play with local jazz studies professor Jukkis Uotila (I had one of their Herbie tracks on a /blindfold/ recently) and Vijay Iyer's trio playing two sets at a brand new local club that I'm pretty excited for. Marius Neset is also coming to the same club in late October - he has a new more symphonic album now out on ACT with the London Sinfonietta that I just got in the mail today, sounded pretty good on the first listen, all his original arrangements, too. (check electronic press kit: youtube.com/watch?v=kQPsuiL-H_I )
Jaxon Gray
Nobody good ever plays near where I'm living now. Hoping to move back East within th next year.
Evan Turner
i see you've made a rym account recently you've got some great reviews
Gabriel Gomez
I like how it picks up halfway through. I don't recognize the tune. I know the modern jazz quartet did a live album with jimmy giuffre but i don't think its that though, im sure thats not milf jackson
I don't know why but hearing it on guitar made me remember hearing it, Monk did this song on Solo monk. the amateur sound kind of turned me off but again i liked when he switched it up halfway through.
there's a lot going on in the first track, and again did not recognize the tune. I was first expecting some straightforward hard bop. man that was a good piano solo, kinda underwhelmed by the drum solo that followed
Liam Scott
just wanted to post this incredibly niche OC for you guys
Blake Lewis
good catch on #2 - I figured the Monk version would be the one people in these threads are familiar with
Kevin James
here's a ridiculous Anthony Braxton thing I had on one of the early versions of this /blindfold/
Bumping with some Nina. youtube.com/watch?v=QHKHHj82EoE&ab_channel=Soulrayz Won't be posting this week but hopefully I'll be back for good next week and I was thinking of trying to put together a blue note playlist for /blindfold/'s one year anniversary the week after. We'll see how that goes though...life gets in the way of everything.
Thomas Lewis
bah, makes me sad that former regulars like you and Clueless don't post every week
Blue Note for the anniversary sounds good - I missed that first week (and posted my comments for week 2 in the week 3 thread). but been here ever since
Nina reminded me that I've been listening to increasing amounts of Roberta Flack's First Take lately - a pretty great album in that soulful vocalist tradition youtube.com/watch?v=XG_RvYTfDk8
Jackson Ortiz
>bah, makes me sad that former regulars like you and Clueless don't post every week Makes me sad too. I'm starting to get better at adulting though and barring another crisis, I should be able to manage my time and energy well enough that I have some to spare for stuff like this. >youtube.com/watch?v=XG_RvYTfDk8 Mmmh, that's funky. I approve.
I figured it would be nice to have them all in one place
Ryder Jones
>bah, makes me sad that former regulars like you and Clueless don't post every week Same. It's always disappointing when I'm really looking forward to see what people think of certain tracks and then they miss that week.
Then again sometimes the tracks I think everybody's going to love almost everybody ends up hating.
Bentley Perry
I was thinking we should do something special for the 1 year anniversary thread but I wasn't really sure what we should do... redoing the blue note theme seems like a good idea.
Christian Jackson
...
Xavier Jackson
bump
Jaxon Gonzalez
Hey, just bought this on vinyl blind a week ago
Luis Bell
Lol what kind of cock names their album that after '61
Elijah James
seems like a pretty acceptable title for a release that was recorded on a Sunday night at the Vanguard
Nicholas Allen
bump
Christian Flores
I'll be out and about for most of the day, so keep this alive. I'll try to Post when I can - reveals maybe a couple of hours after the usual
David Martin
Bump
Michael Powell
Bumps
Aaron Price
Hourly bump
Benjamin Clark
great album. interesting to see someone like Braxton with Brubeck and Konitz, although the real highlight is the jimmy van heusen medley
Julian White
isnt exactly the same, but check out
love devotion surrender by Carlos Santana and John McLaughlin It was recorded right after Santana was introduced to inner peace meditation by John McLaughlin
>38:44 of "spiritual" guitar solos >they cover a love supreme
Connor Taylor
Hourly jazz bump
Jacob Moore
Jazz
Luis Reed
Bumppp
Kayden Morales
Bump
Brody Thomas
>joined RYM August 31 2016 >113 reviews
wtf how is this even possible
Isaiah Price
Well for the first time in a while I've managed to listen to all ten tracks this week.
>Track 1 Very traditional sounding in the instrumentation and choice of tune. But with room to stretch that you never hear on recordings of that era. Not sure this is one I'd listen to regularly but two solid soloists there.
>Track 2 Sounds like a home recording. Not as much variance from the original tune as track 1. Oh, until now... Not sure how I feel about the 30 second free jazz breakdown there. Was that only one guitar? I couldn't work it out.
Isaac Robinson
>Track 3 This is more what I've come to expect from Jazzpossu. I like how the start is so avant garde sounding but also has echoes of New Orleans. First sax solo is manic. Second is a very well played bari, I think I prefer that one, a bit more logic to it. Pianist has a bit of Hancock followed by a bit of Evans, both at warp speed. Liked the drum solo too, kept the groove going. No idea what tune this was.
>Track 4 Sax feels familiar, wonder who it is. Reminds me a bit of the Lee Konitz stuff I've heard, but that's all from his early career and I have no idea what he did later on. Oh, now there's two of them. Rhythm is fucking solid here, I'd say Tony Williams but the rest of the recording doesn't sound like something he'd do. In fact the rhythm section sounds like it could be from 70's ECM - Jack DeJohnette, Dave Holland, people like that, but it's not half bleak enough to be an ECM production. Anyway, I'm curious.
Angel Davis
>Track 5 Donna Lee I think? Clever arrangement, almost makes it sound like classic swing but for the speed it's all played at. None of the soloists stood out, but it was fun.
>Track 6 Well this is a surprising start assuming it's still Donna Lee. And now a choppy treatment of the head. I've always thought this was a bit of an odd head melody - sounds like it starts in the middle of a phrase or the start of a B section or something. The pianist seems like he's picking up on that aspect of it in his solo. So this bit at 3 minutes in has to be pre-written right? Cool way to go into the bass solo. This might be my favourite so far. Yeah that must have been pre-written considering how smoothly it went back to the melody.
Matthew King
>Track 7 Fairly contemporary based on these drums. I feel like I'm getting hints of a tune I know here. Sounds like something Ahmad Jamal would record with more modern players. He's still alive isn't he? Not particularly gripped by this, but it was well done...
>Track 8 This is wild. Not much to say about it on record but I bet it was fucking incredible to see live.
Levi Thomas
>Track 9 McCoy Tyner? Oh right, not sure why I immediately thought of him, since this doesn't sound like anything he'd have been involved in. Are we back in soundtrack jazz week? The rocky drums really work for this arrangement. Oooh, the trashy synth really doesn't - that's a shame. Another familiar sounding sax. Is this someone better known for fusion playing? Maybe Joe Farrell? Bit of a wild guess though...
>Track 10 Oh now I think I know this tune, I think it's a Wayne Shorter or Freddie Hubbard composition from one of the earlier albums they did together? If not I know it from some Blue Note hard bop date anyway. This latin treatment of it works. The piano puts a really solid groove behind the solos, and the tenor especially was tight. Might have been Joe Henderson but that's another rough guess.
Xavier Adams
Sax player on 9 has done a fair bit of fusion over the years.
10 is more recent than that and not a Blue Note thing, although certainly heavily influenced by some 60's Blue Note music
Connor Murphy
Bumpt
Liam Adams
I'll try my best so! Bumping with some premium bluenote that won't be included for obvious reasons.
>Then again sometimes the tracks I think everybody's going to love almost everybody ends up hating. Iktf. It's deffinitely a positive thing that we have those differences in opinion though. The tracks I don't like are often some of the most interesting to talk and think about because they're different to what I normally listen to.
Anybody have any playlists ready for next week? Clueless maybe?
Xavier Ramirez
I could maybe knock together another Prestige one if that's okay - I'll see what I can do.
Jackson Cox
Prestige would be good
Alexander Powell
I'll be able to start reveals in about 3-4 hours, so still plenty of time to participate!
Jonathan Long
Alright, just had a look and I can definitely do it, so expect an email at some point.
Landon Thompson
>www5.zippyshare.com/v/1XTqPU6y/file.html I might take a stab at listening to some of this week so. I'll be heading out later though so if I stop posting, assume I'm probs not gonna be around to listen to the rest.
Luis Bailey
bump
Matthew Nguyen
>Track one I swear I’ve heard Louis Armstrong play this tune. It sounds like it could nearly be Dream a Little Dream of Me at points but it’s almost like a contrafact though rather than the actual tune. The voicings are similar and it’s played at the same sort of tempo. I’d say I amn’t alone in guessing it’s late Benny Goodman. The accompaniment is pretty understated for much of the clarinet solo and so he’s got a near blank canvas to work off. There’s like an incremental build-up in this track that you can feel in the augmenting instrumentation like with the introduction of the bass/drums but there’s also a definite increase in the playing that happens a bit more gradually. Like, even when it’s still just a duet, the clarinet gets a bit more adventurous like with the really pronounced fluttering vibrato he started using and the vibes go from being very loose and more like a harmonic backdrop to having very definite rhythm and working in some melodic ideas and passing tones in. Then when the vibes solo starts, the drums and bass get more involved and the pianist is working in chords under the vibes and the clarinet comes back in and starts playing little bit under the vibes. It’s a nice effect anyway and gives a nice arc to the piece.
>track two This sounds even more like it could be Dream a Little Dream of Me. I like this too. It’s very cute. The lo-fi fuzzy amp, the little bits of pitching issues/rhythmic slips in accompanying guitar and the weird little compositional turns like the double time bit or the free improvisation in the middle (What even?) give this a lot of personality. I could picture myself listening to an album of this kind of stuff, it makes me smile.
Jeremiah Bailey
Most of them had already been written before I joined.
>Track 10 >Might have been Joe Henderson but that's another rough guess. Towards the end of that tenor solo I heard some things that reminded me of Henderson too but I listened again to the whole solo and I didn't think it really sounded like him overall.
Nolan Baker
Also after browsing through my library a little bit I'm pretty sure track 4 is from a Warne Marsh album that he recorded with Gary Bartz who sounds pretty great on the track.
Mason Taylor
>track three I’m pretty sure I’ve heard this tune before, not this version though. I think I might have heard Bird or Diz playing it. It’s like an early bop tune but these guys are obviously playing it like some 60s post-bop. Those two sax players are killer, their timbres sound really cool together in the intro and conclusion. The baritone(?) player’s got this real dirty and growly tone and the alto(?) in comparison sounds a lot more precise and lyrical. Lyrical isn’t really the right word at this bpm though. The way he plays is really clean and though it’s a bit faster than the bari player, it’s got less messing around with extended techniques and feels a bit more melodic overall. I think I prefer the bari though. It doesn’t feel like he’s just using those overblown notes for their own sake, it works well in this sort of breakneck post-bop setting.
It is Marsh, not with Bartz or Konitz, though. Other reveals coming up in about an hour.
Jose King
I probably won't be posting much more so feel free to go ahead with them whenever. Gonna go do some low key stalking.
Joseph Gomez
Oh not Bartz. I meant Foster.
Jose Hernandez
>track four Listening to this one, I was kinda thinking that the big differences between these two probably comes from about 5 years of free jazz context. Assuming they’re both made in the time they sound like they are. The actual emotional registers are fairly similar though and there are compositional similarities like the nippy tempo, the two saxes soloing simultaneously, the form, etc. In that sense, these two together are a nice illustration about how jazz changed in a lot of ways around the early 60s but also how a lot of things remained the same.
>track five If the recording quality wasn't so good, I might have said this was Bird backed by a Gillespie arrangement. The horns have got that sort of feel but with the obvious absence of Diz's sharp and bright trumpet playing. That pianist sounds like it could be him too though. Reminds me of the way he played on Ko Ko but that would be a bit of a stretch.
Austin Price
Link for next week. Prestige label part 2 by Clueless
On my way home, starting reveals when I get there...
Isaac Turner
Also just realised I'm at a local jazz fest next week, so I might have to email you the reveal info. Will manage to be around at least for some of the thread though, don't worry.
Robert Nelson
Listen to The Black Saint and the Sinner Lady by Charles Mingus. Also A Love Supreme
Charles Thomas
Track 1: Arne Domnérus - I'm Confessin' from Jazz at the Pawnshop (Proprius, 1977) Arne Domnérus - clarinet Lars Erstrand - vibraphone Bengt Hallbert - piano Georg Riedel - bass Egil Johanson - drums
Starting out this week with an old standard - I'm Confessin' (That I Love You) was originally known as Lookin' For Another Sweetie, first recorded by Fats Waller in 1929, the retitled and given new lyrics and made famous by Louis Armstrong in 1930.
Alto sax player/clarinetist/band leader Arne Domnérus wasmore or less the first big international name from the Swedish jazz scene making his breakthrough performance at Paris Jazz Festivan 1949 catching the ears of Charlie Parker and Dizzy Gillespie in the audience - Parker then signing Domnérus up for his band in his tour of Sweden the next year. Domnérus had a long career playing actively until this decade.
This track comes from the Jazz at the Pawnshop album from 1977 that's apparently highly regarded in audiophile circles as a great sounding live jazz recording and rereleased many times on various formats. It was recorded in a tiny pawnshop-turned-music-pub Stampen in Stockholm's atmospheric Old Town -district. Stampen still operates as a live music venue today, although the music played there is mostly blues, but occasional dixieland, swing or other traditional style jazz groups still play there.
