>because the track does totally turn into Coltrane's Impressions for the solos
Not only that, but the string backgrounds were definitely hinting at the Impressions melody.
>I'm not aware of any non-Dolphy recordings of that one, actually.
There's a really good version by Billy Hart that I put on my SteepleChase playlist.
I haven't seen any good live jazz for a few months sadly, but in a month I'm moving back to the East Coast and I'all hopefully be able to take trips to NY at least every other month.
dang, I even participated in that one, I think, but couldn't think of it this week.
it's always pretty quite around here for about a month starting from Christmas, but some nice live gigs coming up. Several new albums released locally, Tim Hagans, Kurt Rosenwinkel and Richard Bona showing up as international guests within the next three weeks
I saw Makaya McCraven's quintet last Sunday - a lot more mainstream-y than I expected based on In The Moment, but still very nice overall. Two sets with the first one being a fairly traditional take on Blue in Green and some melodic McCraven originals, second one being a more freeform contemporary fusion jam like I expected the gig to be with a couple of different stylistic variations of Ornette's Lonely Woman thrown in.
bumping with a local pianists version of Coltrane's Countdown recorded at a gig I was at because countdowns consist of numbers
number-jazz Don Ellis bump - more numbers and counting that you'll ever see - 33 222 1 222
This theme got me thinking maybe I should do an unusual time signatures theme. Or maybe even narrow it down and do something like standards in unusual time sigs.
standards with changed time signatures could be cool, although I think it might be cooler for new participants to make it pairs of "normal" and "time altered" (of course in reality it's usually the same people participating, but still)
I was considering Misha Tsiganov's take on Wes Montgomery's Four on Six ( open.spotify.com
Anyway, I figured track four should be Four and track six is a relatively obscure recording that I thought might be a more interesting discussion starter, so went with those
Yeah, for standards in odd times I'd probably have to include something from that Tsiganov record. That chart for four on six is really cool but I think the stuff he does with Shorter tunes is even cooler. I can't remember if I put any of those on my Shorter compositions playlists or not.
oh, I think "difficult to count" might be a cool, if gimmicky topic. Trying to figure out complex signatures is fun.
here's one that I've never exactly figured out as an example of a hard-to-count rhythm (I guess this is just irregular meter, but a fun track to try to count and make sense of, I think):
youtube.com
That said, I also never quite figured out how this weeks track 5 goes rhythm-wise aside from the obvious casting aside of the signature 3+2 vamp feel of Take Five - parts of it appear to still be 5/4, but parts of it feel different and not trivial to count
actually in terms of demonstrating the artistry and coolness in jazz some kind of "evolved standards" list with five pairs with an easy head-solo-heads interpretation and something next level might be really cool - like on that album (that I just put on due to this conversation) I couldn't even imagine what I would think of the first track if I wasn't very familiar with Fall from Miles' Nefertiti - I'd say the artistry is strongly dependent on the listener knowing the "canonical version"
I've certainly noticed in general that having to piece up the story of how different versions build on previous ones and how new ideas are introduced to understand contemporary post-bop as a non-musician jazz fan is a long and winding road and hearing a good example of this kind of evolution always makes it easier to understand