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.
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THIS WEEK'S THEME: Herbie Hancock Compositions COMPILED BY: jtg
hell yes. I've been looking forward to this all week!
William Powell
>THIS WEEK'S THEME: Herbie Hancock Compositions
OH. MY. GOOOOOOOOOOD.
Robert Evans
GOD DAMN IT WHY ISN'T IT DOWNLOADING I WANT MY FUCKING HERBIE!!!!
Blake Roberts
It'd help if you told us what is happening.
Wyatt Howard
I fixed it, nevermind. On the first track now.
I'm surprised I don't recognize it. I really like it so far though. The bass line is really nice.
Lucas Jenkins
WAIT A FUCKING MINUTE I RECOGNIZE IT!
(Am I allowed to say what it is if I think I know it? this is my first /blindfold/ thread).
Anthony Stewart
Yep, say anything you think or recognize about the tracks.
Jayden Brooks
Thanks for clarifying
Ok so the first track is a re working of "I Have A Dream" originally from 'The Prisoner' with the main difference being instead of being focused on a flute line it's main focus is A guitar. It's a really nice re-working of the original and whoever the guitarist is did a fantastic job.
Onto track 2.
Owen Moore
Good looking out. I was wondering if anybody would recognize that one because The Prisoner isn't one of his more popular albums but I think it's got some of his best compositions.
Jayden Price
Second track sounds like a re-working of One Finger Snap. It sounds like a Latin Jazz version of the song. I absolutely love the percussion in the back throughout. incredible. Whoever's on trumpet is doing a fantastic job as well. Great re-working of the song and whoever's doing this cover is doing a wonderful job.
Isaac Myers
I'm about halfway through the third track I stopped dead at. Having a hard time recognizing it. I'm thinking it's either a track from 'My Point of View' or 'Speak Like a Child'
Whatever the track is (which I'm probably gonna kick myself for not getting) is really nice. Drummer is doing a fantastic job on it and I'm really loving how chaotic it's getting in the middle.
Holy fuck that drummer. The drummers on these tracks are insane.
Luke Roberts
>Great re-working of the song and whoever's doing this cover is doing a wonderful job. This is someone who's made a whole series of Latin interpretations of classic jazz compositions. Good recognition of the tune.
Logan Phillips
Track 3 I love but it's pissing me off I can't figure out what track it is.
Closest I can come to guessing is King Cobra for the piano line but the brass section doesn't sound anywhere near the way it did in the original song.
Playing 4 now.
Brody Hall
>I'm thinking it's either a track from 'My Point of View' or 'Speak Like a Child' It's not from either of those actually
>The drummers on these tracks are insane. Contemporary jazz drummers are pretty amazing and the drummers on tacks 1 and 3 are some of the best
Zachary Diaz
>but it's pissing me off I can't figure out what track it is. It could be one you're not familiar with. Don't forget that Herbie was prolific as a sideman and sometimes contributed original tunes to those albums too.
Jordan Brown
>Track 1
I don't recognize this composition. The guitarist has kind of an 70's ECM tone - reminds me of Pat Metheny and John Abercrombie.
I was expecting a little more from the track after the cool intro, but it was OK. This could be a Criss Cross release, sounds fairly recent.
Some of the guitar playing sounds familiar, but might be just the Metheny -influence.
>Track 2
This is One Finger Snap originally from Empyrean Isles. A very latin version of it.
I'm not into contemporary latin jazz much and don't really feel like this version brings much to the table. The horn solos were pretty enjoyable. Very agile tromboning there.
Conrad Herwig has an album called The Latin Side Of Herbie Hancock - I haven't heard it, but I'm just going to guess that this is from that album.
>Track 3
Took me a while to place a name to this one, but I had such a strong feeling that the original is strong on horns, so I figured it's something Herbie wrote for Miles' Quintet and indeed it's Madness originally from Nefertiti. I don't think Herbie recorded this one on his own albums. A pretty Wayne Shorter -like tune.
Like track 1, this one is also very Criss Cross-y contemporary jazz. I like the restlessness and that feeling of danger of this one - reminds me of the compositions 60's post bop roots.
Trumpet player seems to be influence by Miles at times.
My favorite so far this week.
Dylan Thomas
Oh thank fuck, the 4th one is easy. Maiden Voyage. The string synth is a lovely touch to the song, I fuckin love string synths. And I love the slower tone/direction this cover of this song takes it in. A very smooth track with beautiful strings. Love it.
Colton Harris
Interesting. I was expecting everyone to hate this one.
Jaxon Phillips
Why did you think people would hate it? THOSE GOD DAMN STRINGS, man.
Aiden Young
It's hard to avoid Criss Cross albums when I do these "compositions of" playlists. They're great for playing tunes from classic jazz albums that nobody else really covers.
William Howard
That kind of thing plus the general smoothness tends to turn people off. As for myself, I don't hate it and I like the trumpet playing but it just sounds very dated at this point to me.
Carter Hernandez
On the fifth track and I caN T FUCKING RECOGNIZE IT AGAIN.....GOD FUCKING DAMN IT. Something from Empyrean or Maiden I'm sure but god damn it I can't figure it out for the life of me...
>dated >as an insult...
...Why must you hurt me this way?
Logan Scott
[Taking short break to eat will be back to continue playlist as soon as I can]
Liam Russell
Fuck my god damn shit I can't recognize track 5 still. It was my least favorite so far anyway so I guess it doesn't matter.
6 is definitely King Cobra. My personal favorite from My Point of View. Seems like A straightforward cover of the original but I love the original so that's not a bad thing. Really good so far.
Nolan Campbell
>Track 4 This is Maiden Voyage of course. The strings are a little sappy. A late 70's or early 80's release maybe?
The trumpeter is sticking to the original melody which is fine - this is definitely a classic modal tune so it doesn't need embellishment or weirdness.
Nice, relaxed and melodic soloing. Very stylish trumpet playing.
As a whole this was a little bit more on the easy listening side than I'd prefer, but it was pretty good for what it was.
>Track 5 Well this is all mysterious. I like the drumming at the start.
Alright, the melody finally reveals itself. This is another one that Miles' quintet did, I think. The Sorcerer?
This is not unlike track 1 with a mysterious intro giving way into a more traditional approach with a guitarist in the lead.
The drumming keeps being the highlight here for me. The drummer is really keeping it interesting.
>Track 6 Composition isn't ringing any bells for me.
I don't have a lot to say about this one. Didn't really stick with me. I liked how these guys had some very clear 60's style modal playing influences, but still had a more modern feel overall.
Ryder Harris
The King Cobra cover was fantastic.
7 is Eye of the Hurricane. Maybe it was a little bit of a poor idea of playing the main tune on a guitar. Not working as well as it did on track one.
Yeah I'm..not really liking this rendition if I'm being honest.
Jeremiah Gray
>Track 7 Plenty of guitarists this week. Tune is The Eye of the Hurricane.
Swedish guitarist Ulf Wakenius has recorded a version of this that the head reminded me of, but this is something else. This one kind of seems to lose momentum when they start swinging after the head.
I like the bass player and drummer when they get their moments to shine, but would have preferred a high energy version.
>Track 8 Bill Evans-y piano playing and a strong soloing bass player too. Could this be some later Evans recording even?
Composition seems familiar, but can't think of what it is... I think it's Dolphin Dance.
I'll go with this being Bill Evans with Eddie Gomez on bass.
This was pretty enjoyable.
Eli Powell
Holy fuck it is Dolphin Dance. Good ear, tuck.
I really enjoyed the pianowork on track 8 as well. Very beautiful reworking of Herbie's original piece.
Noah Foster
>Track 9 Tune seems familiar, but I can't think of the name.
Sounds like one of those versions that is easier to grasp if you have the original in mind.
I didn't really care for this at the start, but the solos section is really winning me over. I really liked how it built up during the solos - reminded me of some Ambrose Akinmusire stuff and also Logan Richardson.
Parts of the composition sound really familiar - I should know what this is, but just can't think of anything.
>Track 10 At least we get some funky here, although still a 60's composition. Blind Man, Blind Man from My Point of View originally.
I wonder when this was made - could almost be from the 60's but sounds like it's a more recent thing going for a retro sound. Reminds me a bit of some 90's retro minded acid jazz like the James Taylor Quartet in spirit although this is more laid back.
Fun track.
Jordan Green
10 is Blind Man Blind Man, done with an organ, kind of a funk rendition of the original. A pretty enjoyable track.
Elijah Kelly
I've got lessons now so I won't be able to bump or reply much. Hopefully somebody else can keep it bumped.
I can bump with Herbie reivews. It's relevant this time!
Someone pick a year between 62 and 07
Juan Peterson
01?
Aaron Scott
...God damn it.
Christian Stewart
I am trying to explore jazz more, and even though I can't recognize most of these compositions, I'm getting some exposure to great music! Thanks for these threads guys : >
Josiah Lewis
Future2Future, released in 2001, would be one of Herbie's last albums where he tried massive experimenting with a certain genre, with the genre he wanted to explore being A mixture of Drum and Bass and Electronic hip hop.
It wasn't a completely TERRIBLE album, per say, but it was definitely one of his weakest with poor choices for loops, generally tacky loops and vocals, a very corny electronic piano setting, and there's not really any noticeable highlights throughout the album.
The only highlight on the album would be the song 'Tony Williams' and even that has some tacky narration plastered on.
post some thoughts, even if they're basic it will be interesting to read
Liam Garcia
hahah lordy, this is dreadful! this album definitely was dated the day it came out - I bet there's some dude out there who religiously claims this is Herbie's best tho haha
Jason Johnson
I claim that about 90% of his albums and I'm flat out saying "This one is pretty damn bad"
Tyler Peterson
Right. My favorite track is definitely #9. Great instrumentation (that wobbly guitar sound(?) is delicious) and gives me a feeling similar to an album like Nefertiti or something. Maybe it's the drummer that sorta feels Williams-esque, but it just feeels classic. The solos get hella exciting too.
My second favorite is 8, which sounds like Evans for sure. Those voicings... And I could recognize it - Dolphin Dance! That bass solo is pretty neat too.
The rest of the tracks range from boring to decent. Like, all of the drummers are really good, but I wish more of these tracks carried the energy the way 9 did. 6 is kinda neat at parts tho.
My least favorite is definitely 10. Not a fan of that cheesy funky feel.
SOMEONE CHOOSE ONE FOR ME TO REVIEW I CAN'T DECIDE
Jonathan Walker
GOD DAMN HE RELEASED A LOT OF SHIT.
Daniel Myers
Holy fuck rateyourmusic is wrong about Herbie.
I mean..it's rateyourmusic so they're pretty use to being wrong but STILL.
Jack Sanders
something from the 80s
Joseph Clark
YOU'RE VAGUE AS SHIT AND I LIKE CAPITAL LETTERS JUST PICK A TITLE/ALBUM COVER YOU THINK IS PRETTY YOU SILLY FUCK!
Kevin Collins
Can you rank your top 5 Herbie? I wanted to get into him. By the way I like the idea of this thread.
Eli Rogers
Yes, yes I can.
Should I go from my fifth to my first or my first to my fifth?
Jeremiah Martinez
HERBIEANON'S TOP 5 HERBIE ALBUMS!
#5: Mr. Hands.
Mr Hands was a pretty strange album, not for the music itself, but for when it was released. This was a return to jazz fusion after he had started experimenting in disco with 'Feets Don't Fail Me Now' in 1979', and some saw it as a return to form (which would be unfortunately undone with later albums)
This would be the last of Herbie's fusion albums, unfortunately. But it was at least a great way to end his fusion period. With some great synthesizer sounds and a lot of 80s influence, it's a great, fun listen.
One of the MANY, many funk albums he would release during the mid 70s, this was the first studio release that followed the acclaimed 'Headhunters' album, continuing many of the musical themes and styles that were on that album. Lots of vintage synthesizers and and tight drum rhythms (along with some latin percussion on the opening track) really help the album stand out...
...But nothing comes CLOSE to the magnum opus Herbie created with this album. The beautifully composed, absolutely perfect composition. Butterfly.
Butterfly was the best piece Herbie ever composed and it would later appear on 2 of his other studio releases. youtube.com/watch?v=-_mSzscIhyg
John Ward
#3 Manchild
Yet another album from his Funk period, this album was one of the first funk albums of his to feature more prominent focus of guitar, done by Dewayne McKnight, David T. Walker, and Wah Wah Watson, who's guitar parts can be heard very well throughout the album instead of focusing on Herbie's usual synths.
This funk filled high energy album will entertain any guest. And the best track would be the high energy riff-focused intro track "Hang Up Your Hang Ups" youtube.com/watch?v=d7kRlufrZJo
Levi Miller
#2 Headhunters.
It's the first Jazz album to go Platinum for a reason.
This album, once again, was a strange time for released because the previous year he had released the highly experimental 'Sextant' album, filled with chatoic rhythms and synth patterns. This album was calmer in tone, returning to the Jazz Funk styles he first had done for a previous album, and it turned out fantastic.
This album, instrumentation wise, can be very varied. Chameleon, the smooth synth bass lead jam with tight drums, Watermelon Man, the re working of a 1962 track featuring the sound of blowing bottles and a layed back saxaphone. Sly, the one half cop-action theme and the other half a high energy party funk jam, and Vein Melter, the spacy synth focused closer.
The first 3 tracks all stand as high quality classics of his, hard to be topped by any jazz funk album.
This album, featuring music originally released as a soundtrack for a one time Fat Albert TV Special, is known for it's hard hitting funky brass line, it's fun electric piano rhythms, and the tight, groovy drums keeping the groove tight.
The whole album is a fantastic album that's impossible not to dance to, and by FAR my favorite Herbie album.
I'm going to listen in that order thank you good sir.
Christian Kelly
You really know how to present an item.
Lincoln Anderson
Thank you. :)
Hope you like them user!
Benjamin Scott
bump
Mason Garcia
now what are your 5 favorite Herbie albums?
Noah Mitchell
Here's the Herbie I'm currently listening to.
Sebastian Edwards
Does anyone wanna help make this? I have a one for my personal tastes but I wanna know what the rest of Sup Forums thinks.
Josiah Bennett
Definitely my favorite is Maiden Voyage. Second favorite would be either Empyrean Isles or The Prisoner. Then maybe Headhunters or one of the Mwandishi albums, I don't remember which one I like best. After that I'm not sure.
I haven't listened to that much of his post-70's output though.
Josiah Clark
>I haven't listened to that much of his post-70's output though.
Jeremiah Perry
And as long as we're posting reviews- here are a couple from two of my favorite Herbie records:
Pianist Herbie Hancock’s fifth release for the Blue Note label is also his most celebrated. “Maiden Voyage” is essentially a suite of five original pieces that attempt to capture the “vastness and majesty” of the sea. Recorded in March of 1965, the music on this album has a lot in common with that of the second Miles Davis quintet, which had just recorded its first album in a few months earlier in January of ’65. The Miles Davis rhythm section (Hancock, bassist Ron Carter, and drummer Tony Williams) was one of the greatest rhythm sections of the ’60’s, and arguably, of all time. That same rhythm rhythm section appears here, while trumpeter Freddie Hubbard and tenor saxophonist George Coleman make up the new front line.
First up is the title track which opens with a lightly syncopated vamp of open-sounding suspended chords. Hubbard and Coleman then enter with the simple melody which sustains single notes over the repetitive vamp of the rhythm section and grows in volume and intensity to its climactic bridge before calming once more for the return to the ‘A’ Section. Coleman’s short solo continues the floating, ambiguous modal feel of the tune and allows plenty of space for the rhythm section to begin to expand on the written chord hits. Freddie Hubbard picks up his solo by continuing the buoyant, laid back feel but builds to an intense section where he moves to the high register begins to superimpose blues ideas over the harmony. The dynamic rhythm section picks up on this and begins to play busier rhythmic ideas and more chromatic harmony. Hubbard ends his solo with simple melodic idea that Hancock expands upon to start his solo, first leading the rhythm section into a looser, open time feel, then gradually bringing back the rhythmic vamp that leads back into the melody.
Owen Rodriguez
“Eye of the Hurricane” begins with a swinging melody that’s interrupted by dissonant rhythmic hits. The band’s feel is tight as the nimbly shift between the tight, up-tempo swing and the more aggressive hits that disrupt the swing feel. The tune launches into Hubbard’s solo first which begins simply, with Hubbard playing simple melodic ideas but the energy soon picks up with Hubbard’s use of skewed bebop lines and interesting sonic techniques. Coleman’s solo follows and he sticks to eighth-note swing ideas, but uses interesting phrasing that gives the rhythm section plenty of room to shine. Hancock’s solo seems to mix all these approaches, beginning with some tight, eighth-note lines but gradually moving into more interesting rhythmic and harmonic ideas. It’s during his solo that the Carter/Williams rhythm section really shines as they manage to keep the tight swing feel but also play responsively to the way Hancock shapes his solo.
“Little One” begins with a rubato tone poem played in unison by the horns and accompanied sparsely by the rhythm section. Eventually a solid 3/4 swing time emerges, revealing a Wayne Shorter-esque ballad with beautifully chromatic harmony. Once again the solos all provide an interesting contrast; Coleman favors a simpler, melodic approach, while Hubbard steers more toward fast, chromatic bebop runs that highlight his superb technique in the upper register and seems to bring out the energetic side of the rhythm section. Hancock’s solo is the best of both worlds, at times using the built-in harmonic beauty of the tune to great effect, and at times trusting in the quick-witted and interactive rhythm section to support his ideas.
Jeremiah Ramirez
The Carter/Williams rhythm section shines again on “Survival of the Fittest” which opens very freely, but then solidifies into a short, written melody. Hancock wisely sits out for large portions of Hubbard’s solo and allows Carter and Williams to comp more aggressively within the fast swing of the tune. Much like the melody, the solos move in and out of an established time-feel and the group works together wonderfully during the freer moments of improvisation. The teamwork of the group as a whole is at a high-point here as each soloist is free to take their solo in any direction, at any pace they want. The rhythm section proves why it is one of the greatest of all time and the tune is an example of post-bop at it’s best. The quintet excels at playing “free” but are not limited to free playing as their only approach.
“Dolphin Dance” closes out the album with one of the strongest and most memorable melodies on the record. The tune has a laid-back swing feel and it is Ron Carter who’s playing really impresses during the melody. He plays within the swing feel and succeeds in outlining the harmony of the piece, but he does so with an imaginative rhythmic and melodic concept that perfectly accompanies the melody. Once again, the solos are all quite contrasting and memorable, and manage to build up exciting moments of tension and dynamics (with the help of the rhythm section) in the context of the cool, modal swing. Carter switches to a walking line for most of the solos but still finds the perfect spots in the solos for harmonic interjections that add to the momentum of the piece.
Daniel James
The record is a nearly flawless example of modal post-bop. Hancock’s compositions are varied and give the soloists plenty of interesting canvas for their solos, but also share a common inspirational theme that gives a sense of continuity to the album as a whole. Hubbard and Coleman form an excellent front line that blends well during the melodies, but also provides an interesting sense of contrast during the solos. However, the music would only be above-average post-bop without the incredibly sympathetic playing of the rhythm section. This is certainly a definitive post-bop release that blends elements of bebop, hard bop, modal jazz, and free jazz into an exceptionally well-executed singular statement. It’s essential and accessible, but a record that listeners will find new details in with each repeated listen.
Angel Phillips
Herbie Hancock’s last record for Blue Note is also his most ambitious. Hancock intended the album as a suite on the theme of the oppresion of black people. For the album Hancock leads a large ensemble which allows him some much more interesting possibilities in terms of composition and orchestration.
The orchestration shows the influence of Gil Evans, with constantly-shifting textures keeping the music interesting. Hancock adds his own personality to the music through attractive dissonance, ambiguous harmony, and “free” improvising. The title track for example opens with a tightly arranged episodic ensemble feature before giving way to a very free (and very good) solo from Joe Henderson. In the liner notes Hancock cites Stravinsky’s “Rite of Spring” as a major influence in his composition of the piece and that influence shows through in the syncopation and dissonance of the head.
“I Have a Dream” is obviously influenced by Dr. Martin Luther King Jr. and takes a less aggressive (though no less interesting) approach than “The Prisoner.” The melody unfolds slowly over a vague bossa rhythm and is passed around the ensemble, always lushly harmonized. Hancock takes an excellent extended solo during which the rhythm section seems to be having a blast playing with him (especially Buster Williams!) Johnny Coles and Joe Henderson also take excellent solos before the re-statement of the theme.
Eli Hughes
“Firewater” is more straightforward in its arrangement and actually sounds like it could have come from the pen of Gil Evans. Once again all the solos are extremely dynamic and entertaining. Hancock adds a a new texture to “He Who Lives in Fear” by switching to electric piano for the head which is dark and moody. “Promise of the Sun” has a more repetitive melody than the other tracks but its slightly dissonant harmonization among the horns is very nice. Hancock’s solo is on point here and it’s fun to hear him keep coming back to reference the melody in some way.
This is an underrated album. It’s an ambitious concept and one that pays off due to the compositional and arranging skills of Mr. Hancock. The band is equally responsible for the music’s success as well, especially the “featured players.” Buster Williams consistently shines with dynamic, melodic basslines that seem to inspire and challenge Hancock. Joe Henderson plays with passion and Johnny Coles responds with understated fire. This is a unique and essential album in Herbie Hancock’s extensive discography.
Andrew Rodriguez
The other guy is better at posting herbie reviews than I am.... :(
Probably going to start posting reveals in an hour or so
Henry James
>Track 1 Don't recognise this tune at all. Really like the guitar playing, very modern sounding and all sorts of different approaches to forming his phrases, as opposed to some of the older players who seem to ape horn lines too much. Good tone for the style too. The rest of the band is tight too, but the guitar is my favourite.
>Track 2 I do know this one - I think one of the ones the Miles quintet played - maybe Riot? Trumpet solo very Hubbard inspired, keeps up with the energeticness of the piece well. The break in the middle is a nice touch too. This trombonist is quite lyrical. What I really like about this piece overall is that its all played energetically, but with a bounciness that feels really relaxed.
>Track 3 One of the tracks from Maiden Voyage - I think Survival of the Fittest. The pianist sounds a lot like Herbie in the way he's comping/following the sax as the opening solo progresses. Does the same with the trumpet too. I like how the drums whip everything up as the trumpet solo continues too.
Intitally this sounded like it was sticking quite true to the way the original version sounded, but it ended up being much looser and never quite reached those points where the whole band was playing in sort of unison, except right at the end. Definitely kept the spirit of the original though, and it's one of my favourite Herbie tunes.
Elijah Edwards
>Track 4 Maiden Voyage. With a string section? I can see how that would be a temptation, but it sounds far too novelty-like and safe. The slower tempo might have worked in another setting, but here it just sounds a bit sluggish, and despite having more time to react the rhythm section don't sound all that interested in the horn. After the solo finished, there were some interesting ideas (though the drum solo got messy) but it was all too scripted sounding.
>Track 5 I like the percussion in the opening. This is another one I know but can't name. I'm not a fan of the guitar here, especially compared to track 1. I don't see any logic to this solo, just sounds like lots of notes, and the few chords he randomly throws in mostly feel like fallbacks for when he doesn't have any other ideas.
>Track 6 I like this trumpet player, he's very expressive. This sounds I like like a Criss Cross recording, definitely the style I associate with jtg's taste anyway. Probably Chris Potter on tenor? His solo was great anyway, and I really liked the way it ended. Piano player has a good mix of bluesy groovy licks and colourful chords. Don't think I've heard the original of this one, and I don't think they explored much of its character, but as a vehicle for these soloists it was decent.
Justin Stewart
>Track 7 This is another Maiden Voyage tune. Don't know which. The way it goes into this slightly slower groove after the head is very jarring. They do manage to bring back the more post-bop feel but I'm not sure why they left it behind in the first place. Maybe it would have been better if it was the other way round and more gradual. The bassist probably should have been more flexible to those parts where the guitarist went into extended eighth note bits, it sounded a odd with them playing two speeds at once. Their trading fours was easily the best part of the piece. The drum solo wasn't necessary, but it wasn't bad, and I liked how it was punctuated by the rest of the band.
>Track 8 Again I know the tune, but no idea where it's even from. A very Bill Evans sounding bassist and he's humming so maybe Eddie Gomez? Yeah he's played a couple of licks I recognise from other records he's played on, so I think it is him. He's an underrated bass player who always plays really pretty solos. This could easily be Evans playing but I dunno. Very nice anyway. I think the tune might be yet another from Maiden Voyage but I don't know if you'd have picked so many from one album.
>Track 9 Very ECM sounding. There sure have been a lot of guitars today - has been nice to get a bit of variety. They play nicely together and I'm sure I recognise the sax player, but I dunno what else to say about this.
>Track 10 My first thought was that this was Watermelon Man, but it's not. This has been the best trombone solo today, full of swagger. The stop-time parts of the sax solo are sweet too. I'm not sure who's following who, but this is better comping than I expect from soul jazz. Pleasantly surprised by this one.
Grayson Jackson
Enjoyed this week - especially the first three tracks. I didn't expect to be great at identifing track names but I'm annoyed I placed Madness as being a Maiden Voyage track. I am familiar with it and it is one of my favourites of his compositions, though I think I always mistook it for a Wayne Shorter piece.
Brandon Moore
I'm a bit disappointed - the sample you posted wasn't nearly as bad as I was expecting.
Joseph Roberts
I'm back. I was asleep and shit.
My favorite tracks were the Latin jazz re working of One Finger Snap and the string version of Maiden Voyage (Those fucking strings were so good)
Just trust me. It gets worse.
Jeremiah Cooper
(This is Herbieanon by the way)
Jonathan Hernandez
>Chris Potter on tenor? It is a Criss Cross recording but not Chris on tenor. It's somebody who sounds very much like him in tone though.
Jayden Murphy
>I think the tune might be yet another from Maiden Voyage but I don't know if you'd have picked so many from one album. I think the ones from MV are some of his most-covered, other than Cantaloupe Island.
Jaxson Nguyen
So I've done playlists covering the compositions of these composers so far: Monk Ellington Wayne Shorter Joe Henderson Andrew Hill
And I'd still like to do: Coltrane Ornette Horace Silver
