Forget what you're listening to right now, forget who's you favourite bassist: where the fuck can I find this album?
>First Meeting is an album by Czech bassist Miroslav Vitouš recorded in 1979 and released on the ECM label.
>The Allmusic review by David R. Adler awarded the album 3 stars stating "Recommended but hard to find, First Meeting documents the strength of Vitouš' writing and playing ".
Hence the question.
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Don't be unfriendly.
if an album has Cecil McBee on bass, I usually like it
Even The Cookers?
nothing wrong with the Cookers
MINGUS
I take people here listen primarily to american jazz?
Correct
You mean... buying it or downloading it? I have it back in my catalog
I'm a broke ass NEET so...
I gave up panhandling in Sup Forums and found this torrent of the flac files, as broke as my ass, with no seeders. Seems one connected 5 minutes ago. If it don't finish downloading, I'll be back begging.
is on soulseek my friend, in flac and 320
Literally this.
I got it boys. It took me two days but I got it.
Is that thing safe? (Asking for future reference.)
i don't know, i use it and i don't really care if it's not, it's the only way to get obscure music
probably - everything is one-to-one so I don't see it being worthwhile for copyright trolls to get into compared to torrents
Finnish jazz fan reporting in
here's a 60's classic:
youtube.com
yes it is. as long as you don't dowload oasis greatest hits.exe you'll be fine. It's a one-to-one kind of share, and a really source for "obscure" jazz and shit like that. Be sure to share some of your records in the upload folder so people won't block you
Ok, got it. It's like DC++ and stuff like that.
Thanks.
my strategy is to have a good amount of shit shared, but only to people on my list where I add everyone I download from
probably overly cautious, but whatever
what's your favorite anthony braxton album?
this is the one I've listened to the most - you could listen to this 5 hour monster for years without getting bored probably
honestly, I prefer his standards playing to his own compositions
/classical/ has a large collection of great albums to download through MEGA...is there something similar for this general?
yeah, i've heard some songs of it, i will give it a listen to it now, the one i like the most of him playing standards is pic related, i really love when he plays the contrabass clarinet
There used to be at least a nice copypasta for /jazz/ that had links to written resources. Idk if there were any music downloads included in that or not.
aww yiss
Ornithology on that album is a ton of fun
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>the contrabass clarinet
at my orchestra rehearsal the other day a bassoon player was messing around playing some improv, it was honestly one of the sickest sounds I've ever heard
seeing Colin Stetson live playing both contrabass clarinet and bass saxophone is definitely some of the most physical horn playing I've ever experienced - very cool to see and hear that kind of stuff live
>jazz albums featuring bassoon playing
Is there any wind instrument that Yusef Lateef _didn't_ have in his sessions at some point?
Eve Risser White Desert Orchestra features a bassoonist
>contrabass clarinet and bass saxophone
can you rec me albums where he plays them?
Coltrane's Complete 1961 Village Vanguard features some songs with a contrabasson
he has a new album out called All This I Do For Glory that features some of both. New History Warfare Vol. 2: Judges is probably still the definitive Stetson-album, although there's just bass sax, no contrabass clarinet.
here's a nice pair of videos demonstrating Stetson's solo bass sax techniques with first a full track and then a deeper explanation video about how the track is built
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thanks, i will give it a listen :)
I'm a newbie to jazz, who do I listen to? Pic related, they are my favorite albums.
thinking about Colin Stetson and how someone will soon be around to say he's not jazz made me think of Evan Parker and I noticed a new Mat Maneri/Evan Parker/Lucian Ban album on Spotify from Clean Feed that apparently just came out a couple of days ago
anyone heard this yet?
in kinda related, I feel like 2017 has been a pretty good year so far for both Clean Feed and ECM
try miles davis second great quintet
E.S.P.
Miles Smiles
Sorcerer
Nefertiti (my favorite miles album by far)
Miles in the Sky
Filles de Kilimanjaro
jazz in the Empyrean Isles -vein won't get better than this - also in this style check out Wayne Shorter's 60's Blue Note -albums - especially JuJu, Speak No Evil and Adam's Apple
/bass/ themed novelty - two bass players who had a habit of singing or humming along in unison with their solos together on one album - Major Holley and Slam Stewart
this looks great, thanks
I liked this. Nice collection of techniques, varied sounds. Could have been longer overall and less minimalistic in parts though.
French bassist Claude Tchamitchian is probably the best solo bass set I've ever heard live - here's the best video on YouTube of his solo material - his solo bass albums are pretty obscure, but some individual copies can be found on Soulseek
It tends to be the best. Maybe I'm a bit prejudice towards non american jazz, but foreign jazz is usually lacking. It's either straight ahead but not as good or it's jazz mixed with all these other types of native music. That can be cool, but I usually don't dig the products and they often seem more like compromises than something that's greater than the sum of its parts.
just posting a classic past-his-prime Jaco Pastorius teaching vid in a /jazz/ /bass/ -thread
just to give the perspective of someone who's fairly heavily interested in the local jazz scene - I don't think there's any question that until the 70's, by far the most advanced and generally interesting jazz was made in the US with the best European musicians like Dave Holland playing with the Americans - probably the only exception is the Polish jazz scene that I think had some music that was as good as anything out of the US with no handicaps
in the 60's and 70's there's a whole movement applying improvisation and jazz ideas to local musical culture - it's not stuff that goes beyond what American jazz of the time was per se, but if you know of the local music those cats would be influenced by it is fascinating in it's own right
in contemporary jazz, many musicians who want to play in the bop-tradition still go study and play in the US, so if you're looking for the most cutting edge post-bop, sticking with musicians working in the US for that, but on the flipside I think outside of the US young jazz musicians are more open to incorporating elements from other genres which I personally find very interesting to listen to
basically, I think that the bop-based jazz tradition runs deepest in the US, but in Europe the breadth of musical influences included is much wider and resonates better with wider audiences, from the European perspective US jazz musicians often these days seem more stuck with tradition that is weighing them down in terms of speaking a language that an audience not consisted of jazz students would understand
jazz is not big business, so really these days it's just a matter of jazz musicians speaking in dialects that the local musicians and audiences understand
bumping with some /finland/ /jazz/ /bass/ relevant stuff for today's thread theme
Bassist Teppo Hauta-Aho was one of the key figures of bringing free and avant-garde jazz to Finland in the 60's and maybe my favorite local bass player of all time, he's still actively performing today at 75 years of age. Outside of Finland he has collaborated with the likes of Anthony Braxton, Cecil Taylor and Evan Parker.
in addition to avant-garde jazz, he was also an accomplished classical bass player making a 25 year career in the Finnish National Opera - especially his composition Kadenza is apparently a contemporary classic in the solo bass world on the classical side and a common piece performed in bass playing competitions
one recorded version of Kadenza:
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also probably my favorite Finnish jazz -related Youtube-video of all time featuring Hauta-Aho on bass with a group of other 'young lions' of late 60's & early 70's Finnish free jazz::
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I'm the OP and I was asking precisely because American style jazz (like the stuff you first linked) really doesn't do it for me all that much. You must be hitting on something. I'll have to listen to a bit more jazz before I can really dig up the differences but I think it's more than an infusion of local music styles. They approach improvisation differently.
Friends lately I've become obsessed with Ascension.
More free jazz big band albums like that?
not a big band exactly, but it has an intense sound like ascension, if not you can try with something like John Tchicai's Afrodisiaca
I think on contemporary recordings vs. live performances there's a fairly big divide - especially on US favored aficionado-labels like Criss Cross, Steeplechase and Smalls Live you often get stretched out 10 minute tracks with long form solos and the works, on European non-free jazz albums you get much shorter tracks, but when the groups play those live, they do extended solos and trading fours and all that - on the free jazz side there's still a relatively healthy culture of long form free improvisation records being released, not that many from the US these days
so in that way if you're just listening to albums, US non-fusion'y albums are more similar to live performances, but in Europe recorded versions tend to be short versions of what you get live for better or for worse - I'd again say that US groups are sticking stronger in the bop-tradition, but EU groups have a better sensibility to what people who don't just listen to jazz might connect to and this radiates to many things
I personally enjoy listening to any creative music making, so basically just try to figure out where performers are coming from and you'll find a lot more interesting and cool music in the world
Ornette's seminal Free Jazz is the obvious one
I think beyond that there might be another US/EU divide as to me at least large ensemble free appears to have become a thing that has a healthy tradition mostly in Europe
here's a cavalcade of random quality Youtube to give you some starting points:
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>Steeplechase
where the fuck I find this label's outputs online? They're like so obscure I can't even find their records to sell online or listen online/download.
Also, what do you think of clean feed, jazzpossu?
Steeplechase is definitely in the running for biggest difference in good music/non-existent marketing these days - their stuff does end up in Spotify, though, so that's where I see it
just enter "label:steeplechase year:2017" in the search box to get a selection of awful cover art and probably interesting music :D
they really suck at marketing, though, even in the Nordics their releases get no attention and I know for a fact that you can get that by just kindly asking the people who produce the radio shows and write the articles
Clean Feed is solid - I try to listen to all of their stuff that comes to streaming services and buy multiple releases yearly. Of all the European free/avant -minded labels they easily do the best job at marketing online so when they put out interesting shit you won't miss it.
In my top 10 labels for new jazz that I actively put effort to following these days. Interesting, adventurous music; stylish physical releases; exist on streaming services; also do vinyl - they tick a lot of boxes for me, if all labels had the same principles as Clean Feed the jazz world would be a better place.
Thank you all, I'll check them all out.
fucking hell - let's all laugh now at both Steeplechase for having 0 Facebook or Twitter presence in 2017. Criss Cross isn't much better - there's a generic Twitter account, though
Jesus holy hell jazz labels - I can forgive the shitty cover art, but I would appreciate acting like it's the 21st century so interested people know what you're doing
I guess it's all indicative of how big part of serious jazz released in the world is bought by old people basically out of touch with everything else.
>I guess it's all indicative of how big part of serious jazz released in the world is bought by old people basically out of touch with everything else.
This connected to
>US jazz musicians often these days seem more stuck with tradition that is weighing them down in terms of speaking a language that an audience not consisted of jazz students would understand
made me understand something -- jazz in the US is a lot like classical is in Europe. (Market/audience-wise.)
(God dammit I stayed up over 4 in the morning again. G'night folks.)
Nobody asked my opinion but I'll weigh in on SteepleChase anyway. I find their stuff to be very hit or miss, especially within the past few years. I think they put out stuff that no other labels really would, but some of it is really below average. Then again, every once in a while they still put out something really, really great. The most recent releases by Pierre Dorge and Dave Scott being good examples.
Fun fact- I've talked to Gerry Teekens before who runs Criss Cross and actually offered to help maintain a better web presence for the label, and told him I'd do it just because I liked the music and hoped more people would be interested.
He just told me he didn't think it was really worth it and left it at that. Several months after that though was when they got a Twitter account... it's something I guess.
Just shows the kind of mindset these guys have. They're very set in their ways and I think they just prefer to control everything themselves. I think Nils Winther, who runs SteepleChase, is probably pretty much the same way.
good night, pal
>crisscrossjazz.com
Is this website run by Scaruffi too?
>I find their stuff to be very hit or miss, especially within the past few years.
That's accurate. I've stumbled upon a really shitty bluesy jazz album from theirs recently.
It's sad, you know. At least most of their releases are on spotify. As for Clean Feed, they're god tier at marketing and showing their records in a very "pleasent" way. They're like the ECM that went right, even though sometimes ECM releases good music.
>kinda hyped about pic related btw
steeplechase.dk
I spy a wild jtg...
It's true that jazz labels are still strongly one-man projects these days and the label head controls a lot
I know for a fact from local musicians that TUM Records has the rights to dozens of high-quality, already recorded sessions that are not moving forward because label head Petri Haussila is also a multi-millionnaire New York based lawyer who doesn't always have time for jazz releases, but insists on doing many steps on his own. Very frustrating for people like Verneri Pohjola and Mikko Innanen who have multiple releases waiting for something to happen.
On the other hand, there are up and coming labels in Europe who respect the music, but are also very marketing and web-visibility minded - Edition Records out of the UK run by pianist Dave Stapleton really should be recognized as a major label in eurojazz on par with ACT if not ECM and here in Finland the We Jazz collective run by DJ/radio host/designer/all-around-good-guy Matti Nives has been doing a lot of work in establishing jazz as the genre that has stylish design and the best supplementary material with good promo videos and informative liner notes and all that.
I actually like their website. I guess it could use a makeover, but it actually has all the information in a simple, easy to find way, unlike most of the fancy websites that the bigger labels use. I mean they even have an index of all the tunes that have been recorded on their records!
ECM for example- say I want to find out all the ECM releases that Kenny Wheeler has played on. Can't find it on their website.
I'll take something functional and useful over a pretty package. Both would be ideal I guess, but if I have to choose just one...
a little related to Clean Feed - I've said it before, but I've found myself buying a lot of Mats Gustafsson -related vinyl releases, it really shows that the man is a total record collector junkie - pretty much all of his vinyl releases just look good
related because the Gustafsson/Taborn vinyl is the only physical Clean Feed release I've bought this year (and damn if it isn't an awesome looking thick cardboard gatefold beauty)
Any thoughts on his new song? I love his tone
ECM is just a little evil that way - they have an awesome custom streaming service with big cover images and all the liner notes, but just for review promos - naturally password protected monthly or by individual high-profile release
I suppose we should really just be thankful that there are people willing to put their time and money into recording and distributing jazz at all. You know with these smaller labels that they're not making much money, if they make money at all. I suspect that they're actually losing money and are really more just patrons of jazz at this point.
If I had any significant disposable income I would start my own label. It would almost certainly lose money, so it will probably never happen. It's too bad too because I really think I could take all the good things about the labels I like and eliminate most of the bad things.
>all the liner notes
Do any of them even have real liner notes? The last few releases I've bought from ECM pretty much just have pictures from the session with credits and recording dates stuff. Another thing I don't like about ECM... I want to read what the musicians have to say about their music!
I've been digging this lately and I was wondering if anybody had any recs
Have you also heard Mirror and Figurations? The bands are a little different on all three records but the style of compositions are all pretty similar.
Yeah I've heard everything under MIles Okazaki but I always end up coming back to Generations and was looking for something with a similar sound
His composition style is kind of unique but you might like some of the records by David Binney or Miguel Zenon, who are the two alto players on that.
For Binney I'll recommend Barefooted Town and for Zenon maybe try Rayuela.
Ambrose has delivered both some of the best and most disappointing live sets in recent years for me, so I'm a little cautious...
I saw a Reddit-thread about an upcoming album, but just now realized that there is a track available, so first impressions:
>Recognizable Akinmusire sound, that's for sure...
>they are certainly hopping from key to another like they would be paid to do it
>Ambrose does rise nicely above all that
>essentially this is like that live track at the end of his last album, not sure if this is better, though
>I'll gladly listen to an Akinmusire live recording with longer arcs regardless, though
So, yeah, if it's out on vinyl I'll buy it and will listen to it on streaming services. Based on the teaser, it sounds representative of Akinmusire live - on average, I feel like I've had better and worse experiences in the live sets I've seen.
not really many written notes although some albums do have a page or two from the artist, but all the cover booklet in reasonable quality in any case when there's no text and of course the credits - in any case basically everything that is on the physical CD where typical streaming is missing all that stuff
Miles Okazaki has to be one of the most lifeless and boring seeming jazz musicians I've ever seen live, though.
I saw him as part of Steve Coleman's Five Elements and he was like a terminator sent from the future to make jazz music some mechanically repetitive thing
Thoughts on Gerry Mulligan?
Last track to give me the chills:
In the Wee Small Hours of the Morning
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>related because the Gustafsson/Taborn vinyl is the only physical Clean Feed release I've bought this year (and damn if it isn't an awesome looking thick cardboard gatefold beauty)
Did you like the album? I don't really like Gustafsson's playing and didn't really like the album overall. To me it just reinforces the idea that slick image, marketing, and packaging is no guarantee of good music.
hard to say, it feels like a necessary piece of a puzzle to own since Gustafsson rarely interacts with just a piano - Gustafsson is a big figure in this kind of music in the Nordics.
I think it's a good album to exist - a lot of delicate interplay from Gustafsson with a Cecil Taylor -like pianist that there aren't that many good recorded examples of.
I've enjoyed listening to it quite a bit and I think it's a step up from stuff where Gustafsson also does power electronics or otherwise goes all noise.
Mulligan is one of those giant characters who established a school of playing that you can just take for granted afterwards
He's a landmark that generation after generation looks to when they think of what that smooth, warm, jazz baritone saxophone sounds like.
back to the topic at hand - bassists
in the Finnish jazz scene, at least, it feels like just a few bassists are able to carry a large range of different groups - basically you can't host a contemporary jazz festival without having Antti Lötjönen or Ville Herrala making an appearance in some group
more so than any other instrument, bass is the one where we have a small group of versatile players who will just show up everywhere style-wise
The previously mentioned We Jazz -collective did a profile video of Lötjönen who is the most likely Finnish bass player you'll run into playing in the key figures like Verneri Pohjola, Aki Rissanen and Timo Lassy:
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That's just having an updated database.
The website itself is a mess.
You don't need heavy scripting and visual effects to make a simple, light-weight and clean website.
just saying that their private service for the industry and reviewers is much better than the public one that is a mess
let's /jazz/ /bass/
here's Victor Bailey showing off playing along to his own record to a version of Coltrane's Countdown
(there's also Dave Kikoski on piano who has been popular in these threads lately)
hey, this is so fucking great, thanks
Speaking of Kikoski, anybody heard his new album yet? Thoughts?
I have a lot of mixed opinions on the post bop tradition being so deep still, but I think ultimately for me it comes down to if I like the other genres they're trying to incorporate. Also how many other things they're trying to add into the pot. Adding too many styles into one rarely comes out fruitful in any genre imo.
What's some jazz that features 2 drummers.
John Coltrane's had 2 drummers briefly I believe they're both on Meditations.
bebump;
swing it to da top.
Do you guys have any favorite Bossa Nova albums?
pharoah sanders - izipho zam has 2 drummers and 4 other ppl credited with percussion.
...
Obvious answer but Getz/Gilberto is one of my favourite albums period.
Other good ones for me are Baden Powell's Tristeza on Guitar and, for a jazzier take on the genre, Dave Pike's Bossa Nova Carnival.
>Getz/Gilberto
is it true that the treated the brazilian musicians like shit and didn't pay them?
probably
I've never heard that. Sauce?
He was an abusive husband/father, had an affair with Astrud Gilberto and was supposed to be an all around erratic character though, so I wouldn't be surprised.
I think it's in The History of Jazz
le bumperino
Did any of y'all watch Eurovision last night? I think this is probs the jazziest thing to ever win it.
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tfw you take the criss cross pill
>Did any of y'all watch Eurovision last night?
For vvhat pvrpose.jpg
Laughing at the spectacle. I get together with the mates every year and we watch it as a drinking game. I was kinda surprised when a decent song got into the final and then actually won.