Time for another thread.
What have you been listening to recently?
/jazz/ general
Carson Reyes
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Brody Ramirez
The other great lester! Ive been listening to a lot of trane. Im always listening to a lot of his later stuff byt recently ive been revisiting some live stuff from 62-64.
Alexander Cooper
what are some other tracks with this kind of pacing and structure? i'm not sure what genre it is but i think it's bebop (?)
clyp.it
James Williams
Alexander White
Making/adjusting my Miles Davis backlog. Hoping for some feedback when it's completed.
Jackson Flores
Post amazing live jazz.
Joshua Harris
Can we have a jazz recommendation grid??
Justin Walker
there you go mate
Brody Hill
cheers cobber :)
William Cook
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Brody Ramirez
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Sebastian Garcia
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William Davis
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Dylan Gray
>
legend cheers
Ayden Williams
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Lincoln Evans
Don't forget the pasta in the OP
>Sup Forums jazz guides and charts
imgur.com
>releases, reviews and news
pastebin.com
>music downloads
archive.org
>historical resources
mega.nz
mega.nz
mega.nz
>jazz theory and playing resources
mega.nz
Connor Brown
Here's the Polish jazz chart I made, it also includes yass albums which start with Tańce Bydgoskie.
Nathaniel Collins
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Kevin Ross
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Noah Kelly
WE REALLY GOTTA OUT THE CHARTS IN THE COPY PASTA!!!! too much chart posting in /jazz/.
Evan Martinez
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Dominic Fisher
Here's the backlog I'm going with when I'm done with my current one. ALL of his studio albums (counting Live-Evil since it's half studio). Thoughts? Any swapouts?
I'm gonna be listening to these all in order and I'll probably post very frequently in these threads when I do so.
Thomas Stewart
I went through most of his albums last summer, it was great. Read his autobiography too, it's really good.
Michael Hill
I'm going to upload them and add the link to copypasta when I get back home.
John Gray
Domo
Caleb Evans
it all looks good to me and clearly your going for a very specific thing here but man, its strange to look at that list and realize how much of miles most essential material is live records.
Luis Barnes
Examples? I may end up doing a second backlog for his live material but for most musicians I end up preferring studio material much more.
Caleb Lewis
oh man, ill try to think off the top of my head.
>My Funny Valentine
>Four & More
>Live at the Black Hawk
>Live at Newport 58
>Live at the Plugged Nickel
>At Carnagie Hall
>In Europe
>Live in Tokyo (not essential but i like it, second quintet but with Sam Rivers instead of Wayne or Coleman)
>Live at the Filmore
>Jack Johnson Sessions (studio album you should add that i thought of)
>Dark Magus (a personal favorite)
>Agartha
>We Want Miles
I really really reccomend most of those and would say theyre pretty essential miles stuff, i mean like not if your really looking to get into his shit like that, some of those are definitely SUPER ESSENTIAL though. hope this helps and isnt overwhelming or anything. ive never tried to do all of Miles discography, the guy lived too long and made too many records haha.
Julian Turner
I already have Jack on the backlog it just doesn't have the right damn cover because topsters.
And like I said I'll definitely try to see if I can fit a live album or two of his in there but with how many just of studio (not even of all his stuff just the ones on Spotify) there are it might take a while.
Thanks for the recommendations.
Oliver Moore
oh shit your right, yeah thats a different cover then what im used to. if you arent going to do any other live albums, the three i would say you like haaave to do are My Funny Valentine, Live at the Blackhawk, and Dark Magus are like really really essential.
Jason James
bump
Isaac Cruz
Mason Harris
bump
Cooper Morgan
Oh my fucking god why have I never seen this posted on here?
Easton Murphy
Chris Potter at Blues Alley last night. Excellent show.
Gavin Hughes
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Dylan Green
Ive posted it a few times. Its a pretty ambitious record.
Caleb Jenkins
who was he playing with?
Tyler Ward
Props to jtg for suggesting Yosvanny Terry, especially that record Today's Opinion because it's got both the complex shit I like while it does the afro cuban shit in a way that's not another Buena Vista Social Club.
Other than Terry, the usual Pultizer baits like Wadada or Threadgill, or the European minimalism jazz guys, who else this decade has been taking approaches new for jazz music?
Colton Wood
It's fucking amazing, holy shit.
I just listened to it for the first time, it's just like someone got all of the best parts of jazz/rock/pop/folk from the 60s and smashed it together.
Also the stuff Jack Bruce does does on it is better than anything he did with Cream.
Sebastian Hill
yeah, i was kind of amazed at jack bruces ability on that record, i guess his bitching about having to mindlessly back up clapton in cream was true haha. Carla is a beautiful writer.
well, i really hate this stuff in general and idk if id call it jazz but i do have to say that Snarky Puppy and their ilk, so i guess maybe BBNG, probably the best of these groups being glaspers current electric trio. like i dont dig it and idk if its jazz but it is a sound that didnt quite exists ten years ago, though there was really similar stuff all the way back in the 70s. stick to the threadgill.
Austin King
I really want to go through all these charts, but it's so hard finding them all. Any chance we could put them all in mega folders?
Aaron Cruz
You need soulseek in your life - it is in fact so easy to find even obscure records.
Kevin Phillips
Basically the same quartet from his last album. David Virelles on piano and Joe Martin on bass, but Dan Weiss was on drums. They also did some new material that hasn't been recorded yet that was really good. Better than the stuff on the album I think.
Yeah, that record is so good. You should check out David Virelles. I was surprised at how overtly Cuban a lot of the stuff he was playing with Chris Potter was. His Mboko record from a few years ago was really innovative.
Michael Allen
No love for some of my favorite Mingus eh?
Evan Rivera
I was listening to this recently, not bad
Nicholas Myers
soulseek is a protip
and if you're using linux - nicotine
Parker Smith
John Hughes
recently bought an original mono pressing of this one so I've been listening to it
Clark Terry with Thelonious Monk on piano, also noteworthy for being the first Terry record where he plays flugelhorn. Pretty cool album if you want to hear Monk play in a more traditionally swinging setting.
Isaiah Wilson
love that record. one my of favorite parts about monk as a man and a musician is that no matter what setting he is in, he doesnt make any concessions about who he is. the man always plays himself, and played himself from like idk fucking 42 til he died. he just found his sound so early and always played it. i love monk.
Kevin Roberts
Who have you guys been stealing licks from lately?
Cameron Miller
Charlie Parker. And I'm a guitar player. The Bird was one of a kind.
Connor Sullivan
>tfw you can't reach a 10th on the piano with your left hand
>tfw you can't use one of the best one handed chord voicings
Parker Lopez
Dave Kikoski
toss a few of his licks into your solo and people start paying attention
Kevin Lewis
lol Everyone steals from him. All his licks are bread and butter bebop language
Juan Walker
No one. Not to say i have an original sound, im basically the poorest mans jimmy garrison these days. But i dont steal licks, ive been studying voice leading in the upper structures and its really opened up my playing.
Angel Ramirez
Fair enough, but its worth noting every single composer and jazz musician has "stolen" licks and ideas and created variations on them (or at the very least studied who came before them).
Anthony Ramirez
Oh absolutely, but i think of it more as like if i listen to an album enough then ill probably end up playing some of those licks orgnaically by accident. I think that was happening more often then not with the old masters. I dont think trane sat there and transcribred on to paper a bunch of lester young licks or solos, i think he just listened to him enough and sang along with it. I also still transcribe for academic reasons a good amount. I dont think theres anything wrong with any system, i think you should do whatever process you enjoy most and some of the stuff you dont dig as much sometimes. A lot of it for me is about enjoying the process, i liked my sound more after i stopped spending most of my practice time transcribing. And it probably doesnt make me sound any less derivative, like i said, these days im a shit jimmy garrison, about a year ago i was shit charlie haden haha.
Logan Hill
Oh and the study of people before me i choose to do through just listening to the records a lot, probably the way anyone on Sup Forums would but im amazed how many people at jazz school just know tunes or solos and never listen to someones like whole discography or even an album all the way through.
Alexander Thompson
here comes the whistleman- rowland kirk
Andrew Sullivan
I'd bet Trane transcribed some stuff to paper
Luke Young
Yeah he definitely did, and then probably played a thousand permutations in each key of his favorite licks.
I mean, yeah that's solid. But obsessive listening and breaking down exactly why a lick or phrase was so good helps spur on creative ideas.
youtube.com
He talks about licks around 7:11~
Mason Young
Nice. I don't really love any of his albums that I've heard but I bet he'd be great to see live in that kind of a venue.
Jack Gray
do you guys have any evidence to back that up? i looked but couldnt find anything and im interested, though i did find a really long page on Liebman's website about transcription.
Again, im not saying i dont transcribe, i do! definitely! usually to figure out what compositional techniques someones using but i transcribe plenty of lines and solos, never really individual licks though. i just feel like i enjoy my own playing more if instead of playing licks i just spend more time getting really inside of certain harmonic concepts and things like that. not to be a dick but i can guarentee ive spent a lot more time playing arpeggios and patterns based around them then anyone who spends time on licks (arpeggios and patterns is a very simple way to put it but i cant sit here and describe my entire process on fuking Sup Forums haha)
Blake Kelly
Hey jazzbros, I have a question.
I listened to this low-quality live television performance by Duke Ellington: youtube.com
there was one quote in the video that I thought was really good but I can't find it through googling. he explained how "jazz is like a tree."
does anyone know where I can find this quote?
Adam White
yes it's my quote
jazz is like a tree: good melodies branch out into beautiful leafy textures, sinewy roots drive deep into the soul of our soil, and lots of dead niggers can hang from a strong one.
what a spectacular mind
Evan Gray
No evidence, and it's entirely possible that he didn't write his shit out, but i would just personally be very surprised if that was the case.
I'm also not really sure what your distinction between "licks" and arpeggio patterns is... a lot of the licks I've learned from transcribing are just arpeggio patterns
Owen Reed
shut the fuck up loser
Connor Taylor
:(
Chase Gray
Yeah, it's the second time I've seen him live in a very intimate setting and it's great. I've heard people on Sup Forums criticize him for being too flashy with his technique and not "emotional" enough but when you see him live it's pretty obvious that he puts plenty of emotion into his playing and plays with a lot of conviction.
Ayden Lewis
If you listen to lots of jazz albums, you should notice that there are licks that continually crop up and players often have pet licks. If they didn't literally transcribe them down, players certainly heard these licks on records or from other musicians and woodshedded those specific ideas.
Bentley Carter
basically a lot of my difference in concept comes from me thinking most people spend too much time on stuff thats too big for them to really get a full grasp of. for instance if you transcribe a ii-V like that goes across 4 bars (ex. IA-ID7IGmaj7IGmaj7I) then you are giving yourself a pretty big task in trying to understand every aspect of whats happening in those 4 bars (rhythmically, phrasing, hamonically, melodically, voice leading, intervalic structure, etc.). It might just be me but i think it would take me pretty much a month of only practicing those 4 bars to understand it. not to mention contextualizing it, like yeah it might sound nice over that tune but what about a ii-V in a different tune, can be in the same key but if theres different notes in the melody in that section of a different tune then your already out of context cause your ignoring the melodic material that should still be sung in your mind during the entirety of the tune (in my opinion). I think it leads to a more spontaneous and, honestly, easier improvising process if i think if i just practice and study the mother fuck out of each aspect i mentioned above through various exercises i create and then just try to implement that knowledge over a tune by just playing the tune over and over solo (sometimes to a metronome, sometimes not, remember im a bassist) for a few hours. about the arpeggios i mean that for example when im praciticing harmonic ideas i just play any arpeggio pattern i can think of over the tune out of time, basically building until i am just playing the whole arpeggio, plus extensions, and any note in the melody over that chord. also melody notes are implemented at the same time i do guide tones, i think of voice leading guide tones and melody notes for the most part.
Gavin Thompson
okay man, yeah fucking of course i notice that lee morgan plays the same lick on like every record hes on starting with blue train, and of course ive fucking heard wynton and freddie hubbard play it too, and im sure Lee got it from maybe roy eldridge or clifford brown. basically what im saying is that if music is a language and every solo is like a poem , then lifting a lick is like learning a quote and then potentially varying it until it isnt just plagarism (hopefully!) and you have something that you can say is your own, but was inspired by so and so ernest hemingway or some shit. but you can also take just study the grammar and words dictionary well enough that you can just develop something else entirely, on top of that you read enough poetry to recognize the way your favorite poets do things and if you decide you want to pay particular tribute to fuckin maya angelou real quick then you can play something of your own that you would consider in the style of ms angelou or langston hughs or whitman. people seem to get real fuckin sensitive when someone mentions the idea of doing something outside of transcription and honestly i think its because they get insecure about the fact that without enough effort then you just end up plagarizing the shit out of someone elses work. if i hear some dipshit play that fuckin lee morgan lick from that blue train solo one more time im gonna kill everyone and then myself.
Nicholas Moore
This is THE SHIT. Soak it in Sup Forumsggots
Luke Perry
Well yeah if you only ever transcribe licks and then just play them note-for-note the way they were first played then your solos will suck. But there's no reason you can't do this occasionally, or just play the licks in the meantime while you're really getting inside the concept. Sometimes it's good to play shit that you know will sound good, even if you don't fully grasp all the concepts involved. It's part of learning.
I also don't agree with how much importance you seem to be placing on the written melody. I think it can be a good way to approach soloing, but it's not the only way. Personally, I find that if I keep the written melody in mind through the whole solo that it really limits my ability to phrase creatively and interestingly, or to use the melody of the tune, but in different or interesting ways. If the band is all over the place and the form is getting messed up, sure come back to the melody, but I generally find people who stick too close to the melody to be uninteresting to play with and listen to.
Samuel Martinez
I kek'd, have a (You)
Samuel Scott
Why wouldnt you consider the melody notes as part of the chord your improvising over? Thats what the composer wrote isnt it??? Im not say play the melody, im saying that its all equal parts!
Logan Myers
>kill everyone and then myself
that was a great patton oswald cd wasn't it
Eli Powell
Ah, well yeah I think it's just assumed that the melody note is part of the chord. I'm pretty sure they reflect the melody notes in the changes they have written in the real book. Maybe not always but a lot of the time they do.
Jackson Wood
Hahah yeah its a great cd, patton is the shit. Does stand up comedy fall under Sup Forums or Sup Forums or what.
Tyler Torres
Idk about the real book but yeah sometiems they do sometimes they dont, either way i think its really important to shed it as part of the chord.
Cooper Garcia
Bump
Alexander White
This is my least favorite JCOA recording, but I haven't heard Communication. Histrionic, hysteric, bipolar are the words I think of when listening to it. I prefer less crowded space in my free jazz.
Been listening to a lot of George Lewis (Homage to Charles Parker, Shadowgraph, w/Splitter Orchestra), some Grachan Moncur (the Blue Note albums), the Roswell Rudd/Steve Lacy Monk stuff, Albert Ayler's ESP recordings (triggered by the recent Hilversum LP reissue), Jeff Parker's Slight Freedom, Henry Kaiser's It's A Wonderful Life, lots of Ned Rothenberg's Trials of the Argo, and lastly a lot of 2017 free improvisation including Astral Spirit's last two batches, Matthias Müller's solo trombone (maybe my favorite 2017 record so far), Nate Wooley's Syllables comp, and some more solo efforts from Fred Lonberg-Holmes and Ilan Volkov (as well as releases from Toxic, Jaime Branch, Alice Coltrane, Will Guthrie, and Colin Stetson)
Luke Walker
Always and forever listening to Bill Evans.
Track of the day: youtube.com
Connor Hughes
roll
Jason Nguyen
Oh i forgot that i was listening to this zoot sims album this morning. Zoot really plays that smooth hard bop well.
Nathaniel Miller
not a big fan of that album, reroll
Jeremiah Torres
Christian Hughes
Charlie fucking Haden
Jaxon Allen
>jazz album doesn't list the personnel on the front cover
Aaron Sanchez
bumperoo
Logan Diaz
roll
Joseph Torres
>page 9
Wake up goofballs
Parker Foster
Where do i start with William Parker?
Anthony King
Oh geez, youll have to give me a minute. What do you usually listen to?
Lucas Powell
Last thing i really enjoyed was Iron Man by Eric Dolphy
Mason Williams
Post some vocal jazz tunes please.
Carson Brooks
Blake Williams
>Farmers By Nature- Out of this Worlds Distrotions...
>Daniel Carter- Painters Spring
>Other Dimensions in Music- Time is of the Essence is Beyond Time
If you just want an idea for who William is then i reccomend his solo albums
>Testimony
>Crumbling in the Shadows is Frueline Millers Stale Cake
If your looking for something different from any of those try
>The Gowanus Session (with Nels Cline)
>Mass for the Healing of the World
>Sunrise in the Tone World
>Luc's Lantern
>Altitude (personal favorite)
Also keep in mind his most famous work is in the David S. Ware Quartet so i really reccomend
>Go See The World
>Live In the World
>Surrendered
Hope this helps, I study with him and am seeing him sometime in the next few weeks if you have anything you want me to ask him i can do my best.