/jazz/

Prove you're not a pleb and review the last jazz album you listened to.

Doesn't matter how long or short the review, just put forth a concrete opinion and explain it.

Other urls found in this thread:

youtube.com/watch?v=CnAtaneReNI&ab_channel=chikaipon
urbandictionary.com/define.php?term=corny
youtu.be/QSmYTc1Jv7w
mega.nz/#!Ms1QDaaK!WsIr_FdT8BR9U1ZnSZ0-6s7h0l2hbtRzyzroPW9jDWQ
youtube.com/watch?v=-3gmyJGBMgY
mega.nz/#F!ZtYTTD4B!RMxDHUGvnVDVugtVNi0O2A
youtube.com/watch?v=F7hHAQOopho
mega.nz/#F!glFiGAQD!ynHya0o-cfRegy5ltfw2Fg
mariaschneider.com/albuminfo.aspx?ID=1007
mega.nz/#F!Rt1QWIIJ!fX1w9QwaFvB3h4F02T8B9A
intaktrec.bandcamp.com/album/visiting-texture
mega.nz/#F!x8EzDDyY!b2yf3p6UxsEsqf7H-na2Aw
youtube.com/watch?v=pK6Nt-Qr4JE
rbt.asia/mu/thread/56609622/#56616410
rbt.asia/mu/thread/48634890/#48634890
rbt.asia/mu/thread/72828039/#72830443
rbt.asia/mu/thread/54427165/#54433017
twitter.com/SFWRedditImages

Last album I heard was Moanin' and and I liked the sound and the drums :)

Wes Montgomery - Road Song

Found the LP in the discount bin at the record store, it was the last LP he recorded before dying. Mainly covers of pop songs like Beatles Yesterday and Simon/Garfunkel - Scarborough Fair. Very uninspired and boring, not really much effort in his playing, even Herbie on Piano didn't seem very enthused about it. The title track and Pete Seeger cover at the end were the only listenable tracks.

This was way better than I was expecting because I never liked any of Iyer's trio albums that I have heard. I thought the songs were really good and all the sax solos were amazing.

Somebody yesterday was saying that it was too rock influenced or something. I don't know what he was talking about though. Like yeah a couple of the songs have a backbeat but there's a lot else going on and it seems like most modern jazz has at least some backbeat these days.

forgot pic

Good shit

I feel like this is one of those ones that I see all the time in record stores and it's always like $2 or 3

bump

bump so this doesn't die while I'm writing my review...

Good shit

I also listened to this

From the line-up you might guess that this might be a mash-up between Iyer's recent albums - on bass there's Stephan Crump and Tyshawn Sorey has often played with Iyer and occasionally fills in for Marcus Gilmore in Iyer's Trio - and Steve Lehman's octet - not only is Lehman on alto sax, but there's also Mark Shim from that group on tenor sax and Sorey plays drums there as well and I'd say that sets expectations pretty correctly.

More quiet and slow moments sound quite a bit like Iyer's trio work - somber, yet somehow heavy. Iyer is a huge fan of Monk and certainly understands the value of maintaining some tension.

When the saxes become more prominent, the group often does sound like Lehman's octet with it's determined horn lines. Lehman's alto playing sounds quite a bit like Rudresh Mahanthappa who has worked extensively with Iyer and I think the match works well.

There are some electronics-laced moments, one track recalls Miles in the 70's with some heavy effects on Graham Haynes' trumpet. Based on the first listen these really didn't sound like they fit the flow and the mood of the album all that well. The instrumental-hiphop-meets-Monk-piano-solo track Nope also has the same problem - just do an entire album of strong tracks that make use of the entire sextet like the opener and closer tracks and it would be a real winner.

Some very good music here, but the long arc of the entire album leaves room for improvement.

would you guys consider this "free jazz"?

no ._.

Last jazz album I listened to was Circle - Live in Germany.
The first half of the album in particular, is pretty fucking wild. Way wilder than much of what these guys would get up to in their later careers. A few months later, these guys would be recording Conference sans Chick plus Rivers and they had gotten WAAAAAY more grounded in that time. They jam out on Q&A for this performance, the head is way looser and more sporadic and once they get out of the head, it's basically a free for all. Occasionally, someone like Chick will reference what they were doing in the head, but otherwise they're just listening to each other and letting the music go wherever.
This performance and the Circle recording in general are really exploitative and shows these guys in a light I haven't heard them much in. It shows Chick was a disciple of Cecil Taylor before L. Ron Hubbard and Sheet metal works surprisingly well as a percussive instrument in free jazz.
The second side swings hard, but it's still post boppy as fuck and sprawling and experimental at times. Braxton's solo is particularly interesting and goes from a very Eric Dolphy style "bop skeleton with harsh extended techniques and unusual harmony" solo into some like....timbre explorations ala Albert Ayler or like, Meditations era Pharoah Sanders. There's definitely two sax players at some point during the solo too, but I've no clue who the other guy is...discogs says it's just Braxton on the album, but I doubt he overdubed himself. Something to look into I suppose.
Great album in any case, very versatile with some of the best playing these guys ever did.

Nice review my man. Do you have RYM?

Nah, not one I use anyway.
I just like writing reviews on Sup Forums every so often when I feel nostalgic for /blindfold/ threads.

I don't listen to jazz.
But I like playing jazz chords.

Who's got a link?

I bet you're like that guy who doesn't ever read but who awkwardly tries to use big, fancy words and then misuses/mispronounces them half the time

projection?

RIP /blindfold/

I can't write for shit, but I'm enjoying reading these reviews. Can anyone who knows them comment on Phronesis, and how they've changed across their albums? I loved their early work, and feel like I'm missing something on Parallax and especially The Behemoth. Can someone who liked both their new albums and their old ones help talk me across the gap?

This was pretty good chill core

the late 60's-early 70's Corea stuff is pretty dope - Circle, A.R.C and IS

I don't know if it's true, but it's at least a persistent rumor that Hubbard told him to quit that avant-garde/free shit when he was getting more involved in scientology in that time

The Behemoth is easy to explain - since they're working with a big band, there's bound to be something lost as one of the best things about Phronesis is how tight and nimble they are, the big band is just too big to move at that speed so at least for me that made The Behemoth less enjoyable

Corniest album this year

Yeah, I guess I was just clinging to the hope that somehow the democracy of the trio was going to magically translate to a big-band.

So, does it gain anything valuable from the big-band setting in your eyes, or are you like me in that you think The Behemoth is straight-up inferior to their work as a trio?

some of the tracks are OK - I like the Behemoth version of Untitled, not something I'd like to see them do another album of, though

At the very least Chick has blamed scientology for the direction change. He did actually know Hubbard too, so it's not unlikely the suggestion came from the man himself.
>I no longer wanted to satisfy myself. I really want to connect with the world and make my music mean something to people.

Fuck that noise though, Chick's free stuff means a hell of a lot more to me than most of the rest of his catalog. He had some class fusion stuff for sure, but I just can't help but feel he could have done so much better if he hadn't felt the need to make his music more accessible.

Still though, without scientology, we wouldn't have the absolute peak of 80s cheese: The Chick Corea Elektric Band
>youtube.com/watch?v=CnAtaneReNI&ab_channel=chikaipon
>dat robot dancing tho
Gotta make a gif out of that shit some day.

>tfw poor Duke with no clue how to handle comping under John on Take the Coltrane
Coltrane gets pretty far out when afforded that pseudo-chordless freedom too. It probs wasn't intentional, but it kinda works out really well.
Also, while there are shaky moments like that where it feels like they're having trouble gelling, they more than make up with it for the beautiful times they do mix nicely. That version of In a Sentimental Mood is one of Duke's late in life masterpieces for sure.

>listening to jazz
Found the pleb.

Is it you?

wtf does corny even mean?

Joni Mitchell- Mingus
The 4 travks composed by minhus are clearly a cut above the others. Joni and jaco are great, shorter fits very well into jonis harmonic concept though herbies voicings seem aliitle bland compared to mitchells strange open with capo chords. Great record though in consistent. You could really just listen to the 4 mingus composed tracks and be set. 8.2 of 10.

Looks good.

I think he just made the choice to sit out on that tune. Besides, he does well comping at the end.

Vijay suuucks. The antithesis of fucking jazz nerd circle jerking. Boring once you get past the good technique and lacks any real edge and emotion. Its the new york intellectual technical wank fest as opposed to the philly SMASHJAZZ technical wank fest and i honestly think id rather hear philly smash then this prententious crap. Only redeeming quality to iyers career is bank rolling tyshawn soreys good stuff as a leader.

Duke may have been trying to free trane up by getting rid of the piano comping, yeah. Mccoy often makes this choice when playing with trane begining in 62 or so.

i don't need to prove shit, thankfully, but i feel the need to share this.

i listened to Ryo Fukui's Scenery and it's marveous. I've always loved lead work, specially on piano or guitar. The way this guy leads around the chords he plays is mesmerizing. Seems just like any other jazz piano album at first, but it really gets under your skin. The basslines are absolutely perfect every time and he even opens up space for the bass guy to solo. just an amazing jam-session-like album, it seems to flow effortlessly, as if they just made all that up.

I don't think you understand what the word 'antithesis' means. If you think that Vijay is technically proficient, yet overly-intellectual and unemotional, then you could call him archetypal of jazz nerd circle jerking, but not antithetical of it.

Holy shit, just saw that JTG gave it 5 stars. Seconding request for a dl link

Top kek

Perhaps he could use a little more intellectualism in his life

Just doesn't strike me as something Duke would go for in a small group. Especially considering how weird the end result is. It'd be tame on an album like, Giant Steps but it's fucking alien compared to the usual soloists Duke worked with.
It'd be interesting if it was premeditated though. It's a fairly modern idea for Duke Ellington. He'd probs heard the likes of the Gerry Mulligan quartet, but the whole thing kinda meant something different by the early 60s with how Coltrane and Ornette Coleman were doing it.

Swing revival kino.

Relevant

bump

Never trusted that nigga's taste. This album is as mediocre as it gets.
urbandictionary.com/define.php?term=corny

Hey B, let's play that funky dope J-Dilla Joint. REAL NEW YORK HIP HOP JAZZ Shit. Like BADBADNOTGOOD but you can play this shit at cocktail parties too.

the last jazz album I listened to was W Shorter's Speak No Evil as it was his birthday and I've been digging the Anthony Braxton performance of Juju on YouTube.

I like Shorter, he has a very meditated and 'down to earth' way of playing. this CD was varied but never hard to appreciate. something was mentioned in the liner notes about his influence from John Coltrane's playing, but honestly I don't hear that. Wayne's playing is far more relaxed, still very modern sounding. Hancock on piano really provides a nice comp too, and the rhythm section is especially solid. I forget the drummer's name but his rhythmic awareness on tjis album is quite peak performance, some really polished playing and good takes.

atm I am listening to Birth of the Cool. I haven't listened to the album maybe more than twice but it's definitely the Miles I like best. it's the best mix of fine composition and an enduring curiosity from the soloists. the playing sounds fresh even today, even for quite an early era album it is easy to miss the tropes before they're happening. very hip

Well what's some modern jazz that you like?

Spoiler: it doesn't matter what albums you pick because I'm going to say that they're all corny and be just as justified as you

youtu.be/QSmYTc1Jv7w

Robert Glasper is neat

Solid thread. Rec something recent with a violin in a prominent role, please.

Jazz musician. Not an author. Sorry about misusing the word.

Oh fuck off.

>Black jazz artist makes complex, technical, and unique sounding jazz
>He's universally hailed as an innovative genius (Eric Dolphy, Andrew Hill, Anthony Braxton)

>non-black jazz artist makes complex, technical, or unique sounding jazz
>"these white academics are what killed jazz"
or better yet
>not real jazz lol

Maybe stick to country music then boy. There's a reason for that.

What is it?

Most of the recent highly praised jazz stuff often tends to have a more chaotic, dissonant, free and avant garde jazz bent. Maria Schneider Orchestra has seemingly been the exception to this, making big band jazz with an enormous ensemble that also has obvious classical music influences. Maria Schneider it seems is more content with following up on Duke Ellington than Ornette Coleman or John Coltrane. To me one of the standout aspects of this album is how it uses a combination of a very jazzy approach to dynamics/note velocity that has an organic fading feel to it, subtle addition/subtraction of layers within the instrumentation, and spatial awareness that's either based on where they recorded or through stereo mastering all done to give the album the particular atmospheric approach it was going for (The Thompson Fields is the farm area where Schneider was raised). The 19 man ensemble is often not playing all at once, nor are they playing similar stuff either thus not only is there many subtle moving parts to the works, but also a display of knowledge of timbre and harmony from Schneider that I have rarely ever seen in jazz. Now a record like this wouldn't normally have made much space for improvisation, but there's quite a bit going on mainly from sax players Dave Peitro and Steve Wilson. Although I have to wonder whether they are actually improvisations or part of the compositions as well just because they all fit each section so well whether it's slow droned out notes or very fast paced yet tongued notes which give them that percussive feel.

Schneider has demonstrated excellent skill as both a composer and band leader on this album, and if any of her other albums are as consistently good as this one I can easily see her as potentially being up there with Ellington and Mingus among others as one of the greatest bandleaders in jazz. Brb getting the rest of her discography.

Is this for real?

>Vijay Iyer is corny
Ok I'm with you so far

>Robert Glasper is neat
See pic

Yes, why wouldn't it be?

That wasn't my post. Robert Glasper is corny as fuck for the same reasons the new Vijay Iyer album is bad. Cheesy Hip Hop "fusion" hamfistedly shoved in there for the sake of commercialism or an attempt to stay "Fresh". Vijay Iyer is doing the same thing as cheesy bands like BBNG except it's worse because he's a 50 year old Indian guy.

Have you actually listened to his new album tho? Like yeah I think some of the hip hop shit he's done with the trio sucks but I heard almost none of that kind of stuff on my first listen through of the new album.

I'm here to get flamed for asking what you guys think of BADBADNOTGOOD. Also is there any modern jazz you consider good, since I have a feeling I already know the answer?

Zach brock but i dont love his playing. Super nice guy though, get coffee with him a lot.

So you still haven't answered... what's some modern jazz that you like?

Thanks, user

Listen to the track "nope"

Henry Threadgill's Zooid is a great group

>Listen to the track "nope

Listening now. It obviously has a back beat, but other than that what makes it hip hop?

Also that's one 5 minute track out of an hour long album.

I like the varying levels of intensity, experimentation and use of guitars and other influences from different genres.

John Abercrombie- Cat n Mouse

Similar to Dolphy's Out to Lunch, the piano swapped for vibraphone infinitely helps the compositions out here, and the album almost always feels as if it's floating; definitely a 10/10 jazz album for me

Thanks, user

Honestly, I've been really digging the Time series of albums by The Dave Brubek Quartet. I love the unusual grooves that it has overall, kinda makes me wonder what a fusion between cool jazz and math rock would be like.

Since some people are asking/have asked for some recent records' links, here they are.

Starting with the couple that have already been shared in the past:

The Necks - Unfold (2017, 320kpbs)
>Free improvisation, Avant-Garde Jazz, Ambient, "post-minimalism"
mega.nz/#!Ms1QDaaK!WsIr_FdT8BR9U1ZnSZ0-6s7h0l2hbtRzyzroPW9jDWQ

Sample: youtube.com/watch?v=-3gmyJGBMgY


Vijay Iyer Sextet - Far From Over (2017, Web FLAC)
>very groove centric post-bop
mega.nz/#F!ZtYTTD4B!RMxDHUGvnVDVugtVNi0O2A

Sample: youtube.com/watch?v=F7hHAQOopho

As for stuff I am gonna newly share:

Maria Schneider Orchestra - The Thompson Fields (2015, 320 kbps)
>Classical influenced big band like Ellington or Gil Evans. AllAbout Jazz 5/5, Downbeat Reader's Poll AOTY 2015, Grammy Award for best Large Ensemble Jazz 2017
mega.nz/#F!glFiGAQD!ynHya0o-cfRegy5ltfw2Fg

Samples (they are excerpts): mariaschneider.com/albuminfo.aspx?ID=1007

Trio 3 - Visiting Texture (2017, FLAC and 320 kbps)
>free jazz trio focusing on interesting approach towards textures in jazz
mega.nz/#F!Rt1QWIIJ!fX1w9QwaFvB3h4F02T8B9A

Sample: intaktrec.bandcamp.com/album/visiting-texture

Baptiste Trotignon & Yosvany Terry - Ancestral Memories (2017, 320kbps)
>Yosvany Terry continues his "combine jazz with Afro-Cuban music" route this time in a quartet ensemble; Terry in general is loved a lot by more frequent /jazz/ posters as well
mega.nz/#F!x8EzDDyY!b2yf3p6UxsEsqf7H-na2Aw

Sample: youtube.com/watch?v=pK6Nt-Qr4JE

good post

Do you guys have any idea why jazz is more emotionally restrained than blues and rock, say?

Is that important to perform most jazz well, as it's more complex, as a rule, than the other genres I mentioned?

This is specially easy to notice in the guitar playing.

In what way is it more emotionally restrained than those genres?

This isn't true at all though. It just takes a very different approach towards displaying emotion than pop music genres. I understand to an extent why people say this about classical and jazz so much, but it's just not true, and if anything it's subjective. A normie might find the most emotional enjoyment from a radio pop track that you might think is vapid, the same way for example...I personally think that classical, jazz, and certain experimental/ambient forms of music are the best at portraying emotion in music because they are stuck to restrictions that pop music genres like blues and rock are, but you may not look at it that way.

I think it's more subtle. There are fewer screaming climaxes.

Not saying that as a negative thing, quite on the contrary for my current tastes.

That said, I could be wrong. I'm new to jazz.

Obviously no

Because it isn't true? Name a single case of this happening.

They are *not stuck to the restrictions that pop music genres are. But yeah you're definitely new if you think that.

>makes me wonder what a fusion between cool jazz and math rock would be like.

Ever heard of Tortoise and Isotope 217?

First album I've heard from Nina. Compositions were beautiful, I love Nina's voice and she's a wonderful piano player. I don't think there's a single bad track on here.

Strings are just an added bonus because I love string sections.

Favorite track was Porgy, I Is Your Woman Now

complex without ever becoming self-indulgent. i love the complex rhythms and the atonal passages.

There are three examples of black artists in the first post.

For an example of how non black artists are received just look at what people in this thread are saying about Vijay Iyer.

Not that other guy, but I hope you aren't serious. Black guys like Kamasi, Glasper, Hancock/Davis' 80s/90s careers, etc. have all gotten shit as well for being corny gimmick trash as well as non-black artists in jazz.

Because none of the artists that you mention are making/made complex or technically advanced music

i was just listening to idle moments by grant green
im not very good at describing music, especially jazz
the guitar was really cool though, makes me excited to practice

The initial post said complex, technical, OR unique sounding jazz. They definitely go into the unique sounding aspect with all of them being some example or another of adding some gimmicks to jazz. But if you want an example that's still technical, there's Pharaoh Sanders' mid career stuff right before his poppier/chiller late career stuff where the lame pop influences were already coming in but what he played was still technical. Or that Feldspar record Matana Roberts is on.

Not to mention works from non-blacks ranging from classics from guys like Stan Keton, Dave Brubeck, Bill Evans, Peter Brotzmann, etc. to modern day examples like Alex Sipiagin, Rudresh Mahanthappa (he's indian and he doesn't do corny!), Maria Schneider who all make very complex music that's highly regarded.

You should probably pay attention to the music itself instead of making broad generalizations. That way you'll realize that the new Iyer record isn't actually all that complex/technical either, in fact I personally am not about it because of how much the album relies on repeated phrases and simplistic groove centered only drumming that doesn't allow for much variety/creativity for the rhythm section.

>Stan Keton, Dave Brubeck, Bill Evans, Peter Brotzmann, etc. to modern day examples like Alex Sipiagin, Rudresh Mahanthappa

I've seen people post variations of "academic bullshit killing jazz" or "not real jazz" about every single one of those artists

I guess though that none of them were you, so feel free to disregard that original post since it wasn't directed at you

That's bullshit. Brubeck's album Time Out is one of the best selling jazz albums of all time and also has some of the highest view numbers for something jazz related on YouTube as well. Even Brotzmann, who has his fair share of haters, aren't into him because of his reliance on just abrasive timbres not because muh academic bullshit. Sipiagin and Mahathappa's approaches are also relatively close to conventional post-bop styles as well, so I can't see anything related to academics or "not real jazz" about them. You gotta start posting some evidence my man, cuz I at this point me and others here wonder where you're getting this shit from.

lol you can choose not to believe me if you want but I promise you I've seen it before on Sup Forums

As I said before, feel free to disregard that post since it's obviously not directed at you

rbt.asia/mu/thread/56609622/#56616410

rbt.asia/mu/thread/48634890/#48634890

rbt.asia/mu/thread/72828039/#72830443

rbt.asia/mu/thread/54427165/#54433017

Haven't listened to this yet but I'm happy to see it's already stirring up some controversy.

Exactly what this dead general needs.