Prove you're not a pleb and review a jazz album from this year.
Doesn't matter how long or short the review, just put forth a concrete opinion and explain it.
Also, talk about jazz in general I guess.
Essential Jazz:
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Essential Jazz-Fusion:
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>Sup Forums jazz guides and charts
imgur.com
>releases, reviews and news
pastebin.com
>music downloads
archive.org
>historical resources
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mega.nz
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>jazz theory and playing resources
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Other urls found in this thread:
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fuck off jtg
I can't stop listening to Naked City, really like the chaotic sound of this album. What stuff should I check out similar to this?
Cherry Sakura anyone?
you first
I haven't even bothered to listen to any new jazz this year because I'm a lazy cunt. I might look through AAJ later and see if they've reviewed anything good.
Does jazzthreadguy still post here, or does he just stick to rym now? Has he given up on Sup Forums?
so which of these in the pic are actually good
haven't heard all, but I recommend Tigran, Stanko, Zenon, Binney and Berne
Opinions?
I had a chance to see them live at a jazz festival, but chose to see The Bad Plus instead
I think they're pretty good in what they do
Fell in love with Cristian Scott this year (stretch music) and saw him play a festival. Wonderfull set/artist and elena pinderhughes is amazing. Diaspora
Any big fans of Herbie Hancock here? Empyrean Isles and Maiden Voyage helped me get into jazz in the first place but I haven't heard anything else of his. Now I picked him to do a study and presentation on for my college jazz history course. What other albums of his would you most recommend?
Herbie has such a big, varied catalogue and it's definitely worth checking every album. Some of my favourites are mwandishi(psychedelic), headhunters(hiphopfunk), speak like a child and sunlight (disco)
what are your favourite solos or takes? one solo I really like atm is Sonny Rollins on John S, great exit as well with good interplay from Jim Hall throughout
Takin' off, Sextant and Head Hunters, V.S.O.P. His colab with Jaco Pastorius is good as well. To be honest, he played in a shit ton of great albums. Most of Wayne Shorter's, for example
Wayne Shorter' on Red Clay and the Lee Morgan solo on Moanin'
To whoever started a jazz thread with this album as the OP, thank you. I've been thirsting for new music and this hit every single spot I had. Early Summer is so goddamn good, I've listened to this album at least four times since I got it. You the man.
>no Colin Stetson
OP what the fuck
Miles Davis solo on Freddie Freeloader
So subtle it's just perfect
Any good free jazz and/or spiritual jazz albums out this year?
you guys should give these albums a listen, both from last year
open.spotify.com
open.spotify.com
Who is your favorite contemporary player on these instruments?
>trumpet
>tenor sax
>alto sax
>piano
>guitar
>bass
>drums
What's the jazz tune in this trailer?
>free jazz player has amazing traditional technique on their instrument
This is my jazz fetish. I know Dolphy and Coltrane but who else?
Sean Jones is an absolute monster on trumpet, definitely my favourite alongside James Morrison (and I have a soft spot for Thomas Gansch although he's not strictly a jazzer)
Herlin Riley is still the boss on kit
John Escreet
Any album recs?
Vijay Iyer- Far From Over
I thought the album was really good. I feel like the people calling it 'corny' or whatever probably didn't actually listen to it or just skimmed a few tracks and are just saying that based on Vijay Iyer's earlier albums.
I thought it was a really nice mix of Wayne Shorter or Andrew Hill type post bop but with plenty of nice free jazz mixed in too. There was also some fusion influence in there too with electric piano and some rock/funk beats at times, but definitely not the bulk of the album. I really liked the tenor saxophonist. Apparently his name is Mark Shim. I've never heard of him before but I'll be looking up some of his other music.
The comparison to point of departure by Andrew Hill didn't occur to me when I first listened to it, but after reading jtg's review and then re listening to a few of the tracks I think it's pretty spot on. On first listen I thought the trumpet player's solos were weak compared to Mark Shim's and Steve Lehman's but I can also see how that's probably intentional to give the group a sense of contrast.
I've only listened to a few other jazz releases this year but I think this one was the best that I've heard.
bump for ya
New to this
Gus Arnheim
youtube.com
more reviews, go
How about 2 each
>trumpet
Alex Sipiagin
Terell Stafford
>tenor sax
Chris Potter
Tim Warfield
>alto sax
David Binney
Yosvany Terry
>piano
David Kikoski
John Escreet
>guitar
Lage Lund
Adam Rogers
>bass
Scott Colley
Boris Kozlov
>drums
Antonio Sanchez
Eric Harland
Here's a good one that I haven't seen anyone mention.
For his 2017 release, bassist Mario Pavone returns to the Clean Feed label for his second release under their banner. This time around, Pavone explores a four-horn sextet format fronted by trumpeter Dave Ballou, saxophonist Tony Malaby, clarinetist Oscar Noriega, trombonist Peter McEachern, while drummer Mike Sarin joins Pavone in the rhythm section.
The set is comprised of eleven original pieces which vary widely in length, and whose titles seem to outline a geometric theme that winds through the album. The four-horn frontline yields a wide palette of possible colors and textures, (especially with Malaby doubling on tenor/soprano and Noriega on soprano/bass clarinets) and Pavone's compositions take advantage of these possibilities, sometimes voicing a single melodic line colorfully between all four horns, like in "Ellipse," or "Start Oval," and sometimes using the four horns to create dense, knotty counterpoint, like in the excellent "Cube Code."
Pavone assumes the leadership role in the group with thick, commanding basslines that are thankfully high in the mix. The compositions of the tunes are often structured around the potent grooves that he and Sarin create together and as the horns improvise, the grooves liquify and become less defined, (though no less potent,) forming a conversational dialogue that creates a shifting canvas for the colorful horn solos. The soloists join the interplay at times, though they also seem comfortable in the role of adding sonic color to the more interesting improvisation going on between Pavone and Sarin.
There is a fair amount of variety among the compositions, though even more variety could have yielded a better album overall. One composition in particular that stands out is titled "Horizontal." The piece introduces two distinct themes, first a brightly dissonant chorale from Ballou, Malaby, and Noriega, then a blustery march from McEachern and the rhythm section. The two themes bounce back and forth, before they combine to finish out the short, but exceptionally well-crafted composition.
Overall the album is a very nice meshing of composition and free improvisation. The four horn players all have plenty of opportunity to solo (both individually, and in various combinations) and explore some interesting melodic and sonic territory, but what really makes the album work is the excellent rhythmic backdrop that Pavone and Sarin provide. It's deep music that will definitely reward close, repeated listening