What Jazz are you listening to now?

[Jazzrook]

West Coast alto saxophonist Earl Anderza's 'Outa Sight'(PACIFIC JAZZ) from 1962 which, as far as I know, was his only album as leader before disappearing from the scene.

Here's the title-track with Jack Wilson(piano); George Morrow(bass) & Donald Dean(drums):

https://www.youtube.com/watch?v=LYKmm3tXX7I

JR

[Stanfordian]

‘The Artistry of Freddie Hubbard’
Freddie Hubbard with Curtis Fuller, John Gilmore, Tommy Flanagan, Art Davis & Louis Hayes
Blue Note (1962)

[Stanfordian]

‘The Gigolo’
Lee Morgan with Wayne Shorter, Harold Mabern, Bob Cranshaw & Billy Higgins
Blue Note (1965)

[Stanfordian]

‘Ready for Freddie’
Freddie Hubbard with Bernard McKinney, Wayne Shorter, McCoy Tyner, Art Davis & Elvin Jones
Blue Note (1961)

[Jazzrook]

Sonny Rollins' 'East Broadway Rundown'(IMPULSE!) from 1966:

https://www.youtube.com/watch?v=RE925niyOWw

JR

[burning dog]

Art Blakey & The Jazz Messengers - Indestructible

https://www.youtube.com/watch?v=hmxrNg1rlXo

Blue Note - BST 84193 (Released 1985, DMM)

Bass – Reggie Workman
Drums – Art Blakey
Piano – Cedar Walton
Tenor Saxophone – Wayne Shorter
Trombone – Curtis Fuller
Trumpet – Lee Morgan

Recorded on April 24 & May 15, 1964.

[BLUESNIK'S REVOX]

Late(r) Lee Morgan, The Gigolo and The Procrastinator, a fabulous album and not typical Those Lee albums have been sniffed at by the Cook/Mortons but there is some superb stuff on them.

But especially "You go to my head" from The Gigolo, which became "the Lee Morgan arrangement" and band call, and which is truly wonderful . If they did nothing else in the studio that day they could have retired contented. Lee's solo and arrangement, Billy Higgins matchless drumming and Wayne Shorter's sneaking up entry and tenor solo. A perfect Valentine for JRR? Never heard this played on the radio...

BN.

[Stanfordian]

‘True Blue’
Tina Brooks with Freddie Hubbard, Duke Jordon, Sam Jones & Art Taylor
Blue Note (1960)

I'll be playing this later!

[Stanfordian]

‘Open Sesame’
Freddie Hubbard with Tina Brookes, McCoy Tyner, Sam Jones & Clifford Jarvis
Blue Note (1960)

[Ian Thumwood]

I have been playing some Egberto Gismonti in my car this week - I am capable of enjoying ECM records!!

The double album "Sanfona" is a gem. The first disc is performed by a quartet which largely features the leader on piano with a bass, drums and alto sax / flute. The tunes tend to sit more in the "jazz oeuvre" that a lot of his music and the record is worth the money for the tune "Loro" which is extremely catchy whilst also being very complicated.

In contrast, the second disc includes a multitude of solo tracks including one where he used an accordion. The guitar tracks are pretty incredible and offer another approach to extended improvisation which straddles jazz, folk music and classical to produce something that it entirely unique. Sometimes the music can be quite brutal and jarring whereas there are other moments which are extremely tender. I find Gismonti to be a fantastic improviser and because of the long nature of some of his solos, they take a while to digest. The music is compelling without thinking about the technical aspect of the performance which is typically baffling. For me, Gismonti is amongst a clutch of guitar players who remain the most consistent artists on Eicher's label. If you want jazz to be "the sound of surprise", it is difficult to think of anyone more surprising than Gismonti whose approach to music is totally unique.

[Serial_Apologist]

I have been playing some Egberto Gismonti in my car this week - I am capable of enjoying ECM records!!

The double album "Sanfona" is a gem. The first disc is performed by a quartet which largely features the leader on piano with a bass, drums and alto sax / flute. The tunes tend to sit more in the "jazz oeuvre" that a lot of his music and the record is worth the money for the tune "Loro" which is extremely catchy whilst also being very complicated.

In contrast, the second disc includes a multitude of solo tracks including one where he used an accordion. The guitar tracks are pretty incredible and offer another approach to extended improvisation which straddles jazz, folk music and classical to produce something that it entirely unique. Sometimes the music can be quite brutal and jarring whereas there are other moments which are extremely tender. I find Gismonti to be a fantastic improviser and because of the long nature of some of his solos, they take a while to digest. The music is compelling without thinking about the technical aspect of the performance which is typically baffling. For me, Gismonti is amongst a clutch of guitar players who remain the most consistent artists on Eicher's label. If you want jazz to be "the sound of surprise", it is difficult to think of anyone more surprising than Gismonti whose approach to music is totally unique.

Gismonti is also a fantastic pianist, too. I only found this out when listening to Norma Winstone in interview (possibly with Alyn) a number of years ago, in which she chose a selection of recordings, DID-style, as significant to her, one of which included a track of Gismonti performing one of his own compositions. It was as virtuosic a performance as anyone famous in the classical world essaying piano music by Villa-Lobos or Ginastera, and one presumes had an improvisatory element, even if this was more merely of a decorative than re- or deconstructive type found in jazz. The British pianist Gwylym Simcock can imitate this better than anybody I can think of - the emphasis being on imitate.

Hermeto Pascoal's stuff I find incredible - he's been over here and collaborated with the likes of Django Bates, stylistically Pascoal's acolyte in so many ways, as well as Zappa's - and very popular across jazz musicians here active across many genres.

[Ian Thumwood]

SA

I agree but think that Pascoal tends to mess around too much. I take Gismonti far more seriously as a musician and composer. Gismonti was self-taught although he later studied with Nadia Boulanger. His music does take a lot from Classical composers and there is a fabulous solo guitar album called 2Dance of the slaves" where he records the famous Villa Lobos prelude that describes a local steam train. Some of his music has a romanticism that owes it's origins to someone like Chopin who himself was a great improviser. It is amazing just how many other guitarists who cite him as their favourite soloist ( I can recall Emily Remler being a massive fan) but I think anyone who genuinely loves music would be a fan of this musician.

[Stanfordian]

‘The Rat Race Blues’
Gigi Gryce with Mickey Roker, Richard Gene Williams, Richard Rylands & Reggie Workman
New Jazz (1960)

[Stanfordian]

‘Una Mas’
Kenny Dorham with Joe Henderson, Herbie Hancock, Butch Warren & Tony Williams
Blue Note (1963)

[Stanfordian]

‘Side by Side’
Duke Ellington and Johnny Hodges with Harry ‘Sweets’ Ellison, Les Spann, Sam Jones, Al Hall & Jo Jones
Verve (1959)