What Jazz are you listening to now?

[Stanfordian]

Interesting follow-on from the Bach Motets, Stan!

Curious maybe but yes that's what it's called!

[Stanfordian]

‘Saxophone Colossus’
Sonny Rollins with Tommy Flanagan, Doug Watkins & Max Roach
Prestige (1956)

[Stanfordian]

‘The Late Show’
Eddie ‘Lockjaw’ Davis with Johnny Griffin, Junior Mance, Larry Gales & Ben Riley
Prestige (rec. 1961)

[Stanfordian]

‘Screamin'’
Brother Jack McDuff with Leo Wright, Joe Dukes & Kenny Burrell
Prestige (1962)

[Stanfordian]

‘Headin’ South’
Horace Parlan with George Tucker, Al Harewood & Ray Barretto
Blue Note (1960)

[Stanfordian]

‘Tenor Madness’
Sonny Rollins with John Coltrane, Red Garland, Paul Chambers & Philly Joe Jones
Prestige (1956)

[Stanfordian]

‘Soul Call’
Kenny Burrell with Will Davis, Martin Rivera, Bill English & Ray Barretto
Prestige (1964)

[Stanfordian]

‘Tex Book Tenor’
Booker Ervin with Kenny Barron, Woody Shaw, Jan Arnet & Billy Higgins
Blue Note (1968)

[Stanfordian]

'Undercurrent'
Kenny Drew with Freddie Hubbard, Hank Mobley, Sam Jones & Louis Hayes
Blue Note (1960)

[Stanfordian]

‘Such Sweet Thunder’
Duke Ellington and his Orchestra
Columbia (1956/57)

[Joseph K]

Miles Smiles keeps getting better...

[Serial_Apologist]

Miles Smiles keeps getting better...

"Time/no changes" was the term applied to the performance metholology develioped by Miles with his band in the second half of the 1960s, and I think the term suffices in its own right to this very day, given that the music still sounds so fresh. It amounted to one way Miles adapted Ornette Coleman to his own concept: the steady pulse remains to govern pacing, but whatever harmonic structure there is can be stretched or condensed according to the soloist's inclination at the time. Arguably, present-day DJs do this when they extrapolate loops from given recordings and use them as riffs over which to layer other pre-recorded materials, adding echo and reverb, while latter-day free improvisers further channel such procedures through distorting devices. It's been the basis for how Wayne Shorter's current band has operated for the last decade at least, proving the point, and one could cite further evidence for the influence, beyond US shorelines. I particularly like Herbie Hancock's single-line solos, as a freer development of the approach Lennie Tristano deployed on his own "Line-Up" of some 10 years earlier. The Dutch pianist Jasper van t'Hof once mentioned these to me as being his favourites among Hancock's solos.

[Joseph K]

"Time/no changes" was the term applied to the performance metholology develioped by Miles with his band in the second half of the 1960s, and I think the term suffices in its own right to this very day, given that the music still sounds so fresh. It amounted to one way Miles adapted Ornette Coleman to his own concept: the steady pulse remains to govern pacing, but whatever harmonic structure there is can be stretched or condensed according to the soloist's inclination at the time. Arguably, present-day DJs do this when they extrapolate loops from given recordings and use them as riffs over which to layer other pre-recorded materials, adding echo and reverb, while latter-day free improvisers further channel such procedures through distorting devices. It's been the basis for how Wayne Shorter's current band has operated for the last decade at least, proving the point, and one could cite further evidence for the influence, beyond US shorelines. I particularly like Herbie Hancock's single-line solos, as a freer development of the approach Lennie Tristano deployed on his own "Line-Up" of some 10 years earlier. The Dutch pianist Jasper van t'Hof once mentioned these to me as being his favourites among Hancock's solos.

[BLUESNIK'S REVOX]

"I hadn't even realised it, but I had been staying glued to more Standard rhythmic and harmonic placement, because my right hand had been leaning on my left. But now my right hand had all this free space to work with. It was a revelation....even after we recorded "Miles Smiles", I kept playing one handed at gigs, my left just hanging at my side." - Herbie Hancock - "Possibilities" p95.

[Jazzrook]

Claude Thornhill Orchestra playing 'Anthropology' in 1947, arranged by Gil Evans:

https://www.youtube.com/watch?v=oX05oHu63JE

JR