What Jazz are you listening to now?

[Beef Oven!]

Bobby Hutcherson - Oblique

I was put onto this album by one of the Jazz forumites. I bought the album on 02 Feb 2014 - better late than never!!

[Tenor Freak]

Oblique is excellent. "'Til Then" is a beautiful track.

[Beef Oven!]

Oblique is excellent. "'Til Then" is a beautiful track.

Yes, it’s pure class.

[Beef Oven!]

Two nights ago I listened to ‘Happenings’ (bought the CD a short while ago after following a discussion on here). Also downloaded ‘Total Eclipse’ on Hi-Res and played it through twice (excellent album). I got into Bobby Hutcherson through ‘Dialogue’ from a recommendation on here. I then bought ‘Oblique’.

I’m thinking of where to go next from these four BH albums.

This, maybe?

[teamsaint]

I often read this thread, although almost never contribute, due to woefully inadequate knowledge to add anything useful.

However, I'm tempted to give a couple of the Bobby Hutcherson albums a whirl, and interested in ITs thoughts about Art Blakey, who I have been listening to a lot recently.

[Ian Thumwood]

Teamsaint

"Free for all" still remains the best Blakey disc I have in my collection. I also have the eponymous Jazz messengers disc that is better known as "Moanin'" and "The big beat" which took me a long while to appreciate. I always find myself thinking about Blakey's mentor Chick Webb whenever I hear him and whilst the context may be different from the 1930's big band swing of the older musician, for me philosophy of Blakey's approach of the drums dominating comes straight from Webb. I also think that Blakey must have love the bombast of Webb's bands as the Messengers, like Horace Silver's groups, always seem to be refracting a big band mentality through a smaller ensemble. There is a good deal of riffs being played by horns and a focus on dynamics. I must admit to preferring the line up with Wayne shorter, Freddie Hubbard and Cedar Walton although a big part of the appeal is Curtis Fuller's trombone. again, Fuller is another fabulous musician like Odean Pope who deserves more praise.

It is interesting that the idea of Hard Bop promoted by Blue Note seems to be far more complex that simply having a tenor and trumpet playing a theme in unison before the solos come in and the theme returns to close the track. Whilst the formula is apparent with a lot of the groups assembled by Lions, the two standard bearers of the oeuvre in Silver and Blakey seem very different and far more given over the arrangements that you might suppose. "Mosaic" seems to be the next one that really appeals.

[Stanfordian]

Two nights ago I listened to ‘Happenings’ (bought the CD a short while ago after following a discussion on here). Also downloaded ‘Total Eclipse’ on Hi-Res and played it through twice (excellent album). I got into Bobby Hutcherson through ‘Dialogue’ from a recommendation on here. I then bought ‘Oblique’.

I’m thinking of where to go next from these four BH albums.

This, maybe?

Hiya Beefy,

If you don't know them already why not try:
Joe Henderson 'Page One'
Ike Quebec 'Blue and Sentimental'
Hank Mobley 'Soul Station'
Kenny Burrell 'Midnight Blue'
Till Bronner 'At the End of the Day' album of covers

[Beef Oven!]

Hiya Beefy,

If you don't know them already why not try:
Joe Henderson 'Page One'
Ike Quebec 'Blue and Sentimental'
Hank Mobley 'Soul Station'
Kenny Burrell 'Midnight Blue'
Till Bronner 'At the End of the Day' album of covers

Cheers Stan - I have four of those on CD and I’ve heard the other two (Henderson & Bronner).

I was thinking of where next on Hutcherson. Listened to some albums on AppleMusic, and ended up going for ‘Stick-Up!

Currently listening to Wayne Shorter’s ‘Speak No Evil’ on CD.


.

[teamsaint]

Teamsaint

"Free for all" still remains the best Blakey disc I have in my collection. I also have the eponymous Jazz messengers disc that is better known as "Moanin'" and "The big beat" which took me a long while to appreciate. I always find myself thinking about Blakey's mentor Chick Webb whenever I hear him and whilst the context may be different from the 1930's big band swing of the older musician, for me philosophy of Blakey's approach of the drums dominating comes straight from Webb. I also think that Blakey must have love the bombast of Webb's bands as the Messengers, like Horace Silver's groups, always seem to be refracting a big band mentality through a smaller ensemble. There is a good deal of riffs being played by horns and a focus on dynamics. I must admit to preferring the line up with Wayne shorter, Freddie Hubbard and Cedar Walton although a big part of the appeal is Curtis Fuller's trombone. again, Fuller is another fabulous musician like Odean Pope who deserves more praise.

It is interesting that the idea of Hard Bop promoted by Blue Note seems to be far more complex that simply having a tenor and trumpet playing a theme in unison before the solos come in and the theme returns to close the track. Whilst the formula is apparent with a lot of the groups assembled by Lions, the two standard bearers of the oeuvre in Silver and Blakey seem very different and far more given over the arrangements that you might suppose. "Mosaic" seems to be the next one that really appeals.

THanks for those thoughts ,Ian.
I'll certainly check out Free for all very soon.

Mosaic is a terrific record.

[Lat-Literal]

I am just starting to look through - and play - some CDs I bought a long time ago and didn't actually know I had. They include Blakey and the Jazz Messengers on Impulse!, Blakey's Theory of Art and Wynton Marsalis with the Jazz Messengers Vol 2 - My Ideal.. Also Sonny Clark's Standards, Paul Desmond's Skylark, Joe Pass's Joy Spring, Suspended Night by the Tomasz Stanko Quartet and two by Joao Donato - The New Sound of Brazil and E Seu Trio. If forum members have thoughts on these releases, I'd be interested to hear them.

There are other bits and pieces in this box which are probably a bit too new age for most although I like them - Bill Frisell's Ghost Town and George Winston's Linus and Lucy - plus Zawinul and a Thielemans compilation so I won't now be needing to buy one. The whole CD collection is being rearranged into alphabetical sections by genre and/or decades/years!

[Serial_Apologist]

I am just starting to look through - and play - some CDs I bought a long time ago and didn't actually know I had. They include Blakey and the Jazz Messengers on Impulse!, Blakey's Theory of Art and Wynton Marsalis with the Jazz Messengers Vol 2 - My Ideal.. Also Sonny Clark's Standards, Paul Desmond's Skylark, Joe Pass's Joy Spring, Suspended Night by the Tomasz Stanko Quartet and two by Joao Donato - The New Sound of Brazil and E Seu Trio. If forum members have thoughts on these releases, I'd be interested to hear them.

There are other bits and pieces in this box which are probably a bit too new age for most although I like them - Bill Frisell's Ghost Town and George Winston's Linus and Lucy - plus Zawinul and a Thielemans compilation so I won't now be needing to buy one. The whole CD collection is being rearranged into alphabetical sections by genre and/or decades/years!

Organising the recordings into some kind of order has been a must in my case, operating as I think I must probably do somewhere highish on the autism spectrum - an untidy mind unable to function in untidy surrounds. Chronological for the jazz and related, and composer surname alphabetically for the classical stuff, but with compilations (ie English 16th century madrigals) to the left of the rest. I also have index cards and a file full of jazz recordings since 1918. I remember a discussion on the subject of cataloguing recordings taking place on here when I first joined the forum.

Others might be in a position to comment on the recordings you mention, Lat.

[BLUESNIK'S REVOX]

Organising the recordings into some kind of order has been a must in my case, operating as I think I must probably do somewhere highish on the autism spectrum - an untidy mind unable to function in untidy surrounds. Chronological for the jazz and related, and composer surname alphabetically for the classical stuff, but with compilations (ie English 16th century madrigals) to the left of the rest. I also have index cards and a file full of jazz recordings since 1918. I remember a discussion on the subject of cataloguing recordings taking place on here when I first joined the forum.

Others might be in a position to comment on the recordings you mention, Lat.

After many many attempts at order I have adopted Miro's maxim that chaos gives way to creativity (or something like that). I have racks of the less played furthest away, boxes and crates of 30 year old tapes (because one day, like a best suit, I'll maybe wear them again), and the current listening racked near at hand.In fact with Bluetooth and smart phones I am more and more embracing armchairs and bus pass bone idleness. Aka "streaming".

As for the records above, the only one I really know is the Sonny Clark standards date. Which is fine but I think made for a juke box or specific market when Red Garland and The Three Sounds etc were all the sophisticated "thing". The meat (compositions etc) of Sonny Clark is elsewhere.

BN.

[Lat-Literal]

Thank you S_A and BR. Interesting comments. Believe it or not, I have listened to all of those listed in my first paragraph today and mainly in full. Blakey and the Jazz Messengers on Impulse! is very striking and appears to be something of a landmark recording? Not so keen on Theory of Art. I was hoping not to like the Marsalis because I haven't especially been won over by other things I've heard from him and I have it in a stranger part of my mind that proper jazz music predates him. I thought, though, it was very, very good.

In contradiction of what I have just said, I quite like the iciness and minimalism of the Stanko. I also enjoyed the Joe Pass CD and the Sonny Clark was pleasant in line with your comments BR. Desmond's Skylark was as a whole a bit disappointing and the Joao Donato discs are extraordinarily light for something so complex. This is a daft thing to say but if it wasn't Brazilian it would probably be heard very differently. The first of the two discs is best, I think, but I need to listen to parts again. I am likely to retain most of these CDs.

[Old Grumpy]

Organising the recordings into some kind of order has been a must in my case, operating as I think I must probably do somewhere highish on the autism spectrum - an untidy mind unable to function in untidy surrounds. Chronological for the jazz and related, and composer surname alphabetically for the classical stuff, but with compilations (ie English 16th century madrigals) to the left of the rest. I also have index cards and a file full of jazz recordings since 1918.

My, S_A, did you start cataloguing your cylinder collection in 1918? That's, like so amazing, dude!

[Ian Thumwood]

Thank you S_A and BR. Interesting comments. Believe it or not, I have listened to all of those listed in my first paragraph today and mainly in full. Blakey and the Jazz Messengers on Impulse! is very striking and appears to be something of a landmark recording? Not so keen on Theory of Art. I was hoping not to like the Marsalis because I haven't especially been won over by other things I've heard from him and I have it in a stranger part of my mind that proper jazz music predates him. I thought, though, it was very, very good.

In contradiction of what I have just said, I quite like the iciness and minimalism of the Stanko. I also enjoyed the Joe Pass CD and the Sonny Clark was pleasant in line with your comments BR. Desmond's Skylark was as a whole a bit disappointing and the Joao Donato discs are extraordinarily light for something so complex. This is a daft thing to say but if it wasn't Brazilian it would probably be heard very differently. The first of the two discs is best, I think, but I need to listen to parts again. I am likely to retain most of these CDs.

Lat-Literal

I have two of your records myself. The Stanko disc is ok but I much preferred the earlier quartet on "Matka Joanna" which featured the excellent Bobo Stenson on paino, Anders Jormin on bass and the exceptional Tony Oxley on drums - probably the best example of an avant gardist adding to the legacy of a "percussionist" drummer like Sonny Greer. "Suspended Night" includes one of the same tunes and whilst I have always liked Stanko's playing, the young Polish trio are no match for the multi-national rhythm section on the earlier disc. It is a solid record yet not as good as something like "Litania" which is a masterpiece. I would have to say that I have become increasingly cynical about ECM and have not bought much on this label after the "Suspended Night" disc. You could almost argue that in Stanko you have Polish melancholy trumpet, with Enrico Rava you get Italian melancholy trumpet. with Kenny Wheeler you got "British" melancholy trumpet and then you can dig out Avishai Cohen for Israeli melabcholy trumpet - assuming you have already by-passed Arve Henrikson's Norwegian melancholy trumpet playing.

The other record that I also have is Bill Frisell's "Ghost Town." I would imagine that this makes an interesting contrast to the Joe Pass record. For me, Pass is a bit like a guitar version of Art Tatum but whereas the pianist can be fascinating, Pass is seems rarely to be anything other than boring. For me, Pass is indicative of the state of electric guitar in the era prior to rock although not quite as tedious as a group like "Great Guitars" which were one of the few mainstream groups to enjoy a sizeable media attention. When I was getting in to jazz in the early 80's, "Great Guitars" were the kind of group my Dad was in to. Joe Pass seemed like he could replace all three guitarists on his solo records and the sensation was often a bit too much. Fortunately, the 1980s really saw a number of guitar players like Scofield, Metheny, Abercrombie and Frisell establish themselves on the scene and I have an affinity for the work of these musicians. Frisell's work is usually best heard in other groups but I think "Ghost Town" is , along with the exceptional "Quartet", that really defines the work under his own name. There is a degree of over-dubbing but the virtuosity and technology never gets in the way of the music. This is a brilliant record . A lot of the material has a folky / Americana quality about it although "Tales from the far side" is always a tune that I constantly return to. I have the lead sheets to a lot of this music and it is surprisingly simple yet the substituted harmonies and unusual employment of bizarre choice of root notes is demonstrative of why he is such an important musician in the contemporary scene. Around the late 80's - mid 90's Bill Frisell's own discs were always intriguing however the follow up records to "Ghost Town" became increasingly uneven. "Ghost Town" is probably the one record you would select to get to the essence of his unique music.