Originally posted by Ian Thumwood
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What Jazz are you listening to now?
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Originally posted by Serial_Apologist View PostI've been noticing that too, lately.
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This is even better in this duo with Israeli keyboard player Shai Maestro.
You can sense something of the media buzz from this article although I have also seen reviews of her recent appearance at Newport. Never heard of her until a few weeks ago. Intriguing to see how many of these artists to look out for are singers and that the author seems to be pretty late to the party with Jaimie Branch.
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'Love Hurts' - Julian Lage
Just on the first track so far - echoes for me of Red Hot Chilli Peppers' 'Could have Lied' both in the guitar tone and some of the melody. I like the second track - an Ornette Coleman number, very quirky. And the third is nice. The next track - the title one - is less to my taste, the harmonies are quite conventional, just like the melody. The fifth track, written by Lage, is ok, has a kind of 'everyone solos, no one solos' kind of texture. I opened the Wikipedia entry for this album - it says that Lage is a polite and mild-mannered guy - I think this description could equally apply to his music, I think it could be more colourful or sort of purposeful, maybe? I'd say this album is marginally better than Modern Lore, but I have absolutely no idea how it could be considered bizarre or surreal because to me it sounds just, well, mild-mannered and polite, as opposed to awe-inspiring, dramatic, multi-coloured etc. My loss no doubt...
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Originally posted by Joseph K View Post'Love Hurts' - Julian Lage
Just on the first track so far - echoes for me of Red Hot Chilli Peppers' 'Could have Lied' both in the guitar tone and some of the melody. I like the second track - an Ornette Coleman number, very quirky. And the third is nice. The next track - the title one - is less to my taste, the harmonies are quite conventional, just like the melody. The fifth track, written by Lage, is ok, has a kind of 'everyone solos, no one solos' kind of texture. I opened the Wikipedia entry for this album - it says that Lage is a polite and mild-mannered guy - I think this description could equally apply to his music, I think it could be more colourful or sort of purposeful, maybe? I'd say this album is marginally better than Modern Lore, but I have absolutely no idea how it could be considered bizarre or surreal because to me it sounds just, well, mild-mannered and polite, as opposed to awe-inspiring, dramatic, multi-coloured etc. My loss no doubt...
The guitarist Julian Lage and his retooled trio featuring bassist Jorge Roeder and drummer Dave King are on a quest for musical singularity.
The best track is the version of Jimmy Guiffre's "Trudgin'" where he is the most "outside." It is quite conventional at a superficial listen but Lage is a virtuoso performer and there is enough musically intelligent ideas on this record to make it a really good listen. It just sounds like he has nothing to prove and it playing purely for fun. There are no pretentions about it whatsoever.
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Originally posted by BLUESNIK'S REVOX View PostThat's an interesting record. As are the few other Bluenote sessions Byrd cut around the same time in a similar early "electric" aware of Miles style, before he went full Blackbyrds.Steve
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Wondered of anyone had picked up on this article?
More than four hitmaking decades into his career, guitarist, producer, and Chic leader Nile Rodgers still regards jazz as an inherent part of who he is.
I have seen Chic perform twice on two occasions. The first time I went with an open mind but expected to be disappointed. Not being aware of the extent of his involvement in popular music although aware of his name, it was staggering to find out just how much music be composed. However, the most striking thing about the band was that it was clear that the instrumentalists had come from jazz. Chic could not have existed within it. Listening to the keyboard player's playing that night, the harmonies clearly derived from jazz and these was sufficient improvisation to make a cynic like me interested. The second time I thought I was prepared but the sound engineer's failed to get the balance sorted before the gig started and Rodgers came on stage where be played two Monk numbers in the sound check. At that point I felt he was one of our own.
Whilst I was aware that his parents had been involved in jazz and that he had a strong affinity for the music, I had no idea he started off studying jazz with Ted Dunbar. This article is quite a revelation and puts Nile Rodgers right in the heart of the jazz community. Basically the training he got from jazz enabled him to be so good at pop music. Found myself liking him even more after I read the article which is fascinating when you realise who he has worked with in jazz circles.
Who would have guessed this piece was influenced by McCoy Tyner?
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‘Somethin' Else’
Cannonball Adderley with Miles Davis, Hank Jones, Sam Jones & Art Blakey
Blue Note (1958)
‘Cross-Platform Interchange’
Misha Mullov-Abbado
Edition Records (2017)Last edited by Stanfordian; 13-08-19, 09:21.
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