What Jazz are you listening to now?

[Beef Oven!]

Interesting.

I didn't realise he had travelled in those sorts of areas but it does make some sense!

Yes, even musicians of serious music will sometimes play jazz. And a lot of jazz players attempt Bach and the like in their later years, when they have matured.

[Serial_Apologist]

And of course there's the whole Indo-Jazz fusion bit, which arguably started over here with John Mayer and Joe Harriott in '65 before being picked up by John McLaughlin after being filtered through the Beatles' Maharishi period. Ornette Coleman around the same time as the start of Mahavishnu with the Moroccan Drums of Joujouka, followed by innumerable combinations involving Don Cherry, in particular Old and New Dreams. And the Brazilian percussionist, berimbau player and vocalist Nana Vasconcelos: Codona with Cherry and Colin Walcott on sitar and/or tablas. "True" jazzers will rule out both John McLaughlin's Mahavishnu and Shakti, though the joss sticks at the latter's Southend gig were amazing and neutralised my smoking craze at the time for the whole gig, though not mentioned in the programme. But as for distinguishing the "genuinely jazz" from the not so, I always have difficulties at the generic interface; if the primacy is on improvisation, with chord changes lurking somewhere in the background, even if way back, and that drives the direction, rather than being an intricate discipline with rules specific to itself, as in Raga, then it's probably jazz, or more jazz in the mixture than anything else, whereas for others definition is more a matter of "feel".

[Beef Oven!]

Nefertiti - Miles Davis

Currently my favourite Miles Davis period. Have to say the drumming on this album is even better than I previously realised.

[Lat-Literal]

And of course there's the whole Indo-Jazz fusion bit, which arguably started over here with John Mayer and Joe Harriott in '65 before being picked up by John McLaughlin after being filtered through the Beatles' Maharishi period. Ornette Coleman around the same time as the start of Mahavishnu with the Moroccan Drums of Joujouka, followed by innumerable combinations involving Don Cherry, in particular Old and New Dreams. And the Brazilian percussionist, berimbau player and vocalist Nana Vasconcelos: Codona with Cherry and Colin Walcott on sitar and/or tablas. "True" jazzers will rule out both John McLaughlin's Mahavishnu and Shakti, though the joss sticks at the latter's Southend gig were amazing and neutralised my smoking craze at the time for the whole gig, though not mentioned in the programme. But as for distinguishing the "genuinely jazz" from the not so, I always have difficulties at the generic interface; if the primacy is on improvisation, with chord changes lurking somewhere in the background, even if way back, and that drives the direction, rather than being an intricate discipline with rules specific to itself, as in Raga, then it's probably jazz, or more jazz in the mixture than anything else, whereas for others definition is more a matter of "feel".

Thanks very much for an interesting post which again provides a lot of avenues.

I am listening this morning to Dizzy Gillespie and began the session with his Chano Pozo and later Arturo Sandoval collaborations.

Afternoon/Evening:

Miles Davis - Sketches of Spain, In a Silent Way, Bitches Brew; Art Pepper - Meets the Rhythm Section; Eric Dolphy - Out To Lunch;
Gil Evans - Evans & Ten, Out of the Cool; Lester Young - Lester Young Trio; Getz and Byrd - Jazz Samba; and Mose Allison - Trilogy.

[Lat-Literal]

This morning:

Cannonball Adderley - Somethin' Else; Benny Carter - Further Definitions; Bill Evans - Sunday at the Village Vanguard; Gerry Mulligan - Jazz After Midnight (Vol.1).

[BLUESNIK'S REVOX]

"Art Tatum, with Friends" on Verve - Tatum with Benny Carter, Webster, Eldridge etc etc.

An early birthday present box and I confess in my "youth" I found Tatum flamboyant and flowery, a switch off. But then I later fell in love with the Ben Webster date. And listening now to the 50s sides with Benny Carter, "Blues in C" and "Blues in Bb", stops me in my tracks. Gorgeous, with just the right amount of occassional left hand "flash"! Tatum with "soul", THIS is where its at. And God, can you hear where 50s Ray Charles came from, as he freely admitted!

BN.

There's also a wonderful "I won't dance" with Roy Eldridge...now that's a future JRR!

[Tenor Freak]

NP: Black Narcissus - Joe Henderson Big Band (1996)

[elmo]

4 recent purchases all excellent in their different ways -

The new Charlie Haden Liberation Orchestra on Impulse is a very fitting tribute to the late CH. 2 tracks recorded in 2011 with Charlie on bass with the remaining 3 tracks with Steve Swallow recorded in 2015. Soloists include Chris Cheek, Tony Malaby, Michael Rodriguez, Joe Daley and Vincent Chancey, the Orchestra play 3 excellent Carla Bley compositions beautifully arranged and an especially fine arrangement of" Blue in Green" which encompasses elements of classic Gil Evans. I am sure you would appreciate this Ian.

Harold McNair "Affectionate Fink" A very underrated saxophonist he only recorded a few albums but this one I think was his best. Recorded for Island records in 1965 this album has Ornette Coleman's fellow trio members David Izenzon and Charles Moffett on Bass and drums. A more conservative session than Ornette's men were used to but they adapted well to this Hard Bop session. I really like McNair's tenor and Flute playing he has a really good sound on both instruments and Alan Branscombe is a nice pianist (no alto on this session)

One for Bluesie - Ray Charles Orchestra in Zurich 1961 on TCB Ray is in great voice on this one and some fine instrumentals including Quincy Jones arrangements of Along came Betty, Ray minor Ray, I remember Clifford all Benny Golson compositions.

Steve Kuhn "At this time..." on the Sunnyside label recorded in 2015, a very integrated trio with Steve Swallow and Joey Baron. This album is sheer class Kuhn's timing, sound and improvisations demonstrate a lifetime devoted to his art. I don't think I have ever heard the Bass Guitar more successfully incorporated into the classic piano trio set up - brilliant.

elmo

[BLUESNIK'S REVOX]

4 recent purchases all excellent in their different ways -

The new Charlie Haden Liberation Orchestra on Impulse is a very fitting tribute to the late CH. 2 tracks recorded in 2011 with Charlie on bass with the remaining 3 tracks with Steve Swallow recorded in 2015. Soloists include Chris Cheek, Tony Malaby, Michael Rodriguez, Joe Daley and Vincent Chancey, the Orchestra play 3 excellent Carla Bley compositions beautifully arranged and an especially fine arrangement of" Blue in Green" which encompasses elements of classic Gil Evans. I am sure you would appreciate this Ian.

Harold McNair "Affectionate Fink" A very underrated saxophonist he only recorded a few albums but this one I think was his best. Recorded for Island records in 1965 this album has Ornette Coleman's fellow trio members David Izenzon and Charles Moffett on Bass and drums. A more conservative session than Ornette's men were used to but they adapted well to this Hard Bop session. I really like McNair's tenor and Flute playing he has a really good sound on both instruments and Alan Branscombe is a nice pianist (no alto on this session)

One for Bluesie - Ray Charles Orchestra in Zurich 1961 on TCB Ray is in great voice on this one and some fine instrumentals including Quincy Jones arrangements of Along came Betty, Ray minor Ray, I remember Clifford all Benny Golson compositions.

Steve Kuhn "At this time..." on the Sunnyside label recorded in 2015, a very integrated trio with Steve Swallow and Joey Baron. This album is sheer class Kuhn's timing, sound and improvisations demonstrate a lifetime devoted to his art. I don't think I have ever heard the Bass Guitar more successfully incorporated into the classic piano trio set up - brilliant.

elmo

Didn't know about that Ray...that's a definite for me. It must be the band from the time of the first Antibes tour? Thanks for the tip, especially as it has the opening instrumentals. And the Steve Kuhn, I've liked his stuff throughout his career. And anyone who was hired by Kenny Dorham and John Coltrane AND lived in Sweden with Monika Zetterlund is OK in my book! I keep meaning to request his trio version of "Dear old Stockholm" which is superb.

BN.

*I'm listening to a rediscoved Carmell Jones quartet set on Fresh Sounds. It was cut (v early 60s?) as a calling card for Pacific Jazz but was never issued. Gary Peacock is on bass. Surprised by just how good this is, really great playing. It reminds me a bit of the Booker Little qrt date in approach, certainly in that quality league.

BN.

[Beef Oven!]

Miles Davis - Kind Of Blue (1959)

[teamsaint]

Miles Davis - Kind Of Blue (1959)

Funny that, I just got Miles Smiles lined up for a spin.

[Quarky]

Miles Davis - Kind Of Blue (1959)

Interesting, but So What?

Jazz recordings, obviously are one (the?) main way Jazz music is disseminated, but ultimately a little disappointing in that they are a snap shot of one moment in time of the improvisatory sequences, and these sequences can become too familiar with repeated plays.

I think the Kind of Blue Album may have included some alternate takes, and certainly the Charlie Parker albums published a large number of takes of the same piece.

Just an odd thought. Whether Jazz musicians making a new album could include a large number of takes of the same piece, and, possibly, the album might have a software lock so that the different takes might be played at random. At least that might retain the element of surprise.

OK. I'll get my coat!

[Ian Thumwood]

I get really fed up with re-issues being peppered with alternative takes and feel they rarely offer anything new but I get the point with listening to recorded music and it lacking the spontaneity you get on a live gig. It often seems like a marketing ploy.

I have been playing a lot of Anqelique Kidjo this week. You have to be pretty reserved not to find her music uplifting and enjoyable. The album "Black ivory soul" is an effort to blend African music and Brazilian influences but the record is peppered with all sorts of styles that it is a bit of a misnomer. There are some tracks which are purely pop music yet I think they are non-the-worse for this as the whole project is so musically informed. Out of all African artists, Kidjo remains my absolute favourite but , as good as the records are, she is the proverbial bundle of energy when heard performing live and some one you would not want to miss if you had the chance to catch performing at a local venue.

[Jazzrook]

4 recent purchases all excellent in their different ways -

The new Charlie Haden Liberation Orchestra on Impulse is a very fitting tribute to the late CH. 2 tracks recorded in 2011 with Charlie on bass with the remaining 3 tracks with Steve Swallow recorded in 2015. Soloists include Chris Cheek, Tony Malaby, Michael Rodriguez, Joe Daley and Vincent Chancey, the Orchestra play 3 excellent Carla Bley compositions beautifully arranged and an especially fine arrangement of" Blue in Green" which encompasses elements of classic Gil Evans. I am sure you would appreciate this Ian.

Harold McNair "Affectionate Fink" A very underrated saxophonist he only recorded a few albums but this one I think was his best. Recorded for Island records in 1965 this album has Ornette Coleman's fellow trio members David Izenzon and Charles Moffett on Bass and drums. A more conservative session than Ornette's men were used to but they adapted well to this Hard Bop session. I really like McNair's tenor and Flute playing he has a really good sound on both instruments and Alan Branscombe is a nice pianist (no alto on this session)

One for Bluesie - Ray Charles Orchestra in Zurich 1961 on TCB Ray is in great voice on this one and some fine instrumentals including Quincy Jones arrangements of Along came Betty, Ray minor Ray, I remember Clifford all Benny Golson compositions.

Steve Kuhn "At this time..." on the Sunnyside label recorded in 2015, a very integrated trio with Steve Swallow and Joey Baron. This album is sheer class Kuhn's timing, sound and improvisations demonstrate a lifetime devoted to his art. I don't think I have ever heard the Bass Guitar more successfully incorporated into the classic piano trio set up - brilliant.

elmo

elmo ~ Have been searching for Harold McNair's 'Affectionate Fink' for years.
Where did you manage to find a copy and did it break the bank?

JR

[Stanfordian]

Lee Morgan with Joe Henderson, Ronnie Matthews, Victor Sproles & Billy Higgins
‘The Rumproller’
Blue Note (1965)