What Jazz are you listening to now?

[Tenor Freak]

A random playlist of Chick Corea on a well-known online streaming service notorious for not paying musicians their due ASCAP/BMI/PRS bread. NP: "Windows"

[Joseph K]

Thelonious Monk & Sonny Rollins

[Stanfordian]

‘Groovin' High’ - Booker Ervin
with Carmell Jones, Jaki Byard / Gildo Mahones, Richard Davis & Alan Dawson
Prestige (1963/64)

[Joseph K]

Thelonious Monk Plays Duke Ellington

[Serial_Apologist]

The Miles Davis Quintet Rotterdam concert, Nov 1969, courtesy Dutch courage - I mean Radio - and Jezz Nelson!

This was a further expansion of the Plugged Nickel concerts approach of five years earlier - joining the then-repertoire of standards and newer compositions by band members into seamless abstractified sequences. Those who really value this recording will demurr at my suggestion that it has some drawbacks as compared with the earlier line-up: there is of course the thrill of inspired barriers-breaking playing by all without question - some of the best of them you can hear - but lacking, for me, is the knowing humour and "gamesmanship" of years previous. DeJohnette does not allow much air into his approach to drumming here, unlike Tony Williams. This pushes Dave Holland's bass somewhat into the background; I for one was surprised to read of him saying that he had found Jack easier to work with than Williams. Then Chick Corea makes little use of the Fender Rhodes' resources, beyond occasional reverb, as at the very start, resulting in a thick, unrelieved monochrome of textures which, however absorbing the levels of harmonic exploration, becomes relentless alongside DeJohnette's busy drumming. More space was needed in that music, and it would come with the adoption of more easily fragmentable funky beats within a year.

[Jazzrook]

The Miles Davis Quintet Rotterdam concert, Nov 1969, courtesy Dutch courage - I mean Radio - and Jezz Nelson!

This was a further expansion of the Plugged Nickel concerts approach of five years earlier - joining the then-repertoire of standards and newer compositions by band members into seamless abstractified sequences. Those who really value this recording will demurr at my suggestion that it has some drawbacks as compared with the earlier line-up: there is of course the thrill of inspired barriers-breaking playing by all without question - some of the best of them you can hear - but lacking, for me, is the knowing humour and "gamesmanship" of years previous. DeJohnette does not allow much air into his approach to drumming here, unlike Tony Williams. This pushes Dave Holland's bass somewhat into the background; I for one was surprised to read of him saying that he had found Jack easier to work with than Williams. Then Chick Corea makes little use of the Fender Rhodes' resources, beyond occasional reverb, as at the very start, resulting in a thick, unrelieved monochrome of textures which, however absorbing the levels of harmonic exploration, becomes relentless alongside DeJohnette's busy drumming. More space was needed in that music, and it would come with the adoption of more easily fragmentable funky beats within a year.

The same quintet playing 'Agitation' in Copenhagen, 1969:

https://www.YouTube.com/watch?v=FDNtizyRIY8

JR

[Joseph K]

The Miles Davis Quintet Rotterdam concert, Nov 1969, courtesy Dutch courage - I mean Radio - and Jezz Nelson!

This was a further expansion of the Plugged Nickel concerts approach of five years earlier - joining the then-repertoire of standards and newer compositions by band members into seamless abstractified sequences. Those who really value this recording will demurr at my suggestion that it has some drawbacks as compared with the earlier line-up:

It might have drawbacks as compared to the second great quintet, but, IMO, it does things that the earlier quintet doesn't do, by way of compensation; namely, it gets further out, there's an intensification of the free thing, particularly in Shorter's playing, but also in Chick Corea's. I would liken DeJohnette's drumming to that of a rollercoaster, it's barnstorming for sure, and while not as rocking and funky as it ended up being more and more throughout 1970, that rhythm and style is there in its nascence. While by this point - November 69 - Miles had jettisoned more of the post-bop tunes in his repertoire (more of them appear just a few months earlier in the French concerts from July) that is one of stylistic facets bubbling in this brew (Masqualero). And I don't find Corea's playing on the Fender Rhodes any more monochrome than any other person's use of this keyboard, whose sound I love; come to think of it, I am positively baffled why you'd think it's relentless, since often the whole dynamic gamut is exploited, there is plenty of space for both intricate chamber statements and full-on rock mode. I love this group - as you'll have no doubt have guessed by now - they truly get to some jaw-dropping profound places, just like they did within the expanded ensemble of Bitches Brew. You can tell the impact the sound this group had on early Weather Report. Lastly, while I don't doubt that Dave Holland is more audible on later recordings with the electric bass, I am curious as to why you think there is more space left in general later on in 1970 - I'd say the opposite was the case, in comparison to this recording (and I say this without making a value-judgement - just an observation, since I love both equally).

[Serial_Apologist]

It might have drawbacks as compared to the second great quintet, but, IMO, it does things that the earlier quintet doesn't do, by way of compensation; namely, it gets further out, there's an intensification of the free thing, particularly in Shorter's playing, but also in Chick Corea's. I would liken DeJohnette's drumming to that of a rollercoaster, it's barnstorming for sure, and while not as rocking and funky as it ended up being more and more throughout 1970, that rhythm and style is there in its nascence. While by this point - November 69 - Miles had jettisoned more of the post-bop tunes in his repertoire (more of them appear just a few months earlier in the French concerts from July) that is one of stylistic facets bubbling in this brew (Masqualero). And I don't find Corea's playing on the Fender Rhodes any more monochrome than any other person's use of this keyboard, whose sound I love; come to think of it, I am positively baffled why you'd think it's relentless, since often the whole dynamic gamut is exploited, there is plenty of space for both intricate chamber statements and full-on rock mode. I love this group - as you'll have no doubt have guessed by now - they truly get to some jaw-dropping profound places, just like they did within the expanded ensemble of Bitches Brew. You can tell the impact the sound this group had on early Weather Report. Lastly, while I don't doubt that Dave Holland is more audible on later recordings with the electric bass, I am curious as to why you think there is more space left in general later on in 1970 - I'd say the opposite was the case, in comparison to this recording (and I say this without making a value-judgement - just an observation, since I love both equally).

I don't dislike the sound of the Rhodes! It's just that I happen think that Corea didn't really add anything by turning to it, and always sounds less distinguished on it than on a good acoustic. I noticed this yesterday after posting "The Brain" track on the other thread - or rather, had previously failed to notice that on that he transferred midway through backing the other soloists. I don't think it is without significance that Corea reverted to concert grand after setting up the freer, more experimental Circle at around this time. He never really went further "out" than with that band, which was also reflected in the two volumes of solo piano he recorded in '71 on ECM titled "Piano Improvisations".

I have somewhat overdone the "relentlessness" bit, really - yes, there are a few lovely spacious moments at Rotterdam where the tempo drops out, they go into ballad mode, and you're on tenterhooks for the next event. And the lightening up of the whole atmosphere towards the end is sheer delight. I'm sure "Stella by Starlight" begins to emerge at one point: I could be wrong, and in any case it doesn't matter as much, though it is fun to hear things using different mental faculties at the same time, or (more accurately) alternating one to another and back.

[Tenor Freak]

I don't dislike the sound of the Rhodes! It's just that I happen think that Corea didn't really add anything by turning to it, and always sounds less distinguished on it than on a good acoustic. I noticed this yesterday after posting "The Brain" track on the other thread - or rather, had previously failed to notice that on that he transferred midway through backing the other soloists. I don't think it is without significance that Corea reverted to concert grand after setting up the freer, more experimental Circle at around this time. He never really went further "out" than with that band, which was also reflected in the two volumes of solo piano he recorded in '71 on ECM titled "Piano Improvisations".

I have somewhat overdone the "relentlessness" bit, really - yes, there are a few lovely spacious moments at Rotterdam where the tempo drops out, they go into ballad mode, and you're on tenterhooks for the next event. And the lightening up of the whole atmosphere towards the end is sheer delight. I'm sure "Stella by Starlight" begins to emerge at one point: I could be wrong, and in any case it doesn't matter as much, though it is fun to hear things using different mental faculties at the same time, or (more accurately) alternating one to another and back.

Wonder what you think of the newly-released "Lost Septet" set from 1971, which has just been released?

Also, Iggy Pop (no, I'm really not joking, he plays loads of jazz on his show) had some recordings of the Miles group from the Fillmore East, 7 March 1970. It's here: https://www.bbc.co.uk/sounds/play/m000mz9w

[Joseph K]

Wonder what you think of the newly-released "Lost Septet" set from 1971, which has just been released?

Also, Iggy Pop (no, I'm really not joking, he plays loads of jazz on his show) had some recordings of the Miles group from the Fillmore East, 7 March 1970. It's here: https://www.bbc.co.uk/sounds/play/m000mz9w

For the lost Septet comments, see the last few pages of the jazz purchases thread. In short, while the music is great, whoever actually made the CDs obviously didn't know much about the music because some of the track breaks are wrong. There are similar issues with the lost quintet recording - amazing music shoddily produced.

I think that that show at the Fillmore was Wayne Shorter's last recorded appearance as part of the Miles Davis group. I used to have a copy ...

[Tenor Freak]

I meant to say, that after listening to the entire "Lost Septet", my online music service then started up "Blue in Green"

[Joseph K]

Now - the lost quintet record. Shorter's solo and everyone else on 'It's about that time' is so ecstatic and incredible, just amazing.

[Ian Thumwood]

I have been playing "When the heart emerges glistening" which was Ambrose Akinmusire's Blue Note debut album. This is a record I have not played for ages and I still find it a bit curious. The music is best taken as a whole. It is not a dipping in kind of record and the best moments remind me strongly of how a player like Kenny Dorham would have sounded had he been playing today. The ballads are tender and beautiful with the record really being more introspective in character than you might expect from Blue Note. Where the music picks up tempo, there is an aggressive and agitated feel to the quintet which stems from the rather restless piano, bass and drums. Akinmusire is a player I feel who has managed to step outside the tradition that emerged with a generation of players like Marsalis, Hargrove, Blanchard, Pelt and Roney and sounds far more adventurous. The vocal quality of his playing really helps and there is also a degree of unpredictability about his work which means the music always feels like it is bubbling with ideas. Akinmusire just sounds like a trumpet player with a new way of doing things which I think is exciting. I have not heard the new release yet but am tempted. I would suggest that his playing will probably appeal more to the likes of Bluesnik than anyone else. Surprised that this musician doesn't get that much attention on this board.

[Serial_Apologist]

For the lost Septet comments, see the last few pages of the jazz purchases thread. In short, while the music is great, whoever actually made the CDs obviously didn't know much about the music because some of the track breaks are wrong. There are similar issues with the lost quintet recording - amazing music shoddily produced.

I think that that show at the Fillmore was Wayne Shorter's last recorded appearance as part of the Miles Davis group. I used to have a copy ...

I believe that's right. As to the '71 dates, that was, I think, the same line-up that did the Cellar Door stuff on Live-Evil with the addition of John McLaughlin. Jan Garbarek seems to have been around at an intended recording of "the lost septet" previous to McLaughlin's joining for that date, and, from memory of what Ian Carr told me (though I should really check), he (Garbarek) was of the view that the band was at its peak at that time, and he urged Miles to get it recorded while the inspiration was still hot. As it turns out, McLaughlin adds something by being an equally strong personality while at the same time taking something away from the band's singular identity by virtue of his powerful presence changing the character of the music as it had been. Not that I'm worrying!!! I would imagine the 1971 recording would have restored that earlier balance. Anyway, I really should get it.

[Joseph K]

I believe that's right. As to the '71 dates, that was, I think, the same line-up that did the Cellar Door stuff on Live-Evil with the addition of John McLaughlin. Jan Garbarek seems to have been around at an intended recording of "the lost septet" previous to McLaughlin's joining for that date, and, from memory of what Ian Carr told me (though I should really check), he (Garbarek) was of the view that the band was at its peak at that time, and he urged Miles to get it recorded while the inspiration was still hot. As it turns out, McLaughlin adds something by being an equally strong personality while at the same time taking something away from the band's singular identity by virtue of his powerful presence changing the character of the music as it had been. Not that I'm worrying!!! I would imagine the 1971 recording would have restored that earlier balance. Anyway, I really should get it.

S_A: The repertoire of the Lost Septet is more or less the same as the Cellar Door; the personnel is a bit different, in that it's Leon Chancler on drums and two percussionists added. Keith Jarrett, Michael Henderson and Gary Bartz all remain from the Cellar Door sessions.

I am of the opinion that McLaughlin's presence would be a blessing on any Miles live or studio recording. Just imagine, he could have been on that video of them playing at the Isle of Wight! But, he liked what he was doing with Tony Williams. Ho hum.