/blindfold/

>Track 1
Sounds like a pretty standard version of Night in Tunisia. In the last section of the head I like how they do the hits right on 4 rather than the and of 4. It’s a more authentic Afro-Cuban sound. The lines in the solo remind me a bit of Horace Silver. Especially that nice whole tone thing he did. This pianist has some definite chops. Maybe somebody like Tommy Flanagan? This is a nice version overall.

>Track 2
Very Bill Evans-y opening. Oh it’s in Your Own Sweet Way. This is the Don Friedman version. This is one where he actually goes kind of a different direction from what Evans would do. I like in the first half that he keeps playing those same little melodies, it’s a different effect than what Evans would do. The second half of the solo he goes to more Bill Evansy lines and it’s not quite as interesting. Still very good overall though. It’s been a while since I’ve listened to this and he’s doing a lot of stuff that’s pretty ahead of his time.

>Track 3
Coltrane. I forget the name of this tune. Not one of Coltrane’s better solos. He’s sticking all in this one tonality, mostly pentatonic it sounds like and it gets old pretty quick. It’s cool to start out that way but I think it could have been better with more chromatic playing later on. Tyler’s solo is much better. He uses the simplicity of the tune but adds a lot more harmonic interest in his solo.

>>69560494
>Track 4
It’s I fall in Love Too Easily. I’ve always liked this tune. Clearly Miles playing but he’s done quite a few recordings of this tune. I’m not sure what album this is from. The piano player keeps playing this rhythm where he does a staccato chord on count 2 of the measure that’s kind of dumb. It’s pretty nice once they get into this double time feeling. The bassist is doing some nice stuff, sounds like it could be Ron Carter. I’m pretty sure this isn’t Herbie on piano though. He’s not really doing anything interesting. This was ok, but definitely not on the same level as this type of stuff that the second quintet would do.

>Track 5
Another pianist with incredible chops. Reminds me of Bud Powell in some ways but there’s some stuff that I don’t think Bud would do. Plus I don’t know if I’ve ever heard him play with a vibes player. This is nice but not particularly memorable.

>Track 6
Pretty sure this is Cecil Taylor. Sounds like it’s from that one live album that we’ve had on Blindfold playlists before. I do like Jimmy Lyons’ playing on this. Taylor’s playing is good at some spots and I don’t really like this style of drumming. I forget who the drummer is here. But it sounds to me as if he’s purposely trying to avoid interacting with the other players which I don’t really care. Also he makes only minor changes to what he’s doing throughout this whole thing so there’s really not much texture change. If you’d assign a number to his energy level he stays at like 6 through 8 for the whole thing. Imagine how much better this could be if it was Tony Williams or Elvin Jones playing with Cecil Taylor and Jimmy Lyons.

>>69560515
>Track 7
Sounds like Yusef Lateef. I know this standard. Can’t think of the name though. I love when he starts playing kind of out and the pianist starts doing those chromatic ascending chords, great. Then I like how they both start playing melodically together. It could have been executed a little better though and they step on each others toes a little bit. The piano solo is fantastic. Very modern sounding. It reminds me of Orrin Evans actually. Maybe somebody like Cedar Walton or Kenny Barron? An early recording. Or Paul Bley? I don’t really know who played piano with Yusef.

>Track 8
It’s got to be Monk. I like the stride thing. This reinforces what I’ve thought for a long time, that solo Monk is the best Monk. He has some good quartet recordings but I just don’t think anybody else really understood what he was doing at the time and his solo stuff is the most cohesive and consistent. This is something from a live recording clearly and I don’t know what it is. I like it a lot though.

>Track 9
Well I think this is the kind of thing that gets labeled as Elevator music. Not much to say about this really. It’s background music.

>Track 10
Very Bill Evansy. The left hand approach is interesting, just playing a lot of single notes. Those fast runs are pretty nice. Is this Keith Jarrett? He’s not the only pianist who sings along but it’s that certain nasal quality to it. If it’s him this is probably the most I’ve heard him sound like Evans. Nice track. I’m pretty curious to find out if it’s Jarrett.

I have a sort of guess what the theme might be but I’ll wait a while to post it.

>>69560549
You've got a lot of correct identifications and you're on the right track with some of those guesses.

>>69562195
Which ones am I wrong on? I may have some more guesses.

TUNJI

>>69564162
Ah that's the name of it

I hope this counts as a jazz thread, too, because I am kinda curious about something. Overall I am still new to jazz so I am not sure on this.

So normally I dig like stuff by Mingus, Bitches Brew, and Giant Steps also some stuff by Sun Ra. At first I was getting more out of these works than the big two modal ones (KoB, ALS). But, and I am not sure on, after giving these a careful listen, I can see why KoB/ALS are given more love and why people are often frustrated with electric Miles.

Miles' electric stuff, despite having this large arrangement and a wide variety of sounds, is surprisingly repetitive. Not only is there a lot of repetition, but when compared to In A Silent Way or the stuff before it till KoB, it appears to be nowhere near as adventurous as that stuff theoretically and technically. Not crazy tier cycling through various chords and keys like KoB seems to be very good at, just some of it.

Giant Steps, compared to ALS, feels very predictable. The title track for example is for the most of it cycles of just ii V I but with constantly changing keys. Again, compare that to KoB/ALS where progressions aren't exactly that simple so the key/scale/mode changes or w/e aren't as predictable thus more complex.

Mingus is known for having A LOT of things happen at the same time in his stuff. But it seems that a lot isn't really something too kooky or "avant garde"; he makes it easy for the listener to digest by having simple phrases that get repeated quite a bit along with chords that don't change often enough compared to the actual real complex stuff in jazz (again, KoB/ALS being the examples for that here.)

Sun Ra is similar but centered more around relatively strange timbres and techniques than the theory.

Is my observation anywhere near the ballpark? I am guessing that the modal jazz format just allowed for more freedom and complexity when it came to structuring this kind of stuff. Did jazz have such complex moments before modal became huge pre59?

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Heyo, gonna post tomorrow. Hopefully thread is still up.

>>69564597
You're not really wrong, but it kind of seems like you're saying modality = complexity, which I don't think is quite the case.

Giant Steps does have some ii V I resolutions in it, but the first part of the phrase that makes it complex, with chords moving in m3rds and 4ths. It's a simple pattern really, but very difficult to solo over. Or check out the pedal points and extensions on the chords on Naima (from Giant Steps).

Meanwhile, take a look at the textbook example of a modal song- "So What" which is really just a blues riff in D minor and then the same thing up half a step. The solos are really just two modes, D dorian and then Eb dorian. So not exactly complex.

BUT having that simplicity of form and chords DOES allow the soloists quite a bit of freedom, and Coltrane especially takes advantage of that with plenty of "outside" playing on modal things, which may be what you're thinking of when you say complexity.

Mingus is really a mixed bag. Some of his stuff is really really simple and based on blues patterns as you say. But then take a look at Self Portrait in Three Colors or Goodbye Porkpie Hat (both from Ah Um). Self Portrait is like a weird altered blues, but missing two beats. The melody of it is a three part counterpoint with a new voice introduced each time through the form. Goodbye Porkpie Hat is also basically a blues but with some crazy alternate chord changes to fit the melody

>Did jazz have such complex moments before modal became huge pre59?
Well one of the main things that was "new" about bebop was the complexity of the playing. Uneven phrasing, crazy changes, and more use of the upper extensions of chords.

Then there's people like Stan Kenton, MJQ, Dave Brubeck, Chico Hamilton, Jimmy Giuffre, and The Sandole Brothers who were using elements of classical music in jazz and they all did some stuff that I think you could call fairly complex.

Anyone have essentially a long list of piano trios with which I can figure out how exactly a piano works?

>>69570257
I can make long lists of piano trios but I'm not really sure what you're asking for

>>69570485
The piano trio is the most barebones form of jazz, isn't it?

>>69570560
There's a lot of solo and duet jazz too

>>69570637
Is there jazz between a guitar and bass and nothing else?

>>69570648
Check Jim Hall/Dave Holland duets

>>69570689
Neat. I remember hearing Jim Hall, I can't remember where.

So if the list were entitled "Listen to These Piano Trios Or Else", what would be on it?

>>69570724
Bud Powell- Jazz Giant
Thelonious Monk- The Thelonious Monk Trio
Herbie Nichols- Love Cash Gloom Love
Bill Evans- Complete Village Vanguard recordings
Wynton Kelly- Someday My Prince Will Come
Chick Corea- Now He Sings Now He Sobs
Keith Jarrett- Standards Vol. 1
Fred Hersch- Sarabande
Simon Nabatov- Sneak Preview
Brad Mehldau- Art of the Trio Vol. 2
David Kikoski- Consequences
Craig Taborn- Chants

>>69566398
John Coltrane = JC
Jesus Christ = JC

COINCIDENCE??

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bump with a pretty cool gq article

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>>69572238
>tfw you will never be a black muslim jazz musician producing music that is so staggeringly beautiful that it induces a spiritual trance

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did not know Roy Haynes was still alive at 91

>>69570648
Jim hall also did a duet some duets with Ron Carter. Pat Metheny and Charlie Haden also have a release but I haven't checked it out

>Track 1
There was some metadata in this one which gave the track away. Anyway it's a nice version of a night in Tunisia, I think it might have been a trio but the bass was barely audible, anyway, the focus on this track seemed to be on the piano which did a good job.
>Track 2
Feels like Bill Evans. It's an alright track, pleasant. Not too memorable but I also can't really fault it for much.
>Track 3
I think I've heard this tune before in a blindfold. The saxophone sounds like it's Coltrane. Interesting playing at first but it doesn't do much with it. The drumming is pretty good though. And I feel like the pianist might be Tyner judging from his solo, I didn't think it sounded like him back when he was playing the same notes in the background but this is more in his style. Great bass solo too.
>Track 4
I've heard this one before but I couldn't place it at first, thought of Chet Baker or Davis, but later on you can hear it's definitely Miles. From seven steps to heaven if I'm not mistaken. Here his playing is more on the cool jazz side and I love that sound of his, but there isn't much more to this track.
>Track 5
Another track that's a bit too safe not that remarkable for me. I like the piano player more than I like the vibes.

I'll try to do the rest later.

https://www.youtube.com/watch?v=NLBw365cdLY

>Track 6
This gives a Cecil Taylor vibe right from the start. The saxophone also feels pretty similar to that of his most famous records, but I can't remember who played on them. I find both very good in here. I was not into the drums as much until the duet with the piano when they both constantly go at it. I found it very fascinating.
>Track 7
Flute playing, nice. Thought not many fltue players come to mind right now other than Dolphy, but it's not him. Actually nevermind, this is most likely Roland Kirk, I've heard this kind of playing in his 60s records like rip rig and panic. I'm not sure who's the pianist but since it's quite an active one maybe Jaki Byard?
>Track 8
And pretty sure this is Monk. I don't think there are many pianists with his sound, despite his influence. Great performance, I'd like to listen to more of this record.
>Track 9
Sounds familiar, but at the same time it's pretty unremarkable. I guess it could have been a famous pop hit or something back then. Or maybe not, it's not so different from other background music I think.
>Track 10
This is a nice one as well. Gave me a Bill Evans feel too but I'm not too sure it's him.

>>69560549
The vocal sounds in track 10 had me confused too, Jarrett always come to mind. But the track it's also pretty different from his style.

Also I don't know about a theme but there seems to be some big names in this playlist, like Miles, Coltrane and Monk.

>Track 1
This is a nice and lively version of Night in Tunisia. The soloing is inventive and neat, but I don't know many people who play in this style. I think it's relatively old, but it's hard to tell as the bitrate is so low. I don't think it's Bud Powell, but I can't think of many other piano players from then who played like this. I like the nice full chords he uses in the B section.

>Track 2
This could maybe be Bill Evans? Certainly some chord colourings that sound like him. Not with any of the classic bassists though. The solo gets very abstract about half way through, but keeping the feel of the harmony intact, and I really like that sound.

>Track 3
I was convinced this was a track from Juju by Wayne Shorter, and even wrote a bit about how it shows just how influenced he was by Coltrane during this period. But I must have had a niggling doubt, and I checked, and this -is- Coltrane, so now I feel stupid. I have a feeling this track came up on a blindfold once before, so maybe that's the theme. I really like the piano and bass bit that the whole thing is based around.

>>69576306
>Track 4
I'm pretty sure this is Miles, but I always have my doubts when it comes to trumpet players. If it is him I have no idea who the pianist could be. Sounds like it would have been very late fifties or early sixties (after the Prestige albums and before the second quintet) but I can't pinpoint any specific album or piano player that would make sense for it. In any case, this was a really beautiful and expressive ballad.

>Track 5
Didn't really enjoy the first vibes solo here, sounds a bit like elevator music, but then the piano put some more swing into it and the rhythm section seemed to pick up behind him too. After that, the vibes fed off that energy and it was much better. The pianist is playing a lot of very expansive flourishes, it suits the piece well. I'd only class this piece as pleasant though - can't say it's something I'd be particularly interested in.

>Track 6
The pianist here has a percussive style, like Cecil Taylor, whilst the sax is very melodic, and that makes for a nice complementary sound. Lots of quick-witted interplay between them too. Would have preferred this without the sax-less sections being quite so long.

>>69576320
>Track 7
It's annoying me that I can't name this tune. This flautist has a really nice breathy tone and is pretty inventive, but the piano accompaniment stole the show. I liked the part of the piano solo where the rhythm dropped out too. At first I was expecting fairly standard bop from this but the different rhythmic explorations were pretty cool.

>Track 8
This is a Monk tune, with some Monk-ish melodic decorations, but it's a little too lyrical to actually be Monk. I don't know anyone who sounds this much like him without being him though. It borders on pastiche. Maybe it is him after all...

>Track 9
This is just awful.

>Track 10
This sounds like Bill Evans again, but this time the bass fits that guess better. All the way through this it sounds like it's one step away from resolution without ever getting there, I imagine that's quite difficult to achieve. Think it would have benefitted more from some stronger melodic statements in the right hand though - as it is it just sounds like it's going nowhere.

>>69575424
I think it all comes from a Bill Evans blindfold test, but if the last track is Keith Jarrett that wouldn't fit so I don't really know. Maybe that last track is actually Paul Bley?

>>69576306
>I was convinced this was a track from Juju by Wayne Shorter,
Oriental Folk Song?

>>69576427
Could be, most of these tracks seem to be dated in the 60s or earlier.

>>69576450
I think Mahjong is the one I was thinking of.

>>69576427
>>69576939
I probably should have specified earlier that the last track is just a bonus track. But yeah, Bill Evans blindfold test is the theme.

Anybody still going to post some thoughts for this week? If not I will probably start reveal info soon.

I'm finally kind of on top of things and have a link for next week.

http://www27.zippyshare.com/v/HWDjkEhV/file.html

Theme is criss cross label pt. 2 by JTG

Ok. Here we go with the reveal.

As JTG guessed, these are all from a 1964 blindfold test that Bill Evans did. Except for track 10.

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1. Friedrich Gulda- A Night in Tunisia
(from Gulda at Birdland, RCA Victor)
Gulda- piano, arranger

Bill Evans comments-

Was that a harpsichord? Or just a bad piano? I don’t have any idea who that was. It’s somebody who gets around pretty well on a piano and has a strong physical feeling in his playing. I didn’t hear a particularly individual thinker, but I think the makings are there.

The tune… there hasn’t been anything added to it especially since Bud, or Bird; I guess those people did it up forever. But it’s still nice and listenable.

About the rating- should I judge it in terms of what I would try to do, or as the artist would, or as a professional musician would, or the general audience or myself as an audience? I hardly know how to rate things. Expressing my opinion of what he set out to do, and how well he succeeded, he probably played that as well as he could. By that standard, I would have to say between four and five stars.

Subjectively, I would have to say this person is a pretty good imitation of Bud Powell. I think this is what he’d honestly have to say for himself. So, on that basis, I would have to say two stars.

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2. Don Friedman- In Your Own Sweet Way
(from Circle Waltz, Riverside)
Don Friedman- piano
Chuck Israels- bass
Pete LaRoca- drums

Bill Evans comments-

That’s interesting. I don’t know who that is, but I’m not as lost as I was with the last one! Might possibly be Clare Fischer- reason I say that is: Clare and a bass player were working together and occasionally got the ideas that happened with Scott LaFaro and myself- in this record I felt there was the objective to get something like this, so it might have been Clare- but that really doesn’t matter.

They got a good feeling, a nice relaxed feeling. The pianist played well, got a nice tone, and was well into the feeling of the music. In fact, they all were.

I felt they might have been a little more careful about knowing their framework, because in a couple of places they moved away from each other, in a very small way. Maybe that’s only a distraction for somebody who’s as schooled in thinking of those things as I am. I’ll give it about three stars.

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3. John Coltrane- Tunji
(from Coltrane, Impulse)
Coltrane- tenor saxophone
McCoy Tyner- piano

Bill Evans comments-

That’s the simplest thing I’ve heard by Coltrane in a long time.

Getting back to the premise of what their intentions were and how well they succeeded, I don’t know exactly what they were getting at… I don’t feel a strong intention in any direction except maybe repose, especially through repetition, a sort of hypnotic feeling. In that sense, I think it succeeded perhaps two stars’ worth.

Other than that, I admire all the musicians, and I feel they all played very “musically” and with a common sympathetic feeling. McCoy Tyner, I guess on piano, handles those voicings very beautifully. Harmonically, if it had gone much further, it could have been boring, but I think they wisely didn’t make it too lengthy. I don’t think the use of one chord need be monotonous, but the way it was handled here, it could perhaps become boring after a while.

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4. Miles Davis- I Fall in Love Too Easily
(from Seven Steps to Heaven, Columbia)
Miles Davis- trumpet
Vic Feldman- piano

Bill Evans comments-

That’s beautiful. You know, it made me think: I rated a couple of the other records a little low on account of technical roughness of one sort or another. And yet that exists in this record, but it has nothing to do with my reaction to it, because I couldn’t give this anything but five stars.

I liked the piano very much. That was Wynton Kelly, I guess.

Don’t know what to say about the whole record except that it moves me much. There’s so much content there; no need for any framework except an old popular song.

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5. Oscar Peterson- A Wonderful Guy
(from Very Tall, Verve)
Peterson- piano

Bill Evans comments-

What’s the name of that tune? Wonderful Guy! Rodgers? He can come up with the most different melodies in each show! That was a beautiful record, I thought. Superb musicianship. Good feeling, well done, nice material.

I don’t really know who it is; have a good idea but won’t bother trying to guess. It’s just a very, very pleasing sound. I would always enjoy hearing something like that. Four stars.

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6. Cecil Taylor- Trance
(from Live at the Cafe Montmartre, Fantasy)
Taylor- piano

Bill Evans Comments-

I really got with that- it was interesting. I like it. In fact, I liked it a lot. I think that what they were going for they realized very well, and I would give it five stars except that I feel that with that wonderful beginning they could have realized a lot more with change of texture and dynamic exploration. But I was moved by it in a particular way which was unique.

But I did feel, once you’re into this, what wonderful things you could do with changes of texture, or even changes of the basic motion they had going, which was a wild thing; but you feel like you want something to come in against this, sort of satirical along traditional melodic lines, you know? And some more space, and maybe a light, slow sort of feeling- things like that.

For what it is, it’s realized almost perfectly, but it just didn’t explore enough area of expression.

So, surprisingly enough (because of my feelings about the freedom thing in general), I reacted very well to this. But I think they should examine the possibility of widening their scope and the changes within a certain area. In other words, all dramatic effect is achieved by change: by setting up one thing and then bringing in some sort of a contrast. And that’s the very thing that’s lacking in this.

It’s probably Cecil Taylor.

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7. Jeremy Steig- What Is This Thing Called Love
(from Flute Fever, Columbia)
Steig- flute
Denny Zeitlin- piano

Bill Evans comments-

I’ve heard this before. I met Jeremy in Daytona Beach when he came down with Paul Winter. Warren Bernhardt played me this record, and I was struck by the fierce intensity of this flute playing. In fact, the energy of it was so overwhelming that I couldn’t listen to more than about two tracks. First of all, flute is so delicate an instrument you have to take it in small doses, and when he comes on this intense with it, I can hardly take it.

Anyhow, I think a lot of his talent and his ability already. I played flute myself for quite a few years, and I know how difficult it is. He plays the flute well and naturally. He has some interesting ideas there, with children’s melodies and all he’s very sensitive.

The pianist on that record is also great. Denny Zeitlin, right? We got together one afternoon, and he played me a trio record of his own, which is very interesting also. He gets a very original type of format going. He almost tells a story, sort of a programatic thing, but in jazz- very free.

But back to the record. As far as rating it, I think Jeremy probably could be represented better on record. This is a good first record, and I think it is going to do a lot for him; but I think if he could handle a project completely and be given a sympathetic environment in which to record- not that this wasn’t- but I think he just went in and did the date, rather than preparing a sort of project that would reflect his own ideas.

For potential, I’d give it a full rating and for what it really attained, perhaps three stars.

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8. Thelonious Monk- Darkness on the Delta
(from Big Band and Quartet in Concert, Columbia)
Monk- piano

Bill Evans comments-

Sounded like Concert by the Sea for a minute at the end! That is completely entertaining, but it doesn’t show Monk the composer. It does show a lot of humor and… there he is! There’s nobody like that.

Using the standards we started out with, I’d give this five stars. It was perfectly realized.

Pianisticly, I don’t think Van Cleburne has anything to worry about, but if he (Monk) gets that stride going a little faster, I don’t know… maybe Art Tatum will have to come back.

Pianistically, he’s beautiful. (A promoter I know uses that phrase;f I guess he likes the way it rolls off his tongue.) But Thelonious IS pianistically beautiful. He approaches the piano somehow from an angle, and it’s the right angle. He does the thing completely and thoroughly. That’s all you can say. He hasn’t been influenced through the traditional keyboard techniques because he hasn’t worked through the keyboard composers and, therefore has his own complete approach of musical thinking.

But he is such a thinking musician, and I think this is something a lot of people forget about Monk. They somehow feel he’s eccentric, but Monk knows exactly what he’s doing. Precisely. Structurally, and musically, he’s very aware of every note he plays… I’m sure you’re aware of that.

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9. Bill Evan- More
from Theme from the V.I.P.s, MGM)
Bill Evans- piano
Claus Ogerman- arranger

Bill Evans comments-

You know, I didn’t recognize this at first. I’ve only heard a couple of tracks out of this entire album. I believe I heard a couple on the radio and wondered who the pianist was. Then I realized.

It’s pleasant though; something I might listen to going down to the beach in my convertible. Most of the melodies are pretty, and the arrangements are certainly well done, played well… There’s just not much room for creative work. I think there was one sort of improvised blues.

This came about when Creed Taylor said, “Maybe we can work in an album where you work with a larger group.” And I said “Fine.” So, the next thing I knew, the date was scheduled, and he said that Claus Ogerman had done the arrangements and that he was a very fine, capable arranger, which he is, and that we were going to do some of the better movie things.

I thought “fine,” because as long as the tune is good and there’s room for me to play, it’s material for me. But as it turned out, as you can see, there was no room for me. So I just read the part, and it was really very pretty. In other words, I didn’t know until I got to the studio that it was going to be this kind of an album, in the pop field.

I really felt so sort of funny about it. I wanted to use my Russian name on it- Gregorio Ivan Ivanoff- that’s William John Evans in Russian. Then I thought, well, what the hell, I’ve played a lot of lousy jobs, and lousy music; certainly this is nice, and pleasing, a lot better than the things I’m referring to, and as long as I know where I’m at, know that it’s commercial, I’m okay. If I didn’t know, I’d be very worried! But I always know, when I’m playing a polka, it’s a polka, when I’m playing a bar mitzvah, that’s what it is, and so on.

>>69579102
If this record could have done something for widening my audience, getting better distribution for my other records, I’m all for it. Because it’s a cold, hard business.

I don’t know whether this sold better than my others, but the thing was: the distributors accepted this album because it’s a pops album, whereas when I was strictly a jazz artist they wouldn’t even distribute the thing. Now, even my jazz records like, say, Conversations, go fine in places where you will find no other jazz records- because of THIS record.

It was wonderful, incidentally, getting the Grammy for Conversations with Myself. I just couldn’t believe it.

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10. BONUS TRACK (not on Bill Evans blindfold test)
Keith Jarrett- Margot
(from Life Between the Exit Signs, Vortex)
Keith Jarrett- piano
Charlie Haden- bass
Paul Motian- drums

I needed one more track to make an even 10 so I picked one that I would have liked to hear Bill Evans give his thoughts about. I had always heard that Keith Jarrett was influenced by Bill Evans but I never really heard that until listening to this album.

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Afterthoughts by Evans-

I am not only willing to accept something new; I desire it more than anything else. But it has to be better than what proceeded it. Some of the expressionism that is around now, the kind that becomes very subjective and says that any emotion, just because it is real, must be worthwhile- I’m not too much with that. You could use those standards to say that a belch is as beautiful and esthetic as Bach.

Art is selective; the feeling should be selective and should represent something we want to preserve and perpetuate, not just reflect on the mud and mire of society.

Freedom can be a misleading term. Playing takes a lot of time and work and patience, and there are no short cuts; perhaps that’s why some people choose this other philosophy, because it eliminates the necessity for dedication.

>>69579102
So it tuns out the least Evans-sounding track is the one where he's in. Interesting backstory too.

I'll take a look at some of these. I really liked 6, 7 & 8.

Interesting to see Bill's thoughts about Cecil Taylor - I thought it was the obligatory piss-on-free-jazz choice like Miles always got in his BFs.

Really interested in that Jeremy Steig album - read a bit about him and he sounds like he might be up my street.

>>69579061
I think Evans is saying a lot of the same things I was saying about this track. Interesting that he still wanted to give it 5 stars though when that lack of texture and dynamic range basically ruins the track for me.

Then again I'm comparing it to all of the free jazz that came after it, in 1964 this was still cutting-edge stuff and there wasn't nearly as much to compare it with.