/blindfold/

1. There’s a lot of nice interplay from the piano and sax in this one but it feels a little bit directionless. Especially the last couple minutes. I did like the interplay in this one though. 3 stars.

2. This sounds like Chris Potter to me. I like this trumpet solo a lot. The drumming is really good too. This all felt like it was building up to something too more than the last track. 3.5 stars.

3. I’m pretty sure something from this group has been on /blindfold/ playlists before. I remember liking the combination of clarinet and vibes. Also it seems like you don’t usually hear clarinet played like this. This was nice. I like that combination and I would listen to more of this. 3.5 stars.

4. I’m liking this piano solo a lot. Especially that back and forth thing that happened with the drums at the end. The guitar solo seemed kind of boring in comparison but the sax solo was nice too. I don’t have too much else to say about this one but I liked it. 3 stars.

5. This kind of sounds like the same sax player as the last one. It’s pretty cool to have the bass solo with the sax. I don’t know if I’ve heard that before. It’s cool when the piano comes in and builds up tension too. Actually I think this might be Chris Potter. I liked how dark and quiet the piano solo was in comparison. This might be one of my favorites from this week. 3.5 - 4 stars. Have to listen to it again.

6. It seems like we don’t really have very much soprano sax on these for some reason. I don’t have much to say about his solo but the transition to the trumpet solo was nice. It was cool how they all just started to speed up. The piano solo was probably my favorite part about this one. Actually I like the thing the horns do together after the piano solo too. 3.5 stars.

7. The melody of this didn’t really grab my attention but I like the sax and trumpet soloing together. But it felt like it never really developed into anything. 2 stars because this felt like wasted potential.

8. This reminds me of Mingus for some reason. Like something from Mingus Ah Um. The piano player stands out to me the most here. But I like the saxophonist a lot actually too. Very cool piano solo too. Maybe Orrin Evans. 3.5 stars.

9. This was pretty intense. It’s almost too much but I think I liked it. I think it’s the kind of thing you have to listen to a few times to get much from. It did have a great energy and build up though. 3.5 stars.

10. This is really cool. It reminds me of Coltrane a little bit. Even the bass solo is really enjoyable. I think partly because of what the piano was doing. The piano solo was incredible. Really unpredictable and it never got boring. 4 stars. One of my favorites of the week. It sounds pretty different from any other criss cross stuff I’ve heard before. I would check this album out.

Finished up for the Christmas today! Gonna try get some thoughts written for tomorrow or this evening and actually get a chance to participate in the thread for once...

>>69689249

Shameless bump to come check out the newly revived /jazz/ general

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Bumping, will check again in 3 hours after work

>>69699399
>2. This sounds like Chris Potter to me
This isn't him. But he's on here somewhere else.

>3. I’m pretty sure something from this group has been on /blindfold/ playlists before
Yep. From this album.

>5. Actually I think this might be Chris Potter.
This one is Chris Potter

>8. Maybe Orrin Evans
Not him here but Orrin Evans is on a couple tracks this week. There's definitely some Monk influence in this player's solo though.


>9. I think it’s the kind of thing you have to listen to a few times to get much from.
Probably. A lot of the /blindfold/ regulars seem to see that as a negative thing but that's usually my favorite kind of stuff.

>10. It sounds pretty different from any other criss cross stuff I’ve heard before.
This is a favorite of mine and I wish the label would do more stuff like this.

So is next week going to be a Christmas theme? I did the one last year and I think I used up most of the more obscure Christmas jazz I know.

>>69701439
just use it again, anon.

in case anyone just want to listen to some random jazz and queue their own, heres a dubtrack: https://www.dubtrack.fm/join/the-jazz-room

>track one
Reminds me of the the quartet on Monk's Dream but a bit more modern and the band is a bit more interactive. The pianist's comping like Monk would with the really sudden stabbing accenting and phrasing but the ensemble is really responsive to it and everyone's sense of time is kind of unified in their wonkiness.
This is very entertaining. The dialog between the piano and sax is incredible. They're picking up on each others ideas all over the place but the bit around two minutes in was seriously a highlight. I feel like if I was soloing and someone did something like that, my sides would be in orbit, I'm here grinning like an idiot just listening to it.
Definitely gonna get this one on the strength of this.

>Track two
That intro is pretty enjoyable but I think it may have gone on a tad too long. Does make the band's sudden entrance more exciting though I guess. That drummer reminds me a bit of a young Tony Williams. Especially in the sort of patterns he's doing stuff on the snare and the loose sense of time he was accompanying the first half of the sax solo with.
Possibly Sipiagin on trumpet? It's got that vague Woody Shaw influence, pyrotechnics for days and the accuracy with which he plays those high speed runs is astounding.

>>69701439
I'm not sure I know enough Christmas themed jazz to make a particularly diverse playlist.
I don't think we have to, but I had it in my head that it might be worthwhile doing a "Winter" theme or something instead.

>track three
I bet this is that vibes/clarinet combo from the Joe Henderson theme. I've liked hearing them on the blindfolds but I don't think I'd be as interested in a whole album from them. This sort of instrumentation is unusual but it does work for the most part, though the clarinet is played a bit more like a soprano sax here than I recall from the song on the Joe Henderson blindfold. Especially on those screeching high notes. Not exactly the sort of thing Benny Goodman would play but it's enjoyable.
>Track four
Wasn't crazy about the piano solo on this one. A lot of it felt a little aimless and searching and when he was messing around with definite motifs, they were usually quite short and dissonant so I was kinda finding it hard to cling on to much here. Just felt a bit clinical to me.
I liked the last couple of bars though. Mostly cause of how the drummer responded during them.
Felt similarly about the guitarist here. He was playing quite low in his register and with the sort of tone he had and how low he was in the mix, it was kind of muddled and hard to follow any sort of contour to his solo.
The sax solo was like a bucket of ice water to the face following on from that. He was super expressive and the whole band seemed way more excited to be accompanying him. Where was the drummer before the sax solo? His playing around 4:17 was like the best bit of the track but it was like he hadn't near the same interest in trying out stuff like that with the other guys.

>>69704144
>Reminds me of the the quartet on Monk's Dream but a bit more modern and the band is a bit more interactive.
Definitely a Monk-influenced pianist. And everything he does with this saxophonist is always great.

>>69704144
>Possibly Sipiagin on trumpet? It's got that vague Woody Shaw influence, pyrotechnics for days and the accuracy with which he plays those high speed runs is astounding.
Not Sipiagin, but another pretty big name right now in the trumpet world. I actually think he has a very different sound from Sipiagin, but then again I know Sipiagin's sound probably about as well as anybody other than people who play with him or trumpet players maybe.

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Hello...

>>69704286

>track five
This is very tense. That chordless bit after the head was a good idea. Having the piano lay out gave a lot of freedom for the three of them to interact in a fairly harmonically loose setting and then allowed the mood of the track to change nicely when he came back in.
I like this sax player. The way he developed how he was using timbre, dynamics and phrasing as his solo went on was pretty impressive too. His playing was different between the start where he was playing all those knotty controlled staccato lines in tandem with the bass, the bit where the piano solo came in and he started overblowing the notes a bit more and playing more legato and then when the piano dropped out again and he was starting to work in much harsher tones before quietly fading out for the ritardando conclusion.
Speaking of which, I like the progressives here. Precomposed structure changes are almost always a nice addition in songs like this and it distinguishes the solos a lot more.

>>69705380
Sounds like a good idea anon. You should invest the time and energy since you're so interested.

>>69705380
scaruffi's a confirmed hack when it comes to jazz

>>69705960

his yearly picks are pretty interesting IMO

but his taste in pre-90s stuff is pretty basic, I will admit

>>69705958
>track six
Something about the mixture of these players tones and the harmonies in the head is hitting my brain in a weird way. The first solo didn't particularly grab my attention but then the trumpet/trombone horn call really caught me off guard. I loved how they slowed down then when the trumpet came in and gradually built back up to tempo. There's a weird mix of ideas and styles in there. More complex and long melodic phrases a la modern post bop, a stray bluesy hard bop lick and some stuff that could have come from a Freddie Hubbard post bop record from the 60s. I get the feeling this guy might be the leader/composer of this track based on how much the arrangement seems to favour the horns.

>>69704644
>Wasn't crazy about the piano solo on this one. A lot of it felt a little aimless and searching and when he was messing around with definite motifs, they were usually quite short and dissonant so I was kinda finding it hard to cling on to much here.
Oh I actually really like this piano solo.

>>69705958
>Speaking of which, I like the progressives here. Precomposed structure changes are almost always a nice addition in songs like this and it distinguishes the solos a lot more.
100% agree with this. I love long forms and I think in the best jazz every solo has a different feel and one of the best ways to accomplish that is to give each soloist a different feel or different changes.

>Track seven
This sounds vaguely familiar. I think the head is similar to something else I know but based on the soloing, I don't know this. I'd deffinitely remember something like this. I love a bit of collective improv and I don't think it's done near enough in modern jazz with horns like this.
It's especially great when you've got people like this who've got a good sense of how much space to give each other, when to lay out and where everyone is going with ideas.
>>69706563
I may have liked it under different circumstances/with more exposure but on the two listen throughs I gave it, I found it hard to follow at times and some of the more easy to discern themes he was developing were grating.
Is there anything in particular about it that you think I ought to listen out for? I might go back to it when I get through the rest of these tracks.

>Track eight
Bass solo here started out very strong but he was kinda just lost by the end of it, like he'd come out the gate with all the ideas he'd had and then was just filling time. The rest of the ensemble was pretty quiet for it too. I respect that the ensemble doesn't want to drown out the bass solo but it's kind of lame when you've got the one guy soloing with just the drummer keeping time and the odd chord from the piano and the other guys get crashing cymbal washes and a prewritten horn lines and big massive rising piano chords for their solos. I'd be salty.
The piano solo was probs my favourite here.

>Track nine
Man that band is energetic. I like how the soloing evolves so naturally out of the head and the interplay between the saxes. There was a neat sheets of sound type aesthetic between the two of them and they were both following each other really well, at times it felt like they were one bitonal instrument.
>track ten
This is probs the freest thing we've had this week. It's very loose in any case, like there's the bones of a rhythm in there somewhere under that skittish drumming.
The sax solo is interesting to say the least...there's some licks and melodies he does that are very pretty and almost folkish but then the rest of the time he's off somewhere on Mars.
I feel much better about this bass solo too. The drummer and piano are actually giving this guy the time of day and giving him responses and accompaniment he can work with and I thought he ended up coming out with some really nice ideas as a result. Again, like the sax player, there were some surprisingly consonant bits worked in there.
The two of them hardly compare to that bastardized classical inspired section in the piano. Did not know what was going on but it was a very creative way to start a free jazz solo.
For how mad he was as an accompanist, I was a little disappointed with the drum solo. It certainly wasn't bad but I suppose I had higher expectations and I guess he also didn't get all that much time to develop something bigger.


Good set of tracks this week though. A lot of stuff I tend to expect with Criss Cross tracks and some stuff that surprised me. I don't think I've heard any other Criss Cross releases like that last track in particular.

>>69706542
Actually the drummer is the leader on this track. There's definitely a lot of Freddie Hubbard in this trumpet player. He's somebody I wish would play on more Criss Cross releases like this because he's great on every one that he's on.

>>69700944
>>9. I think it’s the kind of thing you have to listen to a few times to get much from.
>Probably. A lot of the /blindfold/ regulars seem to see that as a negative thing but that's usually my favorite kind of stuff.
When I say this, I usually don't mean it as a negative thing. I also like listening to stuff that will take me a long while to get to know really well and appreciate fully. We just don't get the chance to do that with the /blindfold/ tracks.
Particularly complex tracks deffinitely aren't a bad thing but it's worth noting when you think something is probably going to make a lot more sense when you've gotten a chance to hear it a few times.

hey this is probably a good place to ask this. What are some good places to catch jazz in nyc? I'll be in there next month for a few weeks, and I'm already planning on seeing Fred Hersch at the Village Vanguard. Here's the schedule for Blue Note when I'll be there can you tell me who would be worth catching? The "Celebrating Elvin Jones" looks like it would be good but as of now I could not make those dates.

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and here's the schedule for Small's, which I've heard good things about

>>69708362
That's a fair point

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>>69709732
forgot pic

>>69709749
Victor Wooten would probs be a pretty exciting live show.

>>69709732
Looks like you saw my post about the Smalls schedule.

Places like The Blue Note, The Jazz Standard, Birdland, and Dizzy's can all be pretty touristy but there's also good stuff there sometimes too. The Mingus big band plays at The Jazz Standard every Monday which is always worth seeing and Arturo O'Farrill's big band plays at Birdland every Monday and they're great too.

If you're interested in more avant-garde stuff definitely check out 55 Bar. There's always interesting acts there.

Bar Next Door always has good players and isn't very crowded during the weeks. It's a small venue and there usually is nobody really around for the late sets. Jonathan Kreisberg plays there every Wednesday and he's fantastic.

Smoke is good too for straight ahead jazz, but also a little touristy. There's always great players there though. But it's on the upper west side, whereas most of these other places are in the Village.

On another note... you should check out this week's /blindfold/ playlist. These artists are mostly NYC guys who are still very active. If you're in NY for a couple weeks I can almost guarantee that at least 5-10 of the artists from this week's playlist will be playing somewhere in NYC during that time.

>>69706876
>Is there anything in particular about it that you think I ought to listen out for?
Well I like that it's very fragmented and unpredictable whereas it seems like that's what you didn't like. He's throwing a lot of challenges at the rhythm section and if they don't handle it well it will sound terrible, but I think they go along for the ride with him.

>>69710349
thanks a bunch. I've downloaded it and I'll post something if I have some thing worth saying

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Bumping.
Man, it's so cool seeing a /jazz/ with so many posts. Seems like it's been ages since we had one last that long.

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recently finished listening to these. I might write up a track-by-track review if the thread's still up tomorrow. But I must say the most noticeable thing for me was how tight the drumming is throughout. Not just in the talent of the drummers but how well they're recorded and mixed, one of my peeves for a lot of jazz records. Ditto for the rest of the rhythm section. Also the most of the melodies were shit, really uninspired. Even for jazz I thought they were very particularly boring.

tracks 2, 4 & 9 were highlights and tracks 3&7 i did not really like. Shame only 1 participant at all.

fell in love with the pharaoh's africa. next best album rec?

>>69719327
Never cared much for Pharoah Sanders myself

>>69719940
ahh shame. I really dig the energy. his discography is huge though so I don't know where to go from here

nobody else going to post about this week's tracks I guess?

>>69720061
I wonder what happened to Jazzpossu

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>Track 1
Orrin Evans- Captain Black
from Easy Now (2005)

Alto Sax- Ralph Bowen
Piano- Orrin Evans
Bass- Eric Revis
Drums- Rodney Green

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how does moo define cool jazz desu~?

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>Track 2
Walter Smith III- Working Title
from III (2010)

Trumpet- Ambrose Akinmusire
Tenor Sax- Walter Smith III
Piano- Jason Moran
Bass- Joe Sanders
Drums- Eric Harland

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>Track 3
Ralph Peterson- Status Flux
from The Fo’tet Augmented (2004)

Clarinet- Don Byron
Vibes- Bryan Carrott
Bass- Belden Bullock
Drums- Ralph Peterson
Percussion- Eguie Castillo

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>Track 4
Stacy Dillard- Pleasant
from Good and Bad Memories (2011)

Tenor Sax- Stacy Dillard
Guitar- Craig Magnano
Piano- Orrin Evans
Bass- Ryan Berg
Drums- Jeremy ‘Bean’ Clemons

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>Track 5
Scott Colley- Turangalila
from Subliminal (2006)

Tenor Sax- Chris Potter
Piano- Bill Carothers
Bass- Scott Colley
Drums- Bill Stewart

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>Track 6
Adonis Rose- Gingerbread Boy
from On The Verge (2007)

Trumpet- Nicholas Payton
Soprano Sax- Tim Garfield
Vibes- Warren Wolf
Piano- Aaron Goldberg
Bass- Reuben Rogers
Drums- Adonis Rose

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>Track 7
Donny McCaslin- Doom Fuss
from Give and Go (2006)

Trumpet- John Swana
Tenor Sax- Donny McCaslin
Guitar- Steve Cardenas
Bass- Scott Colley
Drums- Gene Jackson

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>Track 8
Jeremy Pelt- Spherical Inclination
from Insight (2003)

Trumpet- Jeremy Pelt
Alto Sax- Myron Walden
Tenor Sax- Jimmy Greene
Piano- Rick Germanson
Bass- Vicente Archer
Drums- Ralph Peterson

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>Track 9
David Binney- Last Minute
from Bastion of Sanity (2005)

Alto Sax- David Binney
Tenor Sax- Chris Potter
Piano- Jacob Sacks
Bass- Thomas Morgan
Drums- Dan Weiss

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>Track 10
J.D. Allen- So Get Rid of the Midgets and Send In the Giants
from Pharoah’s Children (2001)

Tenor Sax- J.D. Allen
Piano- Orrin Evans
Bass- Eric Revis
Drums- Gene Jackson