/blindfold/

hell yes. I've been looking forward to this all week!

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>>70636858
>THIS WEEK'S THEME: Herbie Hancock Compositions

OH.
MY.
GOOOOOOOOOOD.

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GOD DAMN IT WHY ISN'T IT DOWNLOADING I WANT MY FUCKING HERBIE!!!!

>>70637894
It'd help if you told us what is happening.

>>70637908
I fixed it, nevermind. On the first track now.

I'm surprised I don't recognize it. I really like it so far though. The bass line is really nice.

WAIT A FUCKING MINUTE I RECOGNIZE IT!

(Am I allowed to say what it is if I think I know it? this is my first /blindfold/ thread).

>>70638017
Yep, say anything you think or recognize about the tracks.

>>70638037
Thanks for clarifying

Ok so the first track is a re working of "I Have A Dream" originally from 'The Prisoner' with the main difference being instead of being focused on a flute line it's main focus is A guitar. It's a really nice re-working of the original and whoever the guitarist is did a fantastic job.

Onto track 2.

>>70638060
Good looking out. I was wondering if anybody would recognize that one because The Prisoner isn't one of his more popular albums but I think it's got some of his best compositions.

Second track sounds like a re-working of One Finger Snap. It sounds like a Latin Jazz version of the song. I absolutely love the percussion in the back throughout. incredible. Whoever's on trumpet is doing a fantastic job as well. Great re-working of the song and whoever's doing this cover is doing a wonderful job.

I'm about halfway through the third track I stopped dead at. Having a hard time recognizing it. I'm thinking it's either a track from 'My Point of View' or 'Speak Like a Child'

Whatever the track is (which I'm probably gonna kick myself for not getting) is really nice. Drummer is doing a fantastic job on it and I'm really loving how chaotic it's getting in the middle.

Holy fuck that drummer. The drummers on these tracks are insane.

>>70638131
>Great re-working of the song and whoever's doing this cover is doing a wonderful job.
This is someone who's made a whole series of Latin interpretations of classic jazz compositions. Good recognition of the tune.

Track 3 I love but it's pissing me off I can't figure out what track it is.

Closest I can come to guessing is King Cobra for the piano line but the brass section doesn't sound anywhere near the way it did in the original song.

Playing 4 now.

>>70638242
>I'm thinking it's either a track from 'My Point of View' or 'Speak Like a Child'
It's not from either of those actually

>The drummers on these tracks are insane.
Contemporary jazz drummers are pretty amazing and the drummers on tacks 1 and 3 are some of the best

>>70638319
>but it's pissing me off I can't figure out what track it is.
It could be one you're not familiar with. Don't forget that Herbie was prolific as a sideman and sometimes contributed original tunes to those albums too.

>Track 1

I don't recognize this composition. The guitarist has kind of an 70's ECM tone - reminds me of Pat Metheny and John Abercrombie.

I was expecting a little more from the track after the cool intro, but it was OK. This could be a Criss Cross release, sounds fairly recent.

Some of the guitar playing sounds familiar, but might be just the Metheny -influence.

>Track 2

This is One Finger Snap originally from Empyrean Isles. A very latin version of it.

I'm not into contemporary latin jazz much and don't really feel like this version brings much to the table. The horn solos were pretty enjoyable. Very agile tromboning there.

Conrad Herwig has an album called The Latin Side Of Herbie Hancock - I haven't heard it, but I'm just going to guess that this is from that album.

>Track 3

Took me a while to place a name to this one, but I had such a strong feeling that the original is strong on horns, so I figured it's something Herbie wrote for Miles' Quintet and indeed it's Madness originally from Nefertiti. I don't think Herbie recorded this one on his own albums. A pretty Wayne Shorter -like tune.

Like track 1, this one is also very Criss Cross-y contemporary jazz. I like the restlessness and that feeling of danger of this one - reminds me of the compositions 60's post bop roots.

Trumpet player seems to be influence by Miles at times.

My favorite so far this week.

Oh thank fuck, the 4th one is easy.
Maiden Voyage.
The string synth is a lovely touch to the song, I fuckin love string synths. And I love the slower tone/direction this cover of this song takes it in. A very smooth track with beautiful strings. Love it.

>>70638359
Interesting. I was expecting everyone to hate this one.

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>>70638386
Why did you think people would hate it?
THOSE GOD DAMN STRINGS, man.

>>70638351
It's hard to avoid Criss Cross albums when I do these "compositions of" playlists. They're great for playing tunes from classic jazz albums that nobody else really covers.

>>70638459
That kind of thing plus the general smoothness tends to turn people off. As for myself, I don't hate it and I like the trumpet playing but it just sounds very dated at this point to me.

On the fifth track and I caN T FUCKING RECOGNIZE IT AGAIN.....GOD FUCKING DAMN IT. Something from Empyrean or Maiden I'm sure but god damn it I can't figure it out for the life of me...

>>70638496
>dated
>as an insult...

...Why must you hurt me this way?

[Taking short break to eat will be back to continue playlist as soon as I can]

Fuck my god damn shit I can't recognize track 5 still. It was my least favorite so far anyway so I guess it doesn't matter.

6 is definitely King Cobra. My personal favorite from My Point of View. Seems like A straightforward cover of the original but I love the original so that's not a bad thing. Really good so far.

>Track 4
This is Maiden Voyage of course. The strings are a little sappy. A late 70's or early 80's release maybe?

The trumpeter is sticking to the original melody which is fine - this is definitely a classic modal tune so it doesn't need embellishment or weirdness.

Nice, relaxed and melodic soloing. Very stylish trumpet playing.

As a whole this was a little bit more on the easy listening side than I'd prefer, but it was pretty good for what it was.

>Track 5
Well this is all mysterious. I like the drumming at the start.

Alright, the melody finally reveals itself. This is another one that Miles' quintet did, I think. The Sorcerer?

This is not unlike track 1 with a mysterious intro giving way into a more traditional approach with a guitarist in the lead.

The drumming keeps being the highlight here for me. The drummer is really keeping it interesting.

>Track 6
Composition isn't ringing any bells for me.

I don't have a lot to say about this one. Didn't really stick with me. I liked how these guys had some very clear 60's style modal playing influences, but still had a more modern feel overall.

The King Cobra cover was fantastic.

7 is Eye of the Hurricane. Maybe it was a little bit of a poor idea of playing the main tune on a guitar. Not working as well as it did on track one.

Yeah I'm..not really liking this rendition if I'm being honest.

>Track 7
Plenty of guitarists this week. Tune is The Eye of the Hurricane.

Swedish guitarist Ulf Wakenius has recorded a version of this that the head reminded me of, but this is something else. This one kind of seems to lose momentum when they start swinging after the head.

I like the bass player and drummer when they get their moments to shine, but would have preferred a high energy version.

>Track 8
Bill Evans-y piano playing and a strong soloing bass player too. Could this be some later Evans recording even?

Composition seems familiar, but can't think of what it is... I think it's Dolphin Dance.

I'll go with this being Bill Evans with Eddie Gomez on bass.

This was pretty enjoyable.

>>70639192
Holy fuck it is Dolphin Dance. Good ear, tuck.

I really enjoyed the pianowork on track 8 as well. Very beautiful reworking of Herbie's original piece.

>Track 9
Tune seems familiar, but I can't think of the name.

Sounds like one of those versions that is easier to grasp if you have the original in mind.

I didn't really care for this at the start, but the solos section is really winning me over. I really liked how it built up during the solos - reminded me of some Ambrose Akinmusire stuff and also Logan Richardson.

Parts of the composition sound really familiar - I should know what this is, but just can't think of anything.

>Track 10
At least we get some funky here, although still a 60's composition. Blind Man, Blind Man from My Point of View originally.

I wonder when this was made - could almost be from the 60's but sounds like it's a more recent thing going for a retro sound. Reminds me a bit of some 90's retro minded acid jazz like the James Taylor Quartet in spirit although this is more laid back.

Fun track.

10 is Blind Man Blind Man, done with an organ, kind of a funk rendition of the original. A pretty enjoyable track.

I've got lessons now so I won't be able to bump or reply much. Hopefully somebody else can keep it bumped.

>>70639192
I'll keep bumping for at least a couple of hours

https://www.youtube.com/watch?v=wqvDu85lmw0

I can bump with Herbie reivews.
It's relevant this time!

Someone pick a year between 62 and 07

>>70639713
01?

>>70639863
...God damn it.

I am trying to explore jazz more, and even though I can't recognize most of these compositions, I'm getting some exposure to great music! Thanks for these threads guys : >

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Future2Future, released in 2001, would be one of Herbie's last albums where he tried massive experimenting with a certain genre, with the genre he wanted to explore being A mixture of Drum and Bass and Electronic hip hop.

It wasn't a completely TERRIBLE album, per say, but it was definitely one of his weakest with poor choices for loops, generally tacky loops and vocals, a very corny electronic piano setting, and there's not really any noticeable highlights throughout the album.

The only highlight on the album would be the song 'Tony Williams' and even that has some tacky narration plastered on.

https://www.youtube.com/watch?v=SCsxVeHKkJ0

>>70639953
post some thoughts, even if they're basic it will be interesting to read

>>70639984
hahah lordy, this is dreadful! this album definitely was dated the day it came out - I bet there's some dude out there who religiously claims this is Herbie's best tho haha

>>70640062
I claim that about 90% of his albums and I'm flat out saying "This one is pretty damn bad"

>>70639996
Right. My favorite track is definitely #9. Great instrumentation (that wobbly guitar sound(?) is delicious) and gives me a feeling similar to an album like Nefertiti or something. Maybe it's the drummer that sorta feels Williams-esque, but it just feeels classic. The solos get hella exciting too.

My second favorite is 8, which sounds like Evans for sure. Those voicings... And I could recognize it - Dolphin Dance! That bass solo is pretty neat too.

The rest of the tracks range from boring to decent. Like, all of the drummers are really good, but I wish more of these tracks carried the energy the way 9 did. 6 is kinda neat at parts tho.

My least favorite is definitely 10. Not a fan of that cheesy funky feel.

bump

https://www.youtube.com/watch?v=PIDOeJa2nYY

Bumping the thread.

Will review another Herbie album when I get home.

herbump

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SOMEONE CHOOSE ONE FOR ME TO REVIEW I CAN'T DECIDE

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>>70642076
GOD DAMN HE RELEASED A LOT OF SHIT.

Holy fuck rateyourmusic is wrong about Herbie.

I mean..it's rateyourmusic so they're pretty use to being wrong but STILL.

>>70642098
something from the 80s

>>70642191
YOU'RE VAGUE AS SHIT AND I LIKE CAPITAL LETTERS JUST PICK A TITLE/ALBUM COVER YOU THINK IS PRETTY YOU SILLY FUCK!

>>70642117
Can you rank your top 5 Herbie? I wanted to get into him. By the way I like the idea of this thread.

>>70642230
Yes, yes I can.

Should I go from my fifth to my first or my first to my fifth?

HERBIEANON'S TOP 5 HERBIE ALBUMS!

#5: Mr. Hands.

Mr Hands was a pretty strange album, not for the music itself, but for when it was released. This was a return to jazz fusion after he had started experimenting in disco with 'Feets Don't Fail Me Now' in 1979', and some saw it as a return to form (which would be unfortunately undone with later albums)

This would be the last of Herbie's fusion albums, unfortunately. But it was at least a great way to end his fusion period. With some great synthesizer sounds and a lot of 80s influence, it's a great, fun listen.

Favorite track: Calypso
https://www.youtube.com/watch?v=SIDdxstd9sI

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>>70642397
(Forgot the fucking picture god damn it)

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#4: THRUST

One of the MANY, many funk albums he would release during the mid 70s, this was the first studio release that followed the acclaimed 'Headhunters' album, continuing many of the musical themes and styles that were on that album. Lots of vintage synthesizers and and tight drum rhythms (along with some latin percussion on the opening track) really help the album stand out...


...But nothing comes CLOSE to the magnum opus Herbie created with this album.
The beautifully composed, absolutely perfect composition.
Butterfly.

Butterfly was the best piece Herbie ever composed and it would later appear on 2 of his other studio releases.
https://www.youtube.com/watch?v=-_mSzscIhyg

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#3 Manchild

Yet another album from his Funk period, this album was one of the first funk albums of his to feature more prominent focus of guitar, done by Dewayne McKnight, David T. Walker, and Wah Wah Watson, who's guitar parts can be heard very well throughout the album instead of focusing on Herbie's usual synths.

This funk filled high energy album will entertain any guest. And the best track would be the high energy riff-focused intro track "Hang Up Your Hang Ups"
https://www.youtube.com/watch?v=d7kRlufrZJo

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#2 Headhunters.

It's the first Jazz album to go Platinum for a reason.

This album, once again, was a strange time for released because the previous year he had released the highly experimental 'Sextant' album, filled with chatoic rhythms and synth patterns. This album was calmer in tone, returning to the Jazz Funk styles he first had done for a previous album, and it turned out fantastic.

This album, instrumentation wise, can be very varied. Chameleon, the smooth synth bass lead jam with tight drums, Watermelon Man, the re working of a 1962 track featuring the sound of blowing bottles and a layed back saxaphone. Sly, the one half cop-action theme and the other half a high energy party funk jam, and Vein Melter, the spacy synth focused closer.

The first 3 tracks all stand as high quality classics of his, hard to be topped by any jazz funk album.

(I chose sly as the demo track because I've been listening to it the most lately)
https://www.youtube.com/watch?v=At1wCLEVdWI

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#1. Fat Albert Rotunda

This album, featuring music originally released as a soundtrack for a one time Fat Albert TV Special, is known for it's hard hitting funky brass line, it's fun electric piano rhythms, and the tight, groovy drums keeping the groove tight.

The whole album is a fantastic album that's impossible not to dance to, and by FAR my favorite Herbie album.

https://www.youtube.com/watch?v=WWqyJ46TLrY

I'm going to listen in that order thank you good sir.

>>70642397
>>70642569
>>70642653
>>70642752
>>70642795
You really know how to present an item.

>>70642873
Thank you. :)

>>70642825
Hope you like them anon!

>>70636858
now what are your 5 favorite Herbie albums?

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Here's the Herbie I'm currently listening to.

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Does anyone wanna help make this?
I have a one for my personal tastes but I wanna know what the rest of /mu/ thinks.

>>70643942
Definitely my favorite is Maiden Voyage. Second favorite would be either Empyrean Isles or The Prisoner. Then maybe Headhunters or one of the Mwandishi albums, I don't remember which one I like best. After that I'm not sure.

I haven't listened to that much of his post-70's output though.

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>>70645822
>I haven't listened to that much of his post-70's output though.

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And as long as we're posting reviews- here are a couple from two of my favorite Herbie records:

Pianist Herbie Hancock’s fifth release for the Blue Note label is also his most celebrated. “Maiden Voyage” is essentially a suite of five original pieces that attempt to capture the “vastness and majesty” of the sea. Recorded in March of 1965, the music on this album has a lot in common with that of the second Miles Davis quintet, which had just recorded its first album in a few months earlier in January of ’65. The Miles Davis rhythm section (Hancock, bassist Ron Carter, and drummer Tony Williams) was one of the greatest rhythm sections of the ’60’s, and arguably, of all time. That same rhythm rhythm section appears here, while trumpeter Freddie Hubbard and tenor saxophonist George Coleman make up the new front line.

First up is the title track which opens with a lightly syncopated vamp of open-sounding suspended chords. Hubbard and Coleman then enter with the simple melody which sustains single notes over the repetitive vamp of the rhythm section and grows in volume and intensity to its climactic bridge before calming once more for the return to the ‘A’ Section. Coleman’s short solo continues the floating, ambiguous modal feel of the tune and allows plenty of space for the rhythm section to begin to expand on the written chord hits. Freddie Hubbard picks up his solo by continuing the buoyant, laid back feel but builds to an intense section where he moves to the high register begins to superimpose blues ideas over the harmony. The dynamic rhythm section picks up on this and begins to play busier rhythmic ideas and more chromatic harmony. Hubbard ends his solo with simple melodic idea that Hancock expands upon to start his solo, first leading the rhythm section into a looser, open time feel, then gradually bringing back the rhythmic vamp that leads back into the melody.

>>70646449
“Eye of the Hurricane” begins with a swinging melody that’s interrupted by dissonant rhythmic hits. The band’s feel is tight as the nimbly shift between the tight, up-tempo swing and the more aggressive hits that disrupt the swing feel. The tune launches into Hubbard’s solo first which begins simply, with Hubbard playing simple melodic ideas but the energy soon picks up with Hubbard’s use of skewed bebop lines and interesting sonic techniques. Coleman’s solo follows and he sticks to eighth-note swing ideas, but uses interesting phrasing that gives the rhythm section plenty of room to shine. Hancock’s solo seems to mix all these approaches, beginning with some tight, eighth-note lines but gradually moving into more interesting rhythmic and harmonic ideas. It’s during his solo that the Carter/Williams rhythm section really shines as they manage to keep the tight swing feel but also play responsively to the way Hancock shapes his solo.

“Little One” begins with a rubato tone poem played in unison by the horns and accompanied sparsely by the rhythm section. Eventually a solid 3/4 swing time emerges, revealing a Wayne Shorter-esque ballad with beautifully chromatic harmony. Once again the solos all provide an interesting contrast; Coleman favors a simpler, melodic approach, while Hubbard steers more toward fast, chromatic bebop runs that highlight his superb technique in the upper register and seems to bring out the energetic side of the rhythm section. Hancock’s solo is the best of both worlds, at times using the built-in harmonic beauty of the tune to great effect, and at times trusting in the quick-witted and interactive rhythm section to support his ideas.

>>70646477
The Carter/Williams rhythm section shines again on “Survival of the Fittest” which opens very freely, but then solidifies into a short, written melody. Hancock wisely sits out for large portions of Hubbard’s solo and allows Carter and Williams to comp more aggressively within the fast swing of the tune. Much like the melody, the solos move in and out of an established time-feel and the group works together wonderfully during the freer moments of improvisation. The teamwork of the group as a whole is at a high-point here as each soloist is free to take their solo in any direction, at any pace they want. The rhythm section proves why it is one of the greatest of all time and the tune is an example of post-bop at it’s best. The quintet excels at playing “free” but are not limited to free playing as their only approach.

“Dolphin Dance” closes out the album with one of the strongest and most memorable melodies on the record. The tune has a laid-back swing feel and it is Ron Carter who’s playing really impresses during the melody. He plays within the swing feel and succeeds in outlining the harmony of the piece, but he does so with an imaginative rhythmic and melodic concept that perfectly accompanies the melody. Once again, the solos are all quite contrasting and memorable, and manage to build up exciting moments of tension and dynamics (with the help of the rhythm section) in the context of the cool, modal swing. Carter switches to a walking line for most of the solos but still finds the perfect spots in the solos for harmonic interjections that add to the momentum of the piece.

>>70646496
The record is a nearly flawless example of modal post-bop. Hancock’s compositions are varied and give the soloists plenty of interesting canvas for their solos, but also share a common inspirational theme that gives a sense of continuity to the album as a whole. Hubbard and Coleman form an excellent front line that blends well during the melodies, but also provides an interesting sense of contrast during the solos. However, the music would only be above-average post-bop without the incredibly sympathetic playing of the rhythm section. This is certainly a definitive post-bop release that blends elements of bebop, hard bop, modal jazz, and free jazz into an exceptionally well-executed singular statement. It’s essential and accessible, but a record that listeners will find new details in with each repeated listen.

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Herbie Hancock’s last record for Blue Note is also his most ambitious. Hancock intended the album as a suite on the theme of the oppresion of black people. For the album Hancock leads a large ensemble which allows him some much more interesting possibilities in terms of composition and orchestration.

The orchestration shows the influence of Gil Evans, with constantly-shifting textures keeping the music interesting. Hancock adds his own personality to the music through attractive dissonance, ambiguous harmony, and “free” improvising. The title track for example opens with a tightly arranged episodic ensemble feature before giving way to a very free (and very good) solo from Joe Henderson. In the liner notes Hancock cites Stravinsky’s “Rite of Spring” as a major influence in his composition of the piece and that influence shows through in the syncopation and dissonance of the head.

“I Have a Dream” is obviously influenced by Dr. Martin Luther King Jr. and takes a less aggressive (though no less interesting) approach than “The Prisoner.” The melody unfolds slowly over a vague bossa rhythm and is passed around the ensemble, always lushly harmonized. Hancock takes an excellent extended solo during which the rhythm section seems to be having a blast playing with him (especially Buster Williams!) Johnny Coles and Joe Henderson also take excellent solos before the re-statement of the theme.

>>70646865
“Firewater” is more straightforward in its arrangement and actually sounds like it could have come from the pen of Gil Evans. Once again all the solos are extremely dynamic and entertaining. Hancock adds a a new texture to “He Who Lives in Fear” by switching to electric piano for the head which is dark and moody. “Promise of the Sun” has a more repetitive melody than the other tracks but its slightly dissonant harmonization among the horns is very nice. Hancock’s solo is on point here and it’s fun to hear him keep coming back to reference the melody in some way.

This is an underrated album. It’s an ambitious concept and one that pays off due to the compositional and arranging skills of Mr. Hancock. The band is equally responsible for the music’s success as well, especially the “featured players.” Buster Williams consistently shines with dynamic, melodic basslines that seem to inspire and challenge Hancock. Joe Henderson plays with passion and Johnny Coles responds with understated fire. This is a unique and essential album in Herbie Hancock’s extensive discography.

The other guy is better at posting herbie reviews than I am....
:(

>>70646984
reviewing albums is kinda my thing

>>70647265
Review Fat Albert Rotunda (please)!

>>70647275
Oh I'm sure I will at some point.

https://rateyourmusic.com/~jazzthreadguy

>>70647704
Oh yeah you gave 2 of Herbie's albums nearly perfect ratings.

You're cool with me, JTG.

Now just rate all of his others 10/10 and we should be good.

bump with more people playing 70's Herbie

https://www.youtube.com/watch?v=zm5IItov450

bumpy

bumping with James Taylor Quartet playing some of Herbie's soundtrack music originally from Michelangelo Antonionis Blow-up

https://www.youtube.com/watch?v=VDct6MWO__4

big band Herbie bump

https://www.youtube.com/watch?v=sY_Dre6r7Eo

Hi guys i'm back, downloading right now

bump

https://www.youtube.com/watch?v=BML8qdNwikc

Probably going to start posting reveals in an hour or so

>Track 1
Don't recognise this tune at all. Really like the guitar playing, very modern sounding and all sorts of different approaches to forming his phrases, as opposed to some of the older players who seem to ape horn lines too much. Good tone for the style too. The rest of the band is tight too, but the guitar is my favourite.

>Track 2
I do know this one - I think one of the ones the Miles quintet played - maybe Riot? Trumpet solo very Hubbard inspired, keeps up with the energeticness of the piece well. The break in the middle is a nice touch too. This trombonist is quite lyrical. What I really like about this piece overall is that its all played energetically, but with a bounciness that feels really relaxed.

>Track 3
One of the tracks from Maiden Voyage - I think Survival of the Fittest. The pianist sounds a lot like Herbie in the way he's comping/following the sax as the opening solo progresses. Does the same with the trumpet too. I like how the drums whip everything up as the trumpet solo continues too.

Intitally this sounded like it was sticking quite true to the way the original version sounded, but it ended up being much looser and never quite reached those points where the whole band was playing in sort of unison, except right at the end. Definitely kept the spirit of the original though, and it's one of my favourite Herbie tunes.

>>70656678
>Track 4
Maiden Voyage. With a string section? I can see how that would be a temptation, but it sounds far too novelty-like and safe. The slower tempo might have worked in another setting, but here it just sounds a bit sluggish, and despite having more time to react the rhythm section don't sound all that interested in the horn. After the solo finished, there were some interesting ideas (though the drum solo got messy) but it was all too scripted sounding.

>Track 5
I like the percussion in the opening. This is another one I know but can't name. I'm not a fan of the guitar here, especially compared to track 1. I don't see any logic to this solo, just sounds like lots of notes, and the few chords he randomly throws in mostly feel like fallbacks for when he doesn't have any other ideas.

>Track 6
I like this trumpet player, he's very expressive. This sounds I like like a Criss Cross recording, definitely the style I associate with jtg's taste anyway. Probably Chris Potter on tenor? His solo was great anyway, and I really liked the way it ended. Piano player has a good mix of bluesy groovy licks and colourful chords. Don't think I've heard the original of this one, and I don't think they explored much of its character, but as a vehicle for these soloists it was decent.

>>70656693
>Track 7
This is another Maiden Voyage tune. Don't know which. The way it goes into this slightly slower groove after the head is very jarring. They do manage to bring back the more post-bop feel but I'm not sure why they left it behind in the first place. Maybe it would have been better if it was the other way round and more gradual. The bassist probably should have been more flexible to those parts where the guitarist went into extended eighth note bits, it sounded a odd with them playing two speeds at once. Their trading fours was easily the best part of the piece. The drum solo wasn't necessary, but it wasn't bad, and I liked how it was punctuated by the rest of the band.

>Track 8
Again I know the tune, but no idea where it's even from. A very Bill Evans sounding bassist and he's humming so maybe Eddie Gomez? Yeah he's played a couple of licks I recognise from other records he's played on, so I think it is him. He's an underrated bass player who always plays really pretty solos. This could easily be Evans playing but I dunno. Very nice anyway. I think the tune might be yet another from Maiden Voyage but I don't know if you'd have picked so many from one album.

>Track 9
Very ECM sounding. There sure have been a lot of guitars today - has been nice to get a bit of variety. They play nicely together and I'm sure I recognise the sax player, but I dunno what else to say about this.

>Track 10
My first thought was that this was Watermelon Man, but it's not. This has been the best trombone solo today, full of swagger. The stop-time parts of the sax solo are sweet too. I'm not sure who's following who, but this is better comping than I expect from soul jazz. Pleasantly surprised by this one.

>>70656712
Enjoyed this week - especially the first three tracks. I didn't expect to be great at identifing track names but I'm annoyed I placed Madness as being a Maiden Voyage track. I am familiar with it and it is one of my favourites of his compositions, though I think I always mistook it for a Wayne Shorter piece.

>>70639984
I'm a bit disappointed - the sample you posted wasn't nearly as bad as I was expecting.

I'm back. I was asleep and shit.

My favorite tracks were the Latin jazz re working of One Finger Snap and the string version of Maiden Voyage
(Those fucking strings were so good)

>>70656754
Just trust me. It gets worse.

>>70656926
(This is Herbieanon by the way)

>>70656693
>Chris Potter on tenor?
It is a Criss Cross recording but not Chris on tenor. It's somebody who sounds very much like him in tone though.

>>70656712
>I think the tune might be yet another from Maiden Voyage but I don't know if you'd have picked so many from one album.
I think the ones from MV are some of his most-covered, other than Cantaloupe Island.

So I've done playlists covering the compositions of these composers so far:
Monk
Ellington
Wayne Shorter
Joe Henderson
Andrew Hill

And I'd still like to do:
Coltrane
Ornette
Horace Silver

Any others I should definitely do?

>>70657209
How about Bird tunes?

>>70657480
Oh yeah... that's probably a good idea. Also maybe Bill Evans tunes too.

Ok starting reveals now.

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>Track 1
Mike Moreno- I Have a Dream
from Third Wish (Criss Cross, 2007)

Guitar- Mike Moreno
Piano- Kevin Hays
Bass- Doug Weiss
Drums- Kendrick Scott

The composition first appeared on the Herbie Hancock album “The Prisoner.”

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>Track 2
Conrad Herwig- One Finger Snap
from The Latin Side of Herbie Hancock (Half Note, 2010)

Michael Rodriguez- Trumpet
Conrad Herwig- Trombone
Craig Handy- Saxophones
Bill O’Connell- Piano
Ruben Rodriguez- Bass
Robby Ameen- Drums
Pedro Martinez- Percussion

Originally from Empyrean Isles

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>Track 3
Jeremy Pelt- Madness
from Insight (Criss Cross, 2009)

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

This composition originally appeared on the Miles Davis album “Nefertiti”

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>Track 4
Art Farmer- Maiden Voyage
from Maiden Voyage (Denon, 1983)

Arranging, piano- Masahiko Satoh
Flugelhorn- Art Farmer
Bass- Ron Carter
Drums- Jack DeJohnette
Violin- Barry Sinclair, Charles Libove, Elena Barere, Jan Mullen, John Pintavalle, Lewis Eley, Masako Yangita, Regis Ladiorio, Richard Sortomme
Viola- Al Brown, Emanuel Vardi
Cello- Charles McCracken, Jonathan Abramowitz
String Bass- John Beal

Obviously this track comes from Herbie Hancock’s “Maiden Voyage.”

>>70657715
My fucking favorite. I loved this one. Props to those string players.

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>Track 5
Jonathan Kreisberg- Sorcerer
from Trioing (New For Now, 2002)

Jonathan Kreisberg- Guitar
Johnaess Weidenmueller- Bass
Ari Hoenig- Drums

This compositions first appeared on Miles Davis “Sorcerer” but a version also appeared on Hancock’s “Speak Like a Child”

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>Track 6
Danny Grissett- King Cobra
from Form (Criss Cross, 2009)

Ambrose Akinmusire- Trumpet
Seamus Blake- Tenor Sax
Steve Davis- Trombone
Danny Grissett- Piano
Vicente Archer- Bass
Kendrick Scott- Drums

The composition comes from Herbie Hancock’s “My Point of View”

I'd like to get into jazz and become a more critical listener, but I find it hard to condition myself to just sit and listen to an album without doing something else alongside it. What should I do? I genuinely love music but I just don't feel like I appreciate it that much beyond the "it sounds good" level.

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>Track 7
Boris Kozlov- Eye of the Hurricane
from Conversations at the Well (Criss Cross, 2016)

David Gilmore- Guitar
Boris Kozlov- Bass
Rudy Royston- Drums

The composition comes from Hancock’s “Maiden Voyage.”

>>70657797
Worst one for me, personally.

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>Track 8
Bill Evans- Dolphin Dance
from I Will Say Goodbye (Fantasy, 1980)

Bill Evans- Piano
Eddie Gomez- Bass
Eliot Zigmund- Drums

This one also comes from “Maiden Voyage.”

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>Track 9
Kendrick Scott- Speak Like a Child
from Reverence (Criss Cross, 2009)

Walter Smith III- Tenor Sax
Mike Moreno- Guitar
Gerald Clayton- Piano
Derrick Hodge- Bass
Kendrick Scott- Drums

From Herbie Hancock’s “Speak Like a Child”

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>Track 10
David Gibson- Blind Man, Blind Man
from End of the Tunnel (Posi-Tone, 2011)

David Gibson- Trombone
Julius Tolentino- Alto Sax
Jared Gold- Organ
Quincy Davis- Drums

From Herbie Hancock’s “My Point of View"

>>70657728
I'm glad you liked it. I had quite a few versions of this tune to chose from, so I debated for a while but decided to go with something that would be pretty different from everything else this week.

Alright so it looks like I guessed 8/10 right. Not too bad.

Tracks 10, 2, and 4 were my favorites (4 probably being my very favorite because S T R I N G S)

>>70657762
Try reading liner notes and/or reviews of albums if you can find them. Personally I like to listen first, and then read what someone else wrote about it but I don't think that matters too much. Read how people write about jazz and decide whether or not you agree with what they wrote. If you disagree, ask yourself why. I actually really enjoy reading reviews or criticisms that I disagree with because it makes you really think about WHY you disagree.

Also don't fall for the /mu/ meme that you can only listen to full albums. Obviously it's good to experience the album as a whole, but there's no reason you can't listen to individual tracks. Really listening closely to jazz requires a lot of attention and can be exhausting to do for the course of a long album. And don't expect to absorb it all in one listen. Personally I usually like to listen to most albums at least twice. The first listen I will listen to it somewhat passively while doing something else mindless like driving/cooking/cleaning to get a feel for what it sounds like overall and then give it a much closer, track-by-track listen later.

Also it should go without saying but participating in these threads and reading what other people say about the tracks is a great way to get better at listening critically too. And will expose you to a pretty wide range of jazz.

>>70657762
Also go see live jazz any chance you get. There's something about seeing the music made in real time that helps you understand the communication and expressiveness of jazz.

cool selections this week, the Kozlov albums is the only album I'd listened before

would have been nice to not have it be so strong on contemporary post-bop versions of 60's Blue Note stuff, but I guess that goes with the territory since the Mwandishi material and jazz-funk stuff doesn't lend itself so well to creative jazz interpretation.

>>70657762
for this guy, one thing I recommend at least trying out now that we have this thread here is listening to the original Herbie or Miles Davis recordings and then these versions and comparing and contrasting those, it gives you something concrete to think about and forces you to focus a little more and might give more insight into what's going on in a jazz track in general

>>70658080
>would have been nice to not have it be so strong on contemporary post-bop versions of 60's Blue Note stuff
Agreed, normally I try to mix it up a little more but I put this one together pretty quickly using only albums that I already had in my library so it ended up being pretty Criss Cross heavy.

>>70658061
this really helps - seeing the communication and interplay and having that visual reference makes especiall more complicated jazz much easier to understand

can we have a japanese jazz theme next week?

>>70658126
how big is your collection?

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in other news, do you guys have any good 2017 releases you guys have been listening to?

listened to the new Chris Thile & Brad Mehldau - it was OK, very reminiscent of some Bela Fleck stuff as one might expect from a mandolin player, also the new Miles Mosley (of Kamasi Washington's band fame) album that was basically just uninspiring funk/soul/r&b fare

I liked the new Morten Schantz album Godspeed with Marius Neset on sax and Anton Eger of Phronesis fame on drums - kind of an exuberant modern day Weather Report kind of thing.

Going to see these young twenty-somethings OK:KO play tomorrow at the local club - I think their album came out this week, just listening to it for the first time now - atmospheric, clean-lined Nordic jazz like we like it up here.

https://www.youtube.com/watch?v=FmZLNO-_1nU

>>70658295
japanese jazz would be a really good theme if someone has wide knowledge of it - lot of variety to choose from

>>70658295
why don't you compile the playlist?

>>70658316
I'm not sure. Ever since one of the iTunes updates I can't seem to find the number of total albums. I think the last time I saw the number it was up over 3000 but that had to be well over a year ago.

>>70658403
i can try, are there any requirements?

>>70658345
I haven't listened to too many yet. I'm going to try to catch up today and tomorrow.

John Abercrombie quartet's release is pretty good
Colin Vallon's trio release on ECM was disappointing
Stephen Riley and Peter Zak duet record was ok but very traditional
Mats Gustafsson and Craig Taborn duet release was ok but kind of disappointing

I've got new releases by Chris Byars, Art Hirahara, and Yacine Boulares that I'll hopefully get a chance to listen to this weekend.

>>70658440
10 tracks. I usually try to keep the total time around 1 hour, but I don't know if that's a specific rule.

>>70658479
oh yeah, listened a bit to the Gustafsson/Taborn as well - seemed like one of those pretty standard free jazz records that just don't hold up to seeing it live

I often end up buying Gustafsson's stuff on vinyl when I see it because the albums always look very interesting - I think it really shows that he's a fanatic record collector himself and he puts out a lot of stuff - but a lot of the actual music isn't that interesting.

>>70658628
Yeah Gustafsson usually pretty much bores me. He's got a kind of unique thing but seems to pretty much do the same thing on everything he plays on and after you've heard it once or twice it becomes pretty predictable.

>>70658523
what about quality? 320 or above? flac? and how long do i have to compile the track?

>>70658751
Quality doesn't matter. Just change each track name to "Track 1, Track 2" etc. and then you can compress it in a zip, upload it to zippy or mega and post it in the thread next week on Friday morning

>>70658830
alrighty then, im doing it, see you bois in less than a week

also happy lunar new year everyone

>>70658751
>>70658830

make sure to remove all metadata as well - even though the posters tend to avoid spoilers clearly posted in the thread, at least it's very annoying for me if the media player identifies the track for me

>>70658896
cool - I'm taking a vacation next week and I'm not taking my laptop so not sure if I can contribute, but I'll try to

>>70658898
gotcha family

>>70658733
I feel Gustafsson is one of those free jazz players whose music doesn't translate into recordings very well - I've seen him live in various contexts many time and I've liked every set, certainly better hit/miss ratio live than on records for me at least

>>70658967
I've never seen him live but I guess if I get the opportunity I'll take it

are there any new rumors or info on the upcoming Herbie album, anyway?

I'll have a chance to see him live next summer which is great - one of the biggest names still touring that I haven't seen.

>>70660281
>I'll have a chance to see him live next summer
Lucky motherfucker...

And no, not much info on it. All he talked about was making a new one during a Korg demonstration.
https://www.youtube.com/watch?v=DTXDnPoyYSU

>>70660330
next summer's touring band is apparently: Herbie, Vinnie Colaiuta, James Genus, Lionel Loueke, Terrace Martin

Not sure about how I feel about Colaiuta on drums, he'll probably always be one of those plastic people who played on some of both Frank Zappa's and Joni Mitchell's worse albums.

They're doing multiple UK/Northern European festivals in the summer, so one would think there would be a US tour coming this year as well

bump for more good Saturday jazz discussion

here's some preview material from a young Finnish guitarist who has been making a name for himself in New York for a few years and at least his sidemen are becoming bigger names, so maybe he's establishing himself

here's Olli Hirvonen and New Helsinki - notable sidemen being Adam O'Farrill, son of notable latin jazz figure Arturo O'Farrill who many /mu/ /jazz/ fans are familiar with from Rudresh Mahanthappa's Bird Calls and Walter Smith III appearing on this weeks track 9

https://www.youtube.com/watch?v=StqnGIj14CM

Full album is due out in April on British label Edition Records - kind of interesting how Olli has certainly been a musician drawn to playing contemporary American jazz while Edition has positioned themselves as publishing more Nordic/UK style jazz, but I guess he comes highly recommended from Finnish musicians as a young promising musicians while in New York he is still young of many talented hopefuls (although he's been based in New York most of the year for 5 years now).

>>70661578
and yeah, Walter Smith III doesn't appear on the video, but he is on the album and the studio cut of that track that is now on Spotify:
https://open.spotify.com/track/0tCes6UcQIUq9SLzUkz9Az

jazz bump

Any 2017 improvised music releases to look for yet? I'm going through the eight Clean Feed releases from this month and have enjoyed the Trad Gras Och Stenar and Accident du Travail from Cafe Oto. Haven't seen anything else from my usual sources. Caught wind of a Parker/Edwards/Noble recording coming up but can't find anything since.

>>70657845
loving the album ending Lonely Woman on this one

I'm pretty sure Lonely Woman is one of the greatest jazz compositions ever, it's almost always a highlight when a group plays it

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i finished compiling my shit, will post it next week on friday

>>70663846
If you have it, post it already so I can listen to it early!

it's not unprecedented, for a while the next weeks list would get posted shortly after the reveal

Here's another 2017 release that is relevant to Japanese Jazz tastes - Chip Wickham, originally from Manchester, now residing in Spain

https://www.youtube.com/watch?v=r7Aj14LoZoc

Very similar feel to Finnish Ricky-Tick Records that exposed a whole new generation to jazz through their groovy styles and generally made jazz great again here in Finland for the young generation:
https://www.youtube.com/watch?v=FLCJxfjAM9g

Ricky-Tick's brand of organic feeling nu jazz has always been fairly popular in Japan, so there's certainly a sympathy of souls between the Japanese jazz crowd in this century and my local Finnish jazz scene.

>>70664425
here (you) go my man

http://www1.zippyshare.com/v/aaHbzL83/file.html

>>70664757
cool beans, I'll give it a listen tomorrow and write down my comments so I can join

I hope it covers Japanese jazz from:
Yosuke Yamashita https://www.youtube.com/watch?v=sB_cOgLa4rA
to:
Fox Capture Plan https://www.youtube.com/watch?v=JQljICFgFW8

>>70664757
hah, Japan is the coolest country

I can hear so many political vibes on this list

>>70664757
yeah, I think you have good coverage

I'd think that another track like 10 would have been in order considering how popular this style is - also did you completely skim past all that Soil & Pimp stuff that was really popular at one time :D

it's all cool here - we don't judge because when we do we're wrong half the time

bump with a recent obsession track:

jazz singer Mose Allison released his song Young Man's Blues in 1959:
https://www.youtube.com/watch?v=bpTSVy3yzts

lyrical content was highly relevant 10 years later so The Who did it:
https://www.youtube.com/watch?v=GWRmsoBXAUw

creating some immortal Rock & Roll in the process

>>70666820
The Who was always one of my favorite rock bands