/blindfold/

glad to see a thread up this week - I can do something next week

starting listening now...

>1

Reminds me of Dizzy's Be-Bop. Pretty nimble piano playing - Bud Powell maybe? Has that kind of feel of going even too fast times that Art Tatum has sometimes, but I don't know if Tatum ever played in this kind of bebop-heavy quartet setting...

Very high octane playing. Charlie Parker maybe?

Pretty enjoyable bebop, strong on chops. Early 50's I'd reckon.

>2
Do I hear trombone and baritone? Is this some kind of Bob Brookmeyer/Gerry Mulligan thing? Did they ever play with a pianist, though?

The latin beat gives this a nice air of mystery. Cool.

Seems to end prematurely at 2:08 for me.

>3
A looser avant-garde leaning feel. Trumpeter certainly isn't afraid of going a little out there.

Reminds me of Don Cherry and Wadada Leo Smith, but sounds a little earlier than Smith's first recordings, but it's hard to tell with more avant stuff.

There appear to be two horns, though - trumpet and trombone? Two trumpets?

I can dig this. Pretty cool AACM style feel.

>4
Is the mystery theme something that links one track to the next in chronological order? We are certainly moving through time and there could be something that's in common with each track and the next.

The trumpet playing feels stylishly like an evolution from 3, but the piano is very modern post-bop style, feels even formulaic for me.

I was thinking that maybe this is Wadada Leo Smith's Golden Quartet, but the rhythm section feels a bit too straight for that.

>5
The feel of progression to more modern styles with each track continues.

Here the rhythm section is more interesting than in 4.

When the trumpet solo comes in, you can hear that this trumpeter is no stranger to Miles Davis' 60's music. He sounds a lot like Miles.

This track was losing me, but the trumpet solo did catch my interest again.

I kind of wish the head and swinging part were more in 60's Miles' style as well, actually.

>6
This one has a bit of a identity problem. Can't decide whether it wants to be a post-Coltrane freak out or something a lot smoother.

The guitar solo is pretty cool. Something in the Derek Bailey - Mary Halvorson continuum.

The pretty wide shifts in mood seemed odd at first, but it worked out pretty well in the end, I think.

>>70924429
>Is the mystery theme something that links one track to the next in chronological order? We are certainly moving through time and there could be something that's in common with each track and the next.
They are in mostly chronological order except for one track which will be pretty obvious but that doesn't really have much to do with the theme.

>7
Well, the composition is Wayne Shorter's Pinocchio. One suspects that this is a Criss Cross release, or SteepleChase - sounds like a pretty nice version though.

This is very nice contemporary bop-based playing IMHO. 60's post-bop compositions have really stood the test of time well - you can play them pretty much straight up and they still work today.

This is pretty much my favorite this week so far, low hanging fruit as it is.

Surely the theme is somehow connecting one track to the next with all the Miles influence in the previous one followed by this take on a track Miles made famous.

>8
Well this is an earful - hard to take it all in on one listen (or two as it turns out).

Could be interesting, need to listen to more of these people later.

I've always wondered what's the best way to approach stuff where you have multiple people soloing simultaneously - should you just be overwhelmed by all of it or listen to enough that you break it down and know what's going on in each part. Both strategies have some merit.

>>70924787
>I've always wondered what's the best way to approach stuff where you have multiple people soloing simultaneously - should you just be overwhelmed by all of it or listen to enough that you break it down and know what's going on in each part. Both strategies have some merit.
I usually start out kind of taking it all in but usually one player will stick out to me to focus on.

>9
The sax player is very nicely taking this from one mood to the next. Chris Potter maybe?

Good mix of more abstract playing and more familiar nods.

Good track, pretty great sax playing I think. Freedom of expression while maintaining good control over where the track is going.

>10
Whatever the theme is, Caravan here brings us back to track 1 moods.

Some pretty old school playing - goes pretty much stride piano for a while. Maybe this is Art Tatum? I think he's recorded Caravan. Sounds a little clumsier than Tatum, though.

>>70924927
I fell in love with Bitches Brew originally because it was so overwhelming - figuring out later what's going on in each stereo channel felt like taking away some of that magic, but on some tracks I feel you do need to get that clarity of what's actually going on to really enjoy it.

>>70925120
I was hoping somebody would guess this was Chris Potter. The tone is a little bit similar but I think Chris Potter would do a lot more with this.

Pretty nice selections this week - multiple tracks where I'm eager to hear who's playing.

Also the list flowed pretty well from one track to the next leading me to think that the mystery theme would somehow connect individual tracks - at least until the obligatory Caravan that seems difficult to connect to 9 in any easy way, so no strong guesses on the theme.

Sup guys?
Gonna be around tonight after a recording sesh hopefully. Might be a bit drunk but I'll hopefully get some thoughts down!

>>70925171
I think you'll be surprised about the theme. I'm glad you didn't guess it.. it's the kind of thing that will be more fun if nobody knows what it is beforehand.

bump with an idea - one of the potential themes for next week I've been thinking of is "Contemporary Award Winners" - tracks where the album, artist or soloist has won some sort of an award in this decade

stupid or interesting?

I thought this might be fun because the Grammy awards are this weekend and the Finnish Grammy equivalents - the Emmas - were awarded just last weekend with Aki Rissanen's Amorandom (who I've posted tracks from before) taking the jazz album of the year award

https://www.youtube.com/watch?v=CWt0cK68lp8

Edition Records also put out a nice audio commentary video with Rissanen talking about all the tracks that my wife apparently founds absolutely cringeworthy FWIW
https://www.youtube.com/watch?v=bQrWxPMsKK0

>>70928686
Could be an interesting idea... I usually never think too much of the Grammy choices so it could be fun for a blind listen.

>>70928686
how many award shows (at least not jazz specific) actually award good jazz? certainly hardly the grammys. but it still its capable of any idea i guess

im back!

glad to be here, sick of the recent /pol/shit invasion on this board. cant go anywhere without hurr durr muh essjaydubliw hurr durr muh hillary

1. first track sounds pretty swingy, very familiar, might be charlie parker?
2. this one also sounds like an early bebop track with some swing elements, pretty short, stopped early at 2:08, there was also a little error around the 1 minute mark, sounds like CD is a bit scratched?
3. sounds spiritual-ish, maybe even free jazz? gives off a coltrane vibe.
4. i like the drumming in this one, cant really put my hands on who it is though. this one's more bebop-y than the previous ones. drum solo is pretty on point, energetic and concise.
5. this one sounds pretty good, has a nice avant garde feel to it.
6. this one has the same vibe as the previous tracks, sort of a free jazz feel despite not being free jazz (i think). very experimental, also has the coltrane vibe as the 3rd one. the themes seemed to change rapidly but not obnoxiously, very smooth and nice in the first few minutes
7. probably the same drummer as the 5th and 4th track, loving the solo, concise and on point
8. surprised me with the intro, idk what the theme for this one is but im sure it will surprise me when i finally do know it. this track is pretty weird and feels like it doesnt belong with the rest of the compilation if i must be honest. i dont really like any particular thing in this track, or as a whole. the guitar is a bit obnoxious and out of place.
9. has the same vibe-change like the 6th track in the beginning, more smooth though, i like this one
10. back to the same swingy feel of the first track, maybe its the quality. is this caravan?

honestly cant guess what the theme is, maybe same composer, or pianist?

>>70933587
>is this caravan?
It is Caravan. I guess if you've only been here a few weeks you probably don't know the /blindfold/ meme of putting some version of Caravan as the tenth track.

The last track is actually the earliest recording from this week's playlist.

I'm glad nobody's guessed the theme yet. It would be a very difficult theme to guess unless you specifically recognized and knew the artists of a few of the tracks.

>>70933674
>I guess if you've only been here a few weeks you probably don't know the /blindfold/ meme of putting some version of Caravan as the tenth track.
no i actually havent. well meme'd my good sir! *tips ride cymbal*

>>70935568
>>70935568
>>70935568
Help us out guys.

morning bump

>>70931157
well that aspect would be part of the fun

Total jazz newbie
What are some good contemporary jazz artists?
Main "old school" jazz artists?

Also has anyone been to the Blue Note Club in Milan? It's said to be the best live jazz club in Italy, is it worth a shot or nay?

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>>70938289
what kind of music do you like otherwise?
in any case you can sample some good albums in different styles from jtg's chart here

Blue Note Milan is certainly a respectable jazz club with notable international groups regularly, so absolutely worth a shot. I haven't been there myself, but heard pretty much good things from others who have either played or visited.

It is relatively pricy, expect to pay 30 EUR or more just to get in - there are jazz clubs where you can walk in on any given night and get pretty much the same experience, but for Blue Note Milan it's definitely worth it to plan ahead when to go based on who's playing.

It's also pretty large and spacious for a jazz club, many jazz fans prefer more intimate clubs, but in any case I'd certainly go check it out if I was ever in Milan.

>Track 1
I think this is Tempus Fugue-It, which to my knowledge is by Bud Powell. Sounds some sort of bootleg recording - bass and drums really rattling the mic. Makes it hard to place historically. It's not Bud Powell playing, but there's not many who could be this tight at this speed. Alto-ist is doing a good job keeping up, but sounds like he doesn't have enough time to think about whether what he plays makes much melodic sense. Tidies it up towards the end of his solo, but I guess this performance isn't about constructing something beautiful, just about showing off.

On second thoughts maybe it is Bud Powell, the arrangement is so close to the one I know.

>Track 2
They could have played so much tighter in the intro, those polyrhythms just ended up sounding chaotic. The soloing got off to a good start, but I don't think this was supposed to stop after two minutes...

>Track 3
I like the trumpet here, very bold for a collective free improv piece. He's very much leading the others. The piano adds some really nice touches too, I really liked the way he picked up the trumpet line and kept the momentum going at about 2:35. The piece is a bit short and feels like an interlude but I like it for what it is.

>Track 4
Sounds like a 70's ECM group - maybe Kenny Wheeler on trumpet? Piano definitely has that icy ECM tone. I really liked his solo - almost minimalist. Trumpet solo blows it away though, and I like the way it gets more and more tempestuous and then everything falls to pieces right at the end. Classy drum solo too.

>>70940765
>Track 5
I'm actually having a hard time working out whether this is the Miles Davis quintet or some really good imitators. The pianist sounded more dissonant than Herbie and the sax isn't Wayne but otherwise it's spot on.

>Track 6
Not sure why this track needed three different intros. The second one (with the quick walking bass) feels a bit out of place, I think just the first and third would have been fine to show the mix of freakout and noir soundtrack. I do really like it when it gets in full swing though, and the way it transitions in and out of chaos. I like this guitarist too - usually when guitarists comp this sort of free jazz it just sounds terrible, but he's got it under control the whole time. Might be my favourite piece so far.

>Track 7
I know this one. It's either from Maiden Voyage or a Wayne Shorter piece I think. Maybe a leftover from the Herbie theme a couple of weeks ago? The drums and piano are pretty tight. The bass solo sort of loses it right at the start (actually sounds like he misses some notes he meant to play?), which sucks, but he gets it back and that drummer's still right on point. This is now my other contender for favourite.

>Track 8
Cool way to start it, with that odd time signature guitar intro setting up the stilted rhythm in the head. Similar style to track 6 here, mixing energetic stuff with smoky night time jazz, though not as free. The collective stuff is nice here, and I guess it all sounds better put together than 6, but it's maybe a bit safer sounding at first. Another rad guitarist though.

>>70940775
>Track 9
So we've slowly been getting more modern, and the bass riff and drums at the start of this remind me a bit of an Avishai Cohen album I heard from a couple of years ago, though that had piano instead of sax. I say it's more modern - once it gets started it actually sounds quite a lot like Sonny Rollins early trio albums. This was a nice version of that style hasn't caught me like the last three tracks did.

>Track 10
So now we're right back to the start. Oh, and it's Caravan. I like the way it's played with just that two note bass line in the left hand. In fact he comes up with a lot of inventive left hand ideas that are all quite unobtrusive. Nice way to end the week.

And for the record I have no fucking idea what the theme is, so I'm hanging on to find out.

>>70928686
That could be cool - would be interesting to hear some award winning tracks that have been largely forgotten since.

On the subject of theme ideas, I might put together a pre-40s theme at some point but I don't know if that'd put everyone off...

>>70940844
Reveal info incoming in about 2 hours or so

File: Dizzy_Gillespie,_Tadd_Dameron,_Mary_Lou_Williams,_and_Jack_Teagarden,_Mary_Lou_Williams'_apartment,_New_York,_N.Y.,_ca._Aug._1947_(William_P._Gottlieb_15931).jpg (122KB, 1024x790px) Image search: [Google]

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Well I'll go ahead and reveal the theme in case anybody wants to make some guesses before I start the track reveals. Knowing the theme will probably narrow the guessing a little bit.

This week's theme is:

WOMEN INSTRUMENTALISTS

Track info coming in a little bit.

>>70942284
another note before I get started with the reveal info:

There's a disproportionate number of female jazz pianists, so I made an effort to include women who play other instruments as well.

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Ok here we go

>Track 1
Toshiko Akiyoshi- Tempus Fugit
from Live at Birdland (Fresh Sound, 1991- Recorded 1960)

Toshiba Akiyoshi- Piano
Charlie Mariano- Alto Sax
Gene Cherico- Bass
Eddie Marshall- Drums

Toshiba is moderately well-known, but more for her 70’s and 80’s big band music with Lew Tabackin, but I wanted to include an early track from her more beboppy work with her husband Charlie Mariano. I purposely chose the Bud Powell tune, thinking that people might wonder whether it was Bud Powell or not.

Fun fact that maybe I’ve mentioned before: Toshiko Akiyoshi and Charlie Mariano’s daughter, Monday Michiru, is married to Alex Sipiagin.

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>Track 2
Melba Liston- Insomnia
from Melba Liston and her ‘Bones (Fresh Sounds, 2006- Recorded 1956)

Melba Liston- Trombone
Frank Rehak- Trombone
Marty Flax- Bari Sax
Walter Davis Jr.- Piano
Nelson Boyd- Bass
Charlie Persip- Drums

Other tracks from this release have arrangements with trombonists Al Grey, Bennie Green, Benny Powell, Jimmy Cleveland, and Slide Hampton, but I chose this one because it’s just Liston and Rehak. Unfortunately I’m not really that familiar with either of them so I don’t know which is which in the recording. Melba was known mostly as an arranger, and unfortunately there aren’t too many recordings of her actually playing in a small group.

Also apparently the track got cut off somehow- sorry about that.

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>Track 3
Carla Bley- J.S.
from Jazz Realities (Fontana, 1966)

Michael Mantler- Trumpet
Steve Lacy- Soprano Sax
Carla Bley- Piano
Kent Carter- Bass
Aldo Romano- Drums

Carla Bley is of course one of the great female figures in avant-garde jazz, so I wanted to include something by her, especially in a smaller group. I’ve always found something intriguing about Mantler’s trumpet playing on this one.

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>Track 4
Ingrid Jensen- Shiva’s Dance
from Here on Earth (Enja, 1997)

Ingrid Jensen- Trumpet
George Colligan- Piano
Dwayne Burno- Bass
Bill Stewart- Drums

Jumping forward in time to the 90’s now, to trumpeter Ingrid Jensen who I would probably list among my favorite female horn players. George Colligan is a favorite pianist of mine and I like this original tune of his, but I chose it because I think you can really hear a lot of influence from Woody Shaw in Jensen’s playing. I wondered if anybody would think it was actually him.

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>Track 5
Roberta Piket- Unbroken Line
from Unbroken Line (Criss Cross, 1996)

Scott Wendholt- Trumpet
Donny McCaslin- Tenor Sax
Roberta Piket- Piano
Michael Formanek- Bass
Jeff Williams- Drums

I really don’t know too much about Roberta Piket, but I’ve always liked this album for the looseness of its playing. There’s definitely an enjoyable sense of influence from the Miles Davis quintet as most of you noted.

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>Track 6
Matana Roberts- Exchange
from The Chicago Project (Central Control International, 2007)

Matana Roberts- Alto Sax
Guitar- Jeff Parker
Bass- Josh Abrams
Drums- Frank Rosaly

Of course Matana Roberts is probably one of the better known female jazz instrumentalists of the past 10 years so I wanted to include something by her. This recording is probably one of my favorites of what I’ve heard of her music, and I don’t hear it mentioned very often, with most people seeming to prefer her Coin Coin albums.

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>Track 7
LeeAnn Ledgerwood- Pinnochio
from Simple Truth (SteepleChase, 2010)

LeeAnn Ledgerwood- Piano
Ron McClure- Bass
Nasheet Waits- Drums

I don’t know too much about LeeAnn Ledgerwood, except that she has a few pretty nice trio albums on the SteepleChase label, so I thought I’d include her in the category of unknown female pianists, kind of like Roberta Piket. Some of you recognized the composition as Wayne Shorter’s “Pinnochio” from the Miles Davis album “Nefertiti.” Interesting that a few of you said this one was one of your favorites of the week.

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>Track 8
Mary Halvorson- Saturn Sings (No. 18)
from Saturn Sings (Firehouse 12, 2010)

Jonathan Finlayson- Trumpet
Jon Irabagon- Alto Sax
Mary Halvorson- Guitar
John Hebert- Bass
Ches- Smith Drums

Along with Matana Roberts, I’d say Mary Halvorson is one of the foremost female instrumentalists in jazz right now, so I wanted to include something by her I haven’t really explored all that much of her music, but this is probably my favorite album of hers that I’ve heard.

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>Track 9
Melissa Aldana- M&M
from Melissa Aldana and Crash Trio (Concord, 2014)

Melissa Aldana- Tenor Sax
Pablo Menares- Bass
Francisco Mela- Drums

Melissa Aldana is somebody I’ve only recently found out about, but have been pretty impressed with. Originally from Chile, she became the first female instrumentalist to win the Thelonious Monk International Competition for saxophone.

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>Track 10
Mary Lou Williams- Caravan
from The Chronological Mary Lou Williams 1944 (Chronological Classics, 1995)

Mary Lou Williams- Piano

Of course I had to include something by Mary Lou Williams, who is one of the greatest female figures in instrumental jazz. Originally her track was going to come first but once I decided to use this solo take of Caravan, I had to move it to being the last track.

never would have guessed the theme desu

>>70943124
I figured it would be pretty hard to guess the theme unless you specifically knew at least two or three of the tracks.

I considered making the theme known from the beginning but saying that only one of the players on each track was a woman and letting people guess which one, but I figured this way was more interesting.

>>70943175
Cool theme, and good way to do it. As soon as you said women instrumentalists I figured track 10 would be Williams but otherwise I've never heard any of these, so that's a few to check out.

cool theme and interesting choices

I don't think I've heard any of the albums before except maybe the Halvorson one.

I did see Melissa Aldana live at a festival when this was her latest album (although with Jochen Rueckert on drums), so maybe I've heard this one live

>>70943238
>I did see Melissa Aldana live at a festival when this was her latest album
What did you think of her live act? Do you think there was any difference between going in listening, knowing that she's a woman, versus a blind listen? Seems like you had pretty good things to say about this track.

i like this mysterious theme thing. like let people guess the theme as well as their thoughts on the track is more fun than knowing the theme beforehand

>>70943301

I wasn't amazed by her live or anything - I think I liked the studio track comparatively better. She was playing in an open air tent kind of thing with some main stage sounds bleeding through and it definitely felt like a more intimate venue would have been in order for the trio.

I think blind listen was perfect for this theme because it's one that encourages rampant stereotyping

I might do a mystery theme for next week as well if I get a good enough idea. I think it worked nicely for this one.

>>70943486
Yeah, I usually have mixed feelings about jazz for that reason. Jazz just always seems much more suited for a small, indoor club rather than playing outside.

I was especially curious on your thoughts on seeing her live, because I think I'd probably be a little bit prejudiced against her myself if I saw her in a live setting, especially since she's pretty attractive.

But everybody who participated this week seemed to enjoy the her track to some degree.

>>70943974
>Yeah, I usually have mixed feelings about jazz for that reason.
*about jazz festivals for that reason

>>70943974
I'd say in that case she was most handicapped by being by far the least known jazz performer that day for the audience scheduled between Stanley Clarke and Wayne Shorter

It's not that uncommon these days here to have female fronted groups at jazz festivals, Tampere Jazz Happening especially has put specific effort into featuring more female instrumentalists and leaders here in Finland, so I think attitudes have certainly clearly moved towards more equal treatment and opportunities for female jazz instrumentalists in the Nordics in the last 10 years or so.

here's some all female avant-garde from Sweden - Anna Högberg Attack
https://www.youtube.com/watch?v=jpoRAJaXC

>>70944492
I think the NY scene that I follow the closest is still pretty much a boys club. Then again, from my personal experience it's not like there are a ton of women out there playing jazz and nobody will give them a shot because they're women. I think it mostly comes down to the fact that there just don't seem to be that many women who really want to play instrumental jazz.

It's kind of interesting because I think it kind of mirrors the situation of women in STEM professions which I feel like I've heard a lot about lately and I've never really understood some people's need for forced diversity.

>>70944645

I remember hearing that up until late teens the majority of saxophone students in Finland today are female, but in university-level jazz education at Sibelius Academy for instrumentalists is still very male dominated (while practically all jazz vocal students are female), but the number of female musicians shooting for a professional jazz career is definitely growing. Before the 90's Iro Haarla was pretty much the only notable female instrumentalist in Finland and she certainly had problems getting properly credited for her arranging work and didn't record as a leader until 2001 when she was 45.

Here's some cool female led contemporary melodic fusion from the UK - DInosaur, led by young trumpeter Laura Jurd:
https://www.youtube.com/watch?v=m5qCRWR4kTw

>>70946024
Interesting. I need to get to Europe sometime and check out the Jazz scene there. I feel like a lot of my favorite American jazz artists play more in Europe and Asia than they do in America outside NYC.

I've always wanted to go to Europe but have never had the money and time to go at the same time.

>>70928686
Sad I missed this one, but I'd be very interested in this theme as well.