Any fans of current jazz? What jazz releases from this year

>>73081662
That album is overrated. They're like a worse Fire! Orchestra and Fire! Orchestra isn't even that good.

Daylight Ghosts by Craig Taborn was pretty good.

>>73081939
How are they like fire orchestra?

>>73082423
You know... big band "free jazz" over rock beats

>>73082823
and how does that make them bad?

>>73082964
I never said it makes them bad you dummy. I said they have that in common with Fire! Orchestra.

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For this 2017 release Puerto Rican alto saxophonist Miguel Zenon returns to the quartet lineup that he has not explored on an album exclusively since 2009's "Esta Plena." For those unfamiliar with the Miguel Zenon quartet, it consists of Zenon, Venezuelan pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Henry Cole. Recorded in 2016, the album is a self-released project, funded by a Kickstarter crowdsourcing campaign.

Zenon's music largely follows the aesthetic he has previously established with his previous quartet releases. The compositions are riddled with complex polyrhythms and knotty counterpoing, always handled nimbly by the rhythm section. The opening track, "Academia" is a good example, beginning with an ostinato piano pattern before Zenon and the rest of the band let loose with a roller-coaster of a melody that seems to push and pull at the underlying current of the music. A standout track, "Entre las Raices" is no less complex, but finds the quartet exploring melody in a much less structured form. Beginning with a free improvisation, a rhythmically-driven written melody eventually reveals itself, but soon the band delves back into interactive free improvisation territory.

Though the music can probably be most accurately identified as post-bop, Zenon's (and Perdomo's) roots in traditional Latin music shine through often. The title track hints at a clave feel with another ostinato piano pattern harmonized in thirds and reminiscent of a traditional montuno. The track is an excellent example of how Zenon blends the complexities of modern jazz with his folkloric roots. Another obvious example of the folkloric aspect of Zenon's music is the closing track "Las Ramas" which begins with a simple piano progression and a whistled melody that has an air of tradition to it.

>>73083602

Also included are several lovely ballads. On "Cantor" Zenon's earnestly expressive tone is the highlight, though Perdomo's sensitive and richly colorful voicings add the perfect compliment. "Sangre de mi Sangre" begins as a delicate ballad with a Latin tinge but slowly develops to an exciting and energetic climax. Throughout the album Zenon and Perdomo shine in their solos, easily guiding the rest of the band through tricky rhythmic and harmonic material, but Glawischnig's and Cole's contribution should not be overlooked. They play with a close sense of interaction, referencing the form of the tune, while also remaining flexible and attentive to both main soloists.

Overall, it's another very strong statement from this quartet which long ago proved itself to be one of the best working groups in American jazz. Despite the complexity of many of the compositions and the subsequent improvisation, the music remains accessible and rooted in a folkloric tradition. Zenon's compositions serve as a strong canvas for the band, but in the end, it's the incredible chemistry of the quartet and their close musical interplay that push the music beyond "good" and make it exceptional. Highly recommended.

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Alto saxophonist Michaël Attias continues his association with the Clean Feed label with his 2017 release, "Nerve Dance." For this program of original compositions Attias has assembled a quartet of luminaries in the avant-garde jazz world: Cuban pianist Aruan Ortiz, bassist John Hebert, and drummer Nasheet Waits.

This music can best be classified as free jazz, though it's also clear that a good bit of the music is also carefully composed. It's not always clear where composition ends and improvisation begins however. An obvious example of composed material comes in "La Part Maudite," when Attias and Ortiz combine on an slippery, angular melody for the majority of the track, with Hebert and Waits following carefully, but by the end of the track all four players have split apart, creating a disparate but interestingly layered sound. Other tracks take the opposite approach. "Dark Net" begins with what appears to be an open improvisation, but at some point the players merge and it becomes clear that they are now playing written parts.

>>73083635
In general the interplay of the group is excellent. The quartet proves able to handle a loose, but corporeal groove on "Rodger Lodge," but also able to move beyond rhythm and harmony in "Le Pese-Nerfs" as Attias builds to an emotional climax that the rhythm section matches. The intensity of the track is nice, especially since the bulk of the album tends toward a more reserved dynamic level. The music often favors rich, thick harmony (thanks to Ortiz's lovely voicings) and sonic, textural color (from Attias's extended sax techniques) but occasionally the pieces lack a strong melodic intent. Luckily, "Boca de Luna" brings a nice melodic approach, with a spacious duet between Attias and Ortiz that serves as an intro for the subdued, but harmonically colorful "Moonmouth." The closing track, "Nasheet" also has a simple and effective melody which, though short, seems to inspire Attias to some of his most melodic improvising on the record.

It's a very successful album overall, and a relatively accessible approach to avant-garde compositions that is nonetheless deep enough to merit plenty of repeated listening. The generally subdued tone of the pieces give the quartet a nice starting point and let them build to meaningful peaks, which they do quite well. The four musicians seem to share a single mind as they come and go from the composed material and seem to be building towards a singular goal musically. Melodic intent is not the quartet's strong suit, but thanks to the generally well-crafted compositions and the highly dynamic playing of his chosen rhythm section, this easily stands out as some of Attias's best work yet.

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Saxophone giant Chris Potter's third release on the ECM label scales things back somewhat from the ambitiousness of his first two releases, 2013's "The Sirens," and 2011's "Imaginary Cities." This time around Potter records within a simple quartet format including pianist David Virelles, bassist Joe Martin, and drummer Marcus Gilmore.

The album starts off in a mostly subdued tone with "Heart in Hand," a mostly rubato piece that focuses largely on Potter's graceful melodic stylings and Virelles deep harmonic sensibilities and how these two combine. A strong beat emerges quickly on "Ilimba" with Potter opening the piece by playing the underlying rhythmic structure on the Tanzanian instrument for which the piece is named. Here the full power of the quartet is on display, with Martin and Gilmore keeping the driving rhythm going behind Potter's and Virelles' loose and highly interactive improvisations. Potter picks up his bass clarinet for the beautiful melody of the title track. The piece is surprisingly simple harmonically, but the quartet manages to expand nicely on the theme as Potter eventually switches back to tenor to finish out the tune.

>>73083703
"Memory and Desire" builds slowly, beginning with pure sonic abstraction, then a spacious duet between Potter (now on soprano) and Virelles before the colorful and impressionistic tune itself is revealed. "Yosadhara" is possibly the compositional highlight of the program, with a long form that continues to develop over its ten minutes, interspersed with bouts of free-leaning improvisation that really highlight the flexibility and interactivity of the quartet. Virelles shines throughout the piece, with particularly nice comping behind Potter's playing, but also a wonderfully abstract solo of his own that seems to challenge and inspire the rhythm section. "Sonic Anomaly" continues the mood with a loosely funky feel that feels stylistically similar to Potter's prior compositions. Once again the interplay of the quartet is spot-on, and the piece works well, ending the album on a triumphal note.

Potter's compositions on this album are less grand in their scope than on his two previous ECM releases, though this allows him to focus more on the improvisation and interaction of the small group, which is one of his (and the other three members of the quartet's) main strengths. The quartet succeeds in this aim throughout the album, though Potter and Virelles in particular take the spotlight quite often, and Martin and Gilmore occasionally feel slightly neglected. A greater focus on the quartet as a whole could have made this a more interesting listen, but the album is still very successful and once again confirms Potter's place as one of contemporary jazz's most important players and composers.

Miles Okazaki's Trickster is an incredible album

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This 2017 release by pianist Matthew Shipp for the hatOLOGY label consists of a complete live performance, recorded May 19, 2016 at the Taktlos Festival.

The 11 pieces flow from one to the next with no space in between, giving the 49 minute concert a very unified and cohesive feel. Shipp's abstracted style of solo playing is immediately recognizable from his trademark low, rumbling bass accents and the shorter pieces in this set are often melodically abstracted and more rhythmically focused. Despite his tendency toward hammering the low end of the piano, Shipp actually manages quite a bit of dynamic contour, especially on the longer tunes.

The longer tunes also feature a surprising level of structure and development in terms of melody and harmony. "Instinctive Touch" presents a simple, but memorable theme, which keeps recurring throughout the piece. "Gamma Ray" finds Shipp simplifying his ideas and focusing on melody and harmony for a hauntingly beautiful effect. The only non-original piece on the program is a heavily deconstructed version of the jazz classic, "Tenderly," which leads nicely into "Monk's Nightmare," drawing inspiration from Monk's playful rhythmic feel and angular melodic sense, but taking the dissonance to the next level. "Blue in Orion" is another high point of the set, with Shipp setting a mood that is almost Baroque in nature.

>>73083805
"Fairplay" serves as the encore to the set, but it's odd that Shipp didn't include the piece as part of the main body of the program. He dives into it with an intensity and focus that make an excellent closing statement, encore or not.

Shipp is certainly experienced in the art of solo piano performances, and this one is definitely up there among his best. The familiar characteristics of his solo playing are all there, but he seems especially focused on flow, structure, and development in this performance, giving the music an accessibility and depth. We're lucky this excellent performance was recorded and released.

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"December Avenue" is the second album by legendary Polish tumpeter Tomasz Stanko to feature his "New York Quartet." That quartet includes pianist David Virelles, and drummer Gerald Cleaver, with Reuben Rogers filling the bass chair for Thomas Morgan who played on the quartet's previous release, 2103's "Wisława." This new album, released in 2017, continues Stanko's long association with the ECM record label.

The program consists entirely of original compositions that vary in nature from sparse, free minimalism, to more composed pieces, often based on simple melodies or rhythms. The ECM style is perfectly accommodating of the quartet's approach, and the lush, reverby soundspace of the album often highlights Stanko's dark, breathy, and fluid tone.

The rhythm section supports Stanko impeccably, playing with careful restraint and subtlety on pieces like "Bright Moon" and introductory/conclusory nature of the opening and closing tracks. Meanwhile they also prove capable of simmering grooves on tracks like "Burning Hot" or "Yankiels Lid." Most of the pieces have repetitive themes and rhythms that draw the listener in, but the band relies on subtle variations and abstractions in these themes to keep the music engaging. Virelles' piano playing is a highlight throughout, and his thick, modernistic harmonizations are responsible for a large percentage of the music's characteristic dark beauty. Rogers' bass work also deserves commendation; his tastefully melodic playing often seems to be the connecting link between the other three members of the quartet, whose playing at times becomes quite disparate.

>>73083855
One of the more interesting tracks that serves as a good illustration of the duality of the quartet's music is "Sound Space." The first half of the piece is an exercise in aggressive minimalism, with low-volume improvisation by Virelles and Rogers creating a dark, desolate soundscape. In the last minute of the track however, Virelles erupts into a loud, furious dance across the keyboard that stands in surprising contrast to the beginning of the piece.

It's interesting music that takes its time to get where it's going, but once it's there, attentive listeners will find the journey worth it. Stanko's compositions are simple, but effective and have enough variety to keep the album engaging. His rich and unique tone give the pieces a palpable sense of feeling and emotion and the rest of the quartet plays with impressive sympathy and ingenuity. Fans of minimalistic jazz who have plenty of patience will find this a very worthwhile listen.

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Alto saxophonist David Binney's eighth release for the Criss Cross label presents a suite of original music interpreted by his current working quartet (plus a few guests). This quartet consists of Binney, pianist Jacob Sacks, bassist Eivind Opsvik, and drummer Dan Weiss. The album's guest appearances come from vocalist Jen Shyu and alto saxophonist Shai Golan.

The album is programmatic in nature, with the entire suite representing the feelings and environments of an entire day. Binney's larger, more developed compositions make up the bulk of the album and have somewhat vague titles, but the course of the day is marked by short, mostly atmospheric pieces titled- "Dawn," "Morning Tide," "Noon Tide," "Evening Tide," and "Dusk." It proves to be a nice idea and works well to break up Binney's larger pieces with these small, varied representational works.

The larger compositions are characteristically multi-layered and complex but also, in typical Binney style, approachable and melody-centric. Binney's long-time collaborator Dan Weiss is probably the perfect drummer for Binney's music; he understands the value of simplicity and seems to have no problem sticking to a simple rock groove with slight variations, but also is flexible enough to keep up with Binney's and Sacks' often adventurous solos. A highlight of the album comes early on in "Strange Animal." The composition develops nicely, with an especially memorable interlude using repeated notes- made interesting through careful use of dynamics and silence. Sacks takes a great solo in which he develops ideas from the melody gradually to the point of abstraction, but returns to the final melodic theme, with a thick, dissonant harmonization at the very end. Other highlights include the modern "Where Worlds Collide, with fantastic solos from both Binney and Sacks, and "Fifty Five," in which the quartet explores a loose swing feel.

>>73083928
Binney further adds color and variety to the music with vocals, electronics, and studio effects. "Seen," for example, is a ballad that finds the rhythm section receding somewhat to the background, and the focus of the music is on Shyu's delicate performance and the melancholy lyrics of the song. "Time Takes Its Time" begins with a potent theme from the quartet, but the middle section of the track is a somewhat ponderous, unaccompanied synthesizer solo that doesn't feel especially connected with the quartet music that bookends it.

It's a strong album for the most part, made stronger by the interesting unifying theme that connects the pieces and keeps the music mostly cohesive. Occasionally though, guest artists and the use of electronic effects get somewhat in the way of the otherwise cohesive sound of the album. Binney's distinctive compositions and the abilities of the this quartet are all strong enough to stand on their own without adding extra frills to the music. It's deep music that stays true to Binney's unique concept, but the album could have been stronger with a tighter focus on just the quartet.

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Considering his prolific work as a sideman, pianist Craig Taborn has put out relatively little material under his own name. "Daylight Ghosts" is his third release as a leader for the German ECM label after his 2011 solo album "Avenging Angel" and 2013's trio outing "Chants." This time around Taborn convenes a quartet with tenor saxophonist Chris Speed (also doubling on clarinet), bassist Chris Lightcap, and drummer Dave King for a program of original music.

As fans of Taborn's previous albums might expect, a central facet of this music is a blending of free improvisation with carefully composed structure. Most of the pieces have progressive forms, which move through several moods and sections that are sometimes clearly defined and marked, and other times blurred and gradual. Most of the tracks have an underlying sense of groove, at times even overt, and dance-like, and even occasionally even builds around repeated ostinato and vamp figures. The title track is a good example of these characteristics. The piece begins as a delicate duet between Speed and Taborn before the rest of the quartet layers in to reveal a written tone-poem played in unison by Taborn and Speed. An interactive and improvisation by the band around the melodic theme leads gradually back into the statement of the theme which in turn leads into a bright and surprisingly simple ostinato pattern from Taborn that serves as the anchor for the second half of the piece.

>>73084063

This idea of repetition also shows up on the final track, "Phantom Ratio," this time with Taborn and Lightcap playing a darkly funky pattern underneath most of the song. It feels slightly out of place with the rest of the album and makes for a somewhat odd ending to the album, but luckily the rest of the album is consistently strong. One especially strong point comes during the extended and highly interactive improvisation by the entire quartet on "Abandoned Reminder," where each member of seems to be contributing in equal measure. Another standout is "Ancient," in which the band begins with an improvisation and builds slowly into the written section. As the piece continues to grow, the band layers knotty melodic lines together with impressive dramatic effect.

It's another very strong release from Taborn, showing a slightly different side of his musical concept; one that is very subtly influenced by modern electronic and dance music. At the heart of the music though are Taborn's distinctive harmonic colors and strong compositions that incorporate interactive improvisation.

Kamossy george Washington - le epic 2: more epicer...

Jazz is deader than a deadbeatnik dead dad, cat!

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Continuing her association with the Clean Feed label, pianist Angelica Sanchez presents her original compositions in trio format for her 2017 release, "Float the Edge." She is joined by a formidable rhythm section consisting of ubiquitous bassist Michael Formanek and drummer Tyshawn Sorey, both notable for their comfort playing both "in" and "out."

This release sticks mostly within the realm of "out," though most of the eight tracks have some sort of composed framework that the trio uses as a basis for their improvisations. The opening track, "Shapishico," for example has a definite groove that seems to shift organically, occasionally hinting at a fast swing. For the title track, Sanchez outlines the structure with syncopated chords that provide a canvas for the abstract improvisations of Sorey and Formanek. "Sowf," seems to be almost completely free however, and the band takes their time to build the piece together over the course of ten minutes.

>>73084214
Their approach to improvisation is generally fairly spacious and restrained, but never moreso than on "Hypnagogia," in which the band creates a dark, vast landscape of sound. "The Traveler" finds the band with a much busier approach, with busy improvisation that occasionally results in some interesting interactions. The closing track, "Black Flutter," is a definite highlight, with a simple, but clearly composed structure which the trio explores abstractly, almost to the point of obfuscation, but they always return to reference the composed themes with inventive creativity.

It's a fairly strong album overall, with the trio focusing mostly on improvisation, using Sanchez's compositions as a jumping-off point. The trio seems to favor a spacious approach to improvisation, though there are moments of strong movement and tension. Sanchez's compositions work well-enough for the trio, though more complex and multi-layered compositions might have yielded more interesting results in the improvisation. She has an ear for tastefully incongruous harmony that no doubt makes her a formidable solo improvisor, yet at times she perhaps misses opportunities for interaction with Formanek and Sorey. The album is worth a listen however, and despite some minor flaws Sanchez and Co. show quite a bit of potential.

What are the best Hatology releases from this year? I listened to that Andrew Shipp record and the improvisation was really good, but if be much happier listening to an ensemble, even the best solo improvisation records never excite me THAT much

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For his 2017 ECM release, "Up and Coming," guitarist John Abercrombie reconvenes with the same quartet with whom he recorded "39 Steps," his 2013 release for the label. Besides Abercrombie, this quartet includes pianist Marc Copland, bassist Drew Gress, and drummer Joey Baron. The program consists mostly of originals by Abercrombie and Copland, though there is also an interesting new take on the Miles Davis classic "Nardis."

In general, the band sticks mostly to the approach they used for their previous release, adhering to the ECM label's typically minimalist aesthetic by playing relatively simple pieces and focusing on the advanced, but subtle interaction within the quartet. Copland's "Silver Circle" may be the best example of the quartet's style. The piece seems anchored only by a simmering groove from Baron, while Abercrombie, Copland and Gress work closely together within that groove to build the tune piece by piece.

>>73084367
Abercrombie and Copland share the harmonic space remarkably well, especially considering how loose the harmonic restraints seem to be, and they achieve an impressive dialogue that can only come from experience playing together (and it doesn't hurt that both players have great ears). The band's take on "Nardis" stays true to the original melody and form of the tune, but the entire band uses harmonic and rhythmic trickery to obscure the form and challenge each other, with great results. Another standout is Abercrombie's "Sunday School," which has a simple, but memorable melody and a straightforward approach that still manages plenty of interaction between the members of the quartet. Gress also gives a very nice bass solo on the tune.

This release doesn't find the quartet exploring much new ground, but it's a nice extension of the style they debuted on the first release. The original material is not particularly complex or innovative, but is well-crafted and the band uses the material's simplicity to its advantage. The majority of the music falls into the dynamic range of "very quiet" to "medium loud" but the quartet proves that quite a lot of dynamic shape is possisble just within that range, and that it's possible to make a strong statement without shouting. It's strong music that's worth a close listen.

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Prolific jazz pianist Matthew Shipp's 2017 release for the Thirsty Ear label sees him returning to the same trio format he explored on his 2015 release, "The Conduct of Jazz." His longtime-collaborator, bassist Michael Bisio returns to the trio, as does drummer Newman Taylor Baker, for a set of varied original compositions.

For the most part, Shipp sticks to his established style of finding unique ways of creating patterns within varying levels of freedom and chaos. "Microwave" is a good example of how Shipp uses the whole piano to create exciting tonal colors and cluster chords to expand rhythmically on the main theme, a playful sequence that keeps re-appearing throughout the piece whenever things seem to be getting too abstracted. "Silence Of" simplifies things even more, with a repetitive hip hop beat and a simple two-chord vamp creating the underlying structure for Shipp's adventurous excursions. "Void of the Sea" takes a more minimalist approach, with the trio showing patience and a good use of space. The longest track, "Cosmopolitan" finds Shipp swinging in a Monkish mood, however the rhythm section's swing sounds somewhat clumsy and unconvincing.

>>73084517
Shipp also performs several of the tracks solo. He displays his unique harmonic sensibilities on the short, and seemingly classical-influenced "Links," while on "The Nature of" he takes a more melodic and rhythmic approach to solo piano. Conversely, Shipp also sits out on one track and lets Bisio and Baker explore an ever-so-slightly abstracted sense of groove on "Scrambled Brain." The solo piano tracks are unfortunately marred somewhat by the thin and cold recording/mixing of the piano. The trio hits what is probably their energetic peak on "Gravity Point," with all sense of restraint going out the window, and then they return gracefully to dark beauty on the quiet title track, which closes out the album.

It's a good album overall, with Shipp not really exploring much new territory, but offering another glimpse into his interesting conception of the piano trio. There are a couple rough spots in the music, and the mixing of the album certainly leaves something to be desired, but overall it's excellent music that fans of jazz who can appreciate complex patterns within abstraction are sure to enjoy.

>>73081939
agreed, dont like OP or Fire! orch. I thought the new taborn record was fantastic as well.
>>73083703
>>73083805
>>73084214
I really need to check these out. Its hard to listen to every new ECM release just cause its a lot of money or order a CD or download every time i wanna listen to some new ECM release. That Shipp record sounds fantastic, im gonna check that out tonight. WHY ISNT ANYONE MENTIONING the new arron parks record??? I mean i still need to give it a few listens before i can give confident opinions but im just surprised that an ECM release with parks, Ben Street and Billy Hart has gotten like no attention on here that Ive seen. I also havent been able to read the ol 4chan much these days either though.

>>73081662
clean feed has a solid discography... you can branch out from there

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Pianist David Kikoski's 2017 Criss Cross release comes five years after his previous release as a leader, though he's made several sideman appearances on the label in the interval (mostly with Opus 5). Like his previous release, "Kayemode" is a trio date, though Kikoski fills out the trio with two musicians with whom he has never before played: bassist Joe Martin and drummer Justin Faulkner.

The program is a mixture of original material, along with standards and a few lesser-known jazz compositions. Charlie Parker's classic "Au Privave" starts out the set with a typical jam session style arrangement, though in Kikoski's extended and technically dazzling solo the trio moves well outside the standard blues conventions. Faulkner follows Kikoski's cues exceptionally well and its obvious right away that the two share an impressive simpatico. A rather typical ballad version of Jerome Kern's "Smoke Gets In Your Eyes" shows Kikoski's restraint and tasteful harmonic sensibilities. And on the more obscure side of things is an unsurprisingly post-boppy version of Chick Corea's "Mirror Mirror," and a very nice rendition of Pat Metheny's "H & H" in which all three members of the trio solo collectively around the melodic themes. Thelonious Monk's "Trinkle Tinkle" rounds out the cover tunes, though Kikoski is somewhat obvious with his appropriation of the "Monk style" on the tune.

>>73084616
Kikoski's original "Binge Watching" also seems to have quite a bit of Monk influence, though here Kikoski sounds more true to his own style, with just a dash of Monk flavor. The tune (along with "Au Privave") is probably the best example of Kikoski's unbelievable technical prowess. "Morning Glory" is a Bill Evans-esque swinger in three that once again shows off the trio's ability to play as a unit, with Martin's bass playing standing out especially. Probably the most interesting original composition is "Switching Roles" in which the musicians take turns improvising over a complex modern rock groove. Kikoski closes the record with a short and heartfelt solo blues that has an impromptu feeling to it and makes a great final track.

It's a pretty strong trio album overall, once again demonstrating Kikoski's absolute mastery of multiple jazz styles but also his restraint and tasteful use of his considerable technical abilities. Martin and Faulkner seem to understand Kikoski's approach quite well and the trio often sounds as though they've played together for years, (a fact that isespecially impressive considering these are all first and second takes!). The trio as a whole doesn't pack quite the punch that Kikoski achieved with Christian McBride and Jeff Watts on his previous album ("Consequences,") but they come pretty close and have created a very fine trio record that is worth several listens.

>>73083602
>>73083617
>>73083635
>>73083650
>>73083703
>>73083721
>>73083805
>>73083821
>>73083855
>>73083876
>>73083928
>>73083949
>>73084063
>>73084078
>>73084214
>>73084237
>>73084367
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>>73084517
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>>73084616
>>73084634
Do you write for catalogs or something

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>>73081662
I am only really familiar with the current releases from a few different labels and people so i cant talk about like whats been coming out on criss cross or blue note but ill list a few of my favorites from this year.
>The Art of Perelman-Shipp Series that came out this year is fantastic!
>Dickey/Mineri/Shipp- Vessel in Orbit
>William Parker- Bass Duo
>Art Ensemble of Chicago- Non-Cognitive Aspects of the City
>Tyshawn Sorey- Inner Spectrum of Variables
>Henry Threadgill- Old Locks and Irregular Verbs
>Ben Schachter- Entranement (sorry JTG) haha

>>73084706
I'm pretty sure jazzthreadguy has autism

>>73084764
He should apply this autism to /mu/core desu fameo, maybe then I'd actually read it all the way through. He talks about jazz like a food critic.

>>73084803
>He should apply this autism to /mu/core desu fameo
thats a big waste of autism

>>73083602
>>73083617
holy shit thanks for this, been trying to look for more music from puerto rico that isn't reggaeton (not that reggaeton is bad, i just want some more variety)

>>73084803
>>73084764
>>73084824
Be nice to JTG, he uses his autism in the best way ive ever seen. also, jtg, were you at emilios last friday?

Also why does Criss Cross have such awful covers

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>>73084824
>been trying to look for more music from puerto rico that isn't reggaeton
Salsa, pic related

>>73084853
>were you at emilios last friday?
Nope, I was out of town. I went to a jam session there last month and everybody kind of sucked except for the sax player. I actually haven't been to any of the Friday shows there, are they decent?

>>73084878
every time

>>73084938
yeah i know about el gran combo, really hard to avoid them when you live in the island haha. i ought to try out proper salsa albums sometime soon.

i cant find zenon online though, got a link?

>>73084938
well emilios is an interesting place. from 7 to 9 is usually in control of the vcu guys on friday nights which is pretty hit or miss but when its hit then its probably some of the best local playing around that i know of. then doc branch starts his session at 10 and its probably the worst session ive ever seen in my life but doc has been doing it for 30 years or so and even though he cant even blow his nose, you have to respect him. elder statesmen sort of deal ya know? but i usually play the 7 to 9 on fridays when im in town. i met i guy and thought it coulda been you haha.

>>73084976
no, but if you're looking for music that is more influenced by Puerto Rican folk you'll probably like his albums Alma Adentro or Esta Plena better

>>73085016
guess I'll have to check the Friday sessions. I need to find some guys to play with.

>>73084878
pleb filter

>>73084748
I think a few of those came out last year

JTG what did you think of the new sipiagin album?

>>73085908
There are a lot of good moments on it, but it's pretty inconsistent overall. I'll probably write a full review later this week.

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>>73085080
yeah the 7 to 9 is pretty cool and they usually let people sit in. especially if its ayiende and brian.
>>73085422
Entirely possible, i just looked at the recent releases on a lot of my favorite labels websites and post the shit ive heard and liked.

what have you guys been listening to recently? i just got back from a tour and didnt get to do much listening.

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I am a jazz pleb - recommend me something like this album.

>>73086482
what is it?

>>73083635
Your title line on rym should really read "Intriguing yet accessible"

Also you don't need a comma between compositions and that.

>>73082423
Pretty sure two of the Fire! guys are in Angles 9

>>73087454
>>73087492
There are a lot of grammar and spelling issues in the reviews I think. I write them fairly quickly and usually don't really proofread.