Jazz for aficionados

+1. Wishing for a successful procedure and a quick recovery, o.

Dave

Charlie Haden

Get well soon, Orpheus.
https://youtu.be/vSJNeXrCbE4

Best wishes for a quick recovery, O-10.  Hope you're back soon; the thread is always best when there is a lot of activity and even debate.  

Just back from a few weeks of work travel with a lot of great music and catching up here; will have a little more time to post.

Something made me think of this 😉; one of the giants of jazz piano:

https://m.youtube.com/watch?v=ETivbNeY5p4

Glad you're back Frogman. I don't know when I will be able to give my full attention to the thread.

We worked hard to keep this thread going as long as it has lasted; now that I will be out of action for awhile, I'm sure you and the rest of the aficionados will keep it going.

Instead of quantity, this thread has lasted because of quality; it has the most knowledgeable and articulate members that I have had the pleasure of communicating with.

I appreciate your sentiments and good thoughts that are helping me in these trying times.


Enjoy the music.

Get well soon O.

I have been tied up in Indianapolis for a while dealing with my wife's father's age related issues, so music has taken a backseat for me also.

Headed home tomorrow though. Missed music and my dog.

Wynton Kelly Trio w/ Wes Montgomery- Smokin' in Seattle.

Bob Acri

I think that there is a natural tendency to want music (any art) to come to us as opposed to being comfortable or at least willing to go to it. Clearly, there is much more to jazz than nice, groovy drum CHIN-ka-CHIN’s and beautiful, bluesy melodies inside cozy and familiar structures. Moreover, I think that much of the more adventurous, obtuse and ultimately most interesting jazz got (and gets) a bad name because of the association to some of the "free" or "out" jazz which is arguably just bu//s$t. Obviously, there was and is a lot of great music on record that can still be put in those categories.

This is one of those records. Definitely not "free" as it is still very structured, but decidedly "out" in its shape and harmonic language. As a player Wayne Shorter is one of the true giants of jazz and one of its most interesting improvisers and composers. Speaking of associations, I think that because of his foray into fusion with Weather Report a lot of his earlier work gets overlooked by listeners new to jazz. Don’t get me wrong a lot of his fusion stuff is fantastic and shows a very interesting shift as a player to a kind of minimalist improvisation style that I like a lot in that genre. Still, for me, his stuff from the ’60’s both as a leader and with Miles is his best.

I love this record, amazing lineup playing some of the most interesting and creative jazz on record, imo. Probably not the record I would play when I get on the treadmill, it takes a kind of surrendering on the part of the listener to its unique and sometimes twisted harmonic and conceptual palette; but a pretty amazing amount of beauty and sheer brilliance overall. Listened to beginning to end, it's a pretty wild ride:

https://m.youtube.com/playlist?list=PL21CEE4FB0F07EED5

Frogman - found it on Tidal and have it playing now. Thanks for the recommendation. As far as its position in my little music universe, it is too early to say much more than it is interesting and it might be something to revisit. I admire the solos that I’m hearing from Freddie Hubbard. He is RIGHT THERE in the spirit of the thing. Like from Wayne Shorter’s brain to FH’s trumpet. I wonder how "scripted" these pieces were. As is true for many recordings, woulda loved to be a fly on the studio wall. Witness the interactions, instructions, do-overs, etc.

Have to go look at credits. Enjoying the piano work. Also the drumming and flugelhorn!

Thought your post about this very well written. "...there is much more to jazz than nice, groovy drum CHIN-ka-CHIN’s and beautiful, bluesy melodies inside cozy and familiar structures."

There are moments in this that have a classical feel, I think. Drawing a blank on who I was reminded of...George Crumb came to mind. Hah...had to Google "Contemporaries of Stravinsky". I think it might be Schoenberg I was thinking about. Well, maybe atonal composers in general....Heck, let's add Penderecki too!  

Curious what the back story is on this composition. All Music Guide was not that informative. Need to check Wiki, I suppose.

Thanks again.

"Enjoying the piano work."...but of course, why wouldn’t one?
Herbie Hancock.

Link to Wikipedia entry about "The All-seeing Eye"...
https://en.wikipedia.org/wiki/The_All_Seeing_Eye

Glad you found some things to like.  And very astute with the Schoenberg connection; I agree.  Like you, I think Hancock is incredible on this record and Hubbard is on fire.  The big surprise (not really) for me is James Spaulding.  Don't hear too much about him, but what a great alto player!  Get back with further impressions. 

F - Who is soloing at around 3:30 on Genesis?  and then (again?) at 0:30 in Chaos.  

As I listen to this again, there are sections that remind me of Varese.  The connection to modern classical (well, modern as in 20th century) is definitely there.  

I would love to know what these guys were listening to at this time.  What were the influences?  

by the way - on Tidal it is actually one of the MQA releases.

If you mean "Genesis" Part 1 it is Wayne Shorter on tenor. If Part 2 it is the end of Freddie’s solo. On "Chaos" at :30 its James Spaulding on alto; and killing!

No question re the connection to modern classical. Shorter was a student of the modern composers and I recently read an interview in which he cites Stravinsky as a major influence. Varese! One of my faves. Then again I’m biased, he liked to write for the contrabass clarinet. Zappa idolized him, so how bad can he be? 😉

Hope Orpheus will not be absent for long, as somebody has to 'hold the line' with ' groovy drum CHIN-ka-CHIN’s and beautiful, bluesy melodies inside cozy and familiar structures.'...

So, this time, I will take that part....

First, album that Jafant just posted and that I have ordered yesterday.

Wes Montgomery and Wynton Kelly, 'Smokin' at Seatlle', recorded some six months after the famous gig at the Half Note...here is the link.....

https://youtu.be/aOuIZf5RXc4


Frogman mentioned Spaulding so I decided to add this album as well, where he plays with another of his favourite players, S.Turrentine, together with P.Adams, G.Green,and McCoy Tyner, but still inside the mode of above cited quote...

https://youtu.be/OXgEPBYGk-I

@frogman - Put your cursor over the album image to watch the You Tube progress line using the link below for the track, "Genesis".
Around the 3 min 30 sec mark (after the bass solo starting at 2:10/2:12), a sax solo starts. My ear might not be that great distinguishing tenor from alto, esp if tenor is being played in the upper register, but regardless, after a slow build, this solo unfolds its wings and really flies.

The subsequent transition into Freddie’s solo is striking as it is so seamless. Sax morphing into trumpet...or is that flugelhorn? :-)

https://www.youtube.com/watch?v=5MYhg4aVOSY

I’m aware of the Varese/Zappa connection. Don’t wanna set on fire the hair of any of the orthodox faithful here but got to think Frank and Wayne were listening to similar things around this time.

Thanks to Alexatpos for those links.

I take it you didn't care for Shorter's "TASE"?  Personally, I don't like to eat dessert all the time and only dessert 😎

Great clips, Alex; thanks!  Fantastic lineup on that Turrentine record.
"Hold the line"?  I'm still working on my main course.

Whereas one knows from the very first notes of "TASE" that it's going to be something very different (and it stays that way), I find Andrew Hill's music to be unique in that it often feels like a constant tease.  It always seems to straddle that line where it feels fairly conventional and familiar, but manages to always stay on the other side of it.  He had a unique and odd time feel that creates a lot of tension but always has musical logic.  Similar to the way Monk played rhythm, but on steroids:

https://m.youtube.com/watch?v=-LBOOWnpNXc

https://m.youtube.com/watch?v=mDWlZPlSdOA

Ghosthouse, after the bass solo, if one listens closely, Wayne Shorter softly creeps in and starts his solo at precisely 3:22. Definitely tenor and, as you say, it flies. The transition to Freddie’s solo is interesting. If I’m not mistaken, the first thing one hears after the tenor solo sounds to me like a single note by Moncur on muted trombone (the exact same note that Shorter ends his solo with). After that single inflected note by Moncur, as if to say "you take it, Freddie", Hubbard starts his solo. Unusual sequence, but interesting. Freddie on trumpet not flugelhorn, btw. Great stuff! And great listening on your part.

Re Zappa/Varese: no doubt those guys were listening to a lot of the same music. Most prominent jazz players took classical music very seriously and listened to all the great composers; especially the modern composers. Bird loved Stravinsky, and one of his signature "Birdsms" (some might call it a Bird "cliche") is a quote, or melodic nugget, from Stravinsky’s "The Firebird".

http://www.npr.org/sections/deceptivecadence/2013/05/26/186486269/why-jazz-musicians-love-the-rite-o...

That single note after the tenor solo had me listening to it several times as I was trying to decide whether what I was hearing was in fact on muted trombone and not Hubbard’s first note on trumpet. It’s a very low note, and while it would still be in the extreme lower range of the trumpet and possible for a great instrumentalist like Hubbard, it is unusual to have a player "hand-off" a solo to another player that way. But, given the highly interactive nature of this music it’s not out of the realm of possibility. However, final verdict (for me):

It is a single note on trombone. Listen to the vibrato at the end of that note and right before Hubbard plays his first note on trumpet. That is what is called "slide vibrato"; made by quickly moving the slide back and forth a very short distance. Not possible on trumpet since there is no slide on the trumpet and on which "lip vibrato" is used. However....why did he play that single note? My previous possible answer sounded interesting (I think), but I have to take it back. Notice Moncur solos following Hubbard at 8:43. I think he simply screwed up and started soloing after Shorter instead of waiting until Hubbard had soloed. He then realized his mistake (or was waved out) and stopped. Being the great musicians that they are, they made it all sound musical. All this goes to your question re how "scripted" it all was. In a studio situation with a finite amount of time ($) there are definite guidelines re order of solos and length of solos. To make it all sound free and unscripted is part of the art of it all. This sort of thing happens and happened a lot more often than one might think. Today in our age of easy digital editing, multi-tracking and quest for error-free performances, the producer may have simply taken that note out; a big mistake, imo.

Alex, although I'm not back, (blame life, don't blame me) I was so touched by your words that I'm responding to your post; but, I want all aficionados to know they're important to me, including the one's I don't always agree with.

The albums you posted exemplify what you are speaking of in regard to "groovy, feel good, and cozy" kind of music. If I don't already have them, I will have to get them.

I'll be back when it happens.

Thanks guys , the  last few posts on "handing off " have been very 
interesting, to me trying to "catch" it is one of the real fun things in jazz.
Lot easier for a non-expert like me to see it from your links  of course .

As much as I love some of the modern tenor players from Coltrane to the present, for me the sweet spot in the jazz tenor stylistic lineage is probably best exemplified by Hank Mobley; particularly his earlier records. Very swinging and inventive player he played with a tone that was still in the Lester Young mold of being gentler and less aggressive and hard than what was becoming the trend around this time (1956) as Coltrane began taking the tenor world by storm.  The kind of tone that I think Alex likes. I like this record a lot. Something easy and casual (in a good sense) about the playing, even in the fast tunes. Kenny Dohram sounds fantastic on this as does Mobley; great story telling from both. Excellent rhythm section with players not often discussed: Walter Bishop, Doug Watkins and Art Taylor. The first two clips are the first two tunes on the record with higher fidelity than the entire record third clip:

https://m.youtube.com/watch?v=jh8OCdo5Wh0

https://m.youtube.com/watch?v=wg-_yoq39YQ

https://m.youtube.com/watch?v=wvRu3zbM7cg

Frogman, aldo I have few of Mobley’s albums as a leader and probably more as a sideman I must admit that he does not belong in category of my favourite sax players.

Perhaps is my taste too prosaic and maybe I just cant place him in neither of simple categories that I like, first of big, lush tenors (exmp. Hawk, Quebec or Gonsalves,etc) or neither in lyrical context of some West Coast players.


I admit that when I carefully listen to his lines I often get surprised, because he ’has something to say’ and his music possess a ’continuos drive’, but it is his tone that is not ’attractive’ or particular enough to me, to make me want hear him more often.

On the album you recommended he has nice moments, Dorham even more...

Than again, I must admit that my taste, already described as prosaic is somewhat particular too....

So, for example, I am not a big fan of Coltrane, except for part of his early work and I must admit that again, the tone is ’problem’ for me there too...

Here is one link,of Coltrane, that I like....very simple, but beautiful music...
Wilbur Harden plays along him....like him too...

...from album ’Stardust’ from 1958.
https://youtu.be/TeFeLaEsHBs

Thanks for your thoughts. I don’t consider your taste "prosaic", but clearly "particular". I agree that Mobley doesn’t have the most beautiful tone, but I think we can agree that there is more to the appeal of any player than tone. I stressed the issue of tone because I think his is a good middle ground in the overall tenor tone spectrum. Ultimately, it’s what, as you say, whether the player "has something to say" or not regardless of tone that works for me. Hawk, Quebec and Gonsalves I like very much too. Different era and different concepts; much more "inside" and traditional harmonically. Nice Coltrane clip; I’m a big fan of that record. There is very little, if anything, by Coltrane that I don’t like, but if made to choose I do prefer his somewhat later stuff. This is where Mobley was coming from tonewise (1952) ; I Iove it:

https://m.youtube.com/watch?v=55kRe5BvHeg

Frogman, I understand your point of view very well and becaue of it I guess I should thank you for your patience and your effort for trying to share your perspective toward music in layman's terms.
For my part, I will be glad if I helped you to hear some new (old) music or artist. If I were in your shoes, I would be tempted to feel frustrated sometimes, becuase the 'class' shows very slow progress, if any (smile)

John Scofield.

Alex, certainly no thanks necessary and yes, I have heard a lot of new (to me) music and artists thanks to you. We all look for and find different things to appreciate in music and any art form and form a personal "sphere" of preferences based on those. I don’t, nor should anyone imo, judge another listener’s preferences from a standpoint of superiority or elitism. This is why I have been critical of an attitude that sometimes creeps into these discussions that tries to claim that this thread is somehow an exclusive club of cognoscenti and that only a very small handful "understand"; an attitude that I think has been proven to be wrong. That kind of attitude may feel good, but is meaningless and useless, imo. Ironically, it is precisely that attitude that I think keeps some from participating. As I see it the healthiest attitude as listeners is precisely the attitude that great musicians themselves have: that ultimately the quality of the music is determined by the level of craft and the sincerity of the artist and not by the style, period or genre. For me, historical context and evolution of the styles is really interesting.  Not meaning to oversimplify, to you it may be discovering (and sharing) lesser known or forgotten players and the reasons that may be so. We can all learn from each other’s point of view.

I've been hung up lately on Billy Strayhorn & Johnny Hodges "Juice a
Plenty". Great tunes and musicianship (IMO) and the sound quality is phenomenal.

Dave

@dlcockrum

Did you hear "Juice a Plenty" on Tidal, CD or LP?

Thanks for the recommendation!

Tidal. Buried deep. Hope you enjoy lalitk!

Dave

This thread is very important to me. "All" aficionados are important to me; without them, there would be no thread.

My time is very important to me; especially now, any time I'm strong enough, I will post. (please, no sympathy)

Frogman, and Alex; that's a very interesting debate in regard to what we like and why; just be honest with yourself and let it flow.

I'm going to post a couple of tunes in the soul groove that I feel very fortunate in owning these records;


      https://www.youtube.com/watch?v=Y189ynRTISg


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


Enjoy the music.

This thread is very important to me. "All" aficionados are important to me; without them, there would be no thread.

My time is very important to me; especially now, any time I'm strong enough, I will post. (please, no sympathy)

Frogman, and Alex; that's a very interesting debate in regard to what we like and why; just be honest with yourself and let it flow.

I'm going to post a couple of tunes in the soul groove that I feel very fortunate in owning these records;


      https://www.youtube.com/watch?v=Y189ynRTISg


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


Enjoy the music.

Ready to stretch a little? The Milcho Leviev Quartet (Milcho Leviev/Art Pepper/Tony Dumas/Carl Burnett) "Blues for the Fisherman". Live at Ronnie Scott’s Club - London June 1980. Mole Jazz/Linn Selekt Records - Stereo Mole 1.

Not blues at all but great jazz...

http://www.bing.com/videos/search?q=the+milcho+leviev+quartet&qpvt=the+milcho+leviev+quartet&view=detail&mid=714056D6480817021A47714056D6480817021A47&FORM=VRDGAR

Dave

Fantastic clips from Dave and O-10 both.  Johnny Hodges!!!  Hadn't heard this record; thanks.  One of the most distinctive alto saxophone stylists ever and one of the defining "voices" of Duke's band.  Duke wrote with each member of his band in mind in order to capitalize on each player's individual sound and style.  On this record it's Billy Strayhorn who leads what is basically Duke's band (same personnel) with a different piano player.  As we all know Strayhorn was Duke's composing/arranging partner and who contributed much of the material Duke became known for.  Love Hodges' "slippery" style with those wide note bends.  Very evocative player.

O's Roland Kirk clip:  Amazing!  One of the true geniuses of jazz and one who could bring a lot of humor to the proceedings without it sounding silly.  Fantastic player who could sound a little rough around the edges, but was always extremely creative.  In case anyone is interested the strange looking saxophone in the middle of the three (!!!) is a straight alto; same as the regular alto only that the tubing has not been given the usual bend in the middle.

The Art Pepper clip is great jazz as Dave points out.  And Milcho Leviev!  There's a name we don't hear too often.  Very interesting player that I know from some of his work with Dave Holland.  

I must say that I am intrigued by the genre descriptions by my steemed colleagues in jazz of their posted music.  Might be interesting to discuss this.  While all good jazz has a lot of soul, I would not use  the term "soul jazz", as I understand it, to describe neither the Kirk nor Quebec clips.  Similarly, and re Dave's clips, while not all jazz is blues, some blues is jazz.  Iow, that Art Pepper clip is definitely a blues: twelve bar blues form and very bluesy tonality.  Thanks for the great clips!

Frogman, if you look in the dictionary, you will see the definition of different words; they are meant for everyone. The definition of the words I use are for "specific" aficionados. They will know what I'm referring to because it's meant for their eyes only.

If we had a broad "universal" type audience that would include at least 50 members, then I would use "universal" definitions.

While there may not be any such thing as "soul jazz", there is according to Alex; consequently that has meaning, and that post was meant for him, although we all enjoyed the music.

If I was well enough, I would have written a post for Dave, because I know exactly what he meant, and in my lifetime of listening to "blues" and jazz; they can be most ambiguous when used as reference to one specific tune.

The bottom line in communicating with such a small number of people; I am communicating with "persons"; consequently, as long as that individual know what I mean, "all is well".

Thanks for your comments, O-10. I like clarity; it works for me and I think it’s something very positive to strive for in any interaction. For me there is always room for a request for explanation or, as I am trying to do as I write this, to further explain oneself; all done with the best intentions since it seems to me that this is the way to meaningful discourse. So having said that and for the sake of clarity this is why I made the comment re the name use:

First, there is no indication that I can see that your post was intended for Alex only; especially since you addressed both of us in your post. Secondly, I agree with you that words have different meanings to different folks, but the term souljazz is a generally accepted name for a specific style, I think of so,etching 

https://en.m.wikipedia.org/wiki/Soul_jazz

I think these details matter as the music is discussed and seems to me that it’s always better to be on the same or similar page.

Much more importantly, I am glad to see that you are well enough to post. I hope you continue to feel better and look forward to you being back "full time". Regards.

Well, things now certainly look more like the 'plain talk' that we have  here usually.

This album comes to my mind, Jimmy Smith's 'Plain Talk', with Blue Mitchell, J.McLean and Ike Quebec...

Recorded in 1960.not released until 1968. Perhaps not the type of music you would expect just by looking the names on the cover...

https://youtu.be/lnGBpc3mq1s

I like plain talk and I like "Plain Talk"; thanks, Alex.  Also, a pretty good example of early "soul jazz" with the Hammond B3 featured.  Aside from being an enjoyable listen, I find this cut interesting for a couple of reasons.  The first reason goes to what I think you mean when you say "Perhaps not the type of music you would expect just by looking the names on the cover...".  Mitchell and McLean (alto and not credited on YouTube) are beboppers all the way and their facility with faster tempos and extended solos highlight the "limitations" of Quebec who was much more of a traditionalist with a sound that was less modern and which evoked the swing and blues players.  The other reason is just speculation on my part and goes to what you point out re the date of release; recorded in 1960, but not released until 1968.   Maybe strictly a business decision due to the peak in popularity of the style in the late 60s.  From the Wiki article on "soul jazz":

**** Soul jazz developed in the late 1950s, reaching public awareness with the release of The Cannonball Adderley Quintet in San Francisco.[4][5] Cannonball Adderley noted: "We were pressured quite heavily by Riverside Records when they discovered there was a word called 'soul'. We became, from an image point of view, soul jazz artists. They kept promoting us that way and I kept deliberately fighting it, to the extent that it became a game."[6] While soul jazz was most popular during the mid-to-late 1960s ****

Ike Quebec can be divided into "early" Ike, and Ike just before he died. Early on he was almost R&B, but switched to a very "Soulful" sound that was in no way related to "Soul Jazz', which is why I prefer individual definitions as opposed to "Wiki" definitions.

Correct me if I'm wrong Alex, but I believe you were referring to "jazz with soul" as opposed to Wiki "Soul jazz" when you referred to Jimmy Smith.

While Ike Quebec is jazz with soul, he was never "Soul jazz". There are many different sounds that can be called "Soul Jazz"; so many that I prefer the individual 'aficionado's definition of the term. How about some "jazz Funk".


            https://www.youtube.com/watch?v=GLBTSrD42QY



This is "new jazz"; meaning more in fashion now.


              https://www.youtube.com/watch?v=1jirf4bPO5c


I suppose variety is the spice of life; Something Old, Something New, Something Borrowed, Something Blue.











'

Dave, you may have or know this recording.  One of my faves by the great Johnny Hodges; this time in a smaller ensemble setting:

https://m.youtube.com/watch?list=PLH_eiHy0GDN04PZM-WU_FImyFOPgFcQZ6&v=i8Irfl3gNkI

For geeks only 😉 and anyone anyone interested in this sort of thing.  Probably the most beautiful saxophone I have ever seen.  Held it in my hands for a minute at the shop where it was being overhauled.  This custom instrument is a work of art and a testament to the stature of the player; instrument makers don't do work like this for just anyone:

https://m.youtube.com/watch?v=Ad_NFvmyPvA

Thanks frogman. Back to Back is a gem. I may have it on vinyl in a 1200 LP jazz collection I bought years back. Will have to look...sounds good on Tidal though.

Dave

Frogman, fascinating stuff (sax). Please, always share.

Orpheus, I believe it was Frogman who used some of the mentioned words, I only tried to make a joke referring to some previous exchange between you too, so I used the album with appropriate title.

'Plain Talk' sounds different as one may expect due to year and players involved (Frogman got it right) so I found it interesing that after all its not so 'plain'. ..
Since english language is not my native, hope that my 'jokes' are not lost in translation....

Since you mentioned Quebec and posted Green, here is one clip where they play toghether, from Green's album 'Latin Bit', from 1962.

https://youtu.be/WW9BlSmILJU

This seems to be a time for the jazz train to be diverted to a side track for several of us.  I'm returning after two weeks dealing with family issues.

frog, on 9/11 you mentioned making the effort to explore new music rather than waiting for (familiar) music to simply come to us.  That reminded me of first hearing Ornette in the very early '60s.

https://www.youtube.com/watch?v=bJULMOw69EI

What seemed so "out there" on first listen began to sound comfortable fairly quickly.  Then I remember listening to that album a few years later and feeling it was hardly outside at all.  Like Mr. Einstein said, it's all relative. ;^)

o-10, if I correctly appreciate your situation I'll hope you can continue visiting between low points, and that you'll then return full strength when past all that.

Chris Thile and Edgar Meyer

I've got a lot to complain about in regard to health care; but I wont. In regard to my personal situation, the supernatural powers from above have been very kind.

My solace is coming from my music; right now it's Lee Morgan, who is best known for his red hot solos, but today I'm enjoying his balads; like, "Since I fell For You" and "I'm a Fool To Want You".


            https://www.youtube.com/watch?v=1EjBJvYIj5Q



          https://www.youtube.com/watch?v=j5h4ue5r5mo



Enjoy the music.


     

Pryso, thanks for the thoughts. Actually having to deal with the health care system has made me sicker, but that's life.

This is a new group and new music; I'm curious about your thoughts.
Rhombal is a quartet featuring Ellery Eskelin on tenor saxophone, Adam O’Farrill on trumpet, and Tyshawn Sorey on drums. I first brought the group together in 2015 to work on a body of music that was inspired by and dedicated to my late brother, Patrick. That album, Rhombal, was successfully funded and created with the help and engagement of friends and fans through a PledgeMusic campaign. It arrived September 13, 2016, and is now available on double vinyl LP, CD, and digital files. We have tour dates coming up in 2017. Please stay tuned via my shows page for those updates. Booking contact is here.

Of course if I was getting out and about like I once did, there is the possibility I would be interested in catching a live set.

I posted this awhile back.



          https://www.youtube.com/watch?v=1jirf4bPO5c

The opening reminded me of this -

https://www.youtube.com/watch?v=7te1syRAYO0

but then it failed to hang together so well.  Maybe I need to listen a couple of times.  I don't always "get it" on first listen to things I enjoy later. (although usually I do).

I bought this Cd, but now I'm somewhat conflicted; it just doesn't hold my attention; although it has bright spots. What's your evaluation?


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


It was given a very high rating and the musicians are the best; but I have a record with Sonny Rollins, Jay Jay Johnson, Horace Silver, Thelonious Monk and others that I could live without. That's very rare, but it happened. ( This record and cover look brand new; that's confirmation of bad news)

I don't care how good the musicians are, when somebody forgets to bring the music, that happens.

Maybe after a person only selects the best of the best for a playlist, the rest ain't good enough.


            https://www.youtube.com/watch?v=_BKVfbwI3X4


These guys are most certainly keeping it together on that cut.

Good catch on the  similarity to "Mysterioso", Pryso; I definitely hear why it reminded you of that tune.  My take is that it is actually a play on the classic Miles tune "Milestones", but this time done much much more slowly and dreamy.  The two horns each play the "Milestones"-like melody (or fragments of it) one beat apart from each other.  On Miles' "Milestones" the band plays the melody first in unison and then staggered the way they (Rhombal) do it.  I think that's were the "inspiration" for their tune came from.

https://youtu.be/k94zDsJ-JMU

On Valium (I think I'm showing my age 😊):

https://m.youtube.com/watch?v=1jirf4bPO5c

Man!, those guys could use a few double espressos.  I don't mean in order to play faster; I just don't find the musicianship to be at a particularly high level.   As much as I like a lot of "new jazz", in my opinion this not a good example of the better new jazz.  Thanks for bringing some new jazz to the proceedings here, O-10; always good to explore the new.   Try this:

https://m.youtube.com/watch?v=UwHFbo76ll0

https://m.youtube.com/watch?v=oVne9WvVP40