Jazz for aficionados

For Jafant and me. 

https://www.youtube.com/watch?v=q5ggv-5s4bs

https://www.youtube.com/watch?v=s0DsCyUG_Kw

https://www.youtube.com/watch?v=s0DsCyUG_Kw

Monk, Potter and Wolfgang Muthspiel were all very good though!

This is what I meant to play

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

Hope it's ok to crash the party 😉.  Fantastic stuff; loved it.  Thanks for turning me on to Lage and Thile (knew Collie and Meyer); beautiful players.  Talk about easy with its own brand of swing.

Linda Oh

Hello O.  I could say, "I'm not surprised" by your recent comment about the Chris Potter "Dreamer is the Dream" album...but WON'T  :-) 

There was some discussion about him back on page 206 Aug 26, 2017.  

I still don't "get" him in the sense of...What's the justification?  What's he doing to advance the form?  What's new and fresh here? (even if there's only a subjective answer to that last)  With respect to that CP album, wouldn't someone else have done much this same stuff before him and maybe better?  If not stylistically or technically better, then better simply because they were first?  Rhetorical questions.    

Those same questions do come to mind w/respect to a lot of the classic or traditional jazz that gets posted here.  Maybe the subtle, distinguishing virtues of each is only apparent to ears that have listened to thousands of hours of this sort of music.  For me, at this stage in my "aficionado-ish-ness" instead of a few 1000 jazz albums, I'm thinking, I only "need" (a couple dozen?) that are best of the best or represent significant deflection points in the evolution of the form.  The work and learning is by way of the time invested digging through the overburden looking for a few diamonds...or at least those things that sparkle for me.

This thread has provided great opportunity for exposure to such.  Thank you yet again for starting it, O.  Can honestly say I'm listening to a lot more jazz (even if it ain't always what you would favor) than I have in many, many years.  Owe much of that to the music ideas that have been provided here largely by you, Frogman, alexatpos, and acman.  Thanks to you all.

Most recently (thanks again to Frogman again for the introduction) these diamonds would be preferred over that particular Chris Potter recording...

https://www.youtube.com/watch?v=8wZHJXPoFpI      

https://www.youtube.com/watch?v=-r8L-9ay7uE

I mostly agree re Potter.  I want to like his playing because I admire his playing so much for its virtuosity; but, ultimately, he leaves me kinda cold.  I put his playing and style in the probably unfairly broad category of "post-Coltrane" that reached a peak with Michael Brecker, Bob Berg and Bob Mintzer; and, for the more purist-minded, players like Liebman and Grossman.  

You articulated the dilemma very well.  What are they doing to advance the form?  I've always thought of this as a kind of "dirty little secret" in modern jazz.  Putting aside Coltrane's really far out explorations at the end of his life, the influence of his style was so huge in jazz that it created, except for the very best, a whole generation of players that had a stylistic inprint that is a kind of caricature of Trane.  With Potter its more about were Brecker took the Trane thing than anything, but still clearly going back to Trane .  That's one of the reasons I like Joe Henderson's playing; he took a very different road than the Coltrane highway.  For the listener it's a matter of just how deep into the nuances of the evolution of styles one wants to get.  Along the way there are some players who are clear "significant deflection points" (I like that term).  I will say, however, that getting to know the playing of good players who are not necessarily stylistic ground breakers helps to understand and appreciate those who are a great deal.  I used to feel this way about Joe Lovano, but I think his playing has matured a great deal and he is truly advancing the form.  I just posted this, but in case you missed it.  I think this is just great.  Interesting the similarities to Henderson's sound:

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

As far as your comments re the more traditional jazz I would say that to focus only on the deflection points would be a big mistake.  There were far more individualistic players back then who are really worth exploring and who while not being major deflection points were just so good and so fun to listen to.  This is just one of those players. Amazing ballad playing and feel good vibe.  And what a tone!

https://m.youtube.com/watch?v=RKby3ZnxmAI

Thank you Frogman. I’m responding to your last comments first.

"...to focus only on the deflection points would be a big mistake. There were far more individualistic players back then who are really worth exploring...."

That is exactly what is so helpful about this thread: the vets providing the tyro (Scrabble word :-) with exposure to musicians who might not get much type-space in the "Big Book of Jazz" but, none the less, noteworthy. I’m certainly open to considering "a unique style" as justification for inclusion in a personal jazz library.

On the topic of Chris Potter (and I mean NO offense to acman who apparently "gets" him and had mentioned buying everything CP does...) I was going to include lack of emotional content but left it out since I’ve really not listened to much of him.  Still, lack of an emotional connection was definitely an initial response (or lack of one) that hasn’t changed with limited subsequent listening. I tend to assume merit so if acman likes him, I’m guessing there is something good going on there. Maybe technical virtuosity (I do hear and get that aspect of CP) is the main thing he brings. I need more, I guess.

Looking forward to checking out...
Mintzer
Liebman
Grossman
Lovano (did not check him out using your earlier link)

Did a real quick sampling of your Lovano and Griffin links. Yes on Griffn’s tone. On the Lovano, like the tune, love the pianist. Not sure about Lovano. It’s funny though, JG is the one I started exploring.

Apologies if this one below has been done to death previously, but check out the line up. Is that crazy or what?

https://www.youtube.com/watch?v=lJq7rmiFJUQ

THANKS

OK folks, a few random thoughts to share.

frog, good catch in turn with "Milestones".  I knew there was something else lurking underneath in that performance but my memory couldn't pull it up.

Chris Thile is an amazing talent.  He is from San Diego County and I first heard him in person here more than 15 years ago when Nickel Creek first established themselves -- yes, I enjoy string band music too.

Regarding Potter, I'd seen his name but never listened to his playing until a couple of posts here.  I tend to agree that he may have proficiency with his horn but I just don't hear the feeling/connectivity in his playing.  But that could well be due to not hearing him other than on my computer and with only a couple of selections here.  Still, for example, and not to start a different controversy, he reminds me of a couple of Japanese jazz musicians who have enjoyed some popularity in the US.  Musicianship very good, soul and emotional expression lacking.

And that goes back to some thoughts o-10 and I exchanged when I first began posting here.  I admit to being "locked into" an era and style for jazz.  Being such an old fart (OK, I'm 75) I must admit I don't have that many years left to enjoy the music I love.  That could be 15 years, 5 years, 5 weeks, who knows?  I'm fortunate to have collected a significant number of albums of favorite musicians and performances.  My focus happens to be on the enjoyment of those.  I'm not saying there is no new music worth discovering and exploring, I'm just relating what I consider to be the best utilization of my listening time.  So no disrespect to anyone who does not care for what I enjoy, or finds pleasure where I don't.  Peace to you all.

Wassup fellas!  Been awhile.  Don't come around A'gon much anymore but it's cool to see you guys are still going strong!  Very quickly re: the comment of Chris Potter being in the Brecker/Berg/Mintzer school of sax players.  It sounded dismissive of 3 players I admire, and that's fine, it's only an opinion.  But within that group I'd say there's Michael B., and than there's the rest!  Here's a player I definitely consider above the rest; the mighty Anat Cohen!

https://youtu.be/zLBvw50QQ7M

https://youtu.be/TsT8sEqDOxI

https://youtu.be/Q2wTkt9qLDk

"According to Wiki"

With a trumpet, an electric guitar and the firepower of one of contemporary jazz’s most exhilarating drummers – Brian Blade – in his quintet, Wolfgang Muthspiel has plenty of turn-it-up-to-11 potential on tap. The Austrian guitarist has, however, preferred nuances to bravado since he was first saluted as the European John Scofield in the early 90s. He played Ronnie Scott’s with the music from his new quintet’s Rising Grace album, with Brad Mehldau’s piano role imaginatively taken up by local hero Gwilym Simcock, and bassist Scott Colley substituting for the album’s Larry Grenadier.

The gig was often low-key, but the music’s finespun lyricism kept Sunday’s full house rapt. Triad Song, originally a student chord exercise, showed not a hint of the scholarly as Muthspiel’s and Simcock’s guitar and piano vamp swayed under sighs and soft squeals from Ambrose Akinmusire’s trumpet, and the leader unrolled warmly melodic guitar figures and supple sprints. Boogaloo turned from bluesy bass slurs into a probing rhythmic mix that suggested the mid-60s Miles Davis quintet playing Kurt Weill. Flamenco strumming and glowing chords from Muthspiel’s acoustic 12-string prefaced trumpet trances of pining curved notes and short Miles-like ascents, while funky 60s soul-bop vignettes were fragmented by a contemporary rhythmic restlessness. Simcock constantly engaged with the grinning Blade, his clipped, tantalisingly hanging piano figures pushing the drummer’s scurrying patterns toward whiplashed exclamations.

This gives a fairly accurate description of Wolfgang's Quintet, and you can go back to the music I have posted to give them another listen.

This is probably the only new group that thoroughly appeals to me; give them a good listen and tell me what you think?  (if I'm repeating myself, blame it on my youth)

Ghosthouse, this is my favorite Johnny Griffin album (also mentioned here before)

'Studio Jazz Party' from 1960.
https://youtu.be/Wu0qnePU3Os

No offence taken.

As everyone knows by now, I listen to music from a play list; that means that I know I like whatever is playing, but half the time, I don't know what's playing.

I had been listening, and really enjoying this music without knowing what it was, when I finally decided to check the play list and see what it was, that's a walk to the basement; hiking down and back up Mt. Everest.


In a Silent Way is a studio album by American jazz musician Miles Davis, released July 30, 1969 on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969 at CBS 30th Street Studio in New York City. Incorporating elements of classical sonata form, Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances.

Upon its release, the album was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis's electronic approach. Since its initial reception, it has been regarded by fans and critics as one of Davis's greatest and most influential works. In 2001, Columbia Legacy and Sony Music released the three-disc box set The Complete In a Silent Way Sessions, which includes the original album, additional tracks, and the unedited recordings used to produce In a Silent Way.

There is no way I could have liked this album when I bought it in 69, I was just in the habit of buying any new album by Miles; I'm sure I didn't play it anymore after that, but somehow I put it on the play list (is this convoluted or what?) I'll let you figure it out....


              https://www.youtube.com/watch?v=lQKt7DTKyJU

@orpheus10 -
Good to read you are still capable of the mountain hike, O. Keep it up!
Did not know you listen from a playlist. Ain’t that cheating? :-)

In A Silent Way - HUGE deflection point. Never read much about how it was produced though. Box sets often seem like a money grab but the one you mention might be worth the price since it allows comparison between the unedited recordings and what Macero did with them. That is something I’d like to hear.

I don’t keep up with everything posted on this thread. I didn’t catch your previous posts about the Wolfgang Muthspiel Quintet but I will track that down and at least do a little sampling of it. Ambrose Akinmusire is familiar to me as he played with Alan Pasqua on The Antisocial Club, a great recording I’ve mentioned on a number of occasions but about which you have remained pointedly silent...or so I think.

Anyway - do get stronger.

@chazro
Frogman doesn’t need me to reply for him but I will anyway. Pretty certain he wasn’t dissing any of the 3 players mentioned...especially not Michael Brecker. The F’man gotta lot of love for MB.

I will definitely sample some of your Anat Cohen. A new name to me.
Thanks.

Thanks too to Alex for the the J Griffin Studio Jazz Party recommendation.

A good evening to all.

PS - love the ECM label but they really need to lighten up on publication rights.  Very difficult to find anything from that label on Tidal or Spotify.  Tracks are available on YouTube, however (e.g., Father & Sun).

Nice to see you back here, Chayro.  Dismissive of those guys?!  No way; especially of MB.  Perhaps it was my additional comment about the "purists" perhaps preferring Liebman or Grossman that gave that impression.  Truth is that Brecker, and Berg/Mintzer who emulated Brecker to a large degree, all played in a style that was informed by Rock and Pop in addition to the primary Coltrane influence.  Liebman and Grossman (especially Liebman) while bringing some of their own stuff to the table never really wandered away from the Trane train much.

Some favorite Liebman:

https://m.youtube.com/watch?v=5YQ86ETQZeE

Liebman on soprano with Grossman on tenor (@3:17); both were practically kids still!  Grossman sounds absolutely fierce on this:

https://m.youtube.com/watch?v=YsUfriV43GA

A lot of our favorite jazz artists were real characters personality-wise. Johnny Griffin was also known as a real sharp dresser. One of my favorite humorous jazz-related clips on the Tube; must have been filmed while on tour sometime during his two year or so stint with Monk:

https://m.youtube.com/watch?v=xAz_t2Ybvmc

Speaking of characters and Teo Macero:

https://m.youtube.com/watch?v=CNKAv1aa9IA

Thanks. Been smiling for the last 20 minutes or so.

Gotta get me some of them Danish pants.

Macero is funny! He does a great Miles voice. God help any OCD types working with some of those guys. Talk about getting stressed. 

Good stuff.

**** I'm sure I didn't play it anymore after that, but somehow I put it on the play list (is this convoluted or what?) I'll let you figure it out.... ****

I'm not a big believer in coincidences, O-10.  I suspect that the music struck a chord (😉) subconsciously and you knew there was good stuff there.  Classic record.  In spite of all the hoopla (deserved) around "Bitches Brew", it was "In A Silent Way" that was, as ghosthouse points out, the first major deflection point towards a entirely new genre; or, as someone used to say here and speaking of sartorial acumen, the beginning of Miles' "Sinbad period".   More great Teo Macero storytelling on the making of "In A Silent Way" (@ 5:00):

https://m.youtube.com/watch?v=2yK6kXSqB2k

Hey Rok, if you're out there, hope all is well.

Interesting about "In A Silent Way".  I'd been listening to Miles for at least 10 years when that was released, but I loved it immediately.  Maybe my ears were softened because I already enjoyed non-heavy metal rock?  That pleasure continued with "Bitches Brew".  But a couple more electronic Miles albums and it wore thin for me and I quit buying his latest releases.

A funny story, which I expect was duplicated many times around the country.  Around '72 or '73 I attended a Miles concert at our local civic auditorium (my preference for smaller venue performances was no longer possible because of his popularity).  When we walked in the curtain was open to expose an array of mics and speakers spread across the stage.  When the musicians came out everyone plugged in except the drummer (who already had fixed mics).  The audience didn't boo or throw things but at least half walked out by intermission.  We stayed and enjoyed the entire performance.

Wish I could find a video of Macero at a studio Monk recording session to share.  I thought that was a bit embarrassing the way he acted, putting on a black jive routine when greeting Monk.

Like ghosthouse I'm not particularly a fan of boxed compilations but I was not aware either of the production of "In A Silent Way" so that would be interesting.

Is this it?

https://m.youtube.com/watch?v=0k4Y7sDTM2U

This one picks up at 2:09 of the previous clip:

https://m.youtube.com/watch?v=In16H9J72HY

Men at work:

https://m.youtube.com/watch?v=OyfEddS41nM

Re your reaction to Macero’s greeting of Monk: I don’t entirely disagree, but would point out that Macero was a player before he was a producer and who played with a lot of those guys.  He was one of "the cats".  Musicians, black and white, have a certain looseness around each other that may seem politically incorrect, but is part of their rapport. It is true that a lot of white musicians appropriated a lot of the "style" of black players both musically and socially. Not as obvious, but it went the other way too sometimes. Notice Macero’s reaction to Miles’ calling him a "white motherf€£%r" in one of the earlier clips...he laughed about it. Btw, the term "motherf€£%r", or usually, "bad motherf€£%r" was and is still an accepted way among jazz players of referring to a really great player....or really great pants 😎.

Thanks for the story; wish I’d been there.

Frogman and Pryso; while a certain language was acceptable "on the street", I think a "black jive routine" was probably unacceptable when introducing someone of Monk's stature.

Did anyone notice how uncomfortable Charley Rouse made Monk when asking about the notes. What Monk wanted to say was "You a jazzman, put the horn up to your mouth and blow."

Thanks for those clips Frogman.

Hey frog, yes that's the one and you found it quickly.  Thanks for posting.

The "black jive routine" was just my description of Macero's attempt at being cool and looking the fool.  And yes I know he had some serious musical credits, which I assume led to becoming a producer at Columbia.  But he simply looks awkward here and possibly even uncomfortable so tries to cover it up by overdoing weak humor.

True point about Monk.  He picked his sidemen based upon expected production, if they were good enough they would work it out for themselves.  Some were selected and put on stage without even one rehearsal.  Man, you'd better have your stuff together! ;^)

And I'm certainly familiar with the connotations of the bad MF label.

This is the conclusion of the convoluted events that occurred just the other day involving "In a Silent Way"

in 1969 "Fusion" wasn't even considered jazz, consequently, I bought it by mistake, as many of Miles fans did. It got on my "playlist" not too long ago when I archived Vinyl to "hard drive". Although I have owned that record for many years, it just didn't fall into the category of records to be played.

It's incredible how much an individual's taste can change in almost 40 years. It got on my "playlist" because it was a vinyl album in exquisite shape because it hadn't been played much, it was a good candidate for archiving.

Some people make a playlist for a day, my playlist consists of all my favorite records, the only order it has is going from one decade to the next. My days consisted of trying to find something productive to do, (now I can barely take care of necessities) while the music played in the background.

Each time the music came up (In a Silent Way) I liked it, but didn't know what it was; not until I descended Mt. Everest, guess you get the picture now.

Miles’ influence reaching into some disparate places...

https://www.youtube.com/watch?v=k96zk09uyjU

https://www.youtube.com/watch?v=FISFwcOz41U

As I expect most of us realize, Miles influenced so many musicians it would be hard to count them.  He truly was a bad MF!  ;^)

Today is the great John Coltrane's birthday.  On the subject of influence, this record is up there with Miles' "Kind Of Blue" as one of the most influential records in the history of jazz and the way the saxophone is played in the genre:

https://m.youtube.com/watch?v=xr0Tfng9SP0

I've been trying to find something that has never been played on this thread; that ain't easy.


        https://www.youtube.com/watch?v=_SqHaRGDm3o


This has been played and I like it, "Dodge The Do Do"!


          https://www.youtube.com/watch?v=WvXaCs3Pcq4

o10,

Speaking of not haven't been shared on this thread, I didn't go back to day 1 but since I've been following no mention of Don Ellis.  I'm not a big fan of big bands but there are some I enjoy.  The Ellis Orchestra is one, although I could do without the electric piano (too common during the time of this recording).  Great driving beat as typical in Woody Herman's recordings.

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

And some crazy time to follow that, from another Ellis album I have -

https://www.youtube.com/watch?v=QcIph0O_tnw

Now that you mention it, Don Ellis hasn't been played; this is boss, I like that driving big band sound, reminds me of Gerry Mulligan's big band.


            https://www.youtube.com/watch?v=N-oHEPPiNjY


It's for sure I'm going to have to add Don Ellis, I don't have him. There is so much new (old) music that I want to add; the bottom line is which I like the best, new or old.

I have never heard either one of those tunes, and both are 5 star; live at Monterey is really smoking. The vibe that's surrounding the musicians can make a huge difference; when the crowd gets into the music, the musicians really get energized.

Yes, good choice.

As I said, I'm not a big fan of big bands.  By necessity too much is written out which takes it further away from jazz in my (non-musician's) opinion.  Still, there are several I do enjoy so I may as well list them.

For the older bands, which for me means going back to the '40s even though what I listen to was recorded since then, I start with Basie and Woody Herman.

Moving forward I listen to Gil Evans, both scoring for Miles and with his own orchestra, Mulligan, Ellis, Monk (only three recordings that I'm aware of but those include arrangements by Hall Overton and really expand on Monk's music), Carla Bley, and George Russell.

Wikipedia defines big bands as those with 10 or more musicians and that's good enough for me.

Anyone know the kind of horn Hugh Masakela is holding?  Very clearly seen at 6:25 and 8:22.  A variant on trumpet?  

Thanks in advance.  

(Please pardon the interruption.)

https://www.youtube.com/watch?v=BLdWKWu7HKw

ghosthouse

Anyone know the kind of horn Hugh Masakela is holding?  Very clearly seen at 6:25 and 8:22.  A variant on trumpet?

  It's a mellophone.

@cleeds 

Thanks for that tip, Cleeds.  It got me looking at some non-trumpet/trumpet-looking instruments.  I'm wondering if instead it might be a flugelhorn.  

Big fan of Hugh Masakela.

It could be a flugelhorn, which is similar to a mellophone, although they play in different keys.

Definitely flugelhorn, Masakela’s signature instrument. Sometimes used in marching bands to take the place of the French horn, the mellophone is larger and pitched lower than the flugelhorn which is pitched in Bb, same as trumpet.

https://m.youtube.com/watch?v=bU_OLykk5sQ

Speaking of mellophones and big bands.  The most notable use of the mellophone in jazz was in Stan Kenton's orchestra.  His orchestra's "sound" was due in part to the use of an entire section of a variant of the mellophone, the mellophonium.  From his album "Mellophonium Moods"; here as solo instrument:

https://m.youtube.com/watch?v=r6Ad0Rol_hg

For the hardcore geeks:

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

This is the best time ever to be a "Jazz Aficionado"; I say that because we can move back and forth in time with our PC as though it was a time machine.

In high school, there was a heated discussion about trumpet players; this must have been shortly after Clifford Browns death, and he was who I chose as my favorite trumpet. Another astute jazz fan chose "Kenny Dorham"; he was so adamant, that I wondered if I might not be wrong. What made matters worse was I didn't even know who Kenny Dorham was. I bluffed my side of the argument anyway.

That was a long time ago, but I never forgot bluffing in an argument about an artist I knew nothing about. At last, with my PC, I can explore and find out what Kenny Dorham was all about.

Maybe there is a jazz artist you want to know more about, now is the time.

After going back to that time frame of the late 50's, I discovered "Benny Golson" was my man, he had been a part of more of my favorite tunes in that time period than anyone; "Along Came Betty":"Killer Joe", and "Are You Real".



          https://www.youtube.com/watch?v=x4_CX-KAZ6Q


        https://www.youtube.com/watch?v=TW641zgPOqQ



          https://www.youtube.com/watch?v=i6KN0S-dGJE

Cecil Taylor.

If you're ready for a little mellow Swedish concert-pianist jazz:

http://www.youtube.com/watch?v=_D3lRTUX1CM

Dave

Since finding and subsequently greatly enjoying Daniel Herskedal’s "Slow Eastbound Train" which was greeted by some here with overwhelming enthusiasm, I thought to find what others might be doing "jazz-wise" with the tuba.

Encountered, the Modern Jazz Tuba Project.
A familiar piece to serve as a comfortable introduction for Jazz-a-Fish. geezers....

https://www.youtube.com/watch?v=fwYKOLKdlSg&list=PLn4NWX2UFwNwdJHVTjlzptxmA6CNDGjxF&index=2

Here’s the group (trumpet players need not apply): 3 tubas & 3 euphoniums (euphonia?)

http://webpages.charter.net/mjtproject/

Thinking I’ve become a low brass fan.

Interesting bit of history from the MJT Project website...

"...the MJT Project builds upon over fifty years of tradition utilizing the euphonium and tuba as lead instruments in jazz. This tradition started in the late 1940s with "the birth of the cool" and the collaboration between Miles Davis and Bill Barber on a number of recordings arranged by Gil Evans, and was extended through the 1950s by Harvey Phillips (the Sauter-Finegan Orchestra, Gil Evans, etc.) and Don Butterfield (Clark Terry, Dizzy Gillespie, Charles Mingus and others).

By the late 1950s, bands were actually fronted by tubists such as Ray Draper (with "sideman" John Coltrane!) and Red Callender. In the late 1960s tubist Howard Johnson began his work with the Gil Evans Orchestra and with blues artist Taj Mahal, which led to the formation of the first jazz tuba ensemble, "Gravity", in 1968.

Famous jazz euphoniumist Rich Matteson, along with tubist Harvey Phillips, continued exploring ensemble possibilities through the formation of the internationally acclaimed "Matteson-Phillips TUBAJAZZ CONSORT" in the mid-1970s. The MJT Project is an outgrowth of these traditions.

Utilizing the talents of three outstanding jazz euphoniumists--Billy Huber and Barry Green of Nashville and Marcus Dickman of Jacksonville, Florida--and balancing the low end with tubists Joe Murphy and Winston Morris of Tennessee and Richard Perry of Hattiesburg, Mississippi, the MJT Project explores the best in jazz tuba literature. The rhythm section personnel are all first-call Nashville-based musicians who have performed and recorded with just about everybody in the music business with Steve Willets and Kevin Madill on keys, Paul Binkley and Mel Deal on guitar, Jim Ferguson on bass and Bob Mater on drums."

I wondered if listing George Russell among big bands I enjoy would elicit any comment.  None, but then most posts seem to generate discussion when a performance link is provided.  So with that I say So What -

https://www.youtube.com/watch?v=9aQoHRgS8s8

Ghosthouse, that was the best version of "My Favorite Things" I have ever heard.

Pryso, nothing like Miles, but I liked it.

Pryso, thank you for bringing up George Russell. Russell generated a fair amount of discussion here (and controversy....probably why I didn’t comment earlier) a while ago and in that context the only earlier mention of Don Ellis. I point this out only as a point of interest; he (and Don Ellis) is certainly worthy of more discussion. Don Ellis was a member of both some of his large and small ensemble projects.

George Russell was one of the most important figures in modern jazz. As a theorist, his "Lydian Chromatic Concept Of Tonal Organization" was and is a hugely important jazz theory concept (and book) which influenced many modern jazz players including Miles and Coltrane particularly in their ground breaking moves toward "modal" jazz. On this thread there has sometimes been a very mistaken notion and even aversion to the idea that many (probably most) of the most prominent jazz players have actively, and very extensively, studied and used ideas and "formal" concepts about harmony in developing their compositions and improvisation styles. I mention this only to stress just how important Russell’s ideas were and how much that sort of thing is an integral part of this great music. The idea that jazz players simply put the horn up to their lips and blow and magic happens is simply not how it all works. It is ultimately a combination of talent, creativity combined with serious study and understanding of harmony and music theory and, yes, magic. George Russell’s ideas were and remain hugely important. Interesting reading:

http://www.georgerussell.com/lc.html

Nice "So What". Very funky; thanks for that. Love how he doesn’t use the melody of the tune and instead uses Miles’ very solo from Miles’ classic recording of the tune in the ensemble passages. Great soprano solo. Some of my favorite George Russell are his small ensemble recordings. This one featuring Don Ellis and Eric Dolphy is particularly interesting, imo:

https://m.youtube.com/watch?v=8-PHjNNfEy4