What jazz ALBUM are you currently listening to?

jazzyguytheone · « **Reply #8980 on:** 15 Jan 2015, 05:13 pm »

FRED JACKSON-HOOTIN' AND TOOTIN' -

A BLUE NOTE RELEASE

jazzyguytheone · « **Reply #8981 on:** 15 Jan 2015, 05:29 pm »

LEE MORGAN EXPOOBIDENT-A VEEJAY RELEASE

jazzyguytheone · « **Reply #8982 on:** 15 Jan 2015, 05:34 pm »

INTRODUCING LEE MORGAN A SAVOY RELEASE

jazzyguytheone · « **Reply #8983 on:** 15 Jan 2015, 05:37 pm »

LEE MORGAN THE PROCRASTINATOR

jazzyguytheone · « **Reply #8984 on:** 15 Jan 2015, 05:41 pm »

LEE MORGAN SEARCH FOR THE NEW LAND (RIP)

rockadanny · « **Reply #8985 on:** 15 Jan 2015, 08:07 pm »

A Bill Evans two-fer:

EMPATHY - Bill Evans piano; Monty Budwig bass; Shelly Manne drums (1962)
A SIMPLE MATTER OF CONVICTION - Bill Evans piano; Eddie Gomez bass; Shelly Manne drums (1966)
Both originally produced by Creed Taylor.

jimdgoulding · « **Reply #8986 on:** 15 Jan 2015, 09:37 pm »

Danny, all . . Eddie Gomez (mentioned above) is a monster. Hear his playing on Chick Corea's "Three Quartets" album. You can thank me later. There is a video that shows up on cable from time to time of this very group and playing selections from this album. Dunno how to tell you to access it, but I know yer smarter than me so give it a go. Get the album in any case. No way you'll regret it.

Asimov · « **Reply #8987 on:** 16 Jan 2015, 01:26 am »

Coleman Hawkins — Bean Stalkin'

Asimov · « **Reply #8988 on:** 16 Jan 2015, 02:02 am »

Coleman Hawkins — Coleman Hawkins And Confrères

Asimov · « **Reply #8989 on:** 16 Jan 2015, 02:49 am »

Coleman Hawkins — Desafinado

Asimov · « **Reply #8990 on:** 16 Jan 2015, 04:05 am »

Coleman Hawkins — Night Hawk

Asimov · « **Reply #8991 on:** 16 Jan 2015, 04:09 am »

Coleman Hawkins — Supreme

ACHiPo · « **Reply #8992 on:** 16 Jan 2015, 04:20 am »

My most expensive LP yet arrived and this is the debut...

Ray Brown
Soular Energy

After 2 of 4 sides, entirely worth the $50! The best recorded album I've heard. Period. Ok, so I'm not a huge fan of piano/bass/drum trios, but the bass playing on this album is absolutely amazing, plus I had no idea my speakers went so low, and there are some nice bop tunes with guitar and sax to break up the trios. There's actually a warning sticker from Stan Ricker on the the outer sleeve that the bass could cause tracking problems. Not so for my WTT and Lyra Delos--just sweet tuneful bass. Highly recommended!

AllMusic Review and Samples

ACHiPo · « **Reply #8993 on:** 16 Jan 2015, 04:28 am »

Quote from: rockadanny on 15 Jan 2015, 04:56 pm

John Coltrane - Bye Bye Blackbird
Only two long tracks on this

How many do ya need, Dan? Sweetness!

ACHiPo · « **Reply #8994 on:** 16 Jan 2015, 04:58 am »

Quote from: jimdgoulding on 15 Jan 2015, 05:12 pm

Thanks for your feedback, fellas. I would like to encourage all of you to post some of your experiences. That makes for a heap more entertainment than just what's spinning wouldn't you agree? Ok, then, post away and thanks in advance.

Jim, I absolutely agree!

So in that vein (I just hope I don't overshare or bore you with mine), probably the top musical experience I've had, although I'm not sure it was jazzy enough for here, was after an African drumming workshop with the ne plus ultra of African drumming, Mamady Keita (he brought West African rhythms to Europe, America, and the rest of the world. While not widely known or appreciated, the poly-rhythms of W. Africa significantly influenced Latin, Afro-Cuban, jazz, and rock music). Mamady travels the world putting on workshops with intermediate through professional drummers, and the minimum requirement was to have studied W. African drumming for a year. I'd only been drumming for a few months, but was passionate and progressing well enough that my teacher, one of Mamady's students, arranged for me to attend the weekend workshop.

I was in awe. I'd seen his DVDs, listened to his CDs, and here I was in a group of 35 drummers of all levels (about half of which were pros) with a teacher that spoke very little English. It was quickly apparent that this guy was an amazing teacher, as he could take 35 people to their breaking point (just a bit beyond, actually) even though everyone was at a different level. And we were smiling. I mean contagious, high energy, flying high smiling. While we were failing. I'd hear and see riffs that I could barely comprehend, and 15 minutes later I was playing them. Anyway, this is just the long intro to my out-of-body music experience.

The workshop was 4 hours of instruction Friday night, 8 hours Saturday, and 6 hours Sunday. After Friday I was exhausted and exhilarated at the same time. Saturday took it to a whole new level, and Saturday night there was a party. The workshop was hosted by a local music store. The party host was the music shop owner's sister, who is married to a Cuban rumbero (convoluted enough?). Well I didn't know it, but I was at my first full-on rhumba. And it was smokin'! After getting some food and drink, somebody started playing clack-clack, clack-clack-clack on the claves and the conga and cajon players started. Somebody started singing in Spanish and the crowd warmed up. After a couple rhumbas, Mamady was invited to join and he WAILED. People were dancing, and tapping. The congas were going, somebody was playing a guiro, and we had a full-on jam session of related but very different styles. It was magic. The music went on until 2 or 3. I left as things were winding down and slept until noon--the best and latest sleep in years. I staggered down stairs and my wife just smiled and said, "you're still smiling!"

The last 6 hours that Sunday were tough. My hands were sore. My brain was full. But I had a serious grin on my face.

Video Sample of Mamady

https://www.youtube.com/watch?v=GkvQoG3wDPQ

ACHiPo · « **Reply #8995 on:** 16 Jan 2015, 05:04 am »

Meanwhile, back to the jazz...

Dexter Gordon
Our Man in Paris

Sample
AllMusic Review by Thom Jurek
This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session. His playing is a tad more laid-back here, but is nonetheless full of the brilliant harmonic asides and incendiary single-note runs he is legendary for. The rhythm section is close-knit and stop-on-a-dime accurate.

ACHiPo · « **Reply #8996 on:** 16 Jan 2015, 01:03 pm »

Bill Evans Trio
Sunday at the Village Vanguard
Just plain ol' new vinyl LP--great recording and pressing

This came yesterday, so I now have all (I think) 3 recordings from this weekend. I'm not a huge fan of piano/drum/bass trios, but these recordings are some of the best de-stressers I've found.

All Music Review by Thom Jurek
Sunday at the Village Vanguard is the initial volume of a mammoth recording session by the Bill Evans Trio, from June 25, 1961 at New York's Village Vanguard documenting Evans' first trio with bassist Scott LaFaro and drummer Paul Motian. Its companion volume is Waltz for Debby. This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. Tragically, LaFaro was killed in an automobile accident ten days after this session was recorded, and Evans assembled the two packages a few months afterward. While "Waltz for Debby" -- in retrospect -- is seemingly a showcase for Evans' brilliant, subtle, and wide-ranging pianism, this volume becomes an homage, largely, to the genius and contribution of LaFaro. That said, however, this were never the point. According to Motian, when Evans built this trio based on live gigs at the Basin Street East, the intention was always to develop a complete interactive trio experience. At the time, this was an unheard of notion, since piano trios were largely designed to showcase the prowess of the front line soloist with rhythmic accompaniment. Here, one need listen no further than the elegant and haunting, graceful modal reading of "My Man's Gone Now" from Porgy & Bess to know that there is something completely balanced and indescribably beautiful in their approach. Motian's brushes whisper along the ride cymbals and both Evans and LaFaro enter into a dialogue that emerges from a darkly hued minor mode, into the melody and somehow beyond it, into a form of seamless dialogic improvisation to know that in the act of one musician slipping over and under another -- as happens with all three in an aural basket weave -- is something utterly new and different, often imitated but never replicated. But in a sense it happens before this, on LaFaro's "Gloria's Step," which opens the recording. His thematic statement includes the briefest intro, hesitant and spacious before he and pianist enter into a harmonic and contrapuntal conversation underscored by the hushed dynamics of Motian's snare, and the lightning-fast interlocutions of single string and chorded playing of LaFaro. The shapshifting reading of Miles Davis' "Solar," is a place where angularity, counterpoint, and early modalism all come together in a knotty and insistent, yet utterly seamless blend of post-bop aesthetics and expanded harmonic intercourse with Motian, whose work, while indispensable in the balance of the trio, comes more into play here, and is more assertive with his half-time accents to frame the counterpoint playing of Evans and LaFaro. This is a great place to begin with Evans.

ACHiPo · « **Reply #8997 on:** 16 Jan 2015, 01:33 pm »

Wow feeling kinda all alone! Hope my African/Cuban jam session story didn't scare everybody off! 'Course I guess this is what Asimov feels like when he's listening and posting when most of those of us in the US are sleeping.

Another new acquisition, this one on 200 g vinyl...

Freddy Hubbard
Open Sesame

AllMusic Review by Scott Yanow
Freddie Hubbard's first recording as a leader, Open Sesame features the 22-year-old trumpeter in a quintet with tenor saxophonist Tina Brooks, the up-and-coming pianist McCoy Tyner, bassist Sam Jones and drummer Clifford Jarvis. This set shows that even at this early stage, Hubbard had the potential to be one of the greats. On the ballad "But Beautiful" he shows maturity; other highlights include "Open Sesame," a driving "All or Nothing at All" and "One Mint Julep." It's an impressive start to what would be a very interesting career.
Samples

ArthurDent · « **Reply #8998 on:** 16 Jan 2015, 03:50 pm »

Quote from: ACHiPo on 16 Jan 2015, 01:33 pm

Wow feeling kinda all alone! Hope my African/Cuban jam session story didn't scare everybody off! 'Course I guess this is what Asimov feels like when he's listening and posting when most of those of us in the US are sleeping.

Freddy Hubbard
Open Sesame

Samples

Nah, just the usual ebb & flow. Nice Freddie, spun the CD on that the other day.

Milt Jackson: Ain't But a Few of Us Left '82

ArthurDent · « **Reply #8999 on:** 16 Jan 2015, 04:34 pm »

Oregon: Oregon '83