Make a Jazz Noise Here

[jowcol]

I often wonder what many of the losers on this board do for a living.

And often post about it.  I can share the quotes with you if you like. 

I do have a full time job-- if you show me yours I'll show you mine...

[Mirror Image]

You've heard Sketches of Spain and Porgy and Bess? (The other Gil Evans collaborations- I'm not fully including Quiet nights)

Of all of them, Sketches of Spain gets me the most.

Yes, I love all of the Miles Davis/Gil Evans collaborations. Porgy and Bess and Sketches of Spain are especially fine.

[Grazioso]

Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn...

[Grazioso]

What's the good word on The Bad Plus? I've always dug the first album by this "jazz power trio" (catchy originals, interesting choice of covers, impressive musicianship, and insane production) but have never gotten around to exploring their later work. Any recommendations?

Their take on "Smells Like Teen Spirit":

http://www.youtube.com/v/LKllfSfgB4k

[bhodges]

The Bad Plus = a fascinating group, from what I've heard. A friend sent me a link to their take on The Rite of Spring and it was quite, quite good. Here's a bit about them on NPR, and I'm trying to find the link to the full piece - it's been a few months...

http://www.npr.org/2011/03/20/134666157/the-bad-plus-tackle-stravinskys-spring

--Bruce

[bhodges]

Ah, here we go:

http://www.wbgo.org/thecheckout/the-bad-plus-on-sacred-ground/

I should listen again, but even a single hearing impressed me enormously. Would be interested to know what you think.

--Bruce

[Grazioso]

Ah, here we go:

http://www.wbgo.org/thecheckout/the-bad-plus-on-sacred-ground/

I should listen again, but even a single hearing impressed me enormously. Would be interested to know what you think.

--Bruce

No time to listen to it all atm, but will check it out in full.

Here's their interpretation of the Bee Gees: http://www.npr.org/templates/story/story.php?storyId=100424612

Interesting to hear more and more young jazz players work with pop/rock/dance songs of the last generation or two instead of reflexively going back to the famous showtunes of the early decades of last century.

[jowcol]

Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn...

There is an alternate text at Miskatonic University that reads:

Ph'nglui mglw'nafh Cthulhu R'lyeh zaw'inul fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh zaw'inul fhtagn
Ph'nglui mglw'nafh Cthulhu R'lyeh zaw'inul fhtagn

[escher]

a difficult question for everybody.
My favorite jazz music is in the sixties, but i like also the previous decades. In the seventies there's a lot less interesting albums (at least for me) but there is some great music. By the eighties though i've listened a good amount of music there's much less stuff that i find good. It's not a fact of innovation, there's a lot of "derivative" stuff that i enjoy a lot.
So if you have to do a short compilation with your favorite single tracks (no albums) from 1980 to present, what would you put on it?

[Mirror Image]

a difficult question for everybody.
My favorite jazz music is in the sixties, but i like also the previous decades. In the seventies there's a lot less interesting albums (at least for me) but there is some great music. By the eighties though i've listened a good amount of music there's much less stuff that i find good. It's not a fact of innovation, there's a lot of "derivative" stuff that i enjoy a lot.
So if you have to do a short compilation with your favorite single tracks (no albums) from 1980 to present, what would you put on it?

Not to disrupt the anti-Wynton people here, but the album Black Codes from the Underground is an excellent recording, here's the link to Amazon. Listen to the audio samples:

[asin]B000002640[/asin]

Here's a little review I wrote for the album:

"Black Codes (From The Underground)" was released by Columbia Records in 1987. It marks a departure for Marsalis, yet it is also something he hasn't done before or since. Every song is a beautiful display of technique, lyricism, and enthusiasm. This is modern jazz at its finest.

I do want to say that I'm baffled by the controversy that surrounds him. He has risen a few eyebrows over the past two decades, but don't let these opinions shape your own opinion of his music. Judge the music, not the person making it.

All of the musicians are just amazing: Charnett Moffett (bass), Ron Carter (bass), Jeff Watts (drums), Branford Marsalis (tenor and soprano saxophone), and Kenny Kirkland (piano). Each musician plays with a deep passion and understanding for Wynton's musical vision.

The music is something that has to be heard. Every song will move you and leave you wanting more.

Despite what you've heard about Wynton you're completely wrong, trust me. After hearing this album, you'll put any negative feelings you had for him aside. Let the music be the voice, not Wynton.

I highly recommend this album to fans of trumpet and swinging post-bop jazz.

Update: After hearing this album several times and seeing several reviewers here compare him to 60s Miles, I have to say that they are way off in their comparisons. First of all, listen to the note choices. Second, listen to Wynton's tone, and last, listen to Wynton's virtuoso technique. Sorry as much as I love Miles, he certainly couldn't play this accurately and on a tune like "Chambers of Tain" not with such precision and accuracy. I will also say that the compositions themselves are nothing like Miles. They are not abstract or dissonant.

People can compare Miles and Wynton all day long, but they'll only be fooling themselves, because Wynton has a completely different approach to jazz, then Davis did. Wynton admired Miles, but that's the only similarity he had to him.

[Mirror Image]

01 Can It Be Done (Wilson Tee)
02 D Flat Waltz (Zawinul)
03 The Peasant (Zawinul)
04 Predator (Shorter)
05 Blue Sound - Note 3 (Zawinul)
06 Swamp Cabbage (Shorter)
07 Domino Theory (Zawinul)

[asin]B000024DXW[/asin]
Josef Zawinul keyboards and synthesizers
Wayne Shorter saxophones
Omar Hakim drums
Victor Bailey bass
José Rossy percussion
Carl Anderson vocals (01)

Ah, yes, Joe Zawinul. That takes me back to when I was 10 or 11 years old. Thankfully, I wised up and realized that fusion music was just an excuse for jazz musicians not to swing.

[escher]

Not to disrupt the anti-Wynton people here, but the album Black Codes from the Underground is an excellent recording, here's the link to Amazon. Listen to the audio samples:

[asin]B000002640[/asin]

Here's a little review I wrote for the album:

"Black Codes (From The Underground)" was released by Columbia Records in 1987. It marks a departure for Marsalis, yet it is also something he hasn't done before or since. Every song is a beautiful display of technique, lyricism, and enthusiasm. This is modern jazz at its finest.

I do want to say that I'm baffled by the controversy that surrounds him. He has risen a few eyebrows over the past two decades, but don't let these opinions shape your own opinion of his music. Judge the music, not the person making it.

All of the musicians are just amazing: Charnett Moffett (bass), Ron Carter (bass), Jeff Watts (drums), Branford Marsalis (tenor and soprano saxophone), and Kenny Kirkland (piano). Each musician plays with a deep passion and understanding for Wynton's musical vision.

The music is something that has to be heard. Every song will move you and leave you wanting more.

Despite what you've heard about Wynton you're completely wrong, trust me. After hearing this album, you'll put any negative feelings you had for him aside. Let the music be the voice, not Wynton.

I highly recommend this album to fans of trumpet and swinging post-bop jazz.

Update: After hearing this album several times and seeing several reviewers here compare him to 60s Miles, I have to say that they are way off in their comparisons. First of all, listen to the note choices. Second, listen to Wynton's tone, and last, listen to Wynton's virtuoso technique. Sorry as much as I love Miles, he certainly couldn't play this accurately and on a tune like "Chambers of Tain" not with such precision and accuracy. I will also say that the compositions themselves are nothing like Miles. They are not abstract or dissonant.

People can compare Miles and Wynton all day long, but they'll only be fooling themselves, because Wynton has a completely different approach to jazz, then Davis did. Wynton admired Miles, but that's the only similarity he had to him.

It's difficult to listen jazz and not to know something about Wynton Marsalis, i've listened to black code (after all it's one of the most famous albums of the eighties) and though is not a bad album i don't consider it that good. I have to say that i much prefer him in live contexts, for example Live at the house of tribes to me is a much better, where he is in his element (traditional jazz) and he and the other musicians are clearly having a lot of fun.
Said that, i was asking for a compilation of single tracks 

[Grazioso]

The Doom that Came to Jazz

And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods — the blind, voiceless, mindless gargoyles whose soul is Zawinul.

[Grazioso]

Not to disrupt the anti-Wynton people here, but the album Black Codes from the Underground is an excellent recording, here's the link to Amazon. Listen to the audio samples:

A great album, and yet... The problem is that, for all its strengths, they sound like a Miles Second Great Quintet cover band.

[Grazioso]

Ah, yes, Joe Zawinul. That takes me back to when I was 10 or 11 years old. Thankfully, I wised up and realized that fusion music was just an excuse for jazz musicians not to swing.

File this under "It Can Always Get Worse":

http://www.youtube.com/v/o4EhaQklWqA

Herbie sells his soul, live.

[Mirror Image]

It's difficult to listen jazz and not to know something about Wynton Marsalis, i've listened to black code (after all it's one of the most famous albums of the eighties) and though is not a bad album i don't consider it that good. I have to say that i much prefer him in live contexts, for example Live at the house of tribes to me is a much better, where he is in his element (traditional jazz) and he and the other musicians are clearly having a lot of fun.
Said that, i was asking for a compilation of single tracks 

You don't consider Black Codes that good? Okay, whatever you say. Anyway, for a live Marsalis album I always liked the Live at Village Vanguard box set. It contains some smoking performances. Also, his Standard Time albums are worth looking into. As for a compilation, there are so many good Wynton tunes that it would be hard for me to assemble a recording.

[Mirror Image]

A great album, and yet... The problem is that, for all its strengths, they sound like a Miles Second Great Quintet cover band.

I disagree. Miles only wished he could play like Wynton. I think they took the Miles Davis model and really expanded it and made it much more interesting. That said, I was never a fan of Miles' Second Great Quintet anyway. They did a few good albums but that's it.

[escher]

You don't consider Black Codes that good? Okay, whatever you say. Anyway, for a live Marsalis album I always liked the Live at Village Vanguard box set. It contains some smoking performances. Also, his Standard Time albums are worth looking into. As for a compilation, there are so many good Wynton tunes that it would be hard for me to assemble a recording.

i'm not talking only about marsalis, i'm talking about all jazz after 1980, william parker, henry threadgill, muhal richard abrams, sonny sharrock, stan getz, john carter, tim berne, david murray, anthony braxton etc

[escher]

I disagree. Miles only wished he could play like Wynton. I think they took the Miles Davis model and really expanded it and made it much more interesting. That said, I was never a fan of Miles' Second Great Quintet anyway. They did a few good albums but that's it.

i have to say that i find too similarities, but not because of Miles but because Marsalis is a great admirer of Wayne Shorter as a composer and on Black code he tried to write something in a similar vein. The problem is that as a composer WM is not on the same level with Shorter, and there's not a piece of the caliber of a Footprints or Nefertiti, Pinocchio, Sanctuary, esp, prince of darness and the other great tunes Shorter wrote for the group.

[escher]

Funny, that quintet, with Wayne Shorter and Tony Williams is for me the best band Miles ever had and represents his best work, which is saying a lot since he recorded some pretty amazing things throughout his career.

But, I won't argue with you about the merits of this quintet compared to the other quintet or any of his groups - since I consider them all good.   Some styles may appeal to different people more than others.  The style of the 2nd quintet is definitely my favorite.

i have read this post now
obviously i agree, and thanks for the list