Official Jazz topic

[Baroness.]

Recommend some artists, your favourites, classic albums etc.I was a 'jazz baby' soothed in the womb by Mr Davis and throughout childhood etc but only recently taking proper interest again.Been listening to and absolutely loving Ahmad Jamal's 'Crystal' and 'The Awakening' LPs. Great to hear some of my favourite Hip-Hop songs original samples. !!

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type="application/x-shockwave-flash" width="425" height="344"></embed></object>" type="application/x-shockwave-flash" wmode="transparent" width="425" height="350">Pissed Avo, Crystal, Patterns aren't on Youtube.Childhood fave is Tania Maria's 'Come with me'.Miles David 'Kind of Blue' of course as well.*waits for superstition...*

[SPEAK NO EVIL]

i can play nardis and i love music done know the keyboard skillsi once tried going into jazz but its so intimidatingly deep i had to give upthese were my fave albumsnamesake and all sorts. it's emotionalalso a love supreme, my favourite things, village vanguard sessionsi love me some alice coltrane tooalso not rly jazz but Cinematic Orchestra are serious. i might have made a thread about them b4 or some sh*t dont even care. the pretentious levels are sky high tho

[Baroness.]

sick for nardis...but most ratings for i love music, you got a recording of you doing it? Gonna check those albums out, thanks.Those cinematic orchestra people have some nice tunes, especially that last horizon one, reminded me of phuteristix broken beat type tunes

[Reuben]

eric dolphy - out to lunchthen jus sift through some ornette coleman,art blakey and the jazz messengers,thelonious monk and early sun ra

[Superstition]

*waits for superstition...*

Sheeeeiiiit. Am I that predictable?Anyway this topic was timed well. Just finished exams, so I can pepper this thing with uploads for anyone with open earsFor this post I was gonna quickly link up some deep, sombre Trane. But I'm feeling so good about exams, so I'll rep some of the the buoyant, blithe beauty in his lighter ish.This is off Blue Train. It was made in '58, at which point Trane had played in bands with Dizzy, Miles and Thelonious Monk. By then, he was his instrument. The album is a snapshot of him approaching total mastery of his powersThis track just clicks. Coltrane composed it at the studio date, and the band are playing it for the first time - hence "Moments Notice". The rhythm and chemistry is brilliant, Philly Joe Jones on drums is just feeeeeeeling it, these guys are having a ball. Song goes everywhere. Beautiful sound. Lee Morgan at age 19 on the trumpet is DIIRRR-TEEE-teee. Trane of course is teh master of the univerze. Feeling the joy in this atm.

[Fresh]

*awaits eagerly*

[SPEAK NO EVIL]

sick for nardis...but most ratings for i love music, you got a recording of you doing it? Gonna check those albums out, thanks.Those cinematic orchestra people have some nice tunes, especially that last horizon one, reminded me of phuteristix broken beat type tunes

soon come

[Baroness.]

*waits for superstition...*

Sheeeeiiiit. Am I that predictable?Anyway this topic was timed well. Just finished exams, so I can pepper this thing with uploads for anyone with open earsFor this post I was gonna quickly link up some deep, sombre Trane. But I'm feeling so good about exams, so I'll rep some of the the buoyant, blithe beauty in his lighter ish.This is off Blue Train. It was made in '58, at which point Trane had played in bands with Dizzy, Miles and Thelonious Monk. By then, he was his instrument. The album is a snapshot of him approaching total mastery of his powersThis track just clicks. Coltrane composed it at the studio date, and the band are playing it for the first time - hence "Moments Notice". The rhythm and chemistry is brilliant, Philly Joe Jones on drums is just feeeeeeeling it, these guys are having a ball. Song goes everywhere. Beautiful sound. Lee Morgan at age 19 on the trumpet is DIIRRR-TEEE-teee. Trane of course is teh master of the univerze. Feeling the joy in this atm.

Yes please do, my ears are always open. Bring on the sombre Trane, sounds right up my street.And JuJu, Cinematic Orchestra are sick, i was in HMV bought couple jazz bits (a Jamal entire recordings double disc and some slightly disappointing cheap compilations) asked for them but they are in the Dance section and i didn't have time, definitely buying theirs next though i'm really feeling the 'Everyday' album. Also, any pianists to recommend?

[SPEAK NO EVIL]

helen do you need me to up their albums or sutin? i can do it after my examsas far as pianists you already know bout badman bill evans and ahmad jamal...my personal fave is mccoy tyner but all the best stuff he done is with john coltrane so i cant think of any albums to recommend

[MrJibbles]

Tell you what I do like electro-jazz, got a couple albums with just various artists and it's really good.

[scared of who?]

Feeling Esperanza Spalding a lot. Plays a mean bass and sings in two languages.http://www.myspace.com/esperanzaspaldingJose James is another problemhttp://www.myspace.com/josejamesquartet^^^^^Those two are the future of Jazz!

[Superstition]

Haven't been hitting up this topic like I said I would but I'll try make amendsCharlie Mingus - Black Saint and The Sinner Ladyzshare.net/download/1402775338b6472d/Props to Juju for repping this all-time classic. It's structured as a six-part suite for dancers, but it's not a smooth ride - certainly not easy listening background music. It's Mingus at his best, which is overpoweringly engaging and intense. Jazz being a vehicle for collective, creative improvisation is rarely better-encapsulated than on here... these dudes form like Voltron. It's a large band, but everybody melds into one, and different textures and moods flare up from the chaos to the fore, before being shouldered aside and reined in, for other avenues, ideas and instruments to be explored. I can't think of an album which strikes a more perfect balance between avante-garde oddity, and musical themes of more comprehensibility. Just an amazing listen. Essential jazzRobert Glasper - In My Elementzshare.net/download/1409990397d0558f/I think you were after some piano trios a while back. Glasper is one of my favourite modern jazz pianists.. imaginative, skilled and natural. Fantastic live performer too. He puts this together as a showcase of his musical personality - exhibiting his unimpeachable jazz credentials, while saluting his hip-hop upbringing - and it's a touch of brilliance. He's a virtuoso, dipping into haunting romance, elated gospel, measured ballads and most of what's in between. He obviously knows and feels the greats (hints of Bill Evans, no blasphem-o), and he can naturally blend that nuanced understanding with his own personality. The hip-hop grounding comes through in his treatment of rhythm; rather than the inclusion of samples, loops or emcees. And it's better for it, more organic and true than a crude cut-and-paste of styles. Very sick album, and a memorable J Dilla tribute track is in there too.

[SPEAK NO EVIL]

*downloads robert glasper*safe for the link and reviewand yeah, the wu tang comparison for the black saint and sinner lady is on point

[Superstition]

Thelonious Monk - Monk's Dreamzshare.net/download/14146662b65540f3/You can not be checking out pianists and not take a look at some Monk. One of the genre's defining artists, with a totally original take on jazz piano. As well as being an absolute master of the keys, he was a great composer and band leader, with a fresh conception of structure, and interaction between players. And his band here are veteran Monk sidemen, hitting his vision perfectly. This album is more energetic and loose than a lot of Monk stuff, but his fantastic unorthodox, unpredictable approach is fully on-show. He fires off bizarre chords, plays with abrupt hesitations and percussive stabs, twisting the music with brilliant purpose. A nice introduction to Monk's catalogue imo.Terence Blanchard - A Tale of God's Will (A Requiem For Katrina)megaupload.com/?d=02SQYKCDThis is a gorgeous and haunting piece of music. Blanchard composed a soundtrack for a Spike Lee film about Katrina, and this album is a follow-on from his amazing treatment of the subject in the film soundtrack. It's a moving and deep reflection on the ongoing tragedy and failures represented by post-Katrina New Orleans; a perfectly-balanced emotional journey through fury and rage, frustration, sadness, despair and hope. It's powerful ish, performances capturing the matter at hand with earnest respect, without straying to preachiness or treacle. Additionally, the emotive character of the music is emphasised by a 40-piece orchestra, conducted by Blanchard himself, deployed into the fold of a small-band jazz array. And it's done with the precision and restraint of a master. His reserved approach is in the tradition of Miles... the characteristic understatement and thoughtful phrases are recognisable qualities of Blanchard. Some deeper sh*t. Enjoy

[Grafter]

Fela kutiwater no get enemyabsolute ledgethis is less jazz, more reggae but still relevant methinkscedric im brooks and sound dimen

[Baroness.]

Feeling Esperanza Spalding a lot. Plays a mean bass and sings in two languages.http://www.myspace.com/esperanzaspaldingJose James is another problemhttp://www.myspace.com/josejamesquartet^^^^^Those two are the future of Jazz!

Immediately hooked on Jose James, thank you for this. He's playing Roundhouse in August, i will be probably be there.Superstition props! Downloading now, going to have a good ol' listen over the next couple days.Been distracted with Dwele's new album and couple other new releases as well as the old usuals, but during a little hip hop sample researching session stumbled upon some other new-to-me artists:Name that sample..

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[Numero001]

Superstition makes man like I feel dunce boy.

[Dynamau5]

FREE JAZZ VS ACID

[SPEAK NO EVIL]

i just downloaded these albums and thought i would share,not eloquent enuff 2 give them the Superstition treatment so its a copy and paste tingeric dolphy-out to lunchhttp://sharebee.com/d89a5c0bOut to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.miles davis-relaxin with the miles davis quintethttp://www.zshare.net/download/49099372dad9be/Relaxin' features the Miles Davis Quintet in a pair of legendary recording dates -- from May and October of 1956 -- which would generate enough music to produce four separate long-players: Cookin', elaxin', Workin', and Steamin'. Each of these is considered not only to be among the pinnacle of Davis' work, but of the entire bop subgenre as well. As with the other titles, Relaxin' contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet -- who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) -- to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" -- from the play Guys and Dolls -- includes some remarkable soloing via Coltrane and Garland. Davis' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin' offers something for every degree of jazz enthusiast. Likewise, the quintet's recordings provide a tremendous introduction for the curious jazz consumer.duke ellington & john coltranehttp://www.zshare.net/download/103366052494f63d/DUKE ELLINGTON & JOHN COLTRANE begins with a remarkable performance of "In A Sentimental Mood." Ellington's chattering, bell-like accompaniment sets off Coltrane's fulsome, rhapsodic interpretaion in sharp relief. For Johnny Hodges--one of Duke's main men, and an early employer of Coltrane--"In A Sentimental Mood" was a showpiece. The Rabbit practically owned the tune, and yet Hodges considered Coltrane's to be the finest version of the song he'd ever heard.Which indicates how deeply rooted in the jazz and blues tradition Coltrane always was. DUKE ELLINGTON & JOHN COLTRANE represented an opportunity for Trane to step back and reflect upon the elemental lyricism and swing that were at the heart of even his most adventurous flights--and to silence those nay-sayers who were carping about how his band with Eric Dolphy was "anti-jazz.""Take The Coltrane" offers up one of Duke's great vamp tunes, and illustrates just how well the master knew how to accomodate Coltrane and play to his strengths, gently prodding him into fresh melodic directions. with its insistent bluesy hosannas and tart, off-center harmonies, "Take The Coltrane" is an improviser's delight, as the pianist offers elegant harmonic contrasts to Trane's backwoods preacher. "Big Nick" is Trane's tip of the hat to tenor man and raconteur Nick Nicholas, a tipsying, elusive little melody with a hint of Sidney Bechet (and Hodges) that allows the saxophonist to range up and down his soprano.The remainder of the repetoire is from the Ellington/Strayhorn songbook, beginning with Duke's infectious minor blues, "Stevie." Ellington treats his keyboard as a mini-orchestra, and Coltrane rides Sam Woodyard's backbeat into the sun. Strayhorn's "My Little Brown Book" opens with a bell-like fantasia between piano and Elvin Jones' cymbals, as Coltrane demonstrates a variety of refined ballad inflections. "Angelica" offers an infectuous Afro-Cuban dialogue between Ellington and Woodyard, and an earnest, fervent Coltrane who doesn't rise to the tune's humor the way a Sonny Rollins would, but when Aaron Bell seats that 4/4 in the bass...look out. "The Feeling Of Jazz" is just that, closing things out with a classic blues that shuffles happily between swing and a hard rock.been rinsing this one while revisingoh yeah and this is one i've had for time but feel 2 post it anyways, very biggil evans-the individualism of gil evanshttp://rapidshare.com/files/132947388/THE_..._EVANS.rar.html Those who only know Gil Evans though his collaborations with Miles Davis will be astounded when they discover The Individualism of Gil Evans. The five recording sessions that went into the making of this album yielded music as compelling as anything Evans created with Miles. And that’s no minor feat, considering just how instrumental the trumpet playing genius was in helping Evans push the limits of jazz orchestration on such classics as Sketches Of Spain and Porgy & Bess. Forever known by his partnership with Miles, The Individualism of Gil Evans was the only album that the composer/pianist recorded as a leader during the period of 1961-1968, years when jazz clubs were closing, but, as evidenced here, the music was far from dying.For the various sessions that comprise the album, Evans put together an impressive and diverse collection of musicians, including such purveyors of individualism as Eric Dolphy, Wayne Shorter, Ron Carter, Steve Lacy, and Elvin Jones. From the album’s lush opening to its bluesy conclusion, Evans consistently conjures a vast musical canvas, leaving plenty of wide-open spaces in his compositions for the soloists to soar. His subtle use of large ensembles and his mastery of space approach that of Miles, with whom he co-wrote the CD’s opening track, “Time Of The Barracudas,” for a Peter Barnes play of the same name. My whole understanding of the album begins with this mood-establishing gem, and my heart goes out to a whole generation of listeners that had to experience the original vinyl without it. They were denied the majesty of Wayne Shorter’s solo, which was so beautifully lyrical that it seduced Miles, who immediately invited the saxophonist to join his band. Shorter’s playing takes on a brooding, almost hallucinatory quality on “The Barbara Song,” a Kurt Weill melody from Three-Penny Opera. An underrated pianist, Evans’ own exquisitely textured playing on “The Barbara Song” is sublime. “Las Vegas Tango” (later covered by Robert Wyatt) is a cinematic, Ellington-flavored epic, filled with the call and response of trumpets and woodwinds, and driven by bassist Ron Carter’s dark tango rhythms. “Flute Song / Hotel Me” has the low down and dirty feel of a strip-tease vamp which, like the album closer, “Spoonful,” showcases Evans’ bluesy piano playing. It is not only noteworthy as the original album’s sole Gil Evans/Miles Davis collaboration, but also because it features Eric Dolphy on bass clarinet. Dolphy’s adds his unmistakable touch to the song with intense but restrained playing. “El Toreador” encapsulates the feeling of Sketches of Spain in a mere 3 1/2 minutes. It is perfectly followed by the minimalist “Proclamation,” a previously unreleased track. “Nothing Like You” and “Concorde” are two upbeat little ditties that jarringly break up the dream-like mood of the album, making them dubious “bonus” tracks. Program your CD player to skip them. Thankfully the dream-like mood is picked up again and given satisfying climax on the 14-minute long blues, “Spoonful.” Evans knocks out some mean licks, pounding the piano with startling passion. The man could really play. Kenny Burrell’s guitar hints at T-Bone Walker, with a fluid bending of the notes. It’s hard to believe that Evans originally hated this performance of “Spoonful,” but learned to love it upon hearing it again decades later, approving its inclusion on the CD reissue. Perhaps ears grow wiser with age.

[Baroness.]

The man, the amazing...Mr Robert Glasper:

[c*squared]

Don't know if this is fully classes as Jazz but someone introduced me to this and I gotta say tiz big likeKenny G - Songbird

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[magpaul]

yeh good job superstition.I'd recommend Grant Green - Alive!Lou Donaldson - Hot DogThelonious Monk w/ Jon ColtraneBobbi Humprey - Blacks and Blues

[Angelo]

Religously force fed this guy by my dad since birth.Learnt every single one of his tracks.Highly recommend. - cant find the proper version of this it's not on youtube, but 1min 36 sec onwardsAll of these are so rare. Half the versions on youtube are not the originals and you just can't get them anymore. I might rip the vinyls and upload them if people want them.One of my favourite tracks, mainly because of the introAnd for the Guitarists:Gonna go before I spend all morning posting

[Guest Flat Ericó]

Ahmad jamalisaac hayesthe four topshubert laws - Lonnie Liston Smithtbh

[Michel Kane]

Once I sort out the digital jungle that is my iTunes library, I will fully back this thread...