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Let me preface this by saying I'm a hyper-critical piece-of-shit that hates the jazz scene's tendency to pat people on the back and say "yeah man you sounded great!" Your composition is great but it could be a lot more recording wise. Why:

Like /u/notgarysmulyan said, the mix is a bit weird. The horns are too far apart and as a result their harmonies never really mix well. also the bass is way too quiet.

Every single member of this band needs to lay. The fuck. Back. This song would sound a lot more relaxed if the players weren't on top of hte beat like a cap on a bottle. Part of this is exacerbated by the drummer. His swing feel just doesn't feel good. It's at the point where I don't know if this song is supposed to be swung or straight, and that's a problem.

Also when you guys are playing the melody by yourselves (like the piano in the beginning), take liberties! The part that goes 'eighth-eighth-dottedeighth-sixteenth-whole' sounds really, really, unbearably square.

Now, I hate to be a "post my own music" sort of guy, but I've needed an excuse to play the guitar so I recorded a little snippet of what I would like to hear the melody sound like..

All that being said, this is a beautiful composition man! It just needs more of a "human" element to bring it to life. More interpretation with the melody and a more relaxed feel and you've got something that's not half bad.

Actually now that I listen even closer, that's a computerized piano if I've ever heard one. And the drummer, too. And the bassist. No player is that square that consistently. Fuck that shit! You've got a cool composition, find some jazz-playing friends or even just some guys at a local school and tell them you have a song you want to record. Buy them a beer or gas money if you have to, but at the end of the day you'll have a much better recording of a beautiful composition your name.

"I was foolin' around with some tough ones," Mr. Armstrong recalled in 1969. "Get paid a little money, and a beeline for one of them gambling houses. Two hours, man, and I was a broke cat, broker than the Ten Commandments. Needed money so bad I even tried pimping, but my first client got jealous of me and we got to fussing about it and she stabbed me in the shoulder. Them was wild times." - https://www.nytimes.com/books/97/08/03/reviews/armstrong-obit.html

The story is that he made a half-hearted attempt at being a pimp when he was about 16 years old (around 1917). She tried to get him to come sleep with her at her house, and he said no -- he had never slept away from his mother and sister and he didn't want to. (And she was ugly, "nappy-haired and she had buck teeth.") So she stabbed him in the shoulder with a pocket knife.

When his mother found out, she marched over to the prostitute and almost choked her to death, and would have if some guys didn't pull her off. That was the end of his career as a pimp.

He tells the story in Satchmo: My Life in New Orleans (p. 86-88).

this is the album art for the single cd edition. there is also a double cd and double lp with different (less interesting, in my opinion) art. i cancelled my pre-order of this version and ordered the double instead, because i'm a sucker. Both Directions at Once: The Lost Album (Deluxe 2 CD) https://www.amazon.com/dp/B07D4ZP9K3/ref=cm_sw_r_cp_apa_vL8iBb63HZZS3

He produced a Blue Note compilation album if anyone is interested. I thought my leg was being pulled was I first heard about it.

Michael Ondaatje's novel Coming Through Slaughter is an amazing fictionalised account of Bolden's life that goes some way to bringing him to life.

https://www.amazon.co.uk/Coming-through-Slaughter-Michael-Ondaatje/dp/0747572623

He's got a lady but you should totally go hang! Here's a link to the spot. They have two dogs, smoke a ton of cigs and the mom and grandma live there. Not to mention Napoli has a reputation for being pretty rough. Still the best airbnb experience I've ever had.

Sticking with no more than one album per artist:

Freddie Hubbard - Red Clay

Dave Holland - Conference of the Birds

Ornette Coleman - Dancing In Your Head

McCoy Tyner - Atlantis

Miles Davis - Jack Johnson

Mahavishnu - Birds of Fire

Weather Report - Black Market

RTF - (the one with the medieval cover :))

Here is a cool link - it's slanted to the avant garde, but still a good resource: https://rateyourmusic.com/list/Joci/the_100_best_1970s_jazz_albums_according_to_rymers__2012_/

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Django's last sessions from March 10 - April 8, 1953 just before he died. They are by far the most advanced tunes he had produced to date. Just listen to his playing on Night and Day, it's amazing! I love the original Quintet's work, but nothing compares to these last sessions when it comes Django.

For any of you guys interested in downloading this, I don't know why the soundcloud link doesn't have downloads anymore (because that's where I got them from)... so I'm slowly uploading them track-by-track to a 4shared folder, located here:

http://www.4shared.com/folder/qlvDh9Fq/Radiohead_Jazz_Project.html

In about 5 hours it should be totally uploaded (goddamnit, slow internets + large files). Sorry about the wait, guys. :\

I'm just finishing a Jazz Improv course run by Gary Burton on the coursera.org site. His approach is to equate Improv with natural language elements (vocabulary, grammar, sentence structure and storytelling) which made a lot of sense for me. It's technical, it's intensive, but it is free - so there's really not a lot to lose by trying it. (The price does not indicate the quality of the course or the work required in my experience) https://www.coursera.org/course/improvisation

amazon is selling the deluxe edition (2xLP) for <$30 incl. shipping

https://www.amazon.com/Both-Directions-At-Once-Deluxe/dp/B07D51TY57/ref=tmm_vnl_swatch_0?_encoding=UTF8&amp;qid=1530462731&amp;sr=8-2

iReal Pro

In fusion, electric bass is pretty much the norm. In more straight-ahead Jazz it's not as common, but there are some dedicated practitioners.

Try Steve Swallow. And Sonny Rollins has preferred the el bass of Bob Cranshaw for many years...

The one you mention is one of my favorite samples. Another one that comes to mind is the bassline from Lonnie Liston Smith's Devika (Goddess) in Digable Planets' Pacifics. That bassline never fails to get me, this track is so smooth.

http://www.whosampled.com/sample/11807/Digable-Planets-Pacifics-(NY-Is-Red-Hot)-Lonnie-Liston-Smith-Devika-(Goddess)/

Edit: they sampled more than just the bassline, but it's the part that got me hooked on the song and by extension on Digable Planets

Greeating, r/metal mod here that has been summoned from a dark crypt to this very quaint lounge. A "Best Of" list is going to be more of a popular album collection which may leave some gems and underappreciated albums off but lists like this are more of a reflection from the community.

Our Best of the 80's list is the most similar as the 80's has a lot of expected albums to be up at the top so you would expect things like Maiden, Metallica, Priest just as your 100 Jazz albums would probably have Davis, Coltrane, Monk, and Kenny G. Within each community is a reflection of taste so since r/metal is a bunch of black/death dorks, things like Possessed, Bathory, and Pestilence made it as high as the expected artists.

Even though lists like this are not perfect, they still can serve as tools for users and newcomers to get started into a genre. My suggestion is to break it apart by either decade or era lest you spend a lot of time getting basically this list

https://rateyourmusic.com/list/erikfish/best_jazz_albums_of_all_time___22_lists_combined/

If you haven't seen this, check out Bob Keller's Impro-Visor, a software improviser that's surprisingly good! He was one of my CS profs in college but also had a side passion for jazz. Dude could play well too.

Reissues of Alice's terrific Warners records:

CD

Vinyl

As the Evans cult endures, so the stream of lo-fi 'discoveries' will continue. At least he managed to avoid, to a surprising extent, Blue Note, Prestige and (therefore) the piano-averse studio of Rudy Van Gelder. Intentional, I wonder? Stuff released during his lifetime, on the labels he regularly recorded for, would be the most dependable.

That said, Live At Art D'Lugoff's Top Of The Gate is a good one. Samples.

Still need to check the doc out! I'm a MASSIVE Nina fan and know that any doc that does her justice is going to be hard to watch.

There is an excellent collection called Forever Young, Gifted and Black: Songs of Freedom and Spirit that is probably closest to what you're looking for.

Good News is most of her albums are pretty solid! If you are looking for political material then live albums are the way to go. Nina Simone in Concert is excellent. Political songs are found on almost every album, and often covers are often highly political. Emergency Ward is a singular experience that is very political.

http://www.allmusic.com/album/forever-young-gifted-black-songs-of-freedom-and-spirit-mw0000525199

EDIT: The collection does not contain Pirate Jenny which I consider to be essential.

I made these two ages ago. I should do more.

60s/70s/80s Jazz/Fusion from the former communist eastern european countries.

https://www.mixcloud.com/litm/eastern-jazz-vol1/

https://www.mixcloud.com/litm/eastern-jazz-vol2/

Also, "former communist eastern european countries" is a horrible term, what is a better one? Eastern Bloc? Does this describe these countries and period of time well enough?

in Shorter's original lead sheet (on deposit at the library of congress) it's apparently written as E+9 (b5). what does that mean? it's not entirely clear, but at least the melody is a good guide for what to do. there has to be a #5 and a #9. a lot of times complicated harmony like this is just written as "alt" with the idea that the performer will be guided by the melody as to what extensions are relevant.

all the tunes from this era of Miles are fascinating. fake books do the best they can in representing what's going on, but they really all fall short. these tunes are way more complicated than a simple lead sheet can get across. even Shorter's own lead sheets don't capture what's going on, because the group heavily reworked the tunes, often over several takes. the best reference for learning about this (and i think it's essential if you really want to dig into this music) is this book by Keith Waters:

https://www.amazon.com/Recordings-Quintet-1965-68-Studies-Recorded/dp/0195393848

For live Trane, don't miss One Down One Up: Live At The Half Note, and Live In Seattle.

Ornette for sure - his recordings on Atlantic are basic building blocks for Free Jazz.

Sonny Rollins - Our Man In Jazz. Sonny's live foray into Free Jazz. Brilliant.

Cecil Taylor - try some early stuff like Jazz Advance or New York City R&B, Maybe even Nefertiti aka Live At Montmartre. Or his solo stuff. If that's not too scary, maybe try 2 T's For A Lovely T - a 10cd set of fantastic pianistics with his Feel Trio. Very intense, but not cacophonous clear and detailed. And crazy cheap at Amazon as an mp3 download - everyone should have it.

Don Cherry - Brown Rice or Eternal Rhythm.

Alice Coltrane. Awesome 2cd comp here. Or any of her Impulse records.

Rahsaan Roland Kirk. Really!

Turns out Elvin Jones didn't like Ginger Baker's playing on a song he was shown in a blind taste test: "Nothing happening. Cat's got delusions of grandeur with no grounds."

source

Check out the Neverhood, point and click PC game from the 90's. By far the greatest video game I've ever played. Same people are releasing a new game this summer, Armikrog, with the same musician on board. (Terry S. Taylor)

'...&quot;Meditations on Integration,&quot; which is properly titled &quot;Praying with Eric&quot; (or &quot;Meditations (For a Pair of Wirecutters)&quot;...'

To add on to /u/sizviolin pointing out he's the bass player - it is probably fair to say he is THE bass player. If you're browsing this sub you have heard him play before whether you know it or not. He's one of the most important and influential bass players of all time.

Mr. Brown is the one that popularized standing to the pianist's left side - apparently so he could see what the pianist was doing for bass notes and adjust accordingly. So I've heard.

wiki

Don't care that no one will read this, and the top-rated comment pretty much refutes the whole premise.

Smokin' at the half note (Wynton Kelly trio + Wes Montgomery) is absolutely INCREDIBLE.

Also good: jazzmen detroit (Kenny Burrell, Tommy Flanagan, Paul Chambers, Pepper Adams, Kenny Clarke), and pretty much all of early (pre-Sketches) Miles

That’s great.

There are a few detractors, but Dweezil put together some great musicians. I saw this last week. It took a bit for me to relax into it, but it’s an amazing group of players.

https://music.youtube.com/watch?v=pOtuqYzJTsM

iReal Pro

A classic is Line for Lyons. I can't find the version I like with Stan Getz and Chet baker on neither YouTube nor Spotify, but you can listen to some of it here, last track of Disc 3 under 'Track Listing'

Diz &amp; Bird at Town Hall June 1945 for me, only recently discovered, and about as good as jazz from this era gets.

Maybe not as obscure as it once was, The Jaki Byard Experience finds Rahsaan Roland Kirk in stellar form, taking a break from his brilliant run of records as a leader on Atlantic (around the time of The Inflated Tear, Left & Right, and Volunteered Slavery). He pulls out all the stops on Bud Powell's Parisian Thoroughfare.

Soundtrack from Kansas City, in which all these cats appear: Nicholas Peyton (t), David Fathead Newman (as), James Carter (ts), Joshua Redman (ts), Don Byron (bs), Mark Whitfield (g), Geri Allen (p), Christian McBride (b), Victor Lewis (d).

And that is just on the first tune. Also Cyrus Chestnut, Ron Carter, and a few others.

More info, and you can sample the 12 tunes here. Very entertaining movie set in 1934 Kansas City.

edit: just reread the thread title...not a "great" jazz album...just a great lineup.

Of the compilations, I think A Studio Chronicle 1940-1948 is the best. It has all of the classics recorded for Savoy and Dial, along with a representative selection of earlier tunes with Jay McShann and the great version of Cherokee, a sort of mission statement of the things to come. The Dial and Savoy sides are the vital stuff, compared with the later Verve material.

The best collection of the indispensable live recordings is Chasin' The Bird.

OK, how about a new one: Ben Goldberg's <em>Orphic Machine</em>. Goldberg's been around for a long time, and while I dug his last couple records this is something else entirely.

The pianist on that album, Myra Melford, has a new album this year that's also very good, Snowy Egret. You really should look into Melford, whose been making great music about as long as your average Redditor has been alive.

So this is essentially a book version of http://www.allmusic.com/ ?

Over the years All Music has been a great reference for me - it's pretty much the only website I've been visiting regularly as long as I've had Internet access since the mid 90's - to learn about especially American pre-80's jazz and figuring out what the key recordings for popular jazz musicians are, so if you want a physical reference book this should do the trick.

It's hard to tell sometimes. Herbie Nichols, for example: his death from leukemia at 44 seems to have cut short a potentially brilliant career, judging by his great Blue Note recordings. But the last of those recordings was made one week shy of 7 years before he died. Jazz had totally gone to sleep on him already. Some, like Bird and Bix, had such ruinous lifestyles that they died young and past their peak. But I think Clifford Brown, Charlie Christian, and Eric Dolphy were all full of promise when life went south on them.

Armstrong could have made his exit a little earlier without screwing up his legacy - but maybe after his years of peak popularity, the decades after the 5's & 7's. Miles, legacy-wise, shoulda skipped the 'comeback'.

There is a book called <em>Creole Trombone: Kid Ory and the Early Years of Jazz</em>, but it doesn't really address much of his life after the 30s.

Sorry mate, you are incorrect.

&quot;Chicago Style&quot; actually indicates a specific style of playing. Read Really the Blues for a firsthand account from someone who lived it -- I think he's got an appendix discussing Chicago Style.

Yes, King Oliver's Creole Jazz Band recorded in 1923 during their stay in Chicago, but they had been playing in New Orleans for far longer. In fact, by the time King Oliver recorded, he was past his prime due to dental problems. With the exception of Lil Hardin, everyone in that band was from New Orleans and had played in New Orleans far longer than they played in Chicago.

King Oliver's Creole Jazz Band is classic New Orleans style.

I haven't read anything that's exactly what you're looking for, but there are a couple of books referenced in this interesting Open Culture article about narcotics, jazz (especially Billie Holliday), and one man in the US federal government.

As an aside, while it does not deal with jazz, music, nor the 50s/60s, you may like Michael Clune's White Out: The Secret Life of Heroin. It's a memoir about a heroin addict, set partly in Baltimore during the 90s.

No prob!

Also... I did an unhealthy amount of internet sleuthing and found some more info. The mix in the video is Hudson Mohawke's Valentines Slow Jams vol IIV and the song in question is the very last track in the set. Skip to the 37:17 mark to hear the song.

Cheers!

https://rateyourmusic.com/customchart?page=1&amp;chart_type=top&amp;type=album&amp;year=alltime&amp;genre_include=1&amp;include_child_genres=1&amp;genres=jazz&amp;include_child_genres_chk=1&amp;include=both&amp;include_live=t&amp;origin_countries=...

I don't know a lot of jazz stuff, but two I would throw out would be the Stan Getz Quartet from Montreux in 1972 (Stan Getz, Chick Corea, Stanley Clarke, and Tony Williams) and the original Five Peace Band (Chick Corea, John McLaughlin, Vinnie Colaiuta, Kenny Garrett, and Christian McBride). Just two that I really like. There have probably been plenty more with more big names, but I love some of the stuff from those two groups.

It sounds like a lot of fun, although I only have a few cds :< I've got the Davis' "Kind of Blue" "The Very Best of Miles Davis"(Tracklist) and "The Very Best of Dave Brubeck" (Tracklist).

I'm looking for some Bill Evans or Paquito D'Rivera. Would definitely consider other offers too!

I looked into it as I really like the album as well - Couldn't find the exact sample, but generally L'Orange uses Jazz from the 40's and 50's rather than later Jazz most commonly sampled in Hip Hop. You might want to check out some of his samples on whosampled: http://www.whosampled.com/L'Orange/?sp=1
There's quite a bit of Billie Holiday in there, Nina Simone as well who is amazing. Some other well-known artists from that era to get started with are Louis Armstrong, Count Basie, Oscar Peterson and Ella Fitzgerald, for a more guitar-based (jazz manouche) style see Django Reinhardt. Hope that helps.

Cab's band was Duke's "relief band" at the Cotton Club - there was a lot of cross-influence.

The Missourians (Prohibition Blues) are Cab's band without Cab, so it's no surprise that they'd do a slightly tweaked Minnie as an instrumental.

The melody is traditional and has been used for many songs. Minnie is most closely based on Willie the Weeper (aka Willie the Chimney Sweeper - I love this version - slow, sad and dreamy)

There were sequels by Cab as well. More info here

Minnie the Moocher's Wedding Day
Kicking the Gong Around
The Ghost of Smoky Joe
Minnie's a Hepcat Now

Etc.

This is a wonderful website for figuring out who sampled what song. Also, Midnight Marauders is amazing.

Check out my post of Mingus' Tijuana Moods from about 4 hours earlier - another great record of conceptually linked material.

You might also like some of the long-form arrangements and compositions of George Russell.

As will I, /u/tbp0701 and /u/TheRealJayGarrick's comments have some good stuff. Will definitely follow their advice.

One handy note on transcribing that I've figured out. If you have the audio file of the song you want to transcribe, you can import it into Audacity. It's an open source music recording and editing software, but it has features that are really handy for transcribing. You can just select a phrase you want to concentrate on and play it over and over again until you can get it right. No more scrubbing back and forth with the slider. There's probably also a feature to stretch out the music without altering the frequency, but I haven't figured that out yet.

I use a couple of things: Audacity and Musescore. Audacity allows you to start and stop wherever you want, speed up, slow down. Musescore lets me write it down. Both are free!

Links: http://www.audacityteam.org/ https://musescore.org/

Duke insisted his music was Beyond Category. It is nearly all classified as jazz of course, but it shows that he felt no restrictions on his compositions, arrangements, and direction.

Outstanding book: Beyond Catagory: The Life and Genius of Duke Ellington. Essential reading for any jazz fan wanting to better understand Duke and the genre as a whole.

the 1951 masterpieces record is one of my all-time favorite jazz albums. this was my introduction to duke, and it’s still in constant rotation in my hi-fi: https://www.allmusic.com/album/masterpieces-by-ellington-mw0000325927

lucky for us, a beautiful columbia remaster of this can be had for about $7 on amazon: Masterpieces By Ellington https://www.amazon.com/dp/B003W77SDK/ref=cm_sw_r_cp_api_glt_fabc_CQ33PH3HGNZMB1CN7PAQ

Give this a read: https://www.amazon.com/How-Listen-Jazz-Ted-Gioia/dp/0465060897

IMHO, a great introduction on the things to listen for when trying to get into jazz.

Google Play or Amazon, unless you're one of the redditors who want music for free.....

Arturo Sandoval put out a great Routines book (this one at Amazon:

https://www.amazon.com/Arturo-Sandoval-Techniques-Performance-Intermediate/dp/0793530318

It's based heavily on Arban's book which is pretty much the bible for trumpet technique, but I found Arturo's book a little more accessible, plus it comes with a CD so you can hear what he does. That said, chances are the book you're using has more or less the same routines.

Trumpet is a much more demanding instrument than sax, requiring a lot more consistency in practice to maintain your ability. A good rule of thumb for practice with a balance of practice and fun is:

• 5 minutes of warm up of long tones
• 15 minutes of routines (arpeggios, finger exercises, etc)
• 15 minutes of fun (reading music, improvisation)

For warm up and routines, you should be resting as much as you're playing, so the above 20 minutes is not a lot of practice... to really improve you're looking at 2X-3X that much.

For fun, buy a fake book which will have hundreds of songs you can learn, and look for play-a-long songs/albums (like Jamey Aebersold's series).

I think the European free improv drummers are the best thing going. Not necessarily 'fairly young' but definitely interesting - and mostly overlooked by Jazz fans. Try Tony Oxley, Paul Lovens, Han Bennink, Paul Lytton, John Stevens, Eddie Prevost, Ingar Zach, Gunter 'Baby' Sommer, Roger Turner...

You can find prime examples of Oxley with Cecil Taylor, Lovens with the Schlippenbach Trio, Bennink with Peter Brotzmann or Derek Bailey, Paul Lytton with the Evan Parker Trio, John Stevens with SME (Spontaneous Music Ensemble), Prevost with AMM...

A wealth of drumming, including duet cd's w Oxley, Bennink, Lovens, Sommer & Louis Moholo, can be found on the Cecil Taylor box set download In Berlin '88. Also, if you take a liking to Oxley, the Amazon mp3 download of the 10 cd Cecil Taylor 2 T's For A Lovely T is an absolute steal.

"Rahsaan Roland Kirk : The Case Of The Three Sided Dream," a documentary to check out on Amazon Prime.

https://www.amazon.com/Case-Three-Sided-Dream/dp/B01F412PN4/ref=sr_1_1?keywords=rahsaan&amp;qid=1553645902&amp;s=gateway&amp;sr=8-1

Just some friendly advice:

Since you JUST fixed er up you should download an RPM tracking app like this one for Android:

https://play.google.com/store/apps/details?id=com.AM.AM.RPMSpeed

And make sure your 33.33 and 45 rpm modes are calibrated properly. You can find out how to adjust them based on your record player make/model by plugging the info into google with "how do i adjust rpms on a..."

I was gifted a used record player and didn't notice until the 3rd or 4th album i listened to that it was running at 36/37ish rpms for the 33.33 and it made all the difference in the world once i fixed it.

Yes, there's an app called iReal Pro - Music Book &amp; Backing Tracks, which is pretty essential for us jazz musicians in my opinion.

You can make your own charts and edit any existing chart to your liking. You can also change the style the music is played in, tempo, key, etc.

If you do get it, press the Forums tab, press Jazz, then Jazz 1300 Standards. From there you can import 1300 standards.

I just use Sennheiser Momentum 2's on my Samsung Galaxy Note 3 with Poweramp (custom EQ settings).

Works like a charm.

My bass teacher recommended this one. You can change the tempo and it has a lot of tracks for different feels, although I've only tried some of the rock ones and the swing track.

https://play.google.com/store/apps/details?id=com.maurobattisti.drumgenius&amp;hl=en

Around the end of the year NPR has an album of the year critics poll. Such things are always debatable, but I've often found some gems I didn't know about on the list. Here's the 2016 list.

I don't know this tune yet, but I've been thinking about this question in general, as it comes up with other tunes as well. There was a You'll Hear It podcast episode on this topic as well. https://www.iheart.com/podcast/239-youll-hear-it-28930649/episode/which-version-of-a-tune-do-29433966/

The takeaway is listen carefully to your bandmates, especially the bass and piano during the first chorus. The first chorus is kind of like a "negotiation" to decide on the "correct" changes. For this to work, you have to have a great ear, and also know the more common variations which will help you to recognize what is happening.

For particularly tricky tunes, I think it is helpful to talk about it with the band first.

I made some bossa nova mixes that I shared on mixcloud, but my tastes are a little specific and I am obsessed with small niches and individual songrwiters or instrumental styles of the period.

But please check out my mixes here:

https://www.mixcloud.com/TristaoDaCunha/

Here are some that I got started with. These have some classic songs on them.

Diana Krall - All For You: A Dedication to the Nat King Cole trio Wes Montgomery - The Incredible Jazz Guitar of Wes Montgomery Anything by Joe Pass

The Complete Roost Recordings is a great collection that finds Getz in the early '50's, at times with boppers like Al Haig, Duke Jordan and Roy Haynes.

How does an album of Beck tunes does in the style of a late 60's Blue Note blues jazz blues funk style attract? What? Exactly! Boogaloo To Beck

I found about it here along with a few others. Another simple trick I've used a few times is to search on the iTunes Store for particular tracks to see if any jazz covers exist. I got into Ben Darwish Trio because of that - he does a great cover of Hey Bulldog!

Jaga Jazzist's new album is awesome too, though some have complained about the jazz element being dampened down a bit. Perhaps, but I find their music very interesting, genre labels are only used for historical context anyway, good music is good music.

Yeah, Mike Lawrence is fairly unknown to me as well -- he was on one other Joe Henderson date earlier (The Kicker, from 1967), which was Joe's first Milestone leader-date -- but that's all I know.

He's also on one Gil Evans Orchestra date from 1969 (Blues in Orbit) -- but that's the only other date I have with him. Here are his total credits, at least what's in AllMusic:

Mike Lawrence's credits on AllMusic

The controversy still echoes, but I think this record sounds pretty great - and maybe even visionary - these days.

John Coltrane's death left a lot of stuff unresolved. The recordings of 1966-67 were powerful, but the next phase very unclear - had he painted himself into a stylistic corner? The two people who managed to find a direction forward, while remaining faithful to the Trane legacy, were Alice and Pharoah Sanders. Who knows if Trane would have followed either path, or even if Alice would have blossomed the way she did - but Infinity offers some compelling possibilities. And, jeez, after she took up the Wurlitzer, can you imagine what Trane, Alice and Rashied Ali could have done to the 'organ trio' paradigm?

Alice, on Infinity, from an interview in The Wire:

>“Some people didn’t like the addition of strings. They said, ‘We know that the original recording didn’t have any strings, so why didn’t you leave it as it was?’ And finally I made a reply because they don’t know what we were talking about, about music or architecture or biology, you name it. They don’t know when or where… They don’t know what happened or transpired between myself and John. So when they would give an opinion I just replied, ‘Were you there? Did you hear his commentary and what he had to say? Are you aware of it?’ So it just became something that I consider didn’t require an answer...We had a conversation about that piece and about every detail. We had a long talk about it and we were talking about the dimension of things, and he was showing me how the piece could even include other sounds, blends, tonalities and other resonances such as strings. So that’s how it happened..."

All Music guide to jazz genres and sub-genres with a brief explanation to each, and prime examples of artists, albums, and songs, which you can sample. Just another source, one that I have used for years to explore. (scroll down for the list of 9 genres and approximately 70 sub-genres).

Allmusic pick for their favorite is The Ozell Tapes complete with reviews, samples, and similar albums. Also look into Stanley Clarke and Victor Wooten.

(can find tunes, but not the entire album on Youtube)

Not as explicitly or famously that I can think off. But it is a "possibility" so to speak for a whole host of standards. It's easy to forget (given the laziness of real book writers and the fact that a generation of musicians learn from this laziness) that jazz recognizes essentially two types of minor chords, predominant (ii) and tonic (i). If the 7th is flatted as in a minor 7 chord, it usually behaves as a ii, meaning it implies a V and a I coming after it. If instead of the flat 7th there is a major 6th or 7th, this is more stable, and it sounds like the home key. In a tune like Moanin', for example, F- is clearly home base, so there should be major 6ths or 7ths played instead of the minor 7th.

Originally I thought it was pretty good - even great in spots - but still something of a let-down after the brilliance of (most of) Emergency!, its predecessor. And the addition of Jack Bruce, good as he was, seemed unnecessary and maybe messed with the chemistry. On the faux Purple Haze parts of Vuelta Abajo, for instance.

Today some of those reservations seem minor - especially listening to the &quot;mix translation&quot; by Bill Laswell. As with Miles Davis and Panthalassa, Laswell was given access to the original master tapes and put together a version of Turn It Over with extra tracks and unedited takes. Big upgrade. Answers the prayers of the AllMusic reviewer who said: "Expanded to a double album, Turn It Over would probably surpass Emergency! as a pioneering jazz-rock fusion release; as it is, it's an exciting but mildly maddening session." I don't know if I'd go that far - but it does rock pretty hard.

The record company lost interest, so the expanded Turn It Over was not official official, but did eventually appear anyway.

Thank you, fellow contrarian, for thinking of MIC. There are also some other unusually interesting ECM's featuring Evan Parker, and a few with Joe Maneri that I like.

Looks to be Irving Ashby, who didn't record much as a leader but had quite a career as a sideman. Checking the discographies of the Nat Cole Trio post-'47, and the Oscar Peterson Trio post-'52 , as well as some earlier sessions with Lionel Hampton, would seem to be the way to go. And you have a point - he's great on this tune.

Good idea - the Axel Dorner quartet that is playing Saturday at Sowieso sounds terrific. Here is their cd.

One of my favorite fusion albums - and one of the very best examples of Ornette inspired Harmolodic free-funk.

Oddly enough, if you want more of the same, the record that might be the closest 'follow-up' to this is not an Ulmer record, but Joe Morris' Racket Club. Check out Vapor for a truly deadly groove.

There are some early-career box sets that are hard to beat: the 3 cd box Complete Roost Recordings on Blue Note is great 1950-52 Getz, if you can find it. Jazz Factory and Fresh Sounds, budget European labels, have similar collections. The slightly later Clef and Norgran box is also stellar.

Alice & John had three sons. John Coltrane, Jr. (1965-82) died in a car accident. He made a youthful appearance, 11 yrs old it would seem, on Alice's excellent Radha-Krsna Nama Sankirtana album - playing very tasteful drums on the 19 minute Om Namah Sivaya.

I think this is everything Gary's been the leader on, and the ones w/ rap are noted below (with which tracks include rap):

• The Seventh Quadrant (Enja, 1987)

• Code Violations (Enja, 1988)

• By Any Means Necessary (JMT, 1989)

• While the Gate Is Open (JMT, 1990)

• The Kold Kage (JMT, 1991) -- Joe "BMW" Wesson - rap vocals (tracks 3, 4 & 7)

• Till We Have Faces (JMT, 1992)

• Exile's Gate (JMT, 1993)

• Overkill (JMT, 1995) -- tons of rap on this one, practically every track (source)

• Found on Sordid Streets (Winter & Winter, 1997) -- 2(?) tracks with rap?, killer album (maybe my favorite of his)

• Pariah's Pariah (Winter & Winter, 1998)

Well I can't say I'm too experienced in arranging myself (yet), but I've been meaning to post this resource for a while.

https://www.scribd.com/user/97945772/Dr-Jellyfish

This guy's account has tons of piano transcriptions, some from trio performances but also a lot of solo piano stuff, and a lot of the books he's uploaded seem to be some sort of special Japanese release only as well, so I don't even know if these are available in the West.

Yes, it's Scribd, but actually I found pretty much all of the books you can view the whole way through, and even though you can't download the file you can save each page as an image. Hope this is helpful for some of you, there are some awesome transcriptions in here!

(actually just had a look, it seems like if you come across a book which has the whole '3 pages free preview' thing, there seems to always be a duplicate upload on his account where you can view the whole thing)

I believe this has the correct times for the original LP: https://rateyourmusic.com/release/album/anthony_braxton/the_montreux___berlin_concerts/

I believe the CD issue has some longer/shorter cuts than the LP version. The discogs times are definitely wrong. https://www.discogs.com/Anthony-Braxton-The-Montreux-Berlin-Concerts/release/5153384#images/10519924

If you look at the A-side of this vinyl release the total track time is 21 mins; definitely not the ~11mins suggested in the listings. Strange.

Some of it might be more free jazz than spiritual jazz, but this chart on rateyourmusic has been a great source for me.

>What music genres or bands to you predominantly listen to?

As far as jazz goes: bebop/hard bop mostly; but the majority of my listening is avant garde/experimental, baroque and traditional folk. I think my interests lie in the exploration of harmonic possibilities, especially those that are "challenging" (feel free to make your own mind up: https://rateyourmusic.com/~heidavey).

Don't get me wrong, I didn't think that those albums were bad, per se, but just not as exciting as I would have hoped.

Second Star to the Right: Salute to Walt Disney. (Sorry, I hadn't realized that his "Pink Elephants" cover was released previously.)

Like Brecker and Bob Berg, Ernie is a great player who has done some stuff that, uh, doesn't seem to give free rein to his capabilities. The serious band on Reaching Up encouraged me to get it when it came out, and I was glad I did: check out Angel's Flight. He got down to business with that album, and he's stayed that course since.

Alan Pasqua (p, kb); Ambrose Akinmusire (tp); Jeff Ellwood (sax); Nels Cline (g); Jimmy Haslip (b); Scott Amendola (d); Alex Acuna (perc)

• The Anti-Social Club at AMG
• /u/jkelman_aaj AAJ review of The Anti-Social Club

The Jazzactuel box set has an awful lot of really crazy stuff on it. Well worth checking out, especially for the history of the French BYG label from the late 60s/early 70s: https://www.discogs.com/Various-Jazzactuel/release/368592

I'll throw in a vote for Herbie Mann, as well. That's an album cover that one just cannot un-see.

I love the album cover of Relaxin'. And others of that style. Anything by David Stone. http://ffffound.com/image/4d7e51164c8da8d7afd3df855a95a1ed5ea7c978

http://www.jazzradio.com/ has a lot of channels and a pretty large library

http://www.sky.fm/bossanova/ ( and di.fm ) ( i think they are sister sites ) has a few jazz sections but after a few months i found myself recognizing some tracks being 'overplayed' in a way

( i am almost strictly a bossa nova listener so i havent checked out all their channels )

Really? Because I actually asked in /r/musictheory around the same time that I posted this and I gotta agree with the top two comments from the same guy saying it's alternating 13/16 and 19/16. After slowing it way down in the VLC player (pretty cool, didn't know it could do that) I must say it's pretty clear. Maybe some different groupings, 8/4 or something like that, but there are definitely 32 sixteenth notes before it repeats. The guy did post a clip of the first two repetitions at 1/4 the normal speed to try and show it.

Yes, iReal is the one with best sounds and coaching.

As for theoretical understanding of harmony there is something interesting called "Impro-visor". The built in sounds are so-la-la but it has some unique features as an on-the-fly harmonic analysis. It is java based and free

https://www.cs.hmc.edu/~keller/jazz/improvisor/

Can't listen to the album right now, but have you checked WhoSampled.com for what samples are actually used in the song? Might be a good place to start. Personally, I'm a pretty big fan of Grover Washington Jr. who was apparently sampled on the track.

I see what you are saying.

Check out a genre called Cool Jazz.

Miles Davis might be your go-to guy:

http://youtu.be/ZgeF3wS0xTI

What do you think of

• Andy Sheppard / Michel Benita / Sebastian Rochford - Libertino (Trio Libero, 2013) (AMG)

For a brand-new newbie, I'd have to recommend After Hours. That simple guitar + double-bass accompaniment puts The Divine One out front and center, and I think it's one of her best collection of songs. And it's not like this newbie won't be back LOL!

Not my favorite album... or jazz pianist, really.

But I've been playing this Teddy Wilson and Lionel Hampton album a lot lately. I can't find any tracks on youtube, unfortunately.

There's something amazing here in these two guys playing standards they helped popularized together after 40 years or more of work behind 'em. Its like listening to the most comfortable pair of pants you own.

Have you seen the Boss Brass covers? When I was younger I used to think, "man those album covers are awful." But now I can't help but appreciate the sense of humour Rob presented on the front of every one of his albums. My personal favourite: http://www.allmusic.com/album/big-band-christmas-mw0000044707

Shim has two really great leader-dates, both on Blue Note from 1998 and 2000 -- that are WELL worth hearing. He's also on Blue Note's then 'young lions' tribute to classic BN tunes, called "New Directions" (with Greg Osby). Not sure this is complete, but here's everything listed in the AMG, including his sideman work.

I have all three of dates above that I mentioned above -- plus Liberty Ellman's "Tactiles", and Greg Osby's "Further Ado". I'd start with the first three.

And another great tenor player who I think sounds somewhat similar to Shim, is the M-Base guy Gary Thomas - with a very similar aggressive tone, and a somewhat similar 'time'-concept (iirc).

The Gary Thomas dates I have and like best are "Seventh Quadrant" (1988), "Code Violations" (1989), "Found on Sordid Streets" (1998) and "Pariah's Pariah" (1999). I used to have 2 or 3 other Thomas CD's, but recently had to downsize my collection by getting rid of about 2,000 CD's -- but those are the four Thomas dates I kept, and can highly recommend them all (those four specifically).