/BLINDFOLD TEST/

I can confirm, I've got a blue note playlist almost done. I've got like 3 tracks left to pick and I know which albums I want to take them from but I'm gonna listen through them again before I make a decision about which songs I'm gonna include.
Gonna post thoughts on this weeks tracks when I can get to my computer.

1. I'm digging the flute here, this kinda reminds me of that Herbie Mann album 'Impressions From The Middle East" or something like that? I know this track doesn't sound like it was written by the flutist but neither does that album
2. I'm not sure about this. Is it modal jazz? I'm not really a fan of this style, it's too mellow although the pianist is doing a fine job. Maybe it's from "Know What I Mean"? I like the cover from that one
3. Wew ok this one is different. The percussion goes in a different... direction, from the brass I think? I don't know, but it works fine, everything feels like a circus, my brain is happy. I have no idea on who these might be, I'm not really into bigger bands.
4. Vibraphones sound like the sound elevators make when they arrive on your floor in fancy hotels. I say that in a good way I think because I think it hels settling a serious, ellegant tone while being open for fun... interpretations. No idea who this might be. Walt Dickerson?
5. The piano is... different here? My untrained ears can't follow it very well. I don't know. The latin vibe makes me feel like I'm having a bad cocktail in a expensive bar. But I'm having fun, the trombone made me a bit relaxed and the piano is following it well I think?

Gonna have to stop here I might try the rest later
Sorry if I did anything wrong

I only know Dave Pike's more groove oriented/psychedelic albums like Jazz for the Jet Set and Doors of Perception that are quite different.

True... mostly I just can't think of many vibes players who I associate with Prestige.

Opening night of a jazz festival tonight, so I wont be around much, but I'll try to post thoughts at some point. Not sure if I'll be able to post the reveal tomorrow unless it's early on, so I'll email the details to Blindfold guy if I can't.

1 - It is a tamboura. Definitely a novelty album this one, though it was made with serious intentions.
2 - This recording actually post-dates the Ellington-Trane version by a bit, but I can see why you'd think otherwise.
4 - I wondered if anyone might jump to the Rollins and MJQ album as a guess for this.

I get Hutcherson from the vibes too.
5 - Under Paris Skies.
6 - Impressed that two of you honed in on Davis for this one. It's not the only track he plays on this week either. I have no idea why the recording sounds so weird here either.
Pretty good guesses there...
4 - I get the West Coast vibe here too but at least three of these guys are from the New York scene. Prestige got a West Coast base in their later years (hence track 8) but this is from earlier on.
>I’m not even going to attempt to guess these four tenor players though.
Not even a couple of guesses?
>Booker Ervin
I see what you mean with the mournfulness and all that bending on the long notes...
>Yusef Lateef
Lateef has done some flute stuff on Prestige, but this is a bona fide flautist.

2 - this isn't modal jazz, it's actually a classic written by Ellington (as the others have spotted).

You should check out Know What I Mean? - it's a fantastic album.

>Not even a couple of guesses?
Well I'm guessing Lockjaw Davis is involved. The first solo sounded a bit like him. Maybe Johnny Griffin on the second solo. Maybe Gene Ammons or Willis Jackson? Prestige recorded so many of those soul jazz tenor player guys that they all run together.

I look forward to another Blue Note playlist. A year since the first blindfold test also marks about a year since I first seriously got into listening to jazz and exploring the genre, and now most of my collection is Blue Note stuff, but there's always more to hear from them.

One of those was right, but I don't want to make it too easy by telling you which one.

1. I like this. It’s kind of experimental sounding but also still pretty melodic. And I like when it changes in the middle too. I’d listen to more of this type of thing. 3.5 stars.

2. It’s In a Sentimental Mood. One that I actually recognize now. I liked the very slow tempo at first but then it starts to drag on a little bit by the end. It sounds like soprano sax too so maybe it’s John Coltrane. I would have expected Coltrane to do something a little bit more exciting with it. 3 stars.

3. This is pretty nice and exciting. It sounds a little bit like a march or almost like it could be in a movie or something. It’s a pretty different big band sound than anything else I’ve heard and I think I like it. The solo was nice and I liked how the horns came in behind it to give it an extra lift. 3.5 stars.

4. More relaxed now with vibes. It sounds a little bit like Stan Getz and I think I remember hearing some tracks from an album he did with a vibraphone player. So I’ll guess that. I don’t have much else to say about this one though. 3 stars.

5. It’s kind of a Latin sound. And I think there’s bassoon playing with the saxophone. Very strange so it must be somebody like Yusef Lateef or something like that. Actually then when it solos it sounds more like tuba. I did a quick google and “jazz tuba” comes up with a lot of results for Ray Draper so this is probably him. I don’t think I like the tuba solo very much but the sax solo is great. I think it’s either Sonny Rollins or John Coltrane. 2.5 stars. It would have been higher but for the tuba solo.

>like it could be in a movie or something
This person always does very cinematic sounding pieces.

Looks like you didn't like the rest too much - that's a shame.

6. So it’s a bass and piano duet with some pretty cool chord progressions. The bass solo is kind of different but I think I like it overall. 3.5 stars.

7. This sounds like three different tenor players all plus an organ rhythm section. Honestly I think these things get a little bit gimmicky and I’d say this goes along with that. None of the sax players really stands out as sounding that great. 2.5 stars.

8. I like this. It reminds me more of the Blue Note sound than Prestige. It almost sounds like McCoy Tyner and Freddie Hubbard and Wayne Shorter, but then with a bigger band with more horns too. Or Impulse has some stuff like this too. I don’t know who it would be on Prestige. It was probably my favorite this week and I thought the solos were really great. 4 stars.

9. Kind of a bland trumpet ballad. Nothing really stuck out about it too much to me although the piano was good at some parts. 2.5 stars

10. It’s a cool version of Caravan. I liked it that the solos got a little bit more adventurous. The flute made me think a little bit of Dolphy but I’ve never heard him on anything like this. The trombone solo was good too. And drum solos can be hit or miss but I liked it here. 3.5 stars.

I think I've been giving stuff lower ratings in general lately. I don't know why. Maybe I'm getting more cynical.

Last of the Finnish jazz festivals to publish their program - Tampere Jazz Happening - unveiled it this week. Looking forward to seeing Steve Lehman's Octet, Marius Neset, Don McCaslin, Charles Lloyd, Donny McCaslin, Aziza (Dave Holland, Chris Potter, Lionel Loueke, Eric Garland) and others in early November.

Jtg, do you happen to know something about Aziza? They have an album coming out next month, but hasn't heard of this project before. Sounds interesting.

>A year since the first blindfold test also marks about a year since I first seriously got into listening to jazz and exploring the genre
Man, you wouldn't know by these threads. You've got toes in ponds I've barely started scuttling around and it's been a good 3 years since I started listening to jazz.

>track one
The colour added by the sitar and [Indian percussion instrument] was really cool but I didn’t really like the themes which kind of ruined this one for me. That guitar vamp wasn’t compelling enough to have featured as prominently as it did and the melody the flute/guitar doubled up on at the start was pretty bland rhythmically and melodically.
I liked the B section more. It wasn't so repetitive and I could get a little bit more on board with the psychedelic vibe they were going for. They managed to drop the beat so smoothly going into this section, I don’t understand why they had to stitch the next bit on with an edit. It was jarring and they probably could have done this in one take and not disrupted the piece's flow. Edits are a dangerous game in jazz. Even in fusion. 9/10 times you’re probably better off doing one take.
Also general note: where are all the sitar solos? We’ve got loads music where western instruments try to include eastern elements but I don’t think I’ve ever heard a sitar play a blues. I’ll probably regret saying this but I'd like to hear some eastern folks doing some cultural appropriation for a change.

Oops. Not seeing McCaslin twice, though. His new album seems to be pretty heavily cashing in on the Bowie connection.

>track two
A Bill Evans-y version of In a Sentimental mood, nice. I like that sax player. He reminds me of Paul Desmond in the gentleness of his delivery but with a breathier tone. Those held notes are just lovely, crystal clear without a hint of a tremble.
That bassist is also a great accompanist. He’s subtle and unintrusive but stuff like the glissandi around 3:45 and his fluid sense of time really caught my ear. I wish he’d had a solo, it probably would have been nice with maybe a few broken chords from the piano backing him or something.
I tend to measure versions of this song up against the (what I consider definitive) version on Duke and Trane’s collab album and I think this compares well. The absence of drums allows this to feel a bit looser which suits the tune, the three of them are (for the most part) very together and the soloing is plenty lyrical. Good version of a good tune.
>Track three
I thought this was going to be dissonant and hard to digest based on the intro but I was surprised by how accessible the main body of the piece ended up being.
I'd say the sax player is the leader here given his solo space and how fucking smoking he is. He’s playing off the arrangement brilliantly but not in the sense that he’s doing call and responses or quotes (gotta say though, when he got into the solo section and his first 8 bars wound up being the first 8 bars of the horns, I swooned) but he’s filling in gaps and reacting dynamically and emotionally to what’s going on.
It’s kind of got this “Stan Getz playing over a Gil Evans arrangement trying to imitate Dizzy” feel to it which is deffinitely something I can get on board with.
Highlights: 1:33-1:45 (holy shit the stride is unbreakable), string of high notes>basically 16 bars of whole tones from the sax, The crack in the sax around 5 mins, drum solo>most dramatic finisher evar, the rest of the piece.
Gonna pick this one up for sure.

>track four
This was relaxed but pretty underwhelming. It’d make pleasant background music but trying to really listen to it, I just didn’t find much that caught my attention.
Before the first break during the vibes solo the sax kinda just disinterestedly floated in the back. He came in with a bit more vigour for his solo but when he was playing under the vibes, he just sounded bored which was a bit of a turnoff for me.
The little changes in the rhythm section were my favourite thing about this. They changed the pacing up enough that I didn’t lose interest with the track but overall I wasn’t crazy about this one.

>Track five
There is not enough tuba in jazz. I always love hearing tuba in arrangements, it’s such a great bass instrument however it is not much of a soloing instrument. It is probably possible to have it as a great lead instrument either in a sort of hyper-lyrical Miles Davis type capacity where a lot is said with relatively few notes or with some Conrad Herwig type character who is so absurdly virtuosic that they can make a slow instrument move like a soprano sax or a flugelhorn. In any case, the solo here was pretty clumsy sounding but I do love how he fills out the bottom of the pre-composed bits.
The stopping and starting on this piece was pretty interesting. I’m not sure it was necessarily a good idea for the flow of the piece, I actually thought it was over after the first one and when they started back up again I thought it was a new track. That’s kinda the risk one runs leaving silences like that at the end of sections that feel more or less completed. It felt less like a dramatic pause than it did the start of another small vignette. Doesn’t help that the head is in 3/4 and the solos are in 4/4. The music was good but the piece lacked continuity.

8 - I agree with you about this being surprising for a Prestige session. Though on the occasions they got similar musicians in similar circumstances, Prestige and Blue Note are both gonna sound similar as they both used RVG.
I've not even looked at any festivals further afield than my home town. It's almost all UK musicians here and no one well known, but having listened to some of them on Youtube/Bandcamp I think it'll be good.
>toes in ponds I've barely started scuttling around
Wide and shallow. I've always been one to quickly get tired of similar sounding music.
>why they had to stitch the next bit on with an edit
Unfortunately there is a reason why - I'll explain in the reveal.
>where are all the sitar solos?
I might be remembering wrong but I think there's some on Joe Harriott & John Mayer's Indo-Jazz Suite. Worth checking out the album anyway if you're interested in that sort of fusion.

>track six
Great pianist here. I loved how he used the sustain pedal, the chords ringing out made this feel so full for two guys playing a slow ballad. There's some beautiful chords too, so dissonant and melancholic. It’s like his left hands was Bill Evans but his right was Art Tatum or Bud Powell. Those zippy almost mechanical sounding runs like at 1:23 are a Tatum calling card and they’re so incredible in this sort of piece. Gasp inducing stuff.
The bass solo was really enjoyable too. There’s bits where he was almost doing the same sort of Tatum-esque runs, though it’d probably be better to say they’re LaFaro-esque. He’s normally who I’m thinking about if I’m playing finger-spasm style bass. This guy’s got a good mind for playing ballads though and his playing was just as creative and virtuosic as the pianist’s. The way he was approaching the rhythm definitely had LaFaro’s fingerprints (lel pizzicato humour) all over it: more focus on melody than beat-keeping. Especially during the solo. I’m probs gonna get this album cause I already feel like stealing a few ideas like those gorgeous glissandos around 2:45. So hawt. God I love a really good bass player.
>Track Seven
Holy shit, this was class for a blues blowing session. I didn’t have high hopes for at first but there’s so much energy. They’re just having such a great time and it’s hard not to smile listening to them. Lots of momentum in the ensemble and the soloists.
They sound like they're loving all those breaks but things really get cooking when the two saxes started trading fours. The one with the more gritty tone is clearly a bit more modern leaning and he played around more with extended techniques with some almost Dolphy-esque ideas but what's really exciting is as they go on the other guy gradually gets more adventurous too and they go to great lengths to outdo each other.
I wish I was having as much fun as these guys but I guess I enjoyed myself plenty anyways.

>Jtg, do you happen to know something about Aziza? They have an album coming out next month, but hasn't heard of this project before. Sounds interesting.

They've been playing live dates with that group for over a year I know, but I think the name Aziza has just come up with the announcement of the album.

There's a lot of them on youtube
youtube.com/results?search_query=dave holland lionel loueke

>Track eight
So don’t get me wrong, the sax player here was smoking, 3:10 was a fucking cracker of a conclusion to a solo and he was really entertaining to listen to but man does he spend so much time shredding. A lot of those quick ascending phrases felt so unnecessary and showy.
When the trumpet solo came in it occurred to me that I hadn’t been paying attention to the rest of the band at all but when they were given a bit of space, the drummer and piano had a really great dialog going on with the trumpet and there was so much more interplay. Which is a bit nicer to listen to than sax pyrotechnics.
Also, I do appreciate the second tuba feature this week. One of you wonderfully studious nerds should really get on making a tuba theme. I’d be so hyped.
>Track nine
This is nice. Nothing spectacular but pleasant listening. The band was fairly solid but a little kitsch and schmaltzy sounding. Normally I like a good bowed bass solo but this one was just not very good. He was a bit better comping with the bow but the solo was reasonably shit. I've got a bowed track on the blue note playlist that I really love but I'd say it'll probs divide ye a little.
>Unfortunately there is a reason why - I'll explain in the reveal.
Oh? Well now I'm curious. I hope nobody died in the making of the recording or something.
>Joe Harriott & John Mayer's Indo-Jazz Suite
Well that sounds fun. It's not necessarily something I'm really interested in (certainly not as much as some of ye seem to be into it) but I always find it interesting at the very least.

>Track ten
Well now I don't feel so guilty for not referencing the Caravan meme on the anniversary playlist. As always, this is a tune that's hard to fuck up too bad but these guys made good use out of this as a soloing vehicle. The flute solo was inventive and the pianist really got into the spirit of it with some suitably Monkish chords stabbed in at odd places.
I've said previously that I don't like trombone solos but I've actually heard a fair share of good trombone solos from /blindfold/ that I've changed my stance a bit. I actually quite like hearing it play bop when there's someone good playing it and this guy was animated enough that I liked it.
Guitar solo kinda just glazed over me, I was also kinda distracted by how low in the mix the piano suddenly was. Did he steal his mic for a bit or something?
The piano solo then was back on full volume and it was almost textbook it was so Caravan-ish. I'd deffinitely have gotten the tune if you'd just played me a sample of his solo.
The drum solo was then the opposite and felt like it was from a different tune altogether which was a bit disconcerting.
Not a bad rendition overall though and I feel like most of us are nearly authorities on this tune so that statement does have a little bit of weight behind it.

>Overall thoughts
Good tracklist, I mostly associate prestige with the slightly less insane side of post-bop and it was pretty cool hearing the variety the label has recorded.

>It's not necessarily something I'm really interested in (certainly not as much as some of ye seem to be into it) but I always find it interesting at the very least.
Wow that is a train wreck of a sentence.
I'm not well versed in it is what I should have said.

Heh. I can think of at least three groups that use a tuba off the top of my head that would be good inclusions - 10 seems like a stretch, though.

Yeah, it'd be a bit of a barrel scraper without a lot of research.

bump

Bumping with some underrated prestige and one of my favourite Coltrane recordings.
youtube.com/watch?v=f3bWRnrWfZc&ab_channel=ropa79

>underrated
by whom?

Most people who aren't that into jazz and a lot of people who are. Lush Life has some of the most emotional performances Coltrane ever committed to tape and I'd rate it as being one of his top 5 or thereabouts but I've never actually seen it discussed on Cred Forums.

downloading and bumping

...

bump

>four tenor players
three different tenor players

Man I thought there was only two. Gonna have to relisten to this.

Next week's playlist:
www20.zippyshare.com/v/A1iBkUDA/file.html
Happy birthday /blindfold/!

Hard to believe it's been a whole year. Maybe next week we should all vote on our favorite themes from the past year. I guess it's hard to even remember some of the weeks.

>Duke and Trane's version
I've not heard that but two of you have mentioned it and I really want to chase it up now.
>I’m probs gonna get this album
Hope I'm not ruining it for you if I tell you the rest of the album is nothing like that. Still great though.
>I hope nobody died in the making of the recording or something.
Nah nothing that extreme, just to do with the logistics of the recording.
>Indo-Jazz
It's not something I've heard much of, and it's never quite been completely successful when I have, but I like the possibilities which drone instruments and raga forms open up.

bump

Pretty sure I heard four distinct solos.

I tend to remember a lot of the albums I've found through /blindfold/ but I can remember two or three really great weeks off the top of my head.
>I've not heard that but two of you have mentioned it and I really want to chase it up now.
It's well worth listening to. I don't wanna hype it up too much but it's Duke Ellington and John Coltrane so...
>Hope I'm not ruining it for you if I tell you the rest of the album is nothing like that. Still great though.
I wouldn't have expected it to be an album of ballads but I'm happy to go for it on the strength of these guys playing here.
>It's not something I've heard much of, and it's never quite been completely successful when I have, but I like the possibilities which drone instruments and raga forms open up
I get what you mean. I know so little about this stuff but even based on the handful of records I've heard, I can hear why Hindustani classical is put off in it's own box. It's a fascinating approach to music and I think it'd be really cool to hear how some of those virtuosic improvisers would come at a blues or jazz progression.
Yeah, listening back on headphones I can deffinitely hear four of them together at the start. I think there's only two of them trading fours though which I'm happy about. Means I can still hear this with the narrative I drunkenly shoehorned onto it writing my thoughts.

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Ok after listening to the tracks a little more (and knowing that I was right about Richard Davis) I think track 6 is from The Jaki Byard Experience album and 8 is from that Sonny Criss Birth of the Cool album. Still stumped on 10 though.

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>I think there's only two of them trading fours though
I'm afraid the trading is all four of them. I think they've chosen the order well though because 1 & 3 have similar tones and so do 2 & 4.

Also I'm fairly sure I wont be around for the reveal now, so I'll email the stuff to Blindforld guy.

jazzbump

Bumping

Bump

Bumpp

Reveal info incoming

1. Pat Martino - Where Love's a Grown Up God (1968)
>from: Baiyina (The Clear Evidence)
>Pat Martino (guitar)
>Bobby Rose (second guitar)
>Gregory Herbert (flute)
>Richard Davis (bass)
>Charlie Persip (drums)
>Reggie Ferguson (tabla)
>Balakrishna (tamboura)

Pat Martino has this to say about the instrumentation on Baiyina:

"The lead guitars and the horn are used for thematic movements and their total exploration. The second guitar provides a continuous statement, reflecting both time and tone. The bass gives free expression of time with tone. The drums outwardly extend the entire time structure. The tabla exposes the inner properties of the time cycle by seperating the total structure into parts and by subdividing the time signature. The tamboura separates time from one so both can be distinguished at all times as separate vehicles to be enclosed by the solo voices."

I really don't know what there is to say to that.

Ambassador Satch mentioned the the fact that there's multiple stakes stitched together. Probably has something to do with the fact that although there are two guitarists, the solo section here actually features Martino dubbed over himself.

2. Lucky Thompson - In a Sentimental Mood (1964)
>from: Lucky Strikes
>Lucky Thompson (soprano sax)
>Hank Jones (piano)
>Richard Davis (bass)
>Connie Kay (drums)

I'm not too familiar with Lucky Thompson, though I have heard him featured on dates under Bird, Diz and Miles. Considering the people he's played with, you might expect him not to sound so laid back and traditional. His soprano playing here makes it sound like a different instrument to the one Trane made famous. Although this recording post-dates My Favourite Things, Thompson was actually one of the first tenor players to "rediscover" the soprano sax in the late-50's/early-60's. He makes excellent and varied use of it on this album, alternating between soprano and tenor from track to track.

3. Oliver Nelson - Jungleaire (1962)
>from: Afro/American Sketches
>Oliver Nelson (arranger, tenor sax)
>(orchestra)

Afro/American Sketches is a concept album about African-American history, starting with the beginnings of the slave trade and ending with a fanfare to eventual freedom. This track depicts a contest for freedom between the African Warriors and the slave traders, which the African loses having been betrayed by his own people. The theme in 5/8 does a good job approximating an African war dance, and Nelson himself is the soloist on this one.

4. Teddy Charles - Relaxo Abstracto (1955)
>from: Teddy Charles New Directions Quartet
>Teddy Charles (vibes)
>J.R. Monterose (tenor sax)
>Charles Mingus (bass)
>Jerry Segal (drums)

Beginning with 1952's 'New Directions', Teddy Charles recorded a series of sessions for Prestige that tended to explore what was then rather experimental territory aiming towards the third stream. This session is more laid back in a West Coast style, but still has some interesting arrangements which take full advantage of the vibes' sound similarly to the way that Bobby Hutcherson would do almost a decade later.

5. Ray Draper - Under Paris Skies (1958)
>from: The Ray Draper Quintet featuring John Coltrane
>Ray Draper (tuba)
>John Coltrane (tenor sax)
>Gil Coggins (piano)
>Spanky De Brest (bass)
>Lary Ritchie (drums)

Ray Draper really wanted the tuba to become a staple jazz instrument just like the trumpet and saxophone. Unfortunately for him, probably the best way to highlight the limitations of the tuba is to put it in a small group next to John Coltrane. The contrast between the two horns is laughable at times (aside from the fact that the tuba is probably the most inherently funny instrument anyway) but Draper still gets some nice lines in. And he was just 17 at the time. He was also well respected as an arranger, and I think this track more than any other on the album shows off those skills.

6. Jaki Byard - Hazy Eve (1969)
>from: The Jaki Byard Experience
>Jaki Byard (piano)
>Richard Davis (bass)

There's not much to say about this track other than that it shows off Byard's incredible versatility, when you consider the sort of sound he was more famous for. The rest of this album features the chaotic triple-horn sound of Roland Kirk, but this is a relaxing break from that.

This also marks the third and final appearance of Richard Davis this week. I tried as hard as possible with my first Prestige playlist to avoid duplicates, but with Bob Weinstock's heavy reliance on a core set of players that's almost impossible, so this time I just embraced it.

7. Eddie "Lockjaw" Davis - Lester Leaps In (1957)
>Eddie Davis, Arnett Cobb, Buddy Tate, Coleman Hawkins - in that order (tenor sax)
>Shirley Scott (organ)
>George Duvivier (bass)
>Arthur Edgehill (drums)

This is the sort of ludicrous album that could only ever have been made by Prestige. These sorts of all-star sessions, heedless of how crowded the mix might sound, were their bread and butter in the late fifties. All four players are so similarly exhuberant in style it seems pointless to put them together, but it's a fun album if you're in that sort of mood.

8. Sonny Criss - Sandy & Niles (1968)
>from: Sonny's Dream (Birth of the New Cool)
>Sonny Criss (alto sax)
>David Sherr (alto sax)
>Teddy Edwards (tenor sax)
>Pete Christlieb (baritone sax)
>Conte Candoli (trumpet)
>Dick Nash (trombone)
>Ray Draper (tuba)
>Tommy Flannagan (piano)
>Al McKibbon (bass)
>Everett Brown, Jr (drums)
>Horace Tapscott (arranger/conductor)

Despite the relatively large ensemble, this album is mostly a showcase for Criss's alto and Tapscott's arranging, with only a handful of solos by anyone else. There's a nice one here by Conte Candoli though. The "Birth of the New Cool" subtitle might be a bit presumptuous, but this album is still one of the best Prestige has to offer.

9. Art Farmer - Autumn Nocturne (1954)
>from: Art Farmer Plays
>Art Farmer (trumpet)
>Wynton Kelly (piano)
>Addison Farmer (bass)
>Herbie Lovelle (drums)

Art Farmer is at his best playing ballads, so here's one from one of his earliest sessions as leader. Looks like this track is the least favourite this week - maybe I should have picked the blues from the same session instead. That one is more suited to Wynton Kelly, at least:

youtube.com/watch?v=Lvbjm9DJZP8

10.Jerome Richardson - Caravan (1961)
>from: Midnight Oil
>Jerome Richardson (flute)
>Jimmy Cleveland (trombone)
>Hank Jones (piano)
>Kenny Burrell (guitar)
>Joe Benjamin (bass)
>Charlie Persip (drums)

When I did my first Prestige playlist, I thought it would be fun to look up every version of Caravan recorded for the album (at least during the years before the label was bought out). I think there were around six. I ended up not using any of the ones I found first time round, so it was a no-brainer for this list to include one and I have others saved up for the future.

Anyway, that's how I discovered Jerome Richardson, and that's why I know next to nothing about him. The liner notes say he also plays alto, tenor, bari and clarinet, but flute appears to be his main instrument. If I'm honest, nothing really stands out about the album for me beyond this track, but I really like Richardson's solo here so that makes up for it.

Thanks to Clueless for this week's tracklist. Hope to see everybody back next week for our 1 year anniversary thread.

We've come full circle and the theme is back to Blue Note. Link here

Listening to this one right now - really feels like this track is the stand-out for me.

Nice selection of albums this week - many I'm going to check out.

The tuba solo wasn't great musically but it was kind of endearing. I'd wager he wasn't going for that though.
The rest of y'all seemed to have thought it was ott but I'm the sort of person who thinks Tales from Topographic Oceans is a masterpiece so I'm most excited to hear the rest of

didn't care for that tuba solo. if you guys are into the tuba jazz you might want to check these guys out. I know somebody who used to play in this group.
webpages.charter.net/mjtproject/

>The rest of y'all seemed to have thought it was ott but I'm the sort of person who thinks Tales from Topographic Oceans is a masterpiece
I always liked TfTO and when I listened back to the Oliver Nelson track I liked it a lot better. My first listen was very late on Thursday night and I loved the simplicity of the previous duet track so the Nelson track came as a very sudden shift.

Listening to that Oliver Nelson album right - certainly the track fits much better on the album than following track 2

TfTO is shit compared to Close to the Edge or Relayer, though

I'd put it about the same level as Relayer. One thing though- I don't know if I've ever actually listened to TfTO all in one go. I'd always just listen to one track at a time. CTTE is definitely better but my personal favorite has always been Fragile.

CTTE>Fragile>Relayer>TFTO
If Tales was a single album, it'd be second though. There's some stuff like the Godawful unaccompanied guitar soloing and the weird electronic percussion experiment that bring it down but man, when it's good it is breathtaking.
"We must have waited all our lives for this moment" hits me just as hard as the recapitulation of the "I get up, I get down" refrain.

"I feel lost in the city" > "I get up, I get down" > "We must have waited..."

Tough choices. Yes are like my second favourite rock band so picking favourite moments is like splitting hairs but while we're at it, Howe's solo at the end of Starship trooper is so up there too.

Relayer is my favorite Yes -album - pretty much strictly on the strength of Gates of Delirium, though

Yeah, I got really into Yes when I was 14 or 15 so it's hard to be objective when it comes to their albums/songs

what else have you guys been listening to lately?

I feel like I'm overwhelmed with new releases I should be checking out

listening to pic related now, pretty enjoyable contemporary European fusion - a very likable bunch of nerds

youtube.com/watch?v=ZI22Hr9FDwU

I listened to a little bit of pic related earlier this morning and it sounded pretty good. I'm probably going to listen to more of it tonight.

in general /blindfold/ things, I've been thinking that it would be fun to do a theme with multiple people picking tracks with the tracks then being presented in a random order

thoughts?

As far as jazz, mostly stuff for the blue note playlist which I can't talk about but I've also been listening to a decent amount of the Marsalis brothers and Charles Lloyd who I'll be going to see in November.
I might even get to be part of organising a masterclass with Lloyd for my college.
Sounds like a good idea! We could email stuff to blindfold test and guess who picked which tracks.

>We could email stuff to blindfold test and guess who picked which tracks.
except you wouldn't guess on the track you picked so it would be obvious who picked what. otherwise it's a cool idea

yeah, guessing who picked what would be fun but then again me and jtg tend to get in with guesses really early that might ruin it, but I don't think people appearing to appear knowledgeable by reading posted guesses is a problem anyway

Not sure how much I'm expecting from Lloyd this time around, seeing him on the same tour in November as posted before - I was really positively surprised hearing him live a few years ago, but his new albums haven't done much for me. Getting to organize a masterclass with him sounds great, though.

I'd go with 5 people picking 2 tracks each so there would be plenty of guessing you could do

Some very general theme - like a particular instrument, we haven't been doing those lately - that allows for a lot of different picks

I was actually thinking that this might be fun to do for the 1 year anniversary thread but then it came up kind of suddenly and I didn't really know how it would come together. It's a good idea though maybe we can do it the week after next.

Currently listening to this trying to go through my backlog of recent releases - sounds great to me, heavy on the symphonic elements though based on the first tracks. I like Haarla as a composer, so it's all good.

I haven't seen much of anything about this in Finnish jazz media which is surprising, it seems to be in local stores already and everything.

now listening to this

this is great stuff for what it is (cultural appopriation be damned!) - I love picking up stuff like this on vinyl so glad to know this exists

chances are good I'd consider buying an album like this anyway with the psychedelic color scheme and the same psychedelic font used on The Doors Waiting for the Sun and the magical tag line of (A psychedelic excursion through the magical mysteries of the Koran)