Is there any jazz from the past 15 years that's worth hearing?

You're a fucking idiot
You only think that because you don't listen to enough jazz.

Here's a good list:

Bruce Barth
Tyshawn Sorey
Ben Schachter
Jason Moran
Masabumi Kikuchi
Paul Motian's most recent albums

Tigran Hamasyan

Jazz more like tips fedora

sorey, barth, and kikuchi fucking suck
jason moran's only decent release was same mother, lurk more before posting

>inb4 some retard who spends his time listening to music for rym/chart patrician points posts some shitty hard bop to prove that jazz is still alive

Why do jazz fans seemingly not care about Dixieland and swing? This board seems to only like bebop and free

What? Is this a joke?
What do you even listen to?

oh you know, Pharaoh Sanders, Eric Dolphy, Komeda Quintet the list could go on

Did you learn about all your jazz from Cred Forums? Or do you think of jazz as a novelty genre to score points with people who know more about music than you?

Exactly, talking out of your ass. You don't know shit. What's new?

Tell me about el Tiempo

In what ways did it "suck"?

I've learnt enough to know what's garbage

That album sucks dick.

Your only true test of knowledge of this music is on that bandstand, and I can garuntee you wouldn't hack it.

songs stretch enough to become dull and empty (and in an uninteresting way) with almost no interesting licks, nothing I hadn't already listened to this year, like a cheap version of ohad talmor

'Lontano' and 'Dark Eyes' by Tomasz Stanko

>almost no interesting licks
Do you even like jazz you Berklee faggot?

...

Here's how it works for retards who want to think that jazz isn't dead
>they listen to every album 1 or 2 times and then move to something new
>dude no genre ever dies, amiriteguys, this dude is doing FREE JAZZ, so experimental
>it's a half-decent but uninspired jazz album from 2016! Fantastic! I'll listen to it once and put it in my chart!
>heh. Coltrane? Davis? Armstrong? Coleman? Ellington? Beiderbecke? pleb shit. enjoy ur entry-level taste

Of course. If you're looking specifically for "innovation" then look into the music of:

Steve Lehman
David Virelles
Rudresh Mahanthappa
Vijay Iyer
David Binney
Matthew Shipp
Dave Ballou

I do yes, but not generic shit like most of Cred Forums and specially not like carla bley

...

Jazz isn't dead since people are still playing it. Only car dealerships need to inspire consumers with new gimmicks every year.

All of those are boring dated meme artists. Kamasi Washington's epic The Epic is way better than anything those artists have ever done.

...

You're a fucking idiot

>Jazz isn't dead since people are still playing it.
I think you're confused about what a "dead genre" is

...

There are over 100 years of jazz music recorded for us to learn from, the music never dies, especially when you study it and I know there are lots of killer jazz programs in the country with killer musicians paying their education dues, others just getting out of that paying their gig dues. The music isn't dead, it's alive and well, people who don't study the music or play the music won't understand this.

I want to insult you but this is very artful and well-constructed bait

Good job

Bohren & der Club of Gore
The Mount Fuji Doomjazz Corporation
The Kilimanjaro Darkjazz Ensemble
Mouse on the Keys
GoGo Penguin

>he fell for the jazz education meme
dude this genre that is based on spontaneity, improvisation, and feeling has certain right ways to do things and you better learn them or else you may do something different from what everyone else is doing and we just can't have that

...

OP here.

Just to be clear. The question wasn't "Is jazz dead?" The question is "Is any newer jazz worth hearing?"

Was literally about to post something similar. Kamasi is the GOAT. Only people who are stuck in the past disagree.

>mouse on the keys
>jazz
>jap nujazz

Jazz is an improvised music

...

How does it work for you then?

Most of the newer jazz I like is free improv that uses extended techniques in creative ways. Most of the straight up jazz nowadays sounds too indebted to the past masters without doing anything new most of the time. You can especially see this considering how many cover songs newer jazz artists play and albums that are just tributes to the past masters.

>get a functioning understanding of harmony
>literally joke in class about jazz police coming out to the gig to arrest you for playing a diatonic pitch in an altered chord
>study with faculty who have played with some of the greats in jazz who have been playing for 40+ years
>master classes from today's greatest and brightest
>critic on a personal level with master musicians
>building networks with said mastermusicians and your fellow peers
>not realizing we all love this music and music in general and are taking advantage of networks to build ourselves up and to better each other

My education > yours

>cover songs
>tributes to past masters

These are called standards.
Jazz players play standards all the time. It's a common ground and a testing ground. Marsalis Standard Time Vol. 1&2 are two albums of standards in that bands interpretation. Same applies for any standards recorded before or since.

oh lawd

Have fun being a painfully mediocre player in a dead genre who can only do things like his teachers and "masters" tell you to

The intellectualization of jazz was a mistake

reminder that Ornette taught himself

Brad Mehldau

youtube.com/watch?v=7UoKxZadx6w

I'm not talking about standards, unless you consider covers of any jazz artist to be a standard.

I'm so mediocre, I only gig 4 nights a week.
I'm literally in the passenger seat of a car full of gear on my way home from a festival I just played. I'm playing another festival next weekend.
I'm so mediocre.
You've obviously never have gotten good lessons from good teachers which is really unfortunate for you really. I've grown more as a musician in college than I did on my own and that's because I've had access to practice facilities and incredible players for 5 years. You don't know what you're saying lmao

>You can especially see this considering how many cover songs newer jazz artists play and albums that are just tributes to the past masters.
That's bullshit. I bet almost every single one of your favorite "classic" artists has recorded a cover or standard at some point. Good jazz musicians find ways to put their own spin on something old.

That's literally how the music evolves. Idiots don't understand this.

>I play gigs so I'm good
heh

It's painfully obvious you don't play music

>no man you don't learn on the bandstand
>no musician ever has learned like that
>experience? Pfft who needs that when I have Cred Forums to tell me what's good and what isn't

I don't think there is anything wrong with covers if they are done well, but in jazz nowadays they seem way too commonplace and usually are worse than the originals.

>but in jazz nowadays they seem way too commonplace and usually are worse than the originals.
Listen to different artists then I guess...? Honestly I don't know what you're listening to if you think that covers are more commonplace on jazz albums now than they were in the 50's and 60's.

I mean pick any Prestige album at random and usually almost half the tracks are covers and standards.

Have fun with your boring-ass "professional" career in music. Not like I could change your mind anyway. Sunk cost and such.

>Anthony Fantano
die, all of you.

>literally get paid to play my drums
>>>>>>boring
You couldn't cut it as a musician, it really shows.

Should I move to Philly? How is the jazz scene there or does everybody just go up the road to NY?

I like free improv more overall nowadays too but most of it isn't jazz based anymore anyways.

It's time to stop responding friend. At this point you're almost as embarrassing as he is.

I know of quite a number of people who live in philly and drive up to ny to play. Eric Harland does that. Be prepared to get eaten alive. Almost anyone who plays up there is fucking stupid good.

>65 posts
>14 posters
wew

All of his talking points are retarded and he should know why they are. Then to top it off with "boring"
Why is he even on a music board if music is so boring.

But there's guys like T Staff trying to get a good jazz scene for Philly too right?

Say that to my face nerd

Idk about T but Philly has a good jazz scene. At least the players from philly are killer.

How expensive is it? Can I get a liveable 1 br apartment there for less than $1k/month in North Philly?

I'm not a realtor. I couldn't tell you.

Robert Glasper does some pretty good stuff. There's plenty of free jazz that I know of if you're into that. Nothing too innovative but I kind of like some of it. The Greg Foat Group is good too

Robert Glasper Trio with Hodge/Dave rhythm section is goat desu

List all free jazz minus Coleman, don cherry, dolphy, ayler, pls

Most of the modern stuff that I know of is on Astral Spirits Records
Here's their soundcloud
soundcloud.com/astral-spirits-records

Explore any that you're interested in, they're all pretty consistent

>reminder that Ornette taught himself
You mean except for the lessons with Gunther Schuller?

hey, philly guy here. play at chris's and south and stuff all the time and play festivals and stuff and live in north philly. yeah probably. i live with three guys in a great place for 600 a month in north philly.

Yoko Kanno's soundtrack shit

I've got to finish up my teaching contract here but I want to move out to Philly sometime next year. Maybe we'll play together someday.

yeah, probably, its a big scene but ive only lived here for like a year and i know most of the people on it. its a nice scene i guess, frankly i just got off a gig and smoked a bunch of pot and am too high to give any actual comment but if anyone has anymore specific questions about the philly scene i can try. T staff played chris's last night.

Do those guys ever come out to jam sessions? I'd probably suck hard but it'd be amazing to play with T staff or Tim Warfield at a jam.

haha yeah probably, like not all the time but probably a few a year or something. t staff and tim played at the philly art museum two weeks ago and peter washington didnt show up so there was a temple student on bass so thats cool.

Pretty fucking sad that this guy was the only one to reference Matthew Shipp, much less Thirsty Ear

There is no jazz worth hearing post 1959 (the best year)

come at me bros

agreed, matt shipp or william parker. they still consitently make great, innovative, fresh sounding records.

Have you guys heard this new artist called Kamasi Washington? He's really good.

Well as "pure" subgenres they're basically dead styles that only live on now through old white guy preservationists (though there are still good contemporary brass bands and big bands, but they stray pretty far from the "classic" sound).

But yeah, any decent jazz fan recognizes the greatness of pre-War jazz. Everyone else just fixates on the 50s-60s era so they can live out some Mad Men fantasy.

I heard he's pretty epic

It's so fucking hard to play Jazz now and make a decent living
Nobody playing jazz is doing it for money or fame thats for sure.
Most normal people see jazz as a thing of the past
and don't bother listening to anything past the 80's
it's a dead genre in the sense that the public sees it as dead.

You have to be well connected.
Stanley Clark tours around just fine making good money
Same with Chris Dave and the drum headz always playing Japan.
Gotta be the top cat to get noticed and be put on one of those gigs. Stanley's drummer mike mitchel is only 21 and he's sick as fuck.

If you don't mind fusion, Pat Metheny's latest group is pretty good.

>i can't like something if anthony liked it
retard

Based. Leave this shit hole user, you'll never win.

Definitely there are stuff worth hearing. There ARE some musicians right now that if they were born like 60 years ago they would've been some of the GOATS (McBride, Peter Bernstein, Brad Mehldau, Brian Blade, Antonio Sanchez come to my mind right now). But something about the spirit I believe was lost. And yes, you don't have people so unique like Mingus, Monk, Miles. But you do have people doing new and interesting stuff like Avishai Cohen, Omer Klein, Steve Leibman.

So I say, give it a try see if you like it or don't. Most Jazz right now is probably not that far away from what miles' 2nd quintet but you do have some development especially in the drums and interplay.

Yes.
No.
>"Modern jazz artists don't explore melody or harmony".
>"Musical self-gratification is a modern invention".
Don't be silly, user.

Either there's this grand Emperor's New Clothes-style self-deception going on in the heads of every single person in the world who enjoys modern jazz, or else you just dismissed the genre before you dug deep enough to find good artists.

How does this criticism even make sense. You're harping on about how the genre is rooted in experimentation, and that it's wrong to believe that there's a right way and a wrong way to do it - and then you tell an user that they're wrong for doing it a particular way through a uni.

You do know how music theory and analysis works, don't you?

Jesus man, how salty do you want to be? Are you really suggesting that you're a better musician than he is because you haven't studied the music you love, don't have as much experience playing professionally as him, and are bored by the prospect of playing your instrument?

Nice to see Cohen getting some love.

I LOVE mingus but don't even consider coltrane good objectively

David Fuzi....however you spell it. All the Planet Microjam and other microtonal stuff is very interesting.

cant tell if meming or not.

1995 Infinity

Anthony Braxton.

Greg Foat is more rock than jazz. Maj9 chords in random as can be progressions isn't exactly what I'd consider the best of our time

Nope. They fixate on them because that jazz influenced rock, before rock became the whites-only cul de sac it's been since the eighties.

When you think you have to tell a board of jazz musicians what an important year 1959 was. Newfag...
Anyway, good releases in in 1960...
Ornette Coleman: Free Jazz
Max Roach: Freedom Now Suite
Charles Mingus: Presents
Gunther Schuller [John Lewis]: Jazz Abstractions
George Russell: Jazz in the Space Age
Eric Dolphy: Far Cry
Joe Harriott: Free Form
Tina Brooks: True Blue
Randy Weston: Uhuru Afrika
Cecil Taylor: The World of Cecil Taylor
Gil Evans: Out of the Cool
Lennie Tristano: The New Tristano
Clark Terry: Color Changes
Jimmy Giuffre: Pieces for Clarinet and Strings
Hank Mobley: Soul Station
Horace Silver: Horace-Scope
Art Blakey: The Big Beat
Art Blakey: A Night in Tunisia
Modern Jazz Quartet: The Comedy
Betty Carter: The Modern Sound
Oliver Nelson: Takin' Care of Business
Wes Montgomery: The Incredible Jazz Guitar
Sam Jones: The Soul Society
George Russell: Stratusphunk
David Newman and James Clay: The Sound Of the Wide Open Spaces
Duke Jordan: Flight to Jordan
Herbie Mann: Flute Brass Vibes And Percussion
the Jazztet: Meet the Jazztet
Phil Woods: Rights of Swing
Art Pepper: Gettin' Together
Jimmy Smith: Back at the Chicken Shack
Don Ellis: How Time Passes

...

that's all shit listen to so what by miles davis and the john coltrane trio its the best my man

But my favorite jazz album didn't come out til 1975.

What do you like?

Avishai Cohen, Phronesis, Brad Mehldau, Robert Glasper, Colin Vallon, Fernandez 4, Colin Stetson, Thomas Encho, Alarmist, Omer Klein, Marcin Wasilewski, Esbjorn Svenson, Jasper Hoiby, Pat Metheny, LABtrio, Hiromi, Malija, Aki Rissanen, Helge Lien, Ari Hoenig, Trichotomy, Tord Gustavsen, Takashi Matsunaga, Dafnis Prieto, Arild Andersen, Froy Aagre, Andreas Ulvo, Florian Favre, Kevin Hays, Troyka, Vijay Iyer, Jason Moran, Yaron Herman, De Beren Gieren, Pablo Held, Heernt, Natalia Mateo, Tigran Hamasyan, and Eldar Djangirov have all done stuff I really enjoyed in the last 15 years.

This was not in reply to btw. I'm not the guy you were talking to.

Bumping this thread with one of my favorite 2000's jazz releases.

Blacksheep - 2

mega.co.nz/#!XclXgLTa!0TmCRdmmu1uxX9nRK5JBRH7O2FIJf6_DZiDi3WSowx0

Got a sample?

THIS

what do you guise think about automatons playing jazz?

they can play faster, more precise, weirder, and above the range of a human player.

is this the future of jazz music?

(except the trumpet since how lyrical it is i guess)

youtube.com/watch?v=fveRdbXUz3s

for example a jazz piano player has only 10 fingers.

jazz piano automaton can have 82 fingers. so thats an obvious advantage no human on his own will ever catch up with

No, because of soul, feel etc. See also why Zappa's late albums using the synclavier or whatever it was called are ignored as if they'd never existed.

I'm not against it in theory, but so far I'm yet to hear musicianless jazz with a tone that really convinced me. Maybe in a couple years we'll have developed better algorithms for generating timbral information based on various other musical properties for instance, but I'm just not sure we're there yet - at least not to my tastes.

Thanks. It's interesting. It's not really my thing (I've got an annoying bias agains brass and sax in chamber combos that I'm trying to overcome), but I can certainly hear the appeal. Thanks for sharing.

youtube.com/watch?v=8L3CTf0h0-4

From 99 years ago.

damn...

kinda like black midi

yeah - Conlon Nancarrow was rocking this shit in the 40's

youtube.com/watch?v=pp2dWEYRzKY

this stuff is missing the whole human element of improvising and adapting and communicating that makes jazz great

you're right, but have you heard all dem new clarinet, sax automatons? some of the arps, runs and all types of sounds they can produce are kinda amazing

Link to examples?

People had reasons not to like Zappa even before ''Jazz from hell''. Take a look at the mainstream music now - it's getting more and more electronic dependant, devoid of any creativity, uniqueness and emotion. But sadly, no one bats an eye.

youtube.com/watch?v=DEjPlGIFuOE

skip to 8:19 for instant action

>(except the trumpet since how lyrical it is i guess)
Eventually automations could replace all human musicians on all instruments and be able to mimic all the intonation and personal quirks/stylings that a jazz musician develops in finding their own voice.
There's a significant technical challenge in doing that for horns but it's also present for piano because no jazz fan actually wants to listen to something soulless likeI'm not sure the demand and motivation is there to make a player piano that can do convincing jazz with all the ornamentation that comes with it. A big draw for most jazz fans is the human connection they get out of listening to it and the harmonic or melodic ideas are ultimately just tool to that end. Which is why Charlie Parker is still widely loved in the jazz world but Lennie Tristano is more well known as a historical curiosity than as a really great artist.
It's doable but one would need to develop an algorithm that can read and reproduce the subtle aspects of a performance in a way that doesn't feel clinical or stilted for it to actually compete with good jazz performers.
It'd be easier to work with piano obviously but I've yet to hear an automated piano play anything I'd still get the emotional connection I do listening to Monk or Bill Evans.

POST YOUR FAVORITE JAZZ SONG NIGGERS

youtube.com/watch?v=6n8CnQv1GTA

Getting to a mountain top while tripping balls to listen to this was one of the best things I've done

bought McCoy Tyner's Enlightenment on vinyl last weekend - feels good man

youtube.com/watch?v=yLE_6-6OjpY

This. Red Hail is still one of my favourite albums. Didn't really dig Mockroot. Did enjoy Shadow Theater though!

Also: Avishai Cohen (Continuo, Almah, From Darkness).

Vijayawada Iyer has released a bunch of stuff.
High Definition Quartet have released two records that should be checked out.

Where to start with modern 10s jazz if you really liked Exit by Fire Orchestra and Matana Robert's Coin Coin trilogy?

You'll probably like Kamasi Washington and Flying Lotus. If those are to "pleb" for you you can pretend to hate them and get into William Parker, Peter Brotzmann, and Hamid Drake because they're more "patrician"

That seems to be the general path most people on Cred Forums take

BADBADNOTGOOD is fresh as fuck and they roll stuff out almost every year. Shame they've fallen into the "let's get a couple of niggers to ruin some of our songs with their shitty rapping" meme

>i can't into free jazz, so everyone who likes it must just be pretending to enjoy it ecksdee
underage b&

>because you don't like the same meme free jazz artists that everyone else on the board likes I'll assume you don't like free jazz
Don't you have have some albums to be rating on RYM so everybody knows how patrician your taste is?

M8 it's fucking hard to make a living as a musician now, period.

James Carter
youtube.com/watch?v=wnB2x3hiuqs

Joshua Redman
Roy Hargrove

youtube.com/watch?v=qxeb0cwjE8U

Chris Potter
youtube.com/watch?v=zC4kvW4S6mk