What Jazz are you listening to now?

[Serial_Apologist]

The best thing(s) I've heard recently is the BBC R3 broadcast of Bartok's "Concerto for Orchestra" from a week or so. And the Bluenote CD of Hank Mobley's "Far Off Lands", late 60s which I had never heard before and has some very very strong playing from all, especially Hank and Cedar Walton. No slacking on that one

I tend to avoid YouTube now, with its endless masturbatory Beatles & deadbeat heroes obsessives, but joy of joy, Trevor Griffith's play "Occupations" about Gramsci, the 3rd International and the Turin Fiat factory occupations of 1920 is now up. Brilliant. And also his later play "The Party", reform & social democracy Vs revolutionary socialism, the "John Tagg" as Gerry Healy debate is a classic.

http://www.youtube.com/watch?v=o0KxIR2xO-E

David Edgar's play Destiny, which I remember totally blew me away, is also up;

http://www.youtube.com/watch?v=nZxETRXlu7Y&list=PLSV69Dpb5hwKrigmyki0NFcn q5opP-boj&index=53

[Jazzrook]

Sonny Rollins with Ray Bryant, George Morrow & Max Roach playing Billy Strayhorn’s ‘Raincheck’ recorded in 1955:

https://www.YouTube.com/watch?v=U1fwtzlcJFU

JR

[Jazzrook]

Earl Hines plays Duke Ellington 'The Jeep is Jumplng'

Just reminding myself of this amazingly creative pianist, the Great Earl Hines

https://youtu.be/DXaf-kbtCe8?feature=shared

elmo

Excellent, elmo. Here’s Earl with Richard Davis & Elvin Jones playing Bernie’s Tune in 1966:

https://www.YouTube.com/watch?v=CY8dxGfEZaI

JR

[eighthobstruction]

....there were a huge number (vast) of musicans in the British jazz scene that were really approachable....and the fans were pretty good on there own part , not approaching too much....not trying to get in their faces to score points....a fabulous atmosphere....and beer....

[Ian Thumwood]

.....listened to a lot of stuff like this in 70's were ever I could get it, though I don't know that I heard this or the album....it's what my son and I call "running music".....Don was born a Plymouth boy....https://www.youtube.com/watch?v=sHIkU7RgifI

I went to Wavendon in 1990 and Don Rendall was one of the teachers. He was a really nice bloke and had an excellent , dry sense of humour that a number of us appreciated. I really liked him. The teachers were really helpful. My favourite was Simon Purcell but Don Rendall was a gent. Really felt Simon Purcell was an excellent teacher.

[Serial_Apologist]

.....listened to a lot of stuff like this in 70's were ever I could get it, though I don't know that I heard this or the album....it's what my son and I call "running music".....Don was born a Plymouth boy....https://www.youtube.com/watch?v=sHIkU7RgifI

What Ian might call a Milestones contrafact.

[eighthobstruction]

.....listened to a lot of stuff like this in 70's were ever I could get it, though I don't know that I heard this or the album....it's what my son and I call "running music".....Don was born a Plymouth boy....https://www.youtube.com/watch?v=sHIkU7RgifI

[Serial_Apologist]

I got into jazz piano through Earl Hines. In my opinion he was always pretty outside . There was an interesting interviewi read in a book where Hines was aaked about this and he admitted to taking things so outside that he got lost.

That reminds me of a 2-hour lunchtime solo session in the first floor bar at the Festival Hall with each half given to Pete Saberton and Liam Noble. It was the first time I'd seen the ways Liam would deal with standards, usually starting out with little variation away from conventional chord changes then increasingly varying the harmonies until they were totally unrecognisable before either returning to square one for the usual recap or transitioning to another tune entirely, which might even turn out to be Elgar's Salut D'Amour, of all things. After the session I asked him if he ever got lost in all the elaboration, this being the reason for changing his tune - as they say. Liam answered that no, this was not the intention, though he did admit to sometimes getting completely lost! There were some lockdown blogs he posted from his own living room of this happening.

[Ian Thumwood]

I got into jazz piano through Earl Hines. In my opinion he was always pretty outside . There was an interesting interviewi read in a book where Hines was aaked about this and he admitted to taking things so outside that he got lost.

The thing i love about his playing is that the right hand sometimes ignores the rhythm in the left. I think he he was far more outside than many bop players yet no one recognised this. I love rge Weather Bird duet with Armstrong...this too abandons the original Oliver composition and was effectively Free Jazz.
There are orher solo performance callef 'Child of a disorders brain ' which also demostrates Hines' unique style.

[elmo]

Earl Hines plays Duke Ellington 'The Jeep is Jumplng'

Just reminding myself of this amazingly creative pianist, the Great Earl Hines

https://youtu.be/DXaf-kbtCe8?feature=shared

elmo

[Tenor Freak]

Bimhuis live stream: Joe Sanders’ Parallels ft. Logan Richardson, Seamus Blake & Greg Hutchinson

https://www.youtube.com/watch?v=AvcJ4qjPWA8

[Tenor Freak]

https://www.youtube.com/watch?v=IM6vIURo5OI

[Serial_Apologist]

The best thing(s) I've heard recently is the BBC R3 broadcast of Bartok's "Concerto for Orchestra" from a week or so. And the Bluenote CD of Hank Mobley's "Far Off Lands", late 60s which I had never heard before and has some very very strong playing from all, especially Hank and Cedar Walton. No slacking on that one

I tend to avoid YouTube now, with its endless masturbatory Beatles & deadbeat heroes obsessives, but joy of joy, Trevor Griffith's play "Occupations" about Gramsci, the 3rd International and the Turin Fiat factory occupations of 1920 is now up. Brilliant. And also his later play "The Party", reform & social democracy Vs revolutionary socialism, the "John Tagg" as Gerry Healy debate is a classic.

Thanks for letting us know! I'll be looking those up.

[Ian Thumwood]

SA

in my opinion i think there is an issue with all musics and how they survive for posterity. It is more a matter of how a piece of music can seem relevent going forward as opposed to it's antecedents. The obvious example is 80s pop music which my wife likes but which i think is ruined by the production values of the time. It is often little more than karoake.

I think it takes about 20 years before you can judge whether something has staying power. The issue for me is that there is little really compelling or urgent about much of today's jazz. I really buy jazz these days and i have been disappointed with the few recordings i thought would be good. Very little has the shock value that i loved when i started listening to jazz.

The same problems apply to Classical music where i am discovering that the more popular composers cannot be taken seriously and i am wondering whether we are eeaching a point where ,say , alot of late 19th century music disappears from the repertoire.

i like the creative element in music but find that i am bored by the predictable. Loved the AEoC tracks because the music meant something. Same with the Varese. I also like the shock element in jazz yet find that increasingly rare. The only record that made me feel like that recently was the Jessop Wagon disc by James Brandon Lewis. It is a wierd situation to find alot of Classical piano music more edgy than alot if today's jazz. For most of this year i have been listening to Messiaen which reminds you of what real innovation sounds like.

It is interesting to consider what music really matters and to appreciate may no longer do this.

[Ian Thumwood]

SA

in my opinion i think there is an issue with all musics and how they survive for posterity. It is more a matter of how a piece of music can seem relevent going forward as opposed to it's antecedents. The obvious example is 80s pop music which my wife likes but which i think is ruined by the production values of the time. It is often little more than karoake.

I think it takes about 20 years before you can judge whether something has staying power. The issue for me is that there is little really compelling or urgent about much of today's jazz. I really buy jazz these days and i have been disappointed with the few recordings i thought would be good. Very little has the shock value that i loved when i started listening to jazz.

The same problems apply to Classical music where i am discovering that the more popular composers cannot be taken seriously and i am wondering whether we are eeaching a point where ,say , alot of late 19th century music disappears from the repertoire.

i like the creative element in music but find that i am bored by the predictable. Loved the AEoC tracks because the music meant something. Same with the Varese. I also like the shock element in jazz yet find that increasingly rare. The only record that made me feel like that recently was the Jessop Wagon disc by James Brandon Lewis. It is a wierd situation to find alot of Classical piano music more edgy than alot if today's jazz. For most of this year i have been listening to Messiaen which reminds you of what real innovation sounds like.

It is interesting to consider what music really matters and to appreciate may no longer do this.