Does it exist?

I love the sound of the Rhodes. More, I think, than that of the purely acoustic pianoforte. Tuning forks and electric guitar pickups, but some part of my tension is immediately calmed by the sound.

Yet, for someone entering Jazz fandom by the usual gateways like Miles and Mingus, discovering Evans concocted the sound I want to hear in wee hours, discovering the Rhodes only used in later fusion styles. Surely someone made an after hours Rhodes or Rhodes trio album, but I it evades my search skills.

In 1966, this double LP was the first Sinatra live LP to be commercially released.
Now, it’s available as a 5 CD Boxset.
I would love to get this but would love you guys’ opinions on this boxset.

I have seen the movie but never got around to really listening to the soundtrack beyond the movie. I found a copy in ok condition but plays great. I think it's an awesome collaboration and I am glad it happened.

https://jazzprofiles.com/this-day-in-jazz/

On October 27, 1961, guitarist Grant Green took a quartet into Rudy Van Gelder's studio in Englewood Cliffs: Sonny Clark on piano, Butch Warren on bass, Billy Higgins on drums. Clark was, by then, Green's most trusted partner on Blue Note dates. The session left a very small paper trail. According to the Jazz Discography Project, it produced "Woody 'n You" (takes 4 and 7) and an incomplete "Lady Bird," which was rejected. Nothing came out at the time. The surviving "Woody 'n You" material was finally issued in 2001 on First Session, a CD that otherwise collects Green's first Blue Note date, cut in November 1960 and likewise shelved. Wikipedia's account says that earlier session was held back partly because of Green's own lack of confidence. The sources disagree slightly on whether both takes were issued, so treat that detail as unsettled. Clark died in January 1963, never having heard it released.

Sources: Grant Green discography — The Jazz Discography Project , First Session (Grant Green album) — Wikipedia) , Grant Green — Wikipedia

Hi everyone, I'm a jazz pianist and researcher at MIT. We are looking to recruit advanced jazz pianists for a study. 1.5 hours, fully online, MIDI and stable internet is all you need. Compensation will be provided for your time. If you're interested, please DM me and I'll send you a pre-screening form. Thank you so much!

Coltrane the more influential figure, the composer, the genius. But as players, both have a beautiful sound and made some great music. Here's my top five albums for each.

Coltrane

Giant Steps: A masterpiece

Favorite Things: A new direction, ultimate with McCoy Tyner

Kind of Blue: With Miles, Bill Evans & Cannonball Adderly

Blue Train: Bebop take, hard blowing sextet

Ellington & Coltrane: A different flavor

Getz

Recorded Fall 1961: Swinging hard with Bob Brookmeyer

Jazz Samba: No one played bossa nova better

Stan Getz and the Cool sounds: Standards

Nobody Else But Me: At his peak with Gary Burton

Captain Marvel: Evolution with Chick Corea & Stanley Clarke

Interested in other peoples faves, and other "go to" albums or musicians -- Art Blakey/Bobby Timmons, Barry Harris/Lee Konitz, Mingus/Jaki Byard -- are a few more.

B

so i’m a 17m and ive been trying to get more into jazz vocals recently. i hav a lot of prestigious musicians in my area and they’ve all told me to listen to get better at jazz, which ive known for a while though as im in a jazz band at my high school. a lot of the kids there are insanely good and they’ve told me that they can’t really give me tips on how to improve because they’re all horn/rhythm players. just as a reference my high school repeatedly goes to Essentially ellington a lot and I’m in the top band but im less of a jazz feeling person and more focused on technique? im classically trained so my focus is that and i never really branched out into the improv and swing feeling in jazz so im sort of struggling to get better at singing jazz. if any of you guys have any tips that’d be much appreciated! and also, for listening, how can i transfer that into my playing? how does listening change the way i sound and sing? I posted a video of my singing into a different subreddit if you could check my account

I was just listening to chick corea “Armando’s rumba” and it sound like tap dancing instead of drums. Any other examples of this you can think of?

My daughter loves piano and rap so I thought it’d be cool to show her some examples.

Always loved the sound of jazz in particular smooth jazz. However, my listening obscured, and I want to shape my taste in this genre. What is your favorite smooth jazz or jazz album?

I'm open to all recs, but I do prefer little to no vocals. Also if you can share why it's your favorite or why you recommend it. Thank you.

A great but short tune from Lambert Hendricks and Ross

I picked up this Oscar Peterson CD set in an auction. It's great! But I'm a bit confused about which number of the edition it is: 146 or 1468. What do you think?

(I'd ask this in r/Vinyl_Jazz but it's a CD box and r/CDs_Jazz is a ghost town.)

FYI! Cheers

[Horace Silver in Los Angeles, 1989. Photo by Dmitri Savitski (Wikimedia Commons), CC BY-SA 3.0. A portrait of Silver, not of the 1964 session.]

https://jazzprofiles.com/this-day-in-jazz/

On October 26, 1964, at Rudy Van Gelder's studio in Englewood Cliffs, Horace Silver recorded four tracks, among them "Song for My Father," with a freshly assembled quintet: Carmell Jones on trumpet, Joe Henderson on tenor, Teddy Smith on bass and Roger Humphries on drums. The album it anchored was a patchwork. The other material came from sessions of October 1963 and January 1964 with the longtime band of Blue Mitchell and Junior Cook, plus a trio date, so the record documents one group handing over to another. Silver said the tune grew from the Brazilian rhythms he heard on a trip there, filtered through Cape Verdean melodies his father had sung; the cover shows his father, John Tavares Silver. Henderson's solo is often cited for building everything from its three opening notes. A decade later Steely Dan lifted the opening bass figure for "Rikki Don't Lose That Number."

Sources: Song for My Father (composition), Wikipedia) , Song for My Father (album), Wikipedia) , Horace Silver, Wikipedia

I won a competition for 2 table tickets tonight at Blue note in London. Unfortunately I am now unable to attend. I can transfer them on Ticketmaster so if anyone wants to go let me know and I will send them to you

Edit: Tickets now gone.

I’ve only listened to about 5 songs but the production is amazing. Great Homage….

Hello!

So I'm a drummer, and for the past 4-5 years of my life since I started playing, jazz has been my entire life. It's constantly in my ear, I go out to jams and gig in the LA area every week, etc. I love it so deeply and as a result of this and constant listening, I have a lot of language in my head - I can scat lines over changes and if I've listened to the tune enough, follow the changes with a decent degree of accuracy.

Recently I've picked up the piano, and I'm trying to get all this language under my hands. As I have good knowledge of theory, I picked up some basic chords and voicings and was playing arpeggios and guide tones over various changes.

This academic approach however has begun to bore me. I transcribe, but it's not the focus of my playing. My question is, will making transcription almost all of my practice help me get the language under my hands? Just learning bebop solos, not necessarily analyzing too much, just getting the lines under my hands - is this approach sound in learning to play changes and connect my ears to my hands?

Thanks!

Im sure its been discussed but I want to know what peoples opinions on him are.

I listen to a lot of bass players and great rhythm sections. Ron’s playing just isnt there for me anymore. Its honestly painful to listen to for me. Feels like the rest of the rhythm sections is trying to hang on for their lives.

I can listen to his old recordings all day long but something happened later where his playing just plummeted. Im sure age has got a lot to do with the physical part but the musical ideas are mot there either. At least not like the early Ron.

Ignoring his past work which is obviously goated. Do you actually enjoy his playing today? I feel like all of his popularity today is being carried by his past.

Admas performs “Anchi Bale Game” live on Low End Theory.

https://youtube.com/shorts/vJTr8qdTc7w?si=9m-LDco7ZFI-kEEt

I know about the 24-minute Discipline 27-II, but as far as I can tell, that's a different although similarly named (and slightly similar sounding) tune, the one I linked here appears on a few live albums and is one of the first from the Arkestra's set at the North Sea Jazz festival in 1979. I've never heard a studio version, and was wondering if one existed anywhere I wasn't aware of?

I'd also really recommend this if anyone hasn't heard it before, it's one of my favourites!

Track 9: “Domingo” on Jaco Pastorius’ The Birthday Concert.

It’s either Michael Brecker or Bob Mintzer who takes the tenor solo on this track, according to the credits. Whoever did it… it shreds.

Here’s the crazy part: I once asked Mintzer if he played it, and he said “I don’t remember.”

The internet has no answers for me. So I turn it over to r/jazz… after listening to it, who do you think it is?

https://www.allaboutjazz.com/musicians/bill-allred:

"Now in its 19th year of existence, Bill Allred’s Classic Jazz Band was born in 1990 as a group of ex-Rosie O’Grady and Disney musicians when the staff musician roles in both places began to erode. They started essentially as a “kicks” band, collecting and playing the arrangements of Matty Matlock and Billy Maxted. After performing at a few jazz festivals, they realized that there was a real market for their “little big band” type of sound. That was more than 18 years and 12 recordings ago."