Bloody hell! Not more “contemporary” Jazz!
(Sorry, bit of an in joke today @jazzman22 Dave will understand)
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Enough already! Can we please get back to some sensible 1950’s Blue Note recordings PLEASE!
Preferably on a gramophone record
Matron says it’s time for my medication and bed, night night!
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I’ve always enjoyed this album with Larry Coryell. I do have this as an original on vinyl but don’t play it on vinyl these days so I just have relay on my LP copy I made a few years back as it doesn’t seem to be on Qobuz.
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Yes, I have that one on CD, which I ripped to my server. I like both Emily and Larry individually, so it’s great to hear the two together. They were an item for a while and a dark thought I have leads me to wonder if Larry was responsible for introducing Emily to the drugs which would finally kill her.
The album in any format now commands quite high prices for mint examples, so take care of it!
AllMusic Review by Ron Wynn
Brilliant late '50s material by the great hard bop pianist and equally gifted supporting players, bassist Paul Chambers and drummer Philly Joe Jones. Clark was among the most inventive pianists of the period, a masterful ballad interpreter and dynamic uptempo soloist, while Chambers and Jones had few peers, either as accompanists or in the spotlight.
Enjoy!
Dave
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Gary Bartz/Maisha came to my attention featured in a number of Best Of 2020 lists.
This led me to check out more of the Night Dreamer Direct To Disc Sessions, every title in the catalogue a gem to my ears from Jazz through Brazillian via afrobeat to Turkish Psyche Rock!
I am particularly enamoured with the Sarathy Korwar Session…
an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration
On their Night Dreamer debut, Sarathy Korwar and his allstar “UPAJ Collective” gain brand new ground in their mission to rebalance spiritual jazz with authentic Indian classical music. “UPAJ” means “to improvise” inHindi, and recording direct-to-disc at Artone Studios with almost no preconceived directions, they truly capture the “spirit of spontaneous improvisation”, as Sarathy puts it, like never before.
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Sounds plausible.
Brecker is amazing, I’m a big fan of Coltrane, I generally like the ones who are worthy of carrying on the lineage, guys like Brecker and Kenny Garret really go deep in their solo like Coltrane yet these guys don’t really think about techniques that much(I believe they have gone past the technical stage and discipline).
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Dread
I wonder if you have seen this article in All about Jazz:
I have found it very enlightening as I have pursued releases by some of the new UK jazz musicians. I had dipped my toe in the water over the past year, but after watching the Jazz 625 programme on BBC2 before Christmas, I decided to dig deeper. Among the records I have ordered is the Sarathy Korwar release you like. I also strongly recommend that BBC programme if you haven’t seen it - apart from the quality of the playing, the sense of a community of musicians is inspiring.
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Bandcamp makes a great work to dig out new artists, even some who were not very well known.
For instance this group and album on Pre order, from 1978, in the spirit of Azymuth or Airto from 70’s.
I ordered the lp.
The original lp costs now around 120 dollars on Discogs.
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Wonderful rendering of the American Jazz Songbook.
Beautiful voice and gentle arrangements.
Bed time jazz. Sounds fabulous on Qobuz.
I know it will be of no real interest to most of the thread participants but like a witness I will continue to knock on your door and proselytise.
N
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You have my interest. But I am more on Andy Bey from 1973.
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Hi @narcom, thanks for the Ulrich Dr’chsler recommendation. Again a new discovery through this thread for me. What an artist ! By the way; extremy well recorded album
Thanks man !
Iver
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Dear Jazz connoisseur,
I have a little question: Do any of you have a recommendation for a contemporary saxophone artist or album?
Thank you.
Colormind
Arguably “contemporary” jazz saxophone doesn’t get much better than this…
AllMusic Review by Matt Collar [-]
A reunion of saxophonist Joshua Redman’s original acoustic quartet, 2020’s ebullient RoundAgain showcases his long-running creative friendship with bandmates pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade. Redman first documented the sound of this group on his acclaimed 1994 album MoodSwing. Even then, the quartet was a supergroup in the making, featuring four of the most highly touted players of their generation. While they have continued to work together in various incarnations throughout their careers, RoundAgain is the first proper recording by the quartet in over two decades. As with MoodSwing, RoundAgain features all-original music with each player bringing along a composition. As each of the four musicians here have distinguished themselves as distinctive bandleaders in their own right, it’s fascinating to hear their individual styles come to the fore throughout the album. They kick off with Redman’s classical-leaning “Undertow,” an introspective and noirish piece built around a descending circular piano pattern from Mehldau. Conversely, Mehldau’s “Moe Honk” evokes the frenetic cartoon music of Carl Stalling as he and Redman chase each other like jealous hummingbirds over the song’s spiraling melody. Equally compelling is McBride’s “Floppy Diss,” a soulful, off-kilter blues that allows for some wryly inventive improvisational stretching out. We also get Redman’s funky, gospel-inflected “Silly Little Love Song,” and Mehldau’s harmonically nuanced “Father” with its wave-like 3/4 groove. The album ends evocatively with Blade’s dusky, rubato ballad “Your Part to Play.” Beginning with a sweetly attenuated bass line from McBride, the song builds slowly as Redman joins in, doubling the minor-key melody, before Mehldau and Blade push the group to the song’s peak: a mélange of brushes, cymbals, and woody hand percussion, crystalline piano flourishes, and Redman’s breathy sax tones. In some ways, RoundAgain feels like the perfect follow-up to MoodSwing, an album that could have arrived in the late '90s. Yet, it is hard to imagine Redman and his quartet summoning the same warmth and relaxed intensity that they do here without the decades of experience and deep familiarity they’ve cultivated with each other over the years.
Dave
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Thank you. Last in, first out: So I started with this.
Beside the saxophone performance I have to say: Bass (and drums) are extraordinary to me. I am having fun. Many thanks. The other recommendations are already added to my playlist …
I really appreciate your suggestions.