a.r.t. b.l.a.k.e.y. &. t.h.e. j.a.z.z. m.e.s.s.e.n.g.e.r.s. - 'd.r.u.m.s. a.r.o.u.n.d. t.h.e. c.o.r.n.e.r.' (1958)
_mink nun
Category:
j.o.z.e.f. d.u.m.o.u.l.i.n. &. r.e.d. h.i.l.l. o.r.c.h.e.s.t.r.a. - 't.r.u.s.t.' (2014)
anything that dan weiss is drumming on is worth checking out, bonus points for the comb-over on the cover.
_alibi
Category:
a.l.a.n. s.h.o.r.t.e.r. - 'o.r.g.a.s.m.' (1968)
Category:
d.a.n. w.e.i.s.s. - 's.i.x.t.e.e.n.: d.r.u.m.m.e.r.s. s.u.i.t.e.' (2016)
here is a nice breakdown of this inimitable jazz record.
Personnel: Dan Weiss: compositions, drums, tabla, vocal percussion; Thomas Morgan: acoustic bass; Jacob Sacks: piano; Matt Mitchell: keyboard, piano, glockenspiel, organ, vibraphone; Miles Okazaki: guitars, vocal percussion; Stephen Cellucci: percussion, vocal percussion; Katie Andrews: harp; Anna Webber: flute, alto flute; David Binney: alto saxophone; Miguel Zenon: alto saxophone; Ohad Talmor: tenor saxophone; Jacob Garchik: trombone, tuba; Ben Gerstein: trombone; Judith Berkson: voice; Lana Is: voice; Jen Shyu: voice.
_alibi
Category:
m.i.c.h.a.e.l. f.o.r.m.a.n.e.k. e.n.s.e.m.b.l.e. k.o.l.o.s.s.u.s. - t.h.e. d.i.s.t.a.n.c.e. (2016)
excellent eighteen person strong large ensemble work. _grape ape
Personnel: Saxophones/Woodwinds: Loren Stillman (alto saxophone); Oscar Noriega (alto sax/ clarinet, bass clarinet); Chris Speed (tenor sax, clarinet); Brian Settles (tenor sax, flute); Tim Berne (baritone sax); Trumpets: Dave Ballou, Ralph Alessi, Shane Endsley, Kirk Knuffke (cornet); Trombones: Alan Ferber, Jacob Garchik, Ben Gerstein, Jeff Nelson (bass trombone, contrabass trombone); Marimba: Patricia Franceschy; Guitar: Mary Halvorson; Piano: Kris Davis; Double-bass: Michael Formanek; Drums: Tomas Fujiwara; Conductor: Mark Helias.
_grape ape
Category:
m.i.l.e.s. d.a.v.i.s. - 'n.e.f.e.r.t.i.t.i.' (1967)
this record was the last one made with all acoustic instruments by miles davis's 'second great quintet'. comparing this and 'filles de kilimanjaro', the record that immediately followed it chronologically, makes for very interesting listening, because the same players get electric on 'kilimanjaro'. i'm paraphrasing some other reviewer when i say that, among the really greatest achievements on 'nefertiti' in particular is that it is a record composed of really experimental boundary-pushing music, and yet it comes across almost like easy listening. take the first two tracks for example. the horns just mostly repeat the theme, while the rhythm section pushes and pulls underneath. the result is soothing, and upon close listen, exceedingly captivating if one tunes in to the metric modular experimentation happening underneath it all. my cousin, dj grape ape, said, 'i think that band became so influential that eventually its mannerisms became a cliche to be avoided... but when u go back to the source, they were really stretching + exploring + just firing on all cylinders.'
_alibi
Category:
m.i.l.e.s. d.a.v.i.s. - 'f.i.l.l.e.s. d.e. k.i.l.i.m.a.n.j.a.r.o.' (1968)
that's betty davis on the cover of this release. this is a seminal release for miles davis's second 'great' quartet in that it marks a beginning of an experimentation with electric intruments. from my perspective, as an electric bass guitar player, hearing tony williams' drumming, i'm liable to think, 'i have no idea what in the world i might lay down to these beats.' and here comes ron carter to the rescue, playing electric bass guitar, saying, 'here. here's how it's done.' ...essential listening.
_alibi
Category:
c.h.e.s. s.m.i.t.h. - 't.h.e. b.e.l.l.' (2016)
ring in 2016 with a jazz record that thanks kool kieth in its liner notes.
_pert plus
Category:
t.o.m.a.s.z. s.t.a.n.k.o. n.e.w. y.o.r.k. q.u.a.r.t.e.t. - 'w.i.s.l.a.w.a.' (2013)
inky black moonless midnight music
among my favorite jazz records i've ever heard
_mink nun
Category:
c.r.a.i.g. t.a.b.o.r.n. t.r.i.o. - 'c.h.a.n.t.s.' (2013)
baby, your waistline is bangin' like a bass line.
_pert plus
Category: