Milestones

All good examples, but I'm referring to records that are pretty much new, or at least within the last 4-5 years. Gerry Mulligan had a a pianoless quartet BEFORE Ornette.

Most definitely a loss. He was one of the few under-50 trumpet players that I really enjoyed. R.I.P., Roy.

We seem to be seeing a lot of these lately, though I don't mean to suggest that these are mere imitations. Most recently, we have Still Dreaming with Joshua Redman and Ron Miles (drawing most clearly on Old and New Dreams). We have The Creep with Ted Nash (alto) and Ron Horton. We have Trip with Tom Harrell and Mark Turner. Also, the new Christian McBride record is in this format. I'm finding some enjoyment. How about you?

I'd say this is officially a tough Blindfold Test. I've done some sampling of other tracks and I'm drawing blanks.

I listened to the first 6 tracks. Some good stuff, and I'm not able to identify much. Track 1 sounds like a piano trio version of "St. Thomas." It could be someone Like Hank Jones, though I feel it's not Hank. On Track 2 the trumpeter sounds like Art Farmer, but I wouldn't bet money on it. I can't say on 3 or 4. It's nice-sounding mainstream jazz, but I can't even guess who it might be. Track 5 is probably an alto-led date. Nice firm bass and loose, coloristic drumming. I can't identity anyone. Track 6 sounds like MJQ. The vibraphone player, at least, sounds like Milt. The piano player rarely sounds like John Lewis. But overall it does have that MJQ sound, or something akin to it.

Nice test...lots of good stuff. Some pieces were easy to identify, and some quite tough. I actually saw Catherine Russell in concert a year or so ago as opening act for Boz Scaggs. I may have downloaded an album too.

So that's John Lewis on #10. I have that record (cassette actually), but not with the bonus track. People may not believe me, but Oscar could play as delicately as John Lewis. Jim Hall, then? A fairly young Hall, and not as distinctive as he later became.

I never was at all a fan of the 8-track, which was starting to die out by the time I started seriously collecting in 1978. I was into rock music at the time and found some good deals, although I thought the sound quality was poor. I think the only jazz 8-track I ever bought was a Nat Adderley date from the 70's.

I think it (Lue firing) was coming, but not that quickly. Season is already quite a mess.

The first time around I suggested that #10 was in the Oscar Peterson-Joe Pass-Ray Brown vein, but I didn't think I was any of those guys. Although this is well-played and has some real feeling, it does not show the distinctiveness of those players. But it sure does owe a lot to those players and that kind of style or concept.

It seems like he should have had a bigger career than he did have. Definitely some fine work with Tyner, as pointed out. Sahara instantly comes to mind. He also spent some time with Elvin. It Don't Mean a Thing is a really good one, especially Sonny's incredibly moving performance of "A Change is Gonna Come." R.I.P.

I was intrigued by CD’s from the start, and I was the first in my immediate environment who brought a CD player. This was in 1986 or 1987. I had initially been a big Rock guy, but had already shifted into being a huge jazz fan. Still, I waited until the Beatles’ records started coming out on the new format. My first CD was the first Beatles British CD: Please Please Me. I think my first jazz CD was Way Out West; Kind of Blue was among the earliest purchases. I also happened to be deeply into Classical at that time, so there were a lot of those CD’s in the early days—especially Mozart. The early CDs were expensive, so at first I built slowly. I used to do rather well on them at Christmas! My collection did become very large, especially once there was a lot to choose from at bargain prices. I rarely buy them nowadays, relying more on downloading and streamlining. I sometimes get them sat Half Price Books, but they’re not carrying much jazz anymore (actually, you have a better selection of jazz on vinyl at these stores: some old, some new). To be sure, I like the old LPs—probably for the cover art more than anything. I still like CDs. Digital is fine by me, but there are so many contrast to the old days.

Anyone know of this? An Irish writer named John Connolly has written something like 15 mysteries starring Charlie "Bird" Parker, an ex-cop of the NYPD. Not sure if he is also a brilliant bebop pioneer. I admit to knowing virtually nothing about these books. But seriously, Charlie Parker? What's next? John Coltrane P.I.?

I got a few of these when it was first posted, and I was close on #2 (knew it was Tyner) and #3 (knew it was Haden and thought it was Ornette). Track #2 is "Uptown" from Tyner's Inner Voices. Track #5 is "Hub-Tones" by Kamasi Washington. Track #6 is "De Pois do Amor" from Wayne Shorter's Odyssey of Iska. Track #7 is "Dreaming of the Master" by Art Ensemble of Chicago. Track #9 is "Exaltation/Religious Experience" by Carla Bley Big Band. Track #13 is "Shepp's Way" by Charlie Haden and Archie Shepp (The Golden Number)

I doubt that any other instrument would produce 80 posts in short order. As I say, a LOT of tenor players out there.

Two more I would name are Lew Tabackin and Andy Sheppard. They are not youngsters (especially Lew), but well worth listening to. Tabackin seems to have been quiet for a long time, and I only know Sheppard's work through Carla Bley. I had a stretch where I really liked Branford, but I have not been much interested in his work for quite some time now.

I don't think I've seen anyone mention Kamasi Washington. An interesting case, as he was a journeyman player for at least a decade before suddenly becoming a "star." I'm not sure what to think about him; there is a hype factor. He is younger than most mentioned on the thread, at least among the names that I recognize.

My point with the questions marks was simply that I have no idea who these players are. I am more knowledgeable about jazz than anyone that I know (in person, that is), yet I draw blanks here. Many jazz players (though they may be worth listening to) must be totally under the radar.

jcam: ? ? ? ? ? ? ? ? ? (aka as 0-for-9)

I'll confess my ignorance and say I've never heard, or heard of, Ingrid Laubock.

Well, Joshua Redman raised made noise (or at least got some serious attention) at a very young age. A couple of decades of experience have turned him (I think), into somebody really worth hearing. I guess we take David Murray for granted. He's been around for ages, but he can be deep in the tradition and be very fiery and distinctive.

Age is a good thing in jazz. Speaking for myself, there's hardly anyone under 50 that I listen to. But a lot of jazz artists remain healthy and active at advanced ages--the late Randy Weston, Roy Haynes, Jimmy Heath, Wayne Shorter, Ron Carter, etc.

So who's young and rather impressive?

The last thing I heard from Billy Harper was on the duet album with Randy Weston, which I felt was sterling work from both men. Ravi has intrigued me a bit, and I have enjoyed the fairly recent DeJohnette record: In Movement.

It seems like ever since Hawk and Lester Young emerged, the tenor sax has held the triumphant position. Certainly we've had oodles of tenor sax players since Trane and Sonny. Sometimes I give up for a while on the tenor. There are just so many players out there. But I would like to know which of today's players are most admired. Bear in mind, I'm not much of an avant garde guy, but if that's what you want to pitch, then do it. At the top for me these days would be Joe Lovano and Chris Potter. But there are others that intrigue me--guys like Mark Turner, Ted Nash, and George Garzone. I'm even starting a renewed interest in Joshua Redman, whom I set aside a long time ago, believing that it was all hoopla. In any case, recommendations please.