Teasing the Korean

And as such, I find it a useful book to have. I have periodically over the years dusted it off and randomly chose patterns to work on. In terms of my own playing, it is more useful from technical and ear standpoints than cut-and-paste applications.

The albums were intended to be "essential" listening for someone who was a jazz soloist, or would-be jazz soloist, in 1970. It is also very possible that the patterns in the book were drawn from solos on these albums. I don't think it was intended as an an exhaustive list from historical, artistic, or cultural perspectives. I can't find fault with most of the choices that were included, except maybe for one, but some of the omissions are puzzling, to say the least.

It is likely that the patterns he detailed in the book were drawn from solos on the albums listed. Or not. The other question is what post-1970 albums would be added to the list.

This is a great book, by the way, for what it is.

I get all that. Hence my question about 2023.

I thought about Diz and Mingus also.

Patterns for Jazz by Jerry Coker, et. al., was published in 1970. It includes at the back an "essential discography." It is notable less for what is included than what was omitted, including all jazz prior to bebop. Because the book is aimed at jazz soloists, or would-be jazz soloists, arrangers get the short shrift also. I wonder what percentage of these albums would make a listing of an "essential" jazz discography in 2023. I'm guessing anywhere from 50% to 80% or even 90%, depending on your taste, but that a huge number of albums would need to be added to the list to round it out. ESSENTIAL DISCOGRAPHY Julian Cannonball Adderly, Live in San Francisco (Riverside 12-311),Cannonball Adderly Quintet. Ornette Coleman, Something Else (Contemporary S-7551), Ornette Coleman Group. Ornette Coleman, This Is Our Music (Contemporary SD 1343), Ornette Coleman. John Coltrane, A Love Supreme (Impulse A-77), John Coltrane Quartet. John Coltrane, Giant Steps (Atlantic 1311), John Coltrane Quartet. John Coltrane, Lush Life (Prestige S-7581), John Coltrane Group. Miles Davis, E. S. P. (Columbia CS-9150), Miles Davis Quintet. Miles Davis, In A Silent Way, (Columbia CS-9875), Miles Davis Group. Miles Davis, Kinda Blue (Columbia CS-8153), Miles Davis Sextet. Miles Davis, Miles In Europe (Columbia CS-8983), Miles Davis Quintet. Miles Davis, Miles Smiles (Columbia CS-9401), Miles Davis Quintet. Miles Davis, Milestones (Columbia CL-1193), Miles Davis Sextet. Miles Davis, Nefertiti (Columbia CS-9594), Miles Davis Quintet. Miles Davis, 'Round Midnight (Columbia CL949), Miles Davis. Bill Evans, Everybody Digs Bill Evans (Riverside RLP 12-291), Bill Evans Trio. Herbie Hancock, Maiden Voyage (Blue Note 84195), Herbie Hancock Quintet. Charles Lloyd, Forest Flower (Atlantic 1473), Charles Lloyd Quartet. Wes Montgomery, Wes Montgomery Trio (Riverside 12-310), Wes Montgomery Trio. Oliver Nelson, Blues And The Abstract Truth (Impulse A-5), Oliver Nelson Group. Charles Parker, Bird Ar St. Nick's (Fantasy 6012), Charles Parker Group. Charles Parker, Now's The Time (Verve MGV 8005), Charles Parker Group. Sonny Rollins. Saxophone Colossos (Prestige 7079), Sonny Rollins Group. George Russell, Ezz-Thetics (Riverside 375), George. Russell Sextet. George Russell, George Russell at The Five Spot (Decca DL9220), George Russell Sextet. George Russell, George Russell In Kansas City (Decca DL4183), George Russell Sextet. George Russell, Stratusphunk (Riverside 341), George Russell. Wayne Shorter, Adam's Apple (Blue Note 84232), Wayne Shorter Group. Wayne Shorter, Al Seeing Eye (Blue Note 84219), Wayne Shorter Group. Wayne Shorter, Schizophrenia (Blue Note 84297), Wayne Shorter. Wayne Shorter, Speak No Evil (Blue Note 84194), Wayne Shorter Group. Sonny Stitt, Sonny Side Up (Verve MGV 8262), Sonny Stitt Group. McCoy Tyner, The Real McCoy (Blue Note 84264), McCoy Tyner Group.

The Bright, the Blue and the Beautiful. I have another on Cadet called Heat Wave that is a trio session, post-Crosby and Fournier.

Thanks! I have a couple on Cadet, including the one with voices that I just played.

Ahmad Jamal with Voices - The Bright, the Blue, and the Beautiful - Cadet (stereo) Some Space-Age Bachelor Pad content here!

Ahmad Jamal at the Pershing: But Not for Me - Argo (mono)

Ahmad Jamal - Live at Oil Can Harry's - Catalyst (stereo)

What label would these have been on? Most of my Jamal albums are on Argo. I have two early ones on Epic, one on impulse!, and the aforementioned Oil Can Harry's.

Mention my name. That will open doors.

😹

I'll bet the wine selection at the VIP reception will be fantastic!

Why are we allowing AI-generated blindfold tests? Can't board members create them anymore? And regular AI was a scary enough. Now we have tests generated by BIG AI? The implications are terrifying.

And I don't mean Al Jardine. I mean artificial intelligence. https://www.thefp.com/p/were-in-danger-of-losing-our-most

Actually, poetry has had a renaissance of sorts, given the popularity of rap and hip hop, and also slam poetry.

I liked it too. I have that album - and about 35 other Quincy Jones albums!

I suppose some of this also comes down to our personal networks. I am lucky in that my brother, wife, and brother-in-law are all vinyl junkies and all share diverse taste in music. I have plenty of opportunities to hear new things and get recommendations. And beyond them, many of our friends share our music obsession.

For me, it's a combination of message boards, FB groups, recommendations from friends, YouTube, Websites like Dusty Groove, and labels with particular aesthetics. Even some Amazon reviews are very thoughtful and detailed.

And soon, AI will generate the types of music we are in the mood to hear!

I completely agree, but in the internet era, other forms of communication can accomplish the same thing. I'm not knocking critics; but categorically, critics are not the monolithic source that they once were for these kinds of evaluations or insights.

Either can I. In the internet era, there are lots of sources for insights beyond critics. And they are not beholden to sell subscriptions the way that critics are. Or were.