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

[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

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

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."

Hello r/Jazz! It's time for my annual update on Vinyl Periphery in the dedicated music subs. Originally built in 2022, I just (last night) finished incorporating the last bit of feedback received from last year's update in r/discogs .

If this is your first time hearing about the site, the premise is this: You provide an album and VinylPeriphery sources its credited artists, then returns their combined discographies, sorted by the number of contributors shared with your searched record.

In short, it's a way to navigate albums solely by their credits, a way to discover new music beyond popularity bias, marketing budgets and recommender algorithms.

I built this app after a conversation with the owner of a local record store. Since then, I've received a lot of encouragement from the community. If you are going to comment, I'd love to hear about a new album you found through the tool, or suggestions for my next release sometime in 2027.

My favourite Jazz records I've discovered using VP are:

1. Le Cri Du Caire - Le Cri du Caire
2. Eric Dolphy - Out to Lunch!
3. Calabashed - Behold a Black Wave

One of the things I enjoy about trading is that it can become more than just taking turns soloing. Ideally, you’re listening closely enough to pick up something from the player before you — a rhythmic idea, a phrase, a shape, an articulation — and either answer it, develop it, or take the conversation somewhere else.
We were trying to do that here on “Fingers” at the Village Vanguard — Willie Applewhite, me, Robert Edwards, and Max Seigel trading through the trombone section with the Vanguard Jazz Orchestra.
I’m curious what other musicians hear. Does it sound like we’re actually having a musical conversation and building off one another, or more like four individual solos happening in sequence?
And when you trade with other players, how consciously are you trying to respond to what you just heard?
“Fingers”. VJO Bone section trading

Hey all, asking for those with experience but when writing out an arrangement of a tune that has specific added shots or bars for trio, when would be the threshold to not notate it out and instead just rely on a couple rehearsals?

For example, Bill Evans' arrangement of 'Conception' off his debut album: it's got a rubato intro, shots leading into the B, then shots leading from the A out to a solo break, and the shots are played throughout the blowing. Would this be acceptable to just verbally communicate to a trio and rehearse it a few times, or should it be notated out?

Thanks everyone in advance!

Hi all,

I've realised I have a very soft spot for noir jazz, now i'm not the most clued up when it comes to jazz and the types, so forgive me if im describing it wrong but its the same of slow, yearning sound that's enveloped in dark mystery, sort of like a rainy detective movie in new york or something

Two main examples thart examplify what im talking about;Bohren & Der Club of Gore - Prowler

Deference For Darkness - MARTIN O’DONNELL, and Michael Salvatori 

I'd really appreciate any other suggestions.

I’m new to jazz, so if this is a horrid take for whatever reason - you know how these tastes go - give me grace.

But I love this album. Everything I’m looking for - atmospheric, funky, somewhat melodic, sophisticated, etc. Has quickly risen to the top of my stack.

Based on this could I get more recommendations of albums/artists to look into?

In college, ever since I switched to engineering from jazz piano, I don't get many chances to play with others anymore. It is usually just an iReal Pro loop. What annoys me the most is that when you hit an accent, change the phrasing, or play quieter, the drums and bass just remain static.

I was sitting here thinking: it has been a long time since I was in music, and there has been insane advancement in technology recently. If I could make a program that could read and predict your phrases, then react to them in real time. They go soft when you play soft, punch with your accents, and mimic your phrasing without ruining the tempo. I would genuinely use that in my own room, but I figured I would ask if other people feel the same way.

I decided to start building a mobile tool called Mr. Sideman (iOS and Android). It listens through your device microphone with the lead sheet you give it while you play in real time.

Questions:

1. Does the current standard of backing tracks you use for practice bother you? Why?

2.If an accompaniment app actually reacted to your comping and dynamics, would you find that useful or is a static loop enough?

Even if nobody else uses it, I will probably finish it for myself and open source it. At the end of the day, I am just hoping to have a reliable practice partner at home for fun, and a backup stand-in when a drummer or bassist does not show up to rehearsal.

If anyone wants to test the early build on their instrument, let me know in the comments or shoot me a DM and I will send you the link to try it. Or let me know your opinions!

Experimental jazz with a flair of R&B and hiphop. Other examples are Glug by Society or Rimbaud by Jay-Jay Johnson

Hey all, I got a ticket to see Jeremiah Chiu & Josh Johnson's album release show at the Cedar Cultural Center in Minneapolis next Tuesday, Nov. 3. But now I can't go. Anyone want the ticket for face value, $30, OBO? DM me.

Spend election night w/some great electronic jazz.

🙄🙄🙄🙄🙄🙄 🙄 🙄 🙄

I thought there was a rule here about low-effort posts.

Just saw this @ FB, thought I'd share the love.

SecondTakeJazzArt

Apologies in advance, if the mods see this as "spam". I'm posting this, only as an informational, in case anyone else here would be interested. I am in NO way, connected to that website. Again, I saw this on FB and thought others here might be interested in acquiring some of the art for their homes.

I got this 'boombox' when I was 11 years old. I think. Maybe earlier. I'm 45 now and this little thing still works perfectly. I love having it by my side since my cd collection keeps growing, and I just love the simple analog feeling of 'putting the disc in and press play' without any internet connection necessary.

I want to share this cover of "In a Sentimental Mood" that my partner and I played in the church of San Cebria de Vallata, inspired by Ella Fitzgerald, to bring life to this community and continue growing :)