Dreams-Visions
Member
Jazz threads please my soul. Carry on, NeoGAF.
These are better defined as big band songs, not jazz. There certainly are jazz roots in the genre though.
Kamasi also composes most of the instrumentation on Kendrick Lamar's album. Super skilled dude.I don't claim to know theory or be knowledgeable of the greats' catalogs, but I def have an appreciation for it, admittedly a lot is fusion or prog based. This won't help you for classics op but I thoroughly enjoyed Kamasi Washington's The Epic which was released last year. He's the sax player Flying Lotus uses a lot. Give it a whirl sometime if you're so inclined.
This is the first time I've ever seen Take the A train not referred to as a Jazz composition.
Big Bang has always been a type of Jazz, or I have I totally lost it?
Diminuendo And Crescendo In Blue
How is that not Jazz? Unless you consider Bebop the true origin of Jazz. Or was it Kansas City Jazz?
How was he a tool?
My introduction to Charles Mingus was a tribute album.
Weird Nightmares - Meditations on Mingus
It features Bill Frissel, Elvis Costello, Robbie Robertson, Henry Rollins, Chuck D, and some others I'm forgetting. It's great and I highly recommend it.
I've been on a jazz kick the past day or so and want to check out some new and old stuff. I'm looking for albums in the vein of:
Miles Davis-Kind of Blue
John Coltrane-Blue Train
Molly Johnson- Another Day
Buddy Rich and Gene Krupa-Krupa and Rich
Thanks ahead of time for suggestions!
You will enjoy these timeless albums:
David Bruceck - Time Out
Wes Montgomery - incredible Jazz Guitar of Wes Montgomery
Duke Ellington and John Coltrane - self titled
Thanks!
Kind of Blue is a bit of a lightning in a bottle situation and there's not much exactly like it, but Miles Davis' quintet recordings for the few years preceeding are about as close as you can get. I particularly recommend the four n' Prestige albums (Cookin', Steamin', Relaxin', and Workin') and 'Round Midnight. You can't really go wrong with anything from that era.I've been on a jazz kick the past day or so and want to check out some new and old stuff. I'm looking for albums in the vein of:
Miles Davis-Kind of Blue
John Coltrane-Blue Train
Molly Johnson- Another Day
Buddy Rich and Gene Krupa-Krupa and Rich
Thanks ahead of time for suggestions!
Dude, have you listened to On my way Harlem? Gregory Porter has a wonderful voice.something newer?
Gregory Porter " Be Good"
This has become my favorite song of all time, and I grew up on Hip Hop
I also studied jazz in university and I feel like I can enjoy just about everything on the jazz spectrum except for the big electric guitarists of the 80s. Indeed, my enthusiasm for most fusion is mild at best.A lot of jazz I find unlistenable. This is coming from someone who majored in jazz in college.
Bruh, I was going to suggest the same thing.If you don't have Spotify, sign up.
Then go here.
https://play.spotify.com/user/bluenoterecords
Listen to some of the most well-curated jazz playlists out there.
Enjoy, yo.
No worries I think those are all free on Amazon Prime as well!
You have great tastes in jazz, some of those you listed are my fav albums.
Enjoy!
Dude, have you listened to On my way Harlem? Gregory Porter has a wonderful voice.
https://www.youtube.com/watch?v=PNwfUanmihY
Jeff Bradshaw is another newer player, though he's been in the background for awhile. He's been going out on his own and was even featured with The Roots on Jimmy Fallon.
Here he his on his live album giving All this Love some love with Take 6 killing the acapella.
https://www.youtube.com/watch?v=r3c2Y4aQQfo
There's a Jazz |OT| folks! And it needs more love!
http://www.neogaf.com/forum/showthread.php?t=1012381
I agree with your broader point, but I wouldn't call D over C major dissonant unless you're talking about counterpoint.Jazz is all about dissonance. Picture a scale on the keyboard, say C major, all white keys from one C to the next. Classical diatonic harmony would build chords out of notes spaced apart, like C E G C. Jazz harmony, on the other hand, might give you C E G C D. That extra D sounds blurry or dreamy as it bumps up against the higher C, but it all still sounds pretty spread out and harmonious.
Notes like the D in the example above are what you might call jazz notes and give jazz its' distinct sound. Try it at the keyboard; play the two chords I mentioned and notice how they hit your ear differently. That's Jazz in a nutshell.
There's a Jazz |OT| folks! And it needs more love!
http://www.neogaf.com/forum/showthread.php?t=1012381
I've been trying to put together a list of "essential jazz" but it's becoming very cumbersome to do. For now, I'm just going to post my top ten:
Ornette Coleman - Free Jazz (Free jazz)
Eric Dolphy - Out to Lunch! (Free jazz)
Miles Davis/Gil Evans - Porgy & Bess (Cool big band)
Charles Mingus - Mingus Mingus Mingus ("Hot" big band, sometimes called progressive big band)
John Coltrane - Giant Steps (Hard bop)
Thelonius Monk - Alone in San Francisco (Monk's hard bop -- quite different from everyone else's hard bop)
The Quintet - Jazz at Massey Hall (Bebop)
Miles Davis - Kind of Blue ("Modal jazz", post bop? Tough to classify)
Cannonball Adderley & Bill Evans - Know What I Mean? (Hard bop)
Sonny Rollins - Saxophone Colossus (Cool jazzish, some might say hard bop)
These are in no particular order, although I probably would rank Free Jazz or Porgy & Bess at the top of an ordered list.. Of these, the bolded five are what I would consider "required reading" for a basic primer on jazz: These recordings are so iconic or impactful that they simultaneously represent watershed moments and the high points of quality for the canon.
Having said that, I think there's nothing on my list that is especially obscure and that many if not most jazz fans will encounter all of these records fairly early in their listening career, except perhaps the Cannonball/Bill Evans one.
I agree with your broader point, but I wouldn't call D over C major dissonant unless you're talking about counterpoint.
A straight up major chord is something of a rarity in jazz, too. You're likely to see C6/9, Cmaj7, or Cmaj7#11, but a C major triad is more likely to be heard as a rootless voicing for another chord -- it's a common upper triad for Ami7, Dmi7, many chords beginning on F (Fmaj7#11, F6/9, FMiMa7...), G7sus, Bb6/9, BbMaj7, Bb7#11, A7#9, Eb7b9nat13... I could go on.
C 6/9: C E G A D
Cmaj7: C E G B (D) (F#) (A)
Cmaj7#11: C E G B (D) F# (A)
Ami7 : A C E G (B) (D) (F#)
Dmi7: D F A C (E) (G) (B)
Fmaj7#11: F A C E (G) B (D)
F6/9: F A C D G
FMiMa7: F Ab C E (G D/Db)
G7sus: G C D F (A E)
Bb6/9: Bb D F G C
BbMaj7: Bb D F A (C) (E) (G)
Bb7#11: Bb D F Ab (C) E (G)
A7#9 A C# E G (Bb) B# (D# F)
Eb7b9nat13: Eb G Bb Db Fb (A) C
All of these chords contain the notes C, E and G in some form. The 6/9s appear to not have only two but the third note comes in if you introduce the seventh.
Jazz is full of sounds. The harmonic inventory of jazz is surely in like, the 99th percentile in terms of size and variety for all music. The only thing I can think of that has more choices is contemporary western art music.
The only limit for jazz harmony is what people can feasibly improvise over, and people are really pushing that too. Coltrane pushed that about as far as it can go in a technical direction with things like Countdown, where you have nine keys in a chorus and a chorus is about ten seconds long, while meanwhile the free jazz guys basically threw harmony away altogether and proved that you could still hold it together as a band.
Jazz is all about dissonance. Picture a scale on the keyboard, say C major, all white keys from one C to the next. Classical diatonic harmony would build chords out of notes spaced apart, like C E G C. Jazz harmony, on the other hand, might give you C E G C D. That extra D sounds blurry or dreamy as it bumps up against the higher C, but it all still sounds pretty spread out and harmonious.
Notes like the D in the example above are what you might call jazz notes and give jazz its' distinct sound. Try it at the keyboard; play the two chords I mentioned and notice how they hit your ear differently. That's Jazz in a nutshell.
If you liked Headhunters, I recommend checking out Spectrum by Billy Cobham and Chick Corea Elektric Band's self titled.
Passport are pretty dope.I would recommend Klaus Doldinger and his band Passport and anything they did in the 70s. They are pretty much a german 1:1 equivalent of Herbie Hancock and Headhunters.
I don't claim to know theory or be knowledgeable of the greats' catalogs, but I def have an appreciation for it, admittedly a lot is fusion or prog based. This won't help you for classics op but I thoroughly enjoyed Kamasi Washington's The Epic which was released last year. He's the sax player Flying Lotus uses a lot. Give it a whirl sometime if you're so inclined.
What makes the D a 9 or a 2 depends on the interval distance between it and the C, in other words whether there's an octave or not.Yeah, that's true. I was trying to keep it super simple for OP as I don't know how into theory they are or even if they know where the notes on the piano are. But yeah, in order for that D to be "jazzy" against a C major, you'll also need the dominant seventh or a dominant substitute; that's what makes that D a 9th as opposed to a 2nd. And if you sub the 6 for the dominant 7th, then you get C E G A D, or C 6 9. That's a good chord for someone to start off with as it sounds harmonically enhanced, but still pentatonic.
So, if you're still following along OP. Play a C E G Bb C chord, then a C E G A D chord. You'll hear a harmonic difference that you could call the difference between traditional/diatonic harmony vs jazz harmony. In this case, the A and D are "jazz" notes that don't belong to the traditional C major chord, but add that extra jazzy flavor. As the poster above me stated, though, that chord would probably be voiced differently in jazz. So you could actually drop the C root and play only E G A D. The ear still hears that as C 6 9, even without the root.
Take it one step further and you can do a chord progression with jazz voicings and harmony, leading you to the chord we've already played. This time play F A C E, that's a rootless voicing for D minor (with the E as the "jazz" note here). Next, drop the C down a note to B and play F A B E; that's a rootless voicing for G major (the F and the E are "jazz" notes here). Finally, end with the E G A D we did originally; a rootless voicing for C major (A and D are "jazz" notes here).
Hopefully that's easy to follow along with, again I don't know your skill level.
A C-major chord with an added D is hardly out of place in contemporary classical music either. But then, at this point, composers have every possible note combination available to them as all the rules have been torn down.
How much of Jazz is improvised? Is modern Jazz still improvised, or did that get left behind in a different era?
How can you even tell if it is improvised, or pre-planned, or a mix of both?
If it is improvised then how the heck do you record an album? Are tracks recorded in one take? Is every take vastly different?
How do you perform album tracks live?
Baccano Opening Music
If anyone has anything like this, tell me. The closest that I could find is the Undertale soundtrack and it wasn't quite the same.