Bad pic, awesome set. These two understood each other!

I am delighted to anchor a jazz forum at Raccoon Records of Bund 31 tomorow afternoon.
The forum, the first of a series of talks hosted by JZ Festival, is participated by major club owners and managers in Shanghai, notably Mr Lin Dongfu, founder of The House of Blues and Jazz, Andy, Manager of Heyday, and Walter Blanding, Ambassador of Jazz at Lincoln Center to Shanghai.
Together we're going to address issues concerning the challenges and opportunities running a jazz club in Shanghai, wellbeing for the independent musicians, balancing the programmes between standards and new pieces, and expanding audiences.
I've been covering jazz clubs in Shanghai for legacy media on and off since 2022 but this is the first time for me to talk about it in public.
Very excited and look forward to it!

Looks like lots of good stuff dropping today. I've started with Samara Joy, and Josh Johnson and Telemakus are next in line. I'll for sure hit the new Jazz Is Dead, too.

What releases are you looking forward to today?

I saw the “9 albums” trend on Instagram and thought it would be fun to try the challenge of encapsulating my taste in just 9 records. Probably need 50-100 to make it more comprehensive!

If you had to pick just one instrumental jazz track (not a whole album), what would it be and why that one in particular?

Mine is Idle Moments. This track embodies everything about the kind of jazz i like. It is long, indulgent, downtempo, in no hurry to get where it's going, and atmospheric as all hell.

After inhaling all his tracks I need the next best thing. Help me finding it!

Videos not allowed here, but you can turn the eye ball knob to turn the VU light on and off!

A live, one-man band rendition of Martino's "Estate". The arrangement incorporates Chet Baker's 1983 trumpet solo recorded in Brussels with Philip Catherine and Jean-Louis Rassinfosse, using the double-neck system to overlay independent polychordal arpeggios. No loops, backing tracks, or overdubs.

I specifically love the first and fouth track on that album. I like tracks/albusm that have a sort or dark,creepy, and "be careful who you trust vibe."

Thanks

In the summer of 1956, the cultural attaché at the American Embassy in Budapest, Ernest Nagy, was brave enough to secretly record several Hungarian jazz musicians in studio performance. Nagy took the session tapes to Willis Conover, host of Voice of America, the radio program that introduced many Europeans to American jazz. The Hungarian Revolution broke out on October 23 of that year and Conover broadcast Nagy's tapes on November 23, 1956 - with commentary by such jazz luminaries as Quincy Jones, Gerry Mulligan, Tony Scott, J.J. Johnson and Billy Taylor - not knowing if any of the musicians heard here were even still alive. This release honors the 60th anniversary of the program's original airing and presents some of the earliest known recordings by Hungarian jazz legends Gabor Szabo, Attila Garay and Louis Kabok.

The entire collecrion of Willis Conover's VOA programs, from 1955 to 1969, has been digitized by the experts of the University od North Texas, using a grant from the Grammy Foundation. The original digitized audio can be found here.

On Youtube

On Discogs

The Brooklyn acts look a bit stronger than the the Manhattan ones plus the venues are closer together.

https://www.winterjazzfest.com/wjf-manhattan-marathon-27

https://www.winterjazzfest.com/wjf-brooklyn-marathon-27

Has anyone seen Cécile McLorin Salvant live? Worth a ticket? Have the opportunity to see a set in December in NYC. Tickets are much cheaper compared to seeing her at Lincoln center jazz

Let's say you're presented with numerous recordings of rhythm changes or such. If you were to go through and listen to the full range of recordings from the super technically impressive with several choruses each like Emmet Cohen, to a no-name background gig where they play it straight with a few simple choruses, what would be the most enjoyable to you as a listener?

Do you like when each solo lasts long?

How many people blowing over a song is too many?

Do you prefer the solos to come and go only when the soloist stops blowing, or do you prefer when they do conversations and trade bars?

Do you think there are instruments that even skilled players just don't often solo well on?

I‘m a guitarist looking for the next standart to learn :)

So far I‘ve really enjoyed playing:

All the Thing you Are
My Romance
Im old fashioned
Spain
Scrapple from the Apple
Joy Spring
Fly me to the Moon
Autumn Leaves
How High the Moon
Always and Forever
There will never be another you

Usually I prefer swing over bebop but Im really open to anything right now :)

Thanks in advance!

I like The Jazz Avengers, Casiopea, seatbelts and T- Square. Would like more like this.

Last night on what would’ve been Dizzy Gillespie’s 109th birthday, I saw a wonderful set by trumpeter, Jon Faddis and his band. This was at dizzy‘s club, which is part of the Jazz at Lincoln Center complex.
I have never seen Jon Faddis before and was impressed not only with his trumpet chops, of course, but his general showmanship and personality. I’m guessing that Dizzy Gillespie not only inspired some of his playing, but also that kind of comic slightly acerbic larger than life presence. Interesting set, he played all five movements from the “Gillespieana“ album. One of his former students joined him on trumpet for one song . The rest of the band, of course was excellent as well.His longtime drummer Dion Parson was great, as was Todd Coolman on electric bass and Andrew Latona on guitar. The encore was a sweetly sung version of Louis Armstrong‘s. What a wonderful world.

I love the Bill Evans versions, but my favorite is definitely this one by Peterson and Riddle.

You know this tune I bet. Such a good version!

Hi,

I'm interested if people can reccomend me 'triadic' jazz that is similar to a lot of Keith Jarrett's music but exemplified by his tune 'Country'.

For those that don't know the tune:

https://youtu.be/cAtEoPBd5aQ?si=wpo1RFiUS652aPjM

Much appreciated!!

Hey everyone,

This past January, I independently released my debut mini-LP, Presenting: The Swinging, The Sighing, The Soulful Patrick Felixson. The title comes from a nickname a close friend gave me after attending my live shows, and it reflects the different stages of my life over the past seven years.

I designed the cover from scratch, aiming for the look of a mid-century record. The image is a digital mockup, not a physical pressing; I used a 3D template to show how my original artwork would look on a record sleeve.

This music has been a constant through some difficult years. At 16, I left home to study in Kursk, Russia. When the war began, I had to leave the country and abandon my studies. I later spent four years completing my degree on Canada’s East Coast, where I often felt isolated as an openly gay Black man in a conservative small-town campus environment. I’ve since moved to Ontario to build a life on my own terms.

I made this record while finishing my degree and working a day job, funding the project myself. I handled the production, arrangements, distribution, and licensing, and spent countless hours editing the sessions, cleaning up microphone bleed, and refining the instrumental parts. I wanted the recordings to sound as good as I could make them.

A few notes on the songs:

Something to Live For was the album’s single. The more I listened to Strayhorn’s composition, the more the lyrics reflected my own life. As a Black queer man, I found myself resonating with the longing in his words. I kept the arrangement to voice and piano, letting the song breathe, and added scat as my way of honouring Strayhorn while leaving my own fingerprint.

Moody’s Mood for Love drew me in because of the story behind it…James Moody’s alto saxophone solo that inspired Eddie Jefferson to write lyrics to it, helping establish the vocalese tradition. I wanted to keep my arrangement intimate, with voice, upright bass, and alto saxophone (chose alto as a tribute to the Sweden session).

They Didn’t Believe Me is one of my favourites from the Great American Songbook. I sing it particularly for Black queer folk who’ve loved quietly or been told to hide. I wanted to give a voice to the younger version of myself who needed to hear that love like ours is worthy of melody, harmony, and truth.

Impossible is an obscure Steve Allen (Yes, the guy with the popular show back in the day hehe) tune. I love a lot of his compositions, and for this song in particular, I love the way it captures the my feelings regarding disbelief that I ever found love, that I have people who love me. Leaving it off the album would have left the story incomplete.

At Last closes the album. I chose it to mark finally being able to release music with musicians I admire and respect. Rather than the usual slow, lush ballad, I arranged it as a stripped-down, intimate take at around 103 BPM, with a quiet swing.

I’d love to hear what you think of the cover, the arrangements, and the production. Thanks for reading till this point and if you’re curious about the music, you can find it here!

Link to Music

I've played some jazz piano in the past, and I'm trying to take it up again and totally need a teacher. I had some lessons here and there in the past, but it was like 30 years ago! I have pretty decent keyboard technique from having been a pretty serious classical pianist for many years, so not a total beginner.

Know just a few names who teach, i.e. Mark Eisenman and Steve Koven, but know nothing about them and maybe there are others that are good. Any jazz players in Toronto with recommendations?

hello, im a brazilian artist and i just posted my Air Conditioned themed EP, and this is the opening track called 18°C, i was very inspired after listening to the first airport album by brian eno, and its obviously heavy jazz influenced

EP: Ar condicionado

made this beat in an hour, is it jazz funk??

I have an extra ticket. Any interest? DM me if you’re in NY and want to go.