#bill evans sax

[jazzplusplus]

1983 - Miles Davis Septet and the Gil Evans Orchestra - Yomiuriland Open Theater East - Tokyo

Miles Davis (tp), Bill Evans (sax), John Scofield (g), Mike Stern (g), Tom Barney (b), Al Foster (dr), Mino Cinelu (perc)

Gil Evans (dir, kbd), Lew Soloff (tp), Miles Evans (tp), Tom Malone (tb), David Sanborn (as), Peter Levin (synth), Hiram Bullock (g), ...

[sgurumiyaji]

本日のおはジャズ「Quintessence」Bill Evans '76

ずっとYouTubeで聴いてて欲しかったアルバム。エバンス、ランド、バレル、レイブラウン、フィリーという特別に集められた豪華メンバーによる、セッションとは言い難い完成度の高いセッション。

ケニー・ホイラー、ルグランのオリジナルからスタート。もう、これコンテンポラリー・ジャズです。バップ時代から活躍するレジェンド達の「俺達はなんだって出来るんだぞ」オーラが凄い。特にレイブラウンのラファロ的アプローチに最初耳を疑うのですが、音の粒立ちやタッチの強さから、あぁレイで間違い無いと思うのです。

最近、8分音符のタイム感に注目してるのですが、エバンスもバレルもストレート8th寄り。特にエバンスは極端なまでにストレートで、昨日聴いてたキースもこの影響かぁ…とニヤリ。唯一、ハロルド・ランドだけスウィングしてて、この中だとちょっと古臭く感じます。でも、彼もスタイルチェンジにより、最早ただのバップおじさんではありません。

録音も良く、リバーブも少なくドライなので、エバンスのリアルなタッチをピアノに耳を寄せて聴いてる様な感覚で楽しめます。しかし、エバンスのアルバムはどれも高い！これも、見本盤で漸く安く手に入れられました。

最後のバレルのスウィンギーな循環曲で「本領発揮！」と言わんばかりの演奏で幕を閉じます。

[prog-elitist]

reviews i made bc i'm bored

PROGRESSIVE ROCK SUITE REVIEW #1: Lizard by King Crimson.

Length: 23:19

Title track of "Lizard". Not "unlistenable", as Fripp had said, but really a great song, I'd rate it 9/10. The vocals couldn't be done better by someone other than Jon. And the drums are even better in the same section, "Prince Rupert Awakes". My favorite part of this suite. It seems that people tend to forget the talents of Andy McCulloch in the one album that he was on. A very underrated lineup with Keith Tippet included, beautiful piano playing. The only downside for anyone could be the length. It's fairly long, so I wouldn't recommend it for people new to the genre. 

Lineup of-

Robert Fripp: Guitar, Mellotron, Electric Keyboards and Devices

Mel Collins: Flute & Saxes

Gordon Haskell: Bass Guitar & Vocals

Andy McCulloch: Drums

Peter Sinfield: Words & Pictures

with 

Robin Miller: Oboe & Cor Anglais

Mark Charig: Cornet

Nick Evans: Trombone

Keith Tippet: Piano & Electric Piano

Jon Anderson of YES: Vocals on ‘Prince Rupert Awakes’

PROGRESSIVE ROCK SUITE REVIEW #2: Close To The Edge by YES.

Length: 18:38

Close to The Edge - one of YES' greatest suites. Close to the Edge is considered a must-listen for all progressive rock fans, showcasing the band's musical ability and power to create long and complex compositions. Great for people new to the genre. A solid 10/10, Close to The Edge is a masterpiece, showcasing all members of the band. Though not his "greatest" work, the last YES album Bruford was on as the drummer of YES was their last with a drummer who was a legend in prog, who broke the boundary between jazz and rock. Close To The Edge, in which this suite is the title track, is the first album to feature Howe using a steel lap guitar and proves his proficiency in all variations of the instrument. This album was their greatest, in my opinion. With its intricate rhythm and strong melody, it's truly a timeless masterpiece.

Drums, Percussion: Bill Bruford

Bass Guitar & Backing Vocals: Chris Squire

Engineer & Producer: Eddie Offord(A producer famous for his work with YES and Emerson, Lake, & Palmer.)

Lead Vocals: Jon Anderson

Keyboards: Rick Wakeman

Electric Guitar & Backing Vocals: Steve Howe

PROGRESSIVE ROCK SUITE REVIEW #3: Tarkus by Emerson, Lake, and Palmer (aka ELP). Length: 20:43 I truly believe ELP hit their peak with Tarkus. Tarkus is a side-long story of the armadillo-war tank hybrid on the cover of the album. I would rate it 9/10, for its complexity in music, but it is very long, making it somewhat of a chore to listen to for people newer to prog. Keith Emerson exhibits his mastery of the keyboard through his extremely large modular moog synthesizer, allowing for a wide range of sounds. Palmer’s drumming is also impressive, showing his ability to play complex time signatures and handle rhythm changes well. The suite has many sections, each with its own theme and mood. These pieces are different, yet flow into one another perfectly. If you want to explore progressive rock, Tarkus is essential. It combines rock, classical music, and innovative sounds perfectly.

Drums: Carl Palmer

Vocals, Guitar, Bass  Guitar, Performer, Producer, Author: Greg Lake

Keyboards, Performer, Composer: Keith Emerson

Producer: Eddie Offord

made these at 3 am enjoy

[jazzandother-blog]

𝐓𝐡𝐞 𝐌𝐚𝐤𝐢𝐧𝐠 𝐨𝐟 𝐭𝐡𝐞 𝐌𝐢𝐥𝐞𝐬 𝐃𝐚𝐯𝐢𝐬 𝐌𝐚𝐬𝐭𝐞𝐫𝐩𝐢𝐞𝐜𝐞 "𝐊𝐢𝐧𝐝 𝐨𝐟 𝐁𝐥𝐮𝐞".

It was the biggest selling jazz record of all time. Here are some of the musicians who played on the record, and some who didn't, with the story of how the opening track of the album, "So What," came to be. They players on the record: Miles Davis (trumpet), Bill Evans (piano), John Coltrane (tenor sax), Paul Chambers (bass) and Jimmy Cobb (drums).

Source:

[barnabycornellius]

INTRO

salut to the frontal lobes of tumblr Im barnaby slang for barnabycornellius and barnaby corn - I personally customize immaculate theories and rich food combos for only the living peeps of the world

I’m fluent in rus/eng and actively working on my français - also pls chat w me if you know yiddish or portuguese

I build hypoallergenic hydroelectrical dog dams for a living

interests:

general: music, typology, cool math that’s not bum, french surrealism era poetry, journaling, wokespawning, running, skiing, astrophysics and generating plasma, breeds of tea, yiddish, communicating with cats, psychology, domekeeper(the game), telegram, and bitcoin fishing

my music: Im in orchestra&jazz band and I love playing piano, cello, and upright+electric bass. I want to learn classical guitar and baritone sax

non classsical music: cocteau twins, henry mancini, gerry mulligan, wham, kool&the gang, casiopea, rus hi-fi, johnny marr, the art of noise, piero piccioni, lelio luttazzi, the sha la das, cortex, hiroshi, george michael, electronic, duran duran, roland dyens, bill evans, the doors..

classical absolute favs: debussy, ravel, chopin, scriabin

if you like the idea of cool jazz and old italian soundtracks + ethereal wave you should tots check out my spotty playlists https://open.spotify.com/user/ibns7as0tadijsmfg88313zkh?si=QIrawBh8Rxe2G_PcslSrYA

shows/movies: house m.d., that one movie with bjork (dancer in the dark), lawrence of arabia, idk give me recs

typology: attitudinal psyche is bomb🔥🔥and I can help type people in most systems except for the solar system one bc there’s lit like one source on that

I mainly specialize in wolf rank system typing though

[posttexasstressdisorder]

Extremely dumb is right.

"Oh yeah, some guy is going ham on a clarinet. Dave Burkbeck Quartet."

He's "going ham" on a sax. And it's Dave Brubeck.

And you forgot a few.

If it sounds like Charlie Brown, it's Vince Guaraldi.

If it sounds like some guy talking to himself it's Bill Evans.

If it sounds like needless but pleasant noodling it's Chick Corea.

If it sound like needless but unpleasant noodling it's Keith Jarrett.

An extremely dumb guid to “Which famous 60’s/70's Jazz man is that?”

1, Is it Piano lead or Bass lead? If piano go to question two. If brass question three.

2, Does the Pianist sound like he’s taken all the acid, or is there a guy making love to a clarinet?

Oh yeah: he’s taken all the acid alight. Is… is he okay? Thelonious Monk.

Oh yeah, some guy is going ham on a clarinet. Dave Burkbeck Quartet.

Neither of the above: Duke Ellington.

3, If brass lead: is it Louis Armstrong? If Yes, it’s Louis Armstrong. If no, question four.

4, Does the Trumpet player make you feel sad? Even, dare I say, Blue?

Almost? Chet Barker

Kind of? Miles Davies.

If no, question five.

5, Is the trumpet player trying to blow your face clean off? Like, actively trying to kill the first row of the audience? Dizzy Gillespie.

It’s brass led, but Sax not Trumpet.  

Okay, question 6, isolate the stings: is Charles Mingus doing what he’s actually paid to do in the back of the ensemble, or is he dicking around and seeing how far a man can take a double bass before his band-mates kill him?

Seems to be playing normally: Charlie Parker

He’s fucking around in F minor, and also that Bari sax is filthy! The Mingus Big band, with Ronnie Cuber on the Sax.

[projazznet]

Steps Ahead - Full Concert [HD] | Live at North Sea Jazz Festival 2005

Bill Evans (soprano sax, tenor sax); Mike Stern (guitar); Mike Mainieri (vibes); Richard Bona (bass); Steve Smith (drums).

[sheetmusiclibrarypdf]

Niels-Henning Ørsted Pedersen (1946-2005), bassist

Niels-Henning Ørsted Pedersen (1946-2005), bassistBest Sheet Music download from our Library.Bill Evans - Beautiful Love (Jazz Piano Workshop Berlin 1965), with Niels-Henning Ørsted Pedersen and Alan DawsonNiels-Henning Ørsted Pedersen, NHØP

Niels-Henning Ørsted Pedersen (1946-2005), bassist

Bill Evans - Beautiful Love (Jazz Piano Workshop Berlin 1965), with Niels-Henning Ørsted Pedersen and Alan Dawson

https://www.youtube.com/watch?v=qwG3fw-GOTE

Niels-Henning Ørsted Pedersen, NHØP

After studying piano for six years, Niels-Henning Ørsted Pedersen (May 27, 1946, Osted, Denmark – April 19, 2005, Ishøj Municipality, Denmark), chose to play bass influenced by a famous classical instrumentalist. His improvement was so rapid that at the age of fourteen he was already playing with the best jazz groups in his country. In 1960 he joined a professional jazz quintet and the following year, in January 1961, he recorded his first album with a trio that included pianist, Bent Axen. His fame in Denmark increased significantly and this gave him the opportunity to play between 1962 and 1969 in the formation of the 'Danish Radio Orchestra', the public radio of Denmark, a job that he expanded when in 1964, he was invited to be part of the big band. of said institution. In 1962, a year before joining pianist Kenny Drew's trio, he had the opportunity to perform at the Café Montmartre in Copenhagen with the piano master, Bud Powell, who confessed himself admired by the quality of that Danish double bassist. With Powell, Pedersen had the opportunity to record his first album of international relevance. That meeting with Powell opened the doors of jazz throughout Europe and his presentation in subsequent years at the most important European jazz festivals such as Montreux, Nice, or Molde. In the 1970s his professional career was definitively consolidated when he met Dexter Gordon, based in Copenhagen, and with whom he became so close that for Dexter, Pedersen was one of his essential musicians, recording thirteen albums together. . In 1964, Ørsted Pedersen was elected best Danish jazz musician of the year, just at the time in which he played with the multi-instrumentalist, Roland Kirk. In 1965 he had the opportunity to tour Europe with the tenor sax master, Sonny Rollins, and with the pianist's trio, Bill Evans. In 1968, a survey among critics specialized in jazz by the North American magazine, 'Down Beat' ranked him as the best European jazz double bassist. In 1969 he made a new European tour and that same year he met the pianist, Oscar Peterson, a key musician in Pedersen's career and with whom he spent about five years. With Peterson, Pedersen would establish himself as one of the great jazz bassists in the world and during the 1970s, his work with the greatest jazz bassists multiplied. For two consecutive years, Jazz Forum magazine chose him as the best European jazz bassist and in 1977, he obtained the same worldwide consideration when he was chosen by Melody Maker magazine. His discography is very extensive as a sideman of other musicians, highlighting his albums with saxophonist Dexter Gordon, with Oscar Peterson, with a magnificent live performance at Carnegie Hall in New York in 1979 with Ella Fitzgerald; with Stephane Grapelli, with guitarist Joe Pass; with alto sax player Jackie McLean; with our admired Tete Montoliu, especially on the album recorded for Stepplechase in 1994: «Catalonian Fire»; with Anthony Braxton or with Philip Catherine. The albums under his name have almost all been for the select Danish label: 'Stepplechase', beginning in 1975 with the album: 'Jaywalkin' and ending in 1998 for the same label with a live performance at the Montmartre café in the Danish capital. Niels Henning Ørsted Pedersen's last visit to Spain was on March 4, 2004 at a concert at the Kurssal in San Sebastián, together with the alto saxophonist, Phil Woods. Pedersen was one of the great creators of modern jazz in Europe and his mastery was recognized by the most demanding musicians. Read the full article

[rockmusicassoc]

In The Rock, Jazz Edition 3/2/1959: Miles Davis assembles his sextet to begin recording ‘Kind of Blue’. Sax players John Coltrane and Julian “Cannonball” Adderley, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb and pianist Bill Evans made history. #MilesDavis

[krispyweiss]

Album Review: Funkwrench Blues - Soundtrack for a Film without Pictures

It should go without saying a Soundtrack for a Film without Pictures would contain music with no words. But Sound Bites said it anyway.

So there.

In any event, the LP, released under multi-instrumentalist/producer Frank Swart’s nom de artiste, Funkwrench Blues, and featuring a slew of guests, including Miles Davis alums Gary Bartz, Dave Liebman and Bill Evans on saxes, is an adventurous affair that strings together 13 tracks with similar two-word titles like “The Test,” “The Ordeal,” The Reward” “The Resurrection,” all inspired by Joseph Campbell’s “Monomyth.”

But all similarities end there as Funkwrench Blues and company crisscross the musical landscape anchored by a revolving cast of drummers who serve essentially as lead instruments moored to the rhythm section.

Swart plays lead bass on “The Life” and “The Return,” which also prominently features cello. Sitar pulls the “The Refusal” toward the East. Vibes add a swinging jazz vibe to “The Crossing.” Zappaesque horn charts mark “The Test” and the guitar-centric approach Swart takes to “The Approach.” And strings and piano splash around in “The Reward,” which swells and recedes like a tidal pool.

The same can be said for the album as a whole, which builds to a middle-section peak and slowly runs back downhill toward the dissonant experimentation of “The Credits.”

Grade card: Funkwrench Blues - Soundtrack for a Film without Pictures - B-

1/30/24

[xerks44]

Peter Brötzmann & Paal Nilssen-Love @ Shinjuku Pit Inn (2017)

REMEMBERING PETER BROTZMANN MARCH 06, 1941 – JUNE 22, 2023

A TRIBUTE TO THE POWERFUL AVANT-GARDE SAXOPHONIST

Saxophonist Peter Brotzmann passed away on June 22, 2023 in Wuppertal, Germany at the age of 82.

He was born on Mar. 6, 1941, in Remscheid, Germany, and originally studied painting.

As a teenager, he saw Sidney Bechet perform and soon afterwards taught himself to play clarinet and tenor-saxophone.

Brotzmann was always most interested in free-form improvising, he developed a ferocious sound, and throughout his career, he played with the most adventurous performers including bassist Peter Kowald, guitarist Derek Bailey, saxophonists Evan Parker, Anthony Braxton, and Ken Vandermark, and pianist Cecil Taylor.

His early albums For Adolphe Sax (1967) and Machine Gun (1968) were innovative and quite unrelenting; he led over 65 albums and appeared on scores more as a sideman or co-leader.

Brotzmann was a member of Han Bennink’s Instant Composers Pool, Last Exit (which included Bill Laswell), the Globe Unity Orchestra, his Albert Ayler-inspired Die Like A Dog Quartet, and the Peter Brotzmann Chicago Tentet.

Although his playing never mellowed, he did record a surprising ballad album (I Surrender Dear) in 2019.

Here is a relatively brief Peter Brotzmann duet with drummer Paal Nilssen-Love from 2017 that starts out almost mellow, giving listeners a good introduction to the innovative saxophonist.

-Scott Yanow

[davidpwilson2564]

Bloglet

Monday, February 13, 2023

Fun with Alexa.  Brahms piano music, changing to Bill Evans.  A lengthy Bill Evans archive.  

I phone the office of Dr. Birns to see if the result of the MRI is in.  It isn’t.  Damn. 

Someone has his car radio at full volume and Latin music is heard.  Two persistent chords.  Tonic and dominant.  

Very tired from yesterday’s festivities and realizing that Kenichi’s working day started quite early this morning.  At his age, I think, I too was a hard worker.  

A listening interlude at Roger’s.  Vinyl recordings (!).  Played on an actual turntable (!). Music from the early Sixties.  The Ralph Marterie band.  Roger played with them.  Funny, for a time they were sponsored by Marlboro cigarettes. The music stands were red and constructed like Marlboro packs (boxes).  At that time the Marlboro man, a man of action to be sure, had a wing-like tattoo insignia on his left hand, the hand holding the cigarette.  The band traveled with an ink stamp replica and men in the band had to have their left hands stamped. Funny, but really rather awful.  

In a weird but vivid dream I am handed an instrument resembling an alto sax.  I have some music in front of me, on a marching band lyre flip stand.  I put my fingers in what I think are the right places but there are some additional keys on the instrument that puzzle me.  I am in the back ranks of a band assembled on a field.  It is time to play (I will face public humiliation for sure) when I awaken.  

Tuesday, February 14, 2023

Valentine’s Day.  My sister’s seventieth birthday.  Wow.  We’re getting old. 

When Valentine’s Day comes around I always remember that my friend Al Clogston, now in London, had a yearly gig playing the piano for couples who were getting married atop (well not exactly) the Empire State Building.  This event inspired by “An Affair to Remember”...the movie which inspired “Sleepless in Seattle”...I’m told...haven’t seen the latter.  

Local color: The local Bed, Bath and Beyond is closing (!).  Huge, cavernous. Looking even larger now that its shelves are being emptied.  (Everything must go.) No idea what will take its place.  

Note: Nikki Haley has announced that she is running for president.  The Trump people will be on the attack, of course.  Colorful insults are, as we speak, being prepared.  

Incidental music: while at Roger’s yesterday he briefly had WQXR on. As we know they routinely program the old warhorses.  But I heard something new to me that piqued my curiosity.  I looked it up on the program guide.  I’d never heard of Dora Pejacevic (a name I have spelled with no small effort).  Croatian. 1885-1923.  Is she being rediscovered?  A real find.   

Very nice weather.  We’ve yet to have our first snow (!).  Rumors (they call them predictions) of an artic plunge this weekend.  

to be continued

[theloniousbach]

JOHN COLTRANE NON-IMPULS-IVELY

With this listening exercise, I have tried to overcome the Saint John Coltrane syndrome. That is, can I hear John Coltrane as a gigging jazz musician—in the clubs, recording at the invitation of Rudy Van Gelder or others. That THE Quartet scrambled for gigs and not everyone showed up every time, that he was a sideman—and not just with Miles Davis and Thelonius Monk, that there were unevennesses (Miles fired him for drugs after all), that the distinctive style was always there and fixed.

I am not a follower of the literal Church of Saint John Coltrane in San Francisco nor one who followed his spiritual recordings beyond A Love Supreme (itself so vaunted I rarely play it), but he is a secular “saint,” if you will, for being a defining force on the saxophone, including popularizing the soprano sax; for composing a number of stunning tunes to the point that ”the Coltrane changes” are a thing; and for leading one of the handful of important long-standing jazz ensembles (okay the Modern Jazz Quartet, both Miles Davis’s Quintets (with Coltrane in the first one), Ornette’s, Bill Evans with Scott LaFaro and Paul Motian which wasn’t long-standing alas, who else?).

The upshot is that I don’t feel I can put on Coltrane casually and when I do it’s those Impulse albums with McCoy Tyner, Jimmy Garrison, and Elvin Jones full of important compositions.

I did know the sole Blue Note album Blue Train with the title cut and Moment’s Notice (and, oh, yeah, the wonderful I’m Old Fashioned) and, for similiar reasons, Giant Steps on Atlantic with even more amazing tunes (the title cut, Impressions, Naima, and Mr PC), but those are also part of the permanent museum exhibit.

Fortunately, there’s a collection of all the Prestige recordings Coltrane ‘58 which is too big and wanders a bit to be revered. But what a collection for the incremental growth of the sheets of sound approach—and yet he is not simply running scales but saying significant things over nifty tunes. Song for Ernie on Soultrane and Everytime We Say Goodbye is the tune right after My Favorite Things on that Atlantic album were both favorites going in. But Stardust, Lush Life, and a whole album of blues are in there.

What a treat to hear him with the Red Garland Trio; Kenny Burrell; Lee Morgan, Curtis Fuller, and Kenny Drew on Blue Train; Freddie Hubbard and Donald Byrd; Tootie Heath, Louis Hayes, and Art Taylor as well as Philly Joe and Jimmy Cobb from the Miles days. Part of being simply Impulsive was to not share solo space with other horns. Yes, Eric Dolphy was on Africa/Brass (including for arrangements) and the second Village Vanguard session, but he too is a saint.

An important but not surprising discovery is the album Ole and its expansive title cut which adds Spanish/Mexican music to a palette that went to Africa/Brass and India. Dolphy’s on that one with Freddie Hubbard too and the title cut makes for an appealing trance.

The point, proven to my satisfaction, is that John Coltrane showed up to gigs and recording sessions and paid his dues and delivered magic most of the time. He’s fun and worth listening too. His legend won’t break for considering it more accessible.

[usedcarheaven]

MILES DAVIS, trumpet.

JULIAN “CANNONBALL” ADDERLEY, alto sax.

JOHN COLTRANE, tenor sax.

BILL EVANS, piano (on all tracks except 2”)

PAUL CHAMBERS, bass.

JIMMY COBB, drums.

Great pic of pianist Bill Evans and Trane. Wonder what they were discussing?

[edoardojazzy]

bill evans sax - the shorty shuffle

[adsmusiconstellations]

Bill Evans - You Must Believe In Spring (1981)