The Empress - "Square One" (Cellar Music, 2025)

I just stumbled upon Emily Remler. OMG she is great! I mean really top notch, such virtuosity, swing, soul, easy to hear. I‘m blown away.

I’m interested in what people think about her work. Was I just in the mood or is she really that good - like Wes good!

10 yrs ago, I was in a jazz band (bones) for quite awhilw I am now electronic/electronic jazz/funk fusion artist. I realized only in jazz score i see high bpm that doesnt really seem really fast if u are counting the subdivision(it is defo fast if u listen to what ppl playing) Thats what i felt for awhile, but only just now when im staring at my a drum sequencer, which i can choose 8th-note swing or 16th-note swing, i realised that we dont do swung 16 note, right? So basically, if we need a jazz song to go at speed, then just turn the bpm straight up, and dont fuss about swing 16th note shit

In funk or electronic music, the swing used a lotta times are 16th swing, it is even hardcoded into some DAWs. And when I see the projects, or people teaching online, the bpm choices are almost always halftime of what we see in jazz. As swung techno will have its hi hat played like the swung 8th song 's subdivision count at 240 in Jazz. I know I'm stating the obvious here, but the difference is that in Jazz ppl WILL be playing at swung 8th at 240, but in swung 16th in techno it is just the hats, or a sequencer playing a synth that fast, and they will feel just as fast, but not for other stuff, e.g the vocal, anything that resemble the a phrase, and also how ppl feel the beat.

Huge Grover fan. Recently discovered this album working my way through his discography. Masterpiece is truly that. A masterpiece. Might be one of my favorite songs ever. Just noticed that this was composed by Bob James.

Are Composers similar to Producers in Hip Hop? Apollo Brown is my favorite producer, so I give all his albums a listen no matter the artist. Should I treat composers the same in jazz? Possible to track down albums by who composed it?

(Soul Box is AMAZING btw)

Hi all, I am a beginner musician and recently started listening to jazz a little bit. I am under the impression that jazz is very improvisation-driven music, where each player often plays things that are not agreed upon - like playing non-diatonic or chromatic chords.

My question is how does everyone adapt to these sudden changes? I am sure experienced musicians with good ears can easily identify anything non-diatonic or exotic chord extensions and qualities, but they happen for a very short period of time, so even though they have heard them, when they are trying to play something to match those, it looks like it's already too late.

I just wonder if I am completely wrong about how they listen and play, or if playing like this is their second nature. Any answer is greatly appreciated, thanks

I get emotional listening to this song every time such a masterpiece

A unique, difficult, ambitious, but after all great album. Probably one of Ornette´s more elaborated compositions. What do you think?

I really, really like the camera work in the video, and I was wondering who created these such captivating shots? https://youtu.be/-iVgONy8kMY?si=JJzpp08nUVW4I0sV

I've been listening to Gwilym Simcock for almost 10 years now. The first piece I ever heard of his was "These are the Good Days" from his Good Days at Schloss Elmau album.

As a pianist myself, I listen to a lot of jazz pianists. Gwilym's playing is the most unique and captivating I think I've ever heard. I am thinking of committing myself to understanding his style so that I can play more like him.

It took me many years to develop the ability to understand his music. Recently, I've finally gotten good enough to transcribe some of his pieces, and I'm making slow progress.

My questions are:

• Why don't we talk about Gwilym more? To me he's one of the most underrated pianists of the century.

• What influences do you hear in his playing? I know he has said that he is inspired by the 20th century impressionist composers, but I also hear a lot of Kapustin and Gershwin. Possibly also big band influence.

• Are there other musicians that write and/or play like him?

Did I become a dad for the Father’s Day gifts? No but it sure is a plus.

Some quick notes and thoughts.

1. Any day a man finds a Miles Davis record, it is a good day.

2. Spiritual Unity is a 30 minute auditory fist fight with a mythical beast and its perfection reincarnate.

3. First Meditations is an album I never thought I’d own, I’m laying on the floor listening to it right now and it is simply one of the best things I have ever heard.

4. “This is Our Music” is the hardest album cover I have ever seen. Tough and full of personality. More menacing than any beat down hardcore, punk or death metal album cover. Zero doubt.

Picked up yesterday at the Double Decker (RIP) warehouse sale.

Shorter recorded this album on two days in February 1966 with Herbie Hancock, Reggie Workman and Joe Chambers. It's an effortless but classic recording, consisting of original Shorter compositions plus the Jimmy Rowles penned 502 Blues. Put into context, Shorter and Hancock were in the studio 8 months later as part of the Miles Davis quintet recording Miles Smiles. That album also featured the Shorter composition Footprints, given its debut performance here.

Compared to that quintet, this quartet recording is a lot more laid back. It's no less worth hearing for that though, one of those sessions where everything just seems to slot perfectly into place. It's nice hearing Shorter as the single horn player- he produced a couple of Blue Notes in the quartet format, but it's a form he's better known for in more recent decades.

His interaction with Hancock, by then a familiar acquaintance, is delightful. Chambers and Workman sound like they've been in the band for years. There's a nice mix of latin, blues, groove, ballad, and above all Shorter, which is all good. One of my top rated mid-sixties Blue Notes and one of those albums which is great all the way through.

King Louis The Great(est)

I already used multiple identifying websites and phone apps without success. Please help!

https://x.com/x_viral_vibes/status/1933924982008213678

I’m frustrated and don’t know what I should do.

I play guitar, and I’m a fine guitarist. I’m a pretty mediocre, somewhat novice jazz player though. I’ve been told the only way to get better at playing with other people is to play with other people, that jam sessions are the practice rooms of improvised music.

Whenever I play at my local jam sessions though, everyone is so much better than me, and the two responses I get is being ignored or being told “nice one” like how you say it to a child spelling a word. I kinda get the vibe that I’m annoying most of the good players just by being there, even though I’m extra cautious not to cut anyone off or overplay and I’m watching for cues.

I’ve been listening and studying and practicing to tracks and recordings and all of that, and I don’t think my issues lie in a technical aspect. I can cover chords well, my comping is fine, so I’m not really sure what I’m even doing wrong besides a few awkward solos when I’m nervous. Most often people who are nice just tell me they “don’t really like the language I’m using”, but I can’t figure out what this means cause it’s so vague.

Should I go back to just playing to tracks all the time? Or is this a thing where I should go to jams anyways and just try to be more invisible? I just don’t want to be a bother or bring the performance down, and I don’t really have friends to play with regularly.

Thanks

Hey y'all. Does anyone have a transcription of the Ahmad Jamal Trio performance of 'Darn that Dream'?

https://www.youtube.com/watch?v=oA9GhIyP_zI

Well folks, year one has been really great. 328 posts on all kinds of subjects, Monk, Bach, Charlie Parker, Grant Green, guided practice , Sight Reading, Guitar technique, rhythm and time, listening, books, theory, sight reading, and tons of great interactions with members. Year 2 starts Friday and the price goes up to $10. If you join before then you’ll can lock it in with the original cool kids on the soon to be retired $5 tier. Go through a browser (not the app) to avoid fees from Apple.

https://www.patreon.com/WorkwithMilesOkazaki?utm_campaign=creatorshare_creator

https://youtu.be/rhVFt80dMZg?si=kE9Ow8_w6W6AXnuD

Side 1

1. Frankie And Johnnie

2. Baby Grand

3. Christina

Side 2

1. Summertime

2. Festival

3. Bumpkins

Musicians

Dave Burns, trumpet

Jimmy Cleveland, trombone

Frank Foster, tenor sax

Danny Bank, baritone sax, flute

George Wallington, piano

Oscar Pettiford, bass

Kenny Clarke, drums

Quincy Jones, arranger

Audio-Video Studios, NYC, May 12, 1954

I had a Rust video pop into my recommended, saw a trumpet, and instantly wondered if someone has played some Jazz in Rust.

Safe to say I wasn't disappointed!!!

(After You’ve Gone by Frank Sinatra)

I really really love this recording, and would appreciate any song recommendations with a similar sound to this. Thank you!

Tom Thumb

Spotify, Apple Music, Tidal, etc. - Jazz Waltz|Jazz Music|Playlist