Rolling Jazz Thread 2024

Thanks for the thoughts on that, I was curious when it came out but kind of stopped caring when I saw the only option was the $150 vinyl (not even a digital download option either, afaict).

Not to derail the thread, but this particular release (along with a few others I encountered in 2023) irks me where we've come to a point where the options are sort of pulling to the two extremes - either streaming only or catering to the vinyl fetishists at a ridiculous price point, with nothing in between. Like, hey guys, I dig your music and I'd really like to support you with more than the meager portions of pennies my streams will get you, but uh $150 ain't it dudes.

Agree 100%. If I could have bought that release on Bandcamp, I would have. But I wound up only listening to some of that, because when something is only on streaming platforms, my attention span gets a lot shorter — I'll listen to a track or two, then bail. If I put a CD on, I let it play through. Similarly, if I put a Blu-Ray in the player I'll watch a movie front to back. If I pull something up on Netflix, I might watch 15 minutes, get distracted, and quit.

Last year, Concord reissued Woody Shaw's debut album, Blackstone Legacy, on vinyl. It's a long double LP, so they had to cut a couple of minutes out of two of the longer tracks to fit it on a single CD (which I own). But fortunately, HDTracks.com had the digital files for the remastered reissue, giving me everything at full length.

Thanks for posting about Plumb I had no idea it was streaming, it's cool, man I love Murray and Ray Angry is great...not sure it really needs to be 2 plus hours, seems like it could been pretty great album as a normal length cd but what do I know

Jordan otm on Plum--where all the tracks are like 13-14 minutes long, except for all the tracks that are like 4 minutes and change, except for the one that's like 2:30, and it all seems right---can see how you might have to listen in chunks, unperson, but keep goin' back in!

from end of the year Noms thread:

Tracks:
Jason Kao Hwang--Dragon Carved Into Bone
Susan Alcorn, Septeto del Sur--El Derecho de Vivir en Paz
Alex Sadkin--Parker's Mood
Alex Sadkin--Bird of Paradise
(16/40)

JKH: electric violin, electric guitar, drum kit: fluid, fluent, digging in.
SA: pedal steel & combo: Chilean folk melodies x improv, with vocals on this one track, the best, I think.
AS: come for more from jazz pedal steelist xpost Dave Easley and drummer Jay Bellerose, stay for whole crew on "Parker's Mood," where everybody has the blues, especially that violin, and troubled ballad "Bird of Paradise." (For the second half Flight, Sadkin employs different line-up, more conventional-looking, but I didn't listen to much of that.)

From Rolling Psych Freak Drone 2023:

Co-sign on this year's Sunwatchers, fastnbulbous: once again they made my Uproxx ballot, and will be on others. This afternoon at nice quiet library, dipped a toe in two (out of three) of this year's 75 Dollar Bill reissues, from the beginning. A couple ov faves so far:

When my guitar part finally breaks form it’s just to signal the end. As for the long track that takes up the whole first side of this tape, it was named in homage to Najeeb, a young Tunisian man with Down Syndrome I’d met a few years earlier while traveling in Kairouan, Islam’s 4th holiest city. Najeeb would hang out at the cafe all day and the other guys would buy him sodas while he’d crack them up with fantastical and occasionally lewd bits about physical love, flying airplanes and tourists. Never missing an opportunity for a send up of the local religious piety, he’d attempt to order a drink you couldn’t get at this cafe, or anywhere as far as I know, وسكي بالحبرورش or “Whiskey with Hail." - CC

https://75dollarbill.bandcamp.com/track/whiskey-with-hail

I had seen Karen and Andrew playing around town and admired their playing, and finally got to meet them while playing amplified strings in a Tony Conrad ensemble circa 2012, right around when Rick and I were starting to play together. They were probably the first people to come rehearse with us and appear here on what has become our most often played (and recorded song) “WZN#3."
Andrew Lafkas: contrabass on "WZN#3"
Karen Waltuch: viola on "WZN#3"

https://75dollarbill.bandcamp.com/track/wzn-3

https://artsfuse.org/285195/the-18th-annual-francis-davis-jazz-poll-the-state-of-our-union-could-be-better/

Jazz critics poll of 2023 releases (with separate breakouts for Latin jazz, jazz vocalists, and more) . reissues . 159 critics contributed.

the top 10 of the top 50 albums list with Lewis at #1

James Brandon Lewis /Red Lily Quintet, For Mahalia, With Love (Tao Forms) 303.5 (47)
Jason Moran, From the Dancehall to the Battlefield (Yes) 226 (32)
Steve Lehman & Orchestre National de Jazz, Ex Machina (Pi) 201.5 (30)
Tyshawn Sorey Trio, Continuing (Pi) 191.5 (32)
Darcy James Argue’s Secret Society, Dynamic Maximum Tension (Nonesuch) 186 (30)
Matana Roberts, Coin Coin Chapter Five: In the Garden (Constellation) 183 (29)
Kris Davis, Diatom Ribbons Live at the Village Vanguard (Pyroclastic) 179 (28)
Henry Threadgill Ensemble, The Other One (Pi) 159 (27)
Jaimie Branch, Fly or Die Fly or Die Fly or Die ((World War)) (International Anthem) 154.5 (23)
Myra Melford’s Fire and Water Quintet, Hear the Light Singing (RogueArt) 133.5 (24)

Chuck Eddy is one of the critics. Didn’t think he was so into jazz.

He has gotten into jazz big time the last few years.

https://accidentalevolution.wordpress.com/2024/01/05/150-best-albums-of-2023/

Chuck Eddy list with 3 of top 4 being jazz ; plus long essay -

Jason Moran From the Dancehall to the Battlefield (Yes)
Allen Lowe and the Constant Sorrow Orchestra America: The Rough Cut (ESP-Disk)
Clairvoyance is the Dance Vol. 1 (Huveshta Rituals Belgium)
Lakecia Benjamin Phoenix (Whirlwind)

And oh yeah, there’s jazz too. Which, for all I know, Richard Meltzer might still listen to, to this day. And even if he doesn’t, it never died! I count at least 16 albums on my list (almost 11% — exact same percentage as metal, if you want a horse race), including three (= 75%) of my top four and 10 (= 25%) of my top 40. Read the credits and you’ll deduce that I clearly have a thing for saxophones, which is not to suggest other lead instruments aren’t honored as well.

The top two, especially, are illuminating. 48-year-old Houston pianist Jason Moran’s From the Dancehall to the Battlefield and 69-year-old Long Island (mostly alto) saxophonist Allen Lowe’s America: The Rough Cut are both loaded with blues and rags — you can tell; it’s right there in their song titles. Hillbilly music, too. In other words, they update the rock’n’roll of more than 100 years ago...

Half an hour of Cecil Taylor's big band, which appeared annually at Iridium for about five years in the early 2000s:

https://www.youtube.com/watch?v=F1eCgBMMkmE

As I discovered when writing my book, this band was amazing, as close as Taylor ever got to Ellington-level orchestration, but no albums have ever been released even though a lot of the shows were recorded.

I was there for some of them!

Not in NYC for any of this weekend's multiple impressive Winter jazz conference gigs or the global ones at Drom & Lincoln Center alas. Today there's an impressive one-- Esperanza Spalding, Brandee Younger, Irreversible Entanglements, The Messthetics & James Brandon Lewis. Website doesn't list Shabaka H, but he was listed elsewhere as part of this 6pm gig today at le Poisson Rouge

Sounds good, afraid I will be missing the whole thing once again as per usual.

Question for unperson, anybody: "Someday We'll All Be Free" and another track on on Eye of I sound like they incl. uncredited trumpet---could it be Kirk Knuffke's cornet, not making the Bandcamp annotations---or is JBL overdubbing the high end of his tenor, perhaps with pitch tweaking, other effects?
This and For Mahalia are currently my most played albums of any genre, any year.

Yeah, that's Knuffke. I don't know why he's not credited on the Bandcamp page for the album.

Wow, thanks! Also, the Glide reviewer keeps referring to Hoffman's "violin,' when credits have only "Cello/Pedals," which is certainly what it sounds like. But is violin on there as well or instead??

I have revived my podcast and interviewed pianist Ethan Iverson, who has a new album out on Friday. (It's good!)

Will listen. I got introduced to Joseph Branciforte on Pablo Held's podcast today, he's a recording engineer who has done a ton of records for Ben Monder, Tim Berne, etc. But he's also made a pair of gorgeous records with Theo Bleckmann where he's doing all the music live in a Max/MSP looping environment he made:

https://josephbrancifortetheobleckmann.bandcamp.com/album/lp2

And here he is covering this crazy Ben Monder tune on Rhodes and Moog, and he's also a ridiculous drummer? Come on.

https://www.youtube.com/watch?v=zyBQTg3d6u8

Great interview, really enjoyed it. I like the 'singles' from the record too, looking forward to hearing the whole thing. The tunes are the most 'Bad Plus-y' I've heard from him in a long time, but that also makes the drumming sound a bit safe and me want to hear what Dave King would do.

I included some quotes from the podcast in my latest Stereogum column, which just went up. I cover some high-profile albums therein (Mary Halvorson, Keyon Harrold), but there are some lesser-known artists like Muriel Grossmann, Kirsten Edkins, and Tetragone that I hope people will check out, too.

This is coming in April, and as a huuuuuge fan of their first record, the sample bit just got me totally pumped

https://astralahmed.bandcamp.com/album/wood-blues

There's also a 5CD [Ahmed] box set coming out in April on the Swedish label Fönstret. I haven't heard it, but the label head tells me it's coming, so...

All I can see is this:

https://ahmedquartet.bandcamp.com/album/super-majnoon

which is also deeply exciting to me

lol sorry, I got stoned— that last record came out this year! I had no idea because the group has several different Bandcamp pages.

Yeah, the 5CD set hasn't been announced yet, as the band haven't even signed off on the masters. But it's in process.

Cool!!

Jimmy Cobb on this Great Jazz Trio record has the greatest jazz bass drum sound I've ever heard

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

Gig at LPR was really good, particularly JBL/Messthetics and Irreversible Entanglements. Shabaka was a bit of a snooze though. Really not sure about this wafty new age direction he's going in. Too much of this tasteful ambient jazz about - it has none of the beauty or intensity of the spiritual jazz tradition it claims to be extending.

Lol, I must have been looking at a Discogs page for the wrong album because I kept listening to this going "how the fuck does Jimmy Cobb suddenly sound like Elvin", but of course it's Elvin Jones & Richard Davis on that Great Jazz Trio album. I was pretty blown away by "Eddie Gomez" too, makes much more sense now. What a record.

https://ahmedquartet.bandcamp.com/album/super-majnoon

Just a note that this is an insanely good record, bought it last night.

So I heard a song on the radio last night that I liked and Shazamed it and it was Joey Alexander — who I vaguely remember as the child prodigy who popped up on TV and elsewhere some years back. Didn't realize he had a going adult career. No idea what his critical standing is like, but I liked the vibe of the song. Anyway, this was the track (the studio version).

https://www.youtube.com/watch?v=QQM2a350TF4

Got tix to see the Blue Note Quintet on Fri, in addition to Kendrick Scott I'm most looking forward to hearing Joel Ross again.

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

(some insane playing on this session, first time seeing video of Kush Abadey, I wasn't familiar with him until that new Ethan Iverson record)

James Brandon Lewis has two albums coming out this winter/spring: a new quartet disc on Intakt with pianist Aruán Ortiz, bassist Brad Jones, and drummer Chad Taylor (I think it's their third album together), and a collaboration with the Messthetics (guitarist Anthony Pirog and bassist Joe Lally and drummer Brendan Canty, both formerly of Fugazi) on Impulse.

That quartet is absolutely superb - saw them in London in November. Ortiz is such a fantastic pianist - managed to get a seat a foot away from him. Just a marvel too watch. Rest of the band not too shabby either, ha! Chad Taylor is one of the greatest drummers alive, deserves all the flowers.

Yeah, the quartet is great, and Lewis's duo project with Taylor is fantastic, too.

The Blue Note Quintet show was stunning, highly recommend catching the tour if you can. It's hard to imagine a better drummer than Kendrick Scott, he can play anything but has a Brian Blade level of musicality & restraint. Joel Ross delivered too (especially his dancing when he lays out and goes to the back of the stage). They really sounded like a band too, mostly originals until the last tune, which was a Monk tune smashed up with a Charlie Parker blues worked into the form.

Gerald Clayton kept triggering clips of jazz musicians being interviewed (Wayne Shorter was the only one I really recognized by voice), sometimes it was just a bridge between tunes and sometimes one person would play under the audio. Didn't always work imo, but it was a good way of not having any dead air or having to address the audience until the end. Wonder if they'll make a record.

Have we talked about this record here?

https://billorcutt.bandcamp.com/album/a-mouth-at-both-ends

Friend of mine just played the trio on the radio and it blew my top off.

hmm, will peep

Fuck yeah

(brings back seeing Herlin play this tune from a few inches away a few summers ago)

https://www.youtube.com/watch?v=RI4M7qzOTHo

Really enjoyed this Vinnie Sperazza post featuring legendary jazz drummers on early r&b singles. Heard Billy Hart talking about the same thing recently, how his first gigs were in r&b bands, which led to playing with singers, which led to all of the modern jazz gigs (and how the jazz bandleaders all hired him for his r&b and pop background).

The new Iyer/Oh/Sorey album is predictably great. What a fantastic trio.

Haven’t listened but can imagine.

Yeah, it's good. I've got an interview with Iyer running in my next Stereogum column, which will probably go live next week.

Been going in on some Al Foster records after being inspired by this Dan Weiss clip:
https://www.instagram.com/p/C3LYW6kAwbk/

I went back to Joe Henderson's "So Near, So Far" Miles tribute record with Foster and John Scofield, and it's just as great as I remember. Foster is so creative and tight, especially with the hi-hat, I wouldn't be surprised if Bill Stewart got a lot from him.

I got to see Henderson and Foster play together, with George Mraz on bass, in 1997. It was great.

Wow

My latest Stereogum column is up; I interviewed Vijay Iyer, and reviewed new albums by James Brandon Lewis, Sullivan Fortner, and others. Lotta Scandinavians this month, so be warned.

I enjoyed your Rufus Reid interview (tried to go through that complete Monk set but wasn't feeling it for some reason, even though Billy Drummond is great)...it's really something how every musician talks about Sullivan Fortner these days, I've heard the same thing recently from Brad Mehldau, Aaron Parks, etc.

Some interesting records in there, especially that Otis Sandjo record.

The two tracks out from the upcoming Potter/Mehldau/Patitucci/Blade record are masterful, can't wait for that one.

I'm waiting to get the full album from the label. It's a hell of a lineup for sure.

WKCR tribute starting in twenty minutes: https://www.instagram.com/wkcr/p/C_Em6HxMaYB/

He's on Christian Mcbride's 'A Family Affair', one of my favorite records.

Listening to the tribute now. "Snowfall"!

Kurt Rosenwinkel classic quartet live video alert:

https://www.youtube.com/watch?v=GYtUzX7x6cg

What do we think of Eric Chenaux? If that’s jazz with vocals, then maybe I don’t hate all new jazz with vocals

The thing with branch is that it's not meant to be a beautiful jazz vocal, but it works for her music. You wouldn't want Johnny Hartman fronting The Ramones.

A last point on branch: I dropped Take Over The World in a DJ set the other night and the place went off. It sounded amazing on a club PA too: Chad Taylor's drums were massive and the dub section was just gorgeous. I played a bunch of funky free jazz (Joe McPhee's Shakey Jake, Theme De Yo Yo, Irreversible Entanglements, Brotherhood of Breath etc), dub and punk that night and it fit in beautifully. Same energy, same spirit, same freedom.

jaimie branch does the baby talk singing voice, end of discussion

You must hang out with some cool babies.

sadly i think my aversion to it is like the cilantro/soap thing

yeah i am sorry, we are going to have to disagree on this. the vocals are absolutely the thing that ruins the branch records for me.

Working my way through the latest No Business batch and this Kalaparusha Maurice McIntyre set - the first in their Live From Studio Rivbea series - is great, primo mid-70s Loft Jazz.
https://nobusinessrecords.bandcamp.com/album/rivbea-live-series-volume-1

I own it, haven’t listened yet, thanks for the reminder. Stew don’t know if there will be more Sam Rivers live from NoBusiness?

“Stew do you know…”

Thanks for the mention of Christian McBride's A Family Affair, Jordan. I only knew McB. as host of Jazz Night In America etc., and had no idea about his session leading and original writing, with great choice of covers on here too. Right off, we get "I'm Coming Home," by Thom Bell and Linda Creed! Now I'm thinking that Philadelphia International seems like a very under-jazzed resource---what other Philly soul versions by jazz artists should I check out??
Also new to me: Russell Malone's fairly dazzling Time For The Dancers, with elegant title track by Sir Roland Hanna, then two originals, perky "Leave It To Lonnie,")Plaxico, that is) sassy "The Ballad of Hank Crawford," and no prob mood-tempp shift to Peggy Lee's "There'll Be Another Spring"--although so far I haven't gotten all the way through an overthought take on Jose Feliciano's charmingly naive theme for Chico and The Man (sitcom about charmingly naive Freddie Prinze unfazed by grumpy gringo Jack Albertson).
Then again, there's the revelatory-to-me consideration of "So It Goes," by Billy Joel---I might even try comparative listening to the original (na).
More apt Malone originals, and btw don't worry, despite covers of singers, no vocals anywhere on this one!

htts://music.youtube.com/playlist?list=OLAK5uy_nnyTxRTmUeWWceiONx3ZuC2FMbwHLYoFE

damn, sorry!
http://music.youtube.com/playlist?list=OLAK5uy_nnyTxRTmUeWWceiONx3ZuC2FMbwHLYoFE

http://music.youtube.com/playlist?list=OLAK5uy_nnyTxRTmUeWWceiONx3ZuC2FMbwHLYoFE

Dunno why I'm not seeing the cover etc., but that is the right link, in the last two posts.

Oh, and speaking of him w Ron Carter and Donald Vega, I've just embarked on their live Golden Striker (Deluxe Edition), via "Laverne Walk," just over 12 minutes, and quite justifiably so. I'll grab another coffee for the road:
http://music.youtube.com/playlist?list=OLAK5uy_nrf15x1zejLe5D2Z0j9_MPV3oI2x1sKG0

Not sure where things are at with the Sam Rivers archive - hope there's more to come. Might be that they've put out all the stuff with Rivers himself so now they've started the Live at Rivbea series. Really should drop Danas a line to find out.

Talking Rivers, have you seen this one? Not sure where this Youtube account is getting all this vintage Berlin Jazz fest stuff from (German TV archives? DVDs?) but it's solid gold. The Braxton and Ornette sets are particularly amazing.

Help if I posted the link! https://www.youtube.com/watch?v=WF8T4mbDe-4

Yeah I subscribe to his channel, he is spoiling us lately. I watched a few already, but I gotta catch up!

Right off, we get "I'm Coming Home," by Thom Bell and Linda Creed!

Thank you, because I'm an idiot and never knew the original version(s) of it. Like many many pop and r&b tunes, I heard the jazz version before the vocal one. But it totally makes sense that it's an arrangement, because the form is really weird (Gregory Hutchinson does some of the best second line drumming on it that I've heard from a non-New Orleans drummer). But now I'm listening to the Spinners version and it rips.

Also I might start a thread for it, but there's a new Happy Apple record for the first time in like 17 years and it's AOTY material for me. Apparently it was self-released briefly in 2020, but now out properly -
https://sunnysiderecords.bandcamp.com/album/new-york-cd-2

I think it's their best work, and really reminds me of why they blew me away so hard when I would see them in the very early '00s, even more than the Bad Plus (this was before TBP blew up).

The record sounds amazing for one, everyone's instrument sounds huge and full and yet dynamic. Every member is so killing, and I can't think of a 'jazz' group with electric bass that I like more. Such a unique band, I hope people finally pay them the attention they deserve.

If people aren't familiar it's Dave King on drums, Michael Lewis (who has been playing sax in Bon Iver's band and bass with Andrew Bird) on sax, and Erik Fratzke on bass.

Talking Rivers, have you seen this one? Not sure where this Youtube account is getting all this vintage Berlin Jazz fest stuff from (German TV archives? DVDs?) but it's solid gold

Wow @ Charlie Persip wearing a shirt that says "Curtis Fuller is a Blowhard", haha.

Yeah, Jay Korber's got 'em, and not only 70s Berlin---for inst:

AMR Jazz Festival
Geneva, Switzerland 1985

Sam Rivers - reeds, flute, piano
Alain Ginapé - guitar
Kevin Harris - bass
Steve McCraven - drums

Did not know Rivers ever worked w guitar.

https://www.youtube.com/watch?v=40eSQjo7XxM

jordan thank u for pointing the way toward the happy apple record, i've never heard them before and this album rules so much

i dug it too

Glad you checked it out & enjoyed! I'm going back to some of their older records, which are great but it's also convincing me that this might have captured their sound the best, miraculously. All it's missing is the shaggy dog banter that Dave King used to do between songs. The tunes have so much humor in them while still being deep though.

Listened to a podcast with the bassist where he said they have something like 150 tunes but have never written them down, and rely on people having taped their shows to remember many of them. They did a show recently and wanted to revive old tunes, and each of them suggested tunes that the others forgot having existed.

i don't miss dave king's banter tbh

I’ve loved the music of Satoko Fujii and Natsuki Tamura for many years but this one is really hitting me, especially “Haru wo Matsu”: https://satokofujii.bandcamp.com/album/dog-days-of-summer

I've been a fan for years and years, too, even interviewed the two of them once. I just reviewed one of their other recent releases, Aloft, for The Wire. But the one I've been listening to the most lately, because my wife found it in the stacks and absolutely loves it, is Hyaku - One Hundred Dreams:

https://satokofujii.bandcamp.com/album/hyaku-one-hundred-dreams

It's a single hour-long piece divided into five movements, recorded in New York in 2022 with an incredible one-off band:

Ingrid Laubrock - tenor sax
Sara Schoenbeck - bassoon
Wadada Leo Smith - trumpet
Natsuki Tamura - trumpet
Ikue Mori - electronics
Satoko Fujii - piano
Brandon Lopez - bass
Tom Rainey - drums
Chris Corsano - drums

unperson's xpost column re Mike Smith's new book about 60s soul jazz etc, reminded me of

Funk Brother Dennis Coffey's psychedelic soul jazz sidetrip, rec to fans of Band of Gypsies, The Meters, and excitement.
---from Omnivore Records notes:

]One Night At Morey’s: 1968 is drawn from the residency at Morey Baker’s Showplace Lounge in Detroit by the Lyman Woodard Trio. The trio, comprising Coffey on guitar, brilliant organist Lyman Woodard, and drummer Melvin Davis, could be found at Morey’s once a week. They played to a dedicated, often repeat, audience so the band kept the repertoire fresh and changing. One Night At Morey’s: 1968 follows last year’s Hot Coffey In The D: Burnin’ At Morey Baker’s Showplace Lounge, released by Resonance Records, also drawn from the Morey’s residency, but with an entirely different track list.

All tracks on One Night At Morey’s: 1968 are previously unissued and come directly from the vaults of Dennis Coffey and producer partner, Mike Theodore. Tracks include original compositions, “Big City Lights,” “Mindbender,” and “Union Station,” as well as surprising and funky covers of “Billie’s Bounce” by Charlie Parker, “Burning Spear” by The Soul Strings, “Cissy Strut” by The Meters, “Eleanor Rigby” by The Beatles, “Groovin’” by The YoungRascals, and “I’m A Midnight Mover” by Wilson Pickett from the pen of both Pickett and Bobby Womack.

Holy shit, just getting around to the new Asher Gamedze, Constitution, this is incredible!

wow, this is cool, thank you.

i'm not so into the spoken word parts but the music is good enough to keep me hooked for the time being

Yeah, those interludes were probably my least favorite part, but the rest of it is so damn good that I can't get too hung up on them.

There's a newish venue, two months old, I think, on 19th Street now called Midnight Blue that seems to book pretty good bands but the one time I went there I arrived between sets and also didn't feel up to paying the $10 cover plus $25 minimum.

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

Teahm this was my brimful of Asher gateway on RJ 2020:

Asher Gamedze, Dialectic Soul:"Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul & the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving." For instance, in the opening "Emergence Suite," tenor sax and trumpet can seize on moments all they like or or must, while bass & drums are like,"Yeah, yeah, that's good, that's good, come on now, mind your head, good." Also perfectly supportive of, never submissive to horn comments and slender, strong singing in "Siyabulela."
Then a witty, fabulistic stroll through enormity in "Interregnum," where "the hopscotch ended much as it began" along the way (Don't worry, that's almost all for the voices). "Eternality" is more work-out than bliss-out, but good between the couch potato headphones. "Hope In Azania" is adrenaline afterglow in second wind, not too hopeful, but reasonably so it seems; oh yeah Speculative Fourth" does eventually let a human sing along some more with the horns, for a little while, sorry anti-voxxers.
https://ashergamedze.bandcamp.com/album/dialectic-soul

https://f4.bcbits.com/img/a2422404092_10.jpg

Are you thinking of Turbulence and Pulse? Probably because it's on International Anthem:

https://intlanthem.bandcamp.com/album/turbulence-and-pulse

Forgive me if there's another one you meant, but this sounded like what you describe with the live tracks at the end.

Yes, thanks! Forgot that he was already on IA before Constitution.

There's a newish venue, two months old, I think, on 19th Street now called Midnight Blue that seems to book pretty good bands but the one time I went there I arrived between sets and also didn't feel up to paying the $10 cover plus $25 minimum.

The official announcement won't be coming until Tuesday, but:

On November 22, Blue Note Records will release of Forces of Nature: Live at Slugs’, a never-before-issued live recording of jazz legends McCoy Tyner and Joe Henderson leading a stellar quartet with bassist Henry Grimes and drummer Jack DeJohnette at the hallowed lost NYC jazz shrine, Slugs' Saloon, in 1966. The release was produced by Zev Feldman, Jack DeJohnette, and Lydia DeJohnette.

Forces of Nature includes an elaborate booklet with rare photos by Francis Wolff, Raymond Ross, and Robert Polillo; plus liner notes by esteemed author and critic Nate Chinen, and interviews and statements with DeJohnette, Jason Moran, Joe Lovano, Joshua Redman, Christian McBride, Nasheet Waits, and Terri Lyne Carrington. Originally recorded by the legendary engineer Orville O’Brien — who recorded classic 1960s jazz albums such as Freddie Hubbard’s The Night of the Cookers, Charles Tolliver’s Music Inc. and Alice Coltrane's Journey in Satchidananda — the tape has been in DeJohnette's personal archives for nearly 60 years. The 2-LP 180g vinyl set is transferred from the original tape reel and mastered by Matthew Lutthans at The Mastering Lab, who also mastered the 2-CD and digital.

good news for the henry grimes completists among us

I've listened to a little bit (the opening "In 'N Out" is 27 minutes long) and the recording quality is great.

Damn this sounds like a great night (Branford w/Robert Hurst, Herlin Riley, and Tain Watts sitting in)
https://vinniesperrazza.substack.com/p/belonging

Also apparently this got reissued and I'm curious to hear

https://en.wikipedia.org/wiki/The_Quest_(Mal_Waldron_album)