Best Ever Albums

Re: Nothing But Jazz July

Anonymous — Tue, 2 Aug 2016 11:01:47 GMT

Author: Anonymous

Posted: 08/02/2016 15:01

So, I've decided that my own next listening "project" is going to be to go through four record label's catalogs. I've chosen: (1) Astral Spirits, which I previously mentioned; (2) Treader, which is run by John Coxon (one half of Spring Heel Jack); (3) Fataka; and (4) Otoroku, which appears to be largely dedicated to live performances at Cafe Oto, but I do have a reissue of Topography of the Lungs from them too. Each of these labels is relatively young, has been active in recent years (all but Treader have 2016 releases as of now), and specializes in improvised music. I've contacted Treader about ordering their discog and I've purchased the entirety of Fataka through their bandcamp; I've been moving around in Oto and Astral Spirits, but will move through them after those first two. Really just found or started paying attention to these labels within the last week or two. Pretty excited to have embarked on this adventure.

Re: Nothing But Jazz July

Anonymous — Sun, 24 Jul 2016 18:50:20 GMT

Author: Anonymous

Posted: 07/24/2016 22:50

TheQuietus' Complete Communion column this month brought the Astral Spirits label to my attention, which is a small Austin-based label dedicated to releasing cassettes of adventurous, often improvised music (i.e. mostly jazz), including releases from Rob Mazurek, Joe McPhee, Boxhead Ensemble, and some other big names. They just released a batch of four albums this week; still digesting them, but they're all well worth a listen. Beyond that, mostly been listening to the 2016 albums I mentioned previously, plus the Dejohnette/Coltrane release from this year. Outside of 2016 jazz, this week I've mostly been doing repeat listens to Evan Parker's Marsyas Suite (2015, highly recommended), Coxhill/Miller, Marion Brown's Quartet, Steve Lacy's Clinkers, and parts of Leo Smith's Great Lakes Suites. That Robinson/Sanders release has gone up in my book since my last post. What has everyone been enjoying recently? from this year? from the Skype listening schedule?

EDIT: other than 'straight' jazz, the only other 2016 releases I've really returned to are Autechre, Andy Stott, and Tortoise. This week I've been listening to a lot of Spring Heel Jack, Penguin Cafe Orchestra, John Fahey, David Pajo, Pram, Jessamine, Ganger, June of 44, and HiM.

Re: Nothing But Jazz July

alelsupreme — Sat, 23 Jul 2016 22:26:33 GMT

Author: alelsupreme

Posted: 07/24/2016 02:26

Sure why not.

Re: Nothing But Jazz July

mickilennial — Sat, 23 Jul 2016 22:21:12 GMT

Author: mickilennial

Posted: 07/24/2016 02:21

The project is sort of teetering itself into its final week, so I figured the thread was worth jumping to the front page for that alone. I want to apologize for not really contributing in the thread (though I have done plenty in the skype group imo), but I think if we can convert this into a general Jazz discussion thread we could have plenty more room and length to discuss jazz on BEA in a focused central area. What does everyone think about that prospect?

Re: Nothing But Jazz July

Anonymous — Wed, 6 Jul 2016 12:19:06 GMT

Author: Anonymous

Posted: 07/06/2016 16:19

Since this project started at the half-way point of the year, I figured it would be fun to share my ten favorite jazz albums I've heard thus far, with a small description of each. In rough ascending order:

Vijay Iyer & Wadada Leo Smith - A Cosmic Rhythm With Each Stroke
A piano and trumpet duo. Leo Smith started out as Anthony Braxton's sideman around 1970, has remained towards the forefront of adventurous music since then, and has recently had a tremendous creative renaissance with highly conceptual albums including 2012's Ten Freedom Summers and 2015's The Great Lakes Suites; I don't know much about Iyer except that he was awarded a MacArthur Fellowship relatively recently. What I'm trying to get at is that these are two certified geniuses in a room, exploring the full range and boundaries of improvisational communication between their respective instruments, at which they're masters. It's not as impressive as other Leo Smith stuff, even from recently, but it's well worth a listen, and will likely be considered by many to be the best jazz album of the year.

Alexander Hawkins & Evan Parker - Leaps in Leicester
A piano and soprano sax duo. Once again, I know nothing about this pianist, but on here he compliments and communicates with Parker's style well. And Parker is on par with some of the best stuff I've heard him on here. Parker can lock in a repetitive groove or burst into a purely improvisational cacophony, and he does both here, and in between his sax seems to explore in a furtive, mercurial way which really seems like how a soprano should sound. It might be that I have a bias towards the sounds of soprano sax, but I like this release quite a bit, and the longer structure of songs helps too.

Fred Frith & Darren Johnston - Everybody's Somebody's Nobody
This is a guitar and trumpet duo. I don't know anything about Darren Johnston, but he communicates with Frith pretty well here; or perhaps, he does his thing until Frith comes in to add to it, and then they try to communicate. I like this mostly because I like Frith, and this is one of his quieter, more accessible recordings that I can think of.

Peter Brotzmann & Heather Leigh - Ears Are Filled With Wonder
A tenor sax and guitar duo. I've been told that Brotzmann has been getting calm in these past few years, and in fact the last time I saw him he was mostly on clarinet and seemed very tame next to each of the players he was with (Jason Adasiewicz, John Edwards, Steve Noble). This is not so on this recording. He is his usual firey, blustery self throughout most of this half-hour track (though with some quieter interludes). Heather Leigh is from Houston psych group Charalambides who, if you haven't heard, could be compared to a less-blustery Bardo Pond; apparently she's a well-established improviser as well, but here she seems to carry on the Charalambides legacy. So when this duo gets together, it sounds about as close to that Sunn O)))/John Coltrane youtube mashup as you could actually get in real life. Heavy, psychedelic jazz. Highly recommended.

Fire! - She Sleeps, She Sleeps
Mats Gustaffson is a highly technical, virtuoso player that tends to be the centerpiece of whatever he plays on, for better or worse. I've seen him perform and he is a poor communicator, often simply belting over everyone no matter what the other players have locked in to. Here though, the pace is slower and, because it's unlikely these tracks are highly improvised, he allows himself and all the other instruments to breath, and the record benefits from that. What you get is technical, highly emotional playing that's adventurous but easily digestible, rather than a madman screaming over everyone.

LOK 03+1 - Signals
Two pianists, a percussionist, and a turntablist. Thanks to dividesbyzero for this one. I just started listening to this one a few days ago, but I'm already enraptured by it. Still processing but I'm coming back to it daily.

Anthony Braxton - 3 Compositions (EEMHM) 2011
Three massive, sprawling, hour-long, free orchestral arrangements. Think Free Jazz or Ascension on crack or, better yet, Anthony Braxton's previous orchestral pieces like For Four Orchestras or Creative Music Orchestra 1976, but now with MacArthur funding so he can do what he want. I'm still beginning to digest this, but it's on here because I keep on coming back to the tracks on here (only listened to it once all the way through so far though).

Jon Balke - Warp
A solo pianist blending classical and jazz influences into his improvisations, with added production complimenting it.

Jeff Parker - The New Breed
A guitar-based record with accompanying instruments. Jeff Parker incorporates a lot of hip hop and soul influence into this record. His playing style is perhaps not at his peak (e.g. The Relatives, Sworn Eyes), but it's more adventurous than most of the stuff he put on the last Tortoise record, and the important part is that he has a highly distinguishable style that's still evolving. This only came out about a week ago, so I'm still digesting it. A must listen for Tortoise/Chicago Underground/Isotope enthusiasts, but might not be a favorite for others.

Jamal Moss, Mark Sanders, Orphy Robinson - 01.01.16
A turntablist, drummer, and vibraphonist. Just started listening to this one this week as well. Thanks to skinny and Complete Communion from The Quietus for this one. I'm pretty well aware of Mark Sanders record dates, and have heard both him and Orphy play on Spring Heel Jack records, so I was very excited for this one, but the actual product is a bit below my expectations. The vocal parts are very Sun Ra-esque. Still processing this one though, and I am coming back to it almost every day.

Beyond that, I've also been enjoying Cuong Vu Trio Meets Pat Metheny and Ches Smith's The Bell; the former is pretty classic-sounding jazz fusion that can sound like cool jazz at some moments and highly adventurous in others, and the latter is sparser, atmospheric chamber jazz with a trio including a violist (I haven't heard many jazz violists, so it was a treat, I guess). There are some others from Henry Threadgill, Trondheim Jazz Orchestra, Kim Myhr, and Jenny Hval, Fire! Orchestra, and William Parker that I'm still digesting and deciding what my opinion is on them; I'm not a tremendous fan of vocal jazz, so I already have a bias against many of the pieces on these releases.

About half of my jazz listening from this year has been digital and a significant chunk of that has been devoted to new albums; the other half has been vinyl I spin at home, and in the past month or so I've mostly been putting on these: Anthony Braxton's Anthony Braxton (B-X0 NO-47A), This Time..., For Alto, Saxophone Improvisations Series F, Creative Orchestra Music 1976, and Five Pieces 1975; Andrew Cyrille's What About?; Fred Frith's Guitar Solos; Company's Epiphany; Polly Bradfield's Solo Violin Improvisations; Marion Brown's Quartet; Lol Coxhill's Welfare State and Miller/Coxhill; Evan Parker, Derek Bailey, and Han Bennink's Topography of the Lungs; and Grachan Moncur III's Echoes of Prayer. All of these are truly great and I cannot recommend one over the other, but for someone trying to first expose themselves to more jazz, I would suggest the Marion Brown and Grachan Moncur III; the former's "Capricorn Moon" contains adventurous improvisation over a groove among the ranks of great post-bop/hard-bop grooves like Dexter Gordon's "Cheesecake" and Lee Morgan's "The Sidewinder" and the latter features a Blue Note outcast known for his spiritual and austere stylings gaining access to one of the premier free jazz orchestras of the '70s.

One trend in my listening that I'm on the tail-end of is listening to jazzy or jazz-inspired noise rock. A couple months ago, I picked up a trio of LPs from a series titled Ass Run, with Jackets in the style of BYG Actuel releases and music featuring the No Neck Blues Band, Shit Spangled Banner, The Max Factory, and Fuzzhead. Beyond those recordings, I've also been listening to Rake (e.g. The Art Ensemble of Rake), Gravitar (e.g. Gravitaativaravitar), and The Cows ('91-'95 run of albums). These groups are typically mostly noise rock and most of the jazz inspiration comes in the form of improvisation, attitude/aesthetic, and the occasional horn, but it's interesting to see where the influences of jazz can take people.

Re: Nothing But Jazz July

SleepDealer — Sun, 3 Jul 2016 08:45:49 GMT

Author: SleepDealer

Posted: 07/03/2016 12:45

Skinny wrote:

I accidentally started early and went to see Kamasi Washington tonight. Best gig I've been to since D'Angelo. Amazing.

I also saw Kamasi last week (Bristol). Best gig I've been to since Sufjan Stevens last year.

Re: Nothing But Jazz July

Anonymous — Sat, 2 Jul 2016 16:16:14 GMT

Author: Anonymous

Posted: 07/02/2016 20:16

So the other members of the Skype group and myself have organized a schedule for the listen-a-longs that we'll be doing (we already did A Love Supreme today, sorry to those that missed out), that you can find here, and the plug room where the listens will take place is here. I'll edit the OP so all of the links are easily accessible. We haven't quite organized the times yet, but if you have any questions, just ask.

Re: Nothing But Jazz July

Anonymous — Thu, 30 Jun 2016 23:13:31 GMT

Author: Anonymous

Posted: 07/01/2016 03:13

To make things a bit easier, I'm posting the link to the Skype group, which is where the bulk of the conversation related to this will take place: https://join.skype.com/uUNcMfacbHZz

Re: Nothing But Jazz July

cestuneblague — Thu, 30 Jun 2016 15:10:37 GMT

Author: cestuneblague

Posted: 06/30/2016 19:10

alelsupreme wrote:

what do this mean

please applerill don't explain

Re: Nothing But Jazz July

Anonymous — Thu, 30 Jun 2016 14:57:52 GMT

Author: Anonymous

Posted: 06/30/2016 18:57

I'd love to drop into this thread occasionally and discuss things. I figured since this project is largely intended to get people into jazz, that my first post might be some sort of primer on how to quickly find something that you enjoy...

Style Jazz is a massive umbrella term, encompassing musics made for about a century. If you're gonna find something that you enjoy quickly, you need to know where to drop into that history. Going forward chronologically, you have roughly: New Orleans jazz; "the golden age," featuring the rise of Louis Armstrong, Duke Ellington, and Charlie Parker; Harlem jazz; swing; modern; bebop; postbop; third stream; modal; free jazz; free improvisation; fusion; and traditionalism. I personally have a bias towards free jazz, free improvisation, and fusion from about 1960 to today (with some interest in postbop, modal, and third stream around the '50s), so I've likely missed a lot of key movements in those early years. I suggest searching for acclaimed albums through sites with genre tags (e.g. allmusic, rym) for albums in genres and time periods that might interest you; sample at least an album from each of these genres and see what you fancy. And though New Orleans jazz may have been "the" movement at the turn of the 20th century, and though free jazz may have been "the" movement at around 1960, you will find albums following the tenets of these and the other movements being made today, so recording quality shouldn't scare you off the earlier ones (in fact the decrepit, sometimes eerie recording quality is what draws me most to earlier jazz sometimes). I have a hunch that most of the people on BEA tend to think of postbop, third stream, and modal when they think of jazz (maybe modern too); that's where you get names like Kind of Blue, Charles Mingus, Thelonious Monk, The Modern Jazz Quartet, Eric Dolphy, Lee Morgan, Dexter Gordon, Sonny Rollins, early John Coltrane, early McCoy Tyner, etc., so you might begin somewhere around there. So, the first step of "getting into jazz" should be loosely determining what styles you're interested in. There is no wrong answer to this, except traditionalism.

Players One of the (I believe) fundamental ways that jazz distinguishes itself from rock to the listener is focus on the player, rather than focus on the group. In rock, we tend to think of groups, e.g. Slowdive, and offshoot groups of that group, e.g. Mojave 3. In rock, of course each musician has their (hopefully) characteristic style, and you might follow that musician through their various groups, but the focus is on the group. For instance, you like the White Stripes. The White Stripes is largely characterized by Jack White's style, you love Jack White, and you'll follow Jack White through his various groups, but they're the White Stripes, The Raconteurs, The Dead Weather... they're groups and you're only listening to them because they're Jack White's groups. In jazz, the focus is on each player. For instance, you might really like Joe Zawinul's playing on Miles Davis' In A Silent Way... so you would check out Joe Zawinul's recordings as a leader, his recordings with Weather Report, and his recordings as sideman elsewhere. I think this shift in focus is in one part because players are highly mobile in the jazz landscape, and though there might be many fruitful collaborations that they constantly return to over the years, typically jazz players will be in brand new lineups for many of their recordings. I think the other part is because jazz is highly dependent on improvisation; think of an improviser like a conversationalist - the conversation will change based on who is taking part in the conversation, not just the content, but the delivery and tone. Jazz leaders are also typically lax in their direction, at least past 1960, so what a player brings to the table is the genius of that player, not necessarily the leader. All that might be speaking out my ass, but the conclusion is that, when navigating the styles of jazz you like, it's helpful to latch on to players and follow them through their projects, as leaders and sidemen. You might pick these players by hearing them as sidemen on recordings of other leaders that you happened upon, or you might pick them because of the instrument they play. For instance, if you already know you really like drumming, you'll want to latch onto drummers, and if you already know that you really like the timbre of soprano sax, you'll want to latch onto those players, and so on. Keeping in mind that I have a bias towards free jazz, free improvisation, and fusion since the '60s, here's 2-3 of my current favorite players for each instrument (I'm still trying to find some better vibraphone players, so hmu):

Tenor sax: Albert Ayler, John Coltrane, Sam Rivers
Alto sax: Anthony Braxton, Marion Brown, Ornette Coleman
Soprano sax: Lol Coxhill, Evan Parker, Steve Lacy
Trumpet/Cornet: Don Cherry, Leo Smith, Rob Mazurek
Trombone: Grachan Moncur III, Clifford Thornton, Roswell Rudd
Vibraphone: Jason Adasiewicz, Milt Jackson, Karl Berger
Piano: Cecil Taylor, Matthew Shipp, McCoy Tyner
Violin: Leroy Jenkins, Polly Bradfield
Guitar: Fred Frith, Derek Bailey, Jeff Parker
Banjo: Bela Fleck, Eugene Chadbourne
Drums: Ed Blackwell, Han Bennink, Steve Noble
Bass: Dave Holland, Charlie Haden, John Edwards

Format Finding your favorite jazz albums won't just depend on the style and players, but also the format, e.g. solo, duo, trio, big band, etc. How many people are in the studio is going to affect who you hear how often and how well you hear them, and could determine the space of the recording. For instance, if I enjoy Don Cherry's playing, I'm going to be able to focus on his playing more in a duo setting (e.g. Mu, with Ed Blackwell) than in a double-quartet setting (e.g. Ornette Coleman's Free Jazz). I personally typically enjoy solos the most, then duos, trios, and big band. Remembering that you can think of the improviser as a conversationalist, a solo recording will let you hear what that person is like when they're alone in a room; a free improviser on a solo recording is as personal as music ever gets, I don't even think that's debatable. For me, it's then interesting to see if and how their style changes when they have one other person (duo): how they share the space, what they "talk" about, and how they "talk" about it. Trio settings are typically (but not always) a bass, drums, and a soloing instrument, so it's like you're getting a solo performance but under the constraints of behaving within some sort of rhythm. And then I like big band stuff (Jazz Composer's Orchestra, Anthony Braxton's orchestral recordings, Spontaneous Music Ensemble, Company, ICP Orchestra, Art Ensemble of Chicago) because I like trying to pick out players styles in a mess as a kind of challenge, and it's always interesting to see how large improvising ensembles manage space (for instance Company has some particularly sparse recordings for a large ensemble, whereas most of these recordings get very crowded). Many of the "great" jazz recordings (e.g. Kind of Blue, A Love Supreme, Black Saint and the Sinner Lady) fall somewhere between these smaller and larger formats, e.g. septets. Unfortunately, some formats are time-dependent, e.g. solo recordings will only be found after ~1970.

Jazz and rock So after doing some research, some soul-searching, and some meandering through various recordings, even after you've more-or-less picked out your favorite styles, players, and formats, jazz can still seem daunting to "get into." I imagine most everyone here was raised with the rock idiom, so it might be helpful to explore those groups that exist in the liminal space between jazz and rock. The '70s saw the rise of jazz fusion, which is exactly jazzrock. The big groups here are Weather Report, Mahavishnu Orchestra, and Miles Davis' run of albums Tribute to Jack Johnson, Bitches Brew, Live-Evil, and On the Corner (but there are many, many others). The fusion tradition grew directly out of jazz traditions, so you can trace back some of the players on these recordings back into "pure" jazz albums, e.g. Sonny Sharrock, Chick Corea, Miles Davis, Jack DeJohnette, early Herbie Hancock, etc. If you like trip hop, check some of the samples used and you'll find that several trip hop groups sampled several fusion groups. Other, more modern groups blending jazz and rock traditions would include Penguin Cafe Orchestra, Tortoise, Talk Talk (last two albums), HiM (particularly Sworn Eyes), and Spring Heel Jack ('00-'08 ); Spring Heel Jack would be particularly useful in jumping into jazz because they used "pure" jazz players on their later recordings (I highly suggest their last two albums). And of course, the staple of rock is the guitar, so it might be helpful to explore jazz guitarists and then work your way into jazz by selecting some of your favorite players in the guitarists' recordings that you enjoy. Some of my favorite jazz guitarists are: Fred Frith; Derek Bailey; Jeff Parker; Nels Cline; Sonny Sharrock; James "Blood" Ulmer; Henry Kaiser; John McLaughlin; Larry Coryell; and Pat Metheny (and then of course there's Django Reinhardt and Wes Montgomery). If you're into hip hop/electronica, it would be useful to check where "jazzy" hip hop and electronica are getting their samples from.

Time Lastly, it’s quite understandable that some bias against jazz not being timely in the world of music is a thing for some people. Jazz has not been particularly popular since at least the ‘70s, jazz has arguably been a poor source of significant change in music since at least the ‘70s, and sometimes it seems like there’s not many new great musicians in jazz through the ‘80s and beyond. But, as mentioned previously, all styles of jazz are still being made today, from New Orleans to free jazz and free improvisation. And, though this year’s best jazz releases are typically from musicians that established themselves in the ‘70s, there are plenty of fresh new faces with fresh ideas that come onto the scene throughout the decades. (Keeping my biases in jazz in mind) the ‘80s saw the rise of Bill Laswell, Henry Threadgill, Anthony Davis, John Zorn, The Lounge Lizards, Pat Metheny, and Henry Kaiser, among others; the ‘90s saw the rise of Ivo Perelman, Guillermo Gregorio, Matthew Shipp, Ken Vandermark, Rob Mazurek, and Jeff Parker; and I’m personally not sure who has made grand debuts in the ‘00s, but I’m positive they’re there, just harder to find because the form is less popular, and I haven’t given that decade a serious look. So the point is that jazz is still very alive and a very relevant artform, you’re probably just not going to be able to chat about it to many of your friends.

In closing, I think it would be very helpful for the purpose of this project that, when people ask for recommendations or give recommendations, we keep style, players, format, and time in mind. For instance, if someone says they enjoyed this year’s Wadada Leo Smith + Vijay Iyer’s A Cosmic Rhythm With Each Stroke and are looking for something similar, you might consider giving them another free jazz/free improvisation record in a duo format, featuring trumpet/cornet and/or piano (perhaps with one of the same players) that was released relatively recently (e.g. Evan Parker + Alexander Hawkins Leaps in Leicester from this same year). There’s a lot of jazz to wade through, with a lot of players and styles to familiarize yourself with, so let’s help each other out to appreciate the artform in our own ways. Looking forward to the possibilities here.

Re: Nothing But Jazz July

rkm — Wed, 29 Jun 2016 19:43:35 GMT

Author: rkm

Posted: 06/29/2016 23:43

Sounds great. Not sure I can do only jazz, but I'm interested in being involved. I've been listening to a lot of Miles and Coltrane. Earlier this year I bought several collections that I've been working my way through.

Just got through Coltrane's "Heavyweight Champion" set.

Re: Nothing But Jazz July

craola — Wed, 29 Jun 2016 19:39:04 GMT

Author: craola

Posted: 06/29/2016 23:39

stangetzaway wrote:

Saw Kamasi a few months ago and one of the top 5 gigs I've seen.. Utterly brilliant and his collaborators equally good. The core of the band have known each other since they were 3, 4 years old and perhaps explains the chemistry.

What are they, siblings!? Hot damn. Outside of family, I don't think I've kept any connections running that long.

Re: Nothing But Jazz July

stangetzaway — Wed, 29 Jun 2016 19:15:45 GMT

Author: stangetzaway

Posted: 06/29/2016 23:15

Saw Kamasi a few months ago and one of the top 5 gigs I've seen.. Utterly brilliant and his collaborators equally good. The core of the band have known each other since they were 3, 4 years old and perhaps explains the chemistry.

Re: Nothing But Jazz July

Skinny — Wed, 29 Jun 2016 18:38:10 GMT

Author: Skinny

Posted: 06/29/2016 22:38

I accidentally started early and went to see Kamasi Washington tonight. Best gig I've been to since D'Angelo. Amazing.

Re: Nothing But Jazz July

alelsupreme — Wed, 29 Jun 2016 17:07:46 GMT

Author: alelsupreme

Posted: 06/29/2016 21:07

Applerill wrote:

Luke and I plan to be celebrating this month very... sentimentally before bed, but I'd love to take part in this, too.

what do this mean

Re: Nothing But Jazz July

Applerill — Wed, 29 Jun 2016 16:38:46 GMT

Author: Applerill

Posted: 06/29/2016 20:38

Luke and I plan to be celebrating this month very... sentimentally before bed, but I'd love to take part in this, too.

My first rec is

Thumbnail. Click to enlarge.

Pneuma by Michael White

Re: Nothing But Jazz July

Anonymous — Wed, 29 Jun 2016 16:13:11 GMT

Author: Anonymous

Posted: 06/29/2016 20:13

sign me up my man

Nothing But Jazz July

Anonymous — Wed, 29 Jun 2016 14:31:58 GMT

Author: Anonymous

Posted: 06/29/2016 18:31

So I'm going to be hosting an event called Nothing But Jazz July, and, well, the title is pretty self-explanatory.
The goal is obviously to listen to nothing but jazz, but if you can't do that you can still participate. Just try to at least somewhat keep up with what the rest of the group is listening to. The most important thing, of course, is to discover and enjoy.

We might try to go through certain artists' discographies, but I'm not exactly sure how we're going to do everything just yet. I'm going to try and host a daily listen-a-long to a classic jazz album, starting with obvious selections such as Kind of Blue and A Love Supreme. Originally this was going to be something that I was going to by myself, but after some others showed interest I decided to change it into a group event. It'd be great if I could get some of the jazz buffs here to join in and share recs, as my original intention was to discover and learn more about jazz.

There's going to be a Skype group, so if you're interested in participating, send me a PM with your Skype name.

Happy listening!

Skype Group

Listen-a-Long Schedule

Plug Room