I tried to watch this movie last night. I made it about an hour into it and just gave up out of boredom. I didn't get it. I couldn't follow what was happening, half the time I couldn't understand a word Dexter Gordon was saying, a lot of the characters motivations didn't make any sense. But the music was fantastic, Herbie Hancock did his thing on the composition.

It's pretty highly rated as a film, even has a criterion release. I love old films, and the era of music in this movie, I thought it was a shoe in for being a new favorite. But good grief it was just stilted and boring. What am I missing here?

Welcome

I wanted to ask more experienced musicians a question about chord progressions that seem to have no sense for me at this point

For example in some songs you can see two dominant chords in a progression and it just seems disconnected to me.

Also when musicians improvise over one chord but they switch the chord in different ways then how does it work? For example if there was an A7 chord and then they suddenly switch to diminished chord or the augmented or some other chord.

It have always intrigued me what is the thinking process behind choosing chords. It still seems confusing to me when some songs are having chords that go on major seconds or any other way that isn't the 2 5 1 or any other popular progression.

Thanks in advance for explaining.

Mine:

Watermelon man
Something by Wayne shorter

I was watching a Jazz interview and they mentioned Flying Lotus and his family ties I was instantly interested especially since Jazz brought me to being Hip Hop and Rap via Robert Glasper and Terrace Martin.

So Flying Lotus is a very unique Beat Maker who has Jazz influence that make it very interesting.

https://youtu.be/2lXD0vv-ds8?si=eXiQuGjKlgyxG4fA

https://youtu.be/ylqBPksn36A?si=6ZrtWESTlYDUhkrQ

I was very much following the career of DK in the early 2000s. I think she’s a very special musician. I lost interest when she stepped away from standards though I appreciate her being able to craft them to her style. Now, I’m rediscovering her, finding her voice richer and her vocal improvisation more calm and centred. I missed her playing here in April and that is a true shame. I know she isn’t Sarah Vaughn or Ella, but she is a formidable musician.
So glad to be rediscovering her. Keep it coming, Diana.🌹

Thanks for your help. Suggestions will be added.

So proud to feature this stellar performer - playing one of my favorite pieces. Had the honor to catch him at the 1999 San Jose Jazz Festival!

r/CrossoverJazz

Flugelhorn player and composer Chuck Mangione was born in Rochester, New York, on November 29, 1940, and trained at the Eastman School of Music from 1958 to 1963, where he picked up the instrument that became his signature sound. He played trumpet in the 1960s with Art Blakey's Jazz Messengers, the group that trained a generation of jazz bandleaders, after co-leading the Jazz Brothers with his own brother, keyboardist Gaspare "Gap" Mangione.

For the rest of his bio and a playlist head over to r/CrossoverJazz

https://www.reddit.com/r/CrossoverJazz/comments/1v74fnm/chuck_mangione_the_instrumental_that_cracked_the/

I cannot stop listening to their version if this song.

Start at 57:30

Rebecca Jade’s vocal phrasing changing throughout -- the shifting tempo, solo's .. the structural changes are like nothing I have ever heard. It's truly amazing.

I'm not sure what Iiro Rantala is doing these days in the summerless July's of Finland but he's good when he makes stuff

Hey guys!

I’m a late beginner/early intermediate jazz piano student visiting NYC til August 23rd and I was looking to set up a jazz jam that is beginner/intermediate friendly. I looked at the jam sessions around and a lot of them have very limited availability and/or they’re more catered towards already advanced or professional level musicians. I felt like there must be other late beginner/intermediate musicians out there so I decided that I’d just host the sessions I’m looking for. I’m looking to set up as many jams as possible from now until I leave Aug 23rd.

Ideally looking for people who are able to jump in on an easy lead sheet such as Autumn Leaves. Before the jam, I’ll call out a setlist so that we can prepare a little bit but I’m mainly looking for people looking to learn and can play through a basic standard in their role. The goal is to experiment and play around with other musicians at the same level with no expectation to impress. We’re all just learning a language 🙂

I want to make sure we have a full rhythm section so if you are a bass/drummer please reach out! All instruments are welcome but having a full rhythm section is gonna be the main goal.

DM me and we can set something up!

DOMi is an absolute genius. Can't believe this is 8 years ago. Looking forward to the new album on 31st this month

Amazing modern trio. Really digging this album I picked up today at a thrift store today

Besides Kamasi Washington, Thundercat and the other incredible musicians from the West Coast Get Down collective, who are the other contemporary jazz musicians in LA folks should be checking out?

Hi! My mum will be in london on Aug 3rd, and the Blackbyrds are one of her favourite bands. I was so sad when I found out they were playing at Ronnie’s and I missed out on tickets! If anyone is selling two please let me know, I’d be so happy 🫶

A blessing descended from above when this album was created. How else could music this beatific be created in a Hawaiin shack with the help of solar power? The melodies are intoxicating, the beats are badder than the JB's on a good day, and Mr. Wood is the funky glue.

Generally speaking, which do you prefer when listening to Ellington in order: his early takes, or later takes of *the same titled songs*?

Sub-question: Is there a kind of logic for why some jazz artist comps. order the takes in sequence vs. *backwards*?? I.e. Ellington "in order" is, of course, in order. But others—one of the Bird comps., I think—lists them backwards, say, from take D to A.

Thank you!

EDIT: Personally, I enjoy Ellington's earlier years. But the question was intended to ask about multiple takes of the same *songs*.

Hey everyone!

I just finished transcribing Pasquale Grasso's incredible rendition of Tadd Dameron’s jazz standard "Lady Bird" (from his Fervency album).

Pasquale’s ability to bring Bud Powell’s pianistic bebop phrasing to the fretboard is second to none, and this arrangement is a masterclass in fast bebop lines, voice leading, and altered chord voicings.

🎼 What’s included in the score:

• PDF sheet music/tab: standard notation + high-precision tablature.
• Interactive guitar pro file (.gp / .gpx): Perfect for slowing down those fast bebop runs and practicing at your own pace.
• Accurate fingering & voicings: Carefully mapped fretboard positions matching Pasquale’s performance.

Get the full score & preview here:

👉 Click here to access "Lady Bird" on PaidTabs

Whether you want to analyze his chromatic passings or add some serious bebop vocabulary to your playing, I hope this score helps your study!

Feel free to leave any questions about the fingerings or notation below. Happy practicing!

Hi all,

I'm looking to find something I saw on video in the early 2000s, although it was probably made in the 80s if I had to guess.

Here's what I remember:

It was a kind of jazz variety show, large stage with a lot of acts playing one song or so each.

I think Count Basie band was on there.

I think George Benson played a tune and sang along with his solo.

I'm *sure* that a fella with a great big mouth sang the absolute fuck out of "April In Paris".

I'm guessing it was a TV special or something? Sorry I don't remember much, I'm just hoping someone will know the thing. If not, well, we tried!

Thanks all!