After a long wait the 2 UHQCD set of “John Coltrane - Live in Finland 1961 • 1962” is in hand from The Lost Recordings.
I have had the first disc, the 1961 Helsinki concert on another release from Gambit, and this version sounds much better!
This was early Zawinul, he was a straight ahead player on sessions at that time, with Ben and with Cannonball etc. His use of electric piano with Cannonball and then his keyboard work with Miles opened his playing up to freer elements which he explored more with early Weather Report, though I would say that his playing became progressive but not full-throated “free jazz” for the most part.
Joel Ross “The Parable of the Poet” Blue Note cd
I find Ross a very intriguing writer, arranger and player. This one has a great ensemble: Ross on vibes with Immanuel Wilkins on alto saxophone, Maria Grand on tenor saxophone, Marquis Hill on trumpet, Kalia Vandever on trombone, Sean Mason on piano, Rick Rosato on bass & Craig Weinrib on drums.
I’m listening to Eddie Bert “Musician of the Year.” The sort of “house trio” of Hank Jones, Wendall Marshall and Kenny Clarke is always great support. As the cover subtly suggests, there is overdubbing of additional Bert trombone on tracks, which was a novel thing in 1955 (the title comes from the fact that Bert was so awarded by Metronome magazine that year).
Eddie Bert “Musician of the Year” Savoy Denon cd
is that a compilation or a particular artist
Or is it The application that chose that for you?
Well, interesting you should ask. I’ve been listening to Pause Maybe? for the last few days and finally decided to look into it a little more. Turns out it appears to be completely AI-generated — the music, the artist, maybe even the whole image behind it.
At first, I really liked the mood. It has that relaxing 1940s speakeasy feel with soft saxophone and late-night jazz club vibes. Great background music. But finding out it was AI-generated instead of played by real musicians honestly changed how I felt about it.
What I love most about jazz is the human side of it — the emotion, the little imperfections, the feeling that real people are creating something together in the moment. AI can copy the sound, but it can’t replace real experience or emotion.
I’m not against technology, but I do feel a little disappointed. It makes me wonder what this means for real musicians and for people who care about authentic music.