14-16-2018 19:25 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m

Wallace Roney

14-16-2018 19:25 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1994-1982 / 3h 18m # Wallace Roney, Joe Henderson, Ron Carter / Cedar Walton Duo, Steve Coleman and Five Elements, Allan Holdsworth, Anderson Ray, Abdullah Ibrahim, Joe Zawinul,  Willem Breuker Kollektief, Mark King, David Friesen, Claus Ogerman / Michael Brecker

J A Z Z   M U S I C

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1994-1982

Trumpeter Wallace Roney is a forward-thinking, post-bop musician with a healthy respect for the jazz tradition. Blessed with a warm yet plaintive trumpet tone and a lithe improvisational style, Roney's distinctive playing bears the influence of such legendary predecessors as Miles Davis, Clifford Brown, and Woody Shaw.
Wallace Roney
Mistérios (Joyce Maestro / Mauricio Maestro) 4:52
Meu Menino (Danilo Caymmi / Ana Terra) 6:17
from Misterios 1994
Trumpeter Wallace Roney avoids the standard repertoire altogether on this CD, playing pieces by Pat Metheny, the Beatles, Egberto Gismonti, Jaco Pastorius and even Dolly Parton among others but, try as hard as he may, he still sounds like Miles Davis every time he hits a long tone or plays a doubletime passage. Backed by a small orchestra that mostly interprets Gil Goldstein arrangements, Roney is the main soloist throughout this interesting ballad-dominated set.

A remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz. / Joe Henderson is proof that jazz can sell without watering down the music; it just takes creative marketing. Although his sound and style were virtually unchanged from the mid-'60s, Joe Henderson's signing with Verve in 1992 was treated as a major news event by the label (even though he had already recorded many memorable sessions for other companies).
Joe Henderson
Isfahan feat: Christian McBride (Duke Ellington / Billy Strayhorn) 5:58
Lotus Blossom (Billy Strayhorn) 4:30
Drawing Room Blues feat: Christian McBride (Billy Strayhorn) 7:32
from Lush Life: The Music of Billy Strayhorn 1992
With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended.

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets.
Ron Carter / Cedar Walton Duo
One of the most valued of all hard bop accompanists, Cedar Walton was a versatile pianist whose funky touch and cogent melodic sense graced the recordings of many of jazz's greatest players. He was also one of the music's more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes...
Heart and Soul (Hoagy Carmichael / Frank Loesser) 3:02
Back to Bologna (Cedar Walton) 4:12
from Heart & Soul 1991
Bassist Ron Carter and pianist Cedar Walton both became active on the New York jazz scene around 1960. Walton was soon to gain popularity working with Art Blakey's Jazz Messengers; meanwhile, Carter would become an important anchor in what is arguably Miles Davis' most influential ensemble. In 1981, Timeless Records documented the great rapport between these two giants of post-bop jazz. Heart & Soul is certainly not a loose "blowing session"; it's clear that the duo's repertoire had carefully developed during a year of gigging together in Manhattan. At the same time, the music never feels overarranged and stiff; there is always room for spontaneity. The piano and bass duo is a challenging setting, and there are relatively few successful recordings in the jazz literature...

M-Base founder, composer, and alto saxophonist Steve Coleman hails from Chicago. His earliest years were spent playing in R&B and funk bands in emulation of his first hero, Maceo Parker. Coleman had heard all the greats in his hometown and changed his focus from R&B to jazz, precipitating his move to New York. He gigged with the Thad Jones-Mel Lewis big band, followed by Sam Rivers' All-Star Orchestra and, eventually, Cecil Taylor's big-band project. He began working with other leaders as well: David Murray, Abbey Lincoln, Michael Brecker. But Coleman was restless; he began listening to other music, particularly that of West Africa (he later traveled to Ghana to study). His music evolved and he continued to play side gigs, honing his sound and compositions -- he has a totally original alto tone -- by playing in the street.
Steve Coleman and Five Elements
Rhythm People 7:13
No Conscience 5:31
Dangerous 4:58
The Posse 4:34
from Rhythm People (The Resurrection of Creative Black Civilization) 1990
The music on this "M-Base" recording, despite the difference in instrumentation, does not sound radically different than Ornette Coleman's harmelodic music of the 1980s. Altoist Steve Coleman is the lead voice throughout most of his originals and his solo style (often relying heavily on whole-tone runs and unexpected interval jumps) is intriguing, but it would be surprising if his rhythm section did not get bored playing the funky (although eccentric) rhythms after awhile. Two tunes include angry raps that lower the quality of the record. Steve Coleman's CD is obviously not "The Resurrection of Creative Black Civilization" (its immodest subtitle) for how can one resurrect something that has never died? However it does contain plenty of creative (if disturbing) improvisations.

British guitarist Allan Holdsworth was widely considered one of the finest instrumentalists in all of jazz fusion, yet never truly received the recognition that he so rightfully deserved.  / With a liquid sound and a two-handed attack that influenced future tapping specialists from Stanley Jordan to Eddie Van Halen. 
Allan Holdsworth ‎
City Nights (Gary Husband) 2:33
Secrets perf. by Rowanne Mark (Allan Holdsworth / Rowanne Mark) 4:22
Spokes (Allan Holdsworth) 3:32
Peril Premonition (Chad Wackerman) 4:45
from Secrets 1989
A true masterpiece, Secrets is the massive culmination of Allan Holdsworth's years-long legato technique and SynthAxe development. Conceptually inspired by but significantly different from the electric guitar, the SynthAxe is not a guitar-controlled synthesizer; it's a completely unique instrument of its own, making the guitarist's gripping performances all the more impressive. Holdsworth actually plays both instruments at a world-class level, setting an almost unreachable technical standard for aspiring rock, jazz, and fusion players. In addition to Secrets' technical accomplishments, Holdsworth contributes some of the most inspired songwriting of his career...

Jazz trombonist known for exploring the furthest outreaches of free improvisation.  Ray Anderson is a living embodiment of the uninhibited and at times rambunctious approach to individualized expression that is a vital element dating back to the beginnings of jazz through Lester Bowie, Charles Mingus, Dizzy Gillespie, and Roy Eldridge to Fats Waller, Louis Armstrong, Jelly Roll Morton, and Bessie Smith. In addition to his trailblazing exploration of the tonal and textural possibilities of the trombone, Anderson has the singular distinction of having transferred Dick Griffin's multiphonic technique on that instrument to his own singing voice, enabling him to simultaneously blend several pitches to the point where he sounds like a blues-inflected Tuvan throat singer. With more than 20 albums to his name and many dozens of collaborations with musicians linked to multiple genres, Anderson's professional history is dizzyingly diverse and rich in opportunities for exciting and predictably unpredictable listening. A phenomenal résumé underlines his lifelong devotion to substantial and creative music regardless of genre specifications or stylistic category; Ray Anderson cannot and will not be pigeonholed.
Anderson Ray
Blues Bred in the Bone (Ray Anderson) 7:58
Mona Lisa (Ray Evans / Jay Livingston) 4:46
I Don't Want to Set the World on Fire (Bennie Benjamin / Eddie Durham / Sol Marcus / Eddie Seiler) 5:11
from Blues Bred In The Bone 1988
Unlike on his previous Old Bottles, New Wine recording, trombonist Ray Anderson's high-note technique gets the better of him on this set... Even with a supporting cast that includes guitarist John Scofield and pianist Anthony Davis, this has to be considered one of Anderson's lesser efforts.

A prolific South African jazz pianist who has tried to blend African roots music with contemporary American jazz.  The melodic sounds of South Africa are fused with the improvisation of jazz and the technical proficiency of classical music by South Africa-born pianist Dollar Brand or, as he's called himself since converting to Islam in 1968, Abdullah Ibrahim. 
Abdullah Ibrahim
Blues for a Hip King (Abdullah Ibrahim) 5:43
African Dawn (Abdullah Ibrahim) 6:27
Blue Monk (Thelonious Monk) 4:17
from African Dawn 1987
On this solo piano set, Abdullah Ibrahim pays tributes to some of his musical heroes: Thelonious Monk ("'Round Midnight," "Just You, Just Me," "Blue Monk," and "For Monk"), John Coltrane ("For Coltrane"), and Billy Strayhorn ("A Flower Is a Lovesome Thing"), although surprisingly not Duke Ellington this time. But even on the direct tributes (which are sometimes a bit abstract), Ibrahim sounds very much like himself. The pianist, who also contributed five other colorful originals, displays his South African heritage and his optimistic view of the future in his unique brand of jazz. African Dawn is a fine example of his solo piano talents.

An outstanding jazz pianist/keyboardist who worked with artists such as Cannonball Adderley and Miles Davis.  Joe Zawinul belonged in a category unto himself -- a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remained insatiable. Zawinul's curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe. He was one of a bare handful of synthesizer players who actually learned how to play the instrument, to make it an expressive, swinging part of his arsenal. Prior to the invention of the portable synthesizer, Zawinul's example helped bring the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul also became a significant composer, ranging (like his idol Duke Ellington) from soulful hit tunes to large-scale symphonic jazz canvases. Yet despite his classical background, he preferred to improvise compositions spontaneously onto tape rather than write them out on paper.
Joe Zawinul 
The Harvest (Joe Zawinul) 6:02
Zeebop (Joe Zawinul) 4:52
Carnavalito (Joe Zawinul) 6:19
from  Dialects 1986
If Joe Zawinul was out to prove that he didn't need Weather Report anymore, he succeeded spectacularly in this virtual one-man show. Zawinul recorded many of the vocals (assisted now and then by Bobby McFerrin and a vocal trio) and all of the synthesizer and rhythm machine tracks himself in his Pasadena home studio, yet the results are anything but mechanical. Zawinul in fact achieves a rare thing: He manages to get his stacks of electronics to swing like mad in these pan-global grooves that pick up where WR was about to leave off... This is an important, overlooked album because it proves that electronic instruments can reach your emotions and shake your body when played by someone who has bothered to learn how to master them.

The Willem Breuker Kollektief is a jazz group formed in 1974 by 10 musicians leaded by Dutch bandleader Willem Breuker. The band plays unconventional jazz mixed with different styles, from latin to (contemporary) classical to theater and vaudeville.
Willem Breuker Kollektief
Like Other People Say 1:43
Hap Sap (But Not From Jaffa) 5:59
Driebergen-Zeist 10:00
from To Remain 1985
...There's a sense of wonder combined with the glee of a kid in a candy shop that he exploits with passion and humor, going so far to have composed sections with some band members "misplaying" their parts while others exasperatedly wait for them to get it right...

Virtuoso bass player and singer of English pop band Level 42 known for his bass-slapping technique. 
Mark King
Essential (Mark King) 18:36
I Feel Free (Pete Brown / Jack Bruce) 4:50
from Influences 1984
EXCLUSIVE! Level 42’s Mark King speaks to movingtheriver.com about his classic solo album Influences, released by Polydor in July 1984.

Talented and prolific jazz bassist who has continually experimented yet remained decidedly accessible.  A technically adept, immensely intuitive bassist and pianist, David Friesen is a forward-thinking performer whose albums touch upon spiritually minded contemporary jazz, folk, world traditions, and acoustic post-bop.
David Friesen
Amber Skies 8:16
Voices 7:17
from Amber Skies 1983
One of bassist David Friesen's better jazz sessions as a leader, this set (which has been reissued by other labels on CD) has some excellent playing by tenor saxophonist Joe Henderson on "Amber Skies" and "Underlying," a rare opportunity for flutist Paul Horn to take a solo in a straight-ahead setting ("Blue and Green"), and was the first opportunity that pianist Chick Corea and drummer Paul Motian had to work together; percussionist Airto completes the sextet. The diverse originals, all by Friesen, feature each of the players quite favorably, and the overall results are stimulating.

The prolific arranger and orchestrator, Claus Ogerman moved from Europe to the United States in 1959 and began an association with the Verve label, where his arrangements were featured on albums by Frank Sinatra and Antonio Carlos Jobim (1967's Francis Albert Sinatra & Antonio Carlos Jobim -- the first of two collaborative albums by the pair), Astrud Gilberto, Bill Evans, Wes Montgomery, Stan Getz, Cal Tjader, and other leading artists
Claus Ogerman / Michael Brecker
A remarkable technician and a highly influential tenor saxophonist (the biggest influence on other tenors since Wayne Shorter), Michael Brecker took a long time before getting around to recording his first solo album. He spent much of his career as a top-notch studio player who often appeared backing pop singers, leading some jazz listeners to overlook his very strong improvising skills.
Cityscape (Claus Ogerman) 8:46
Nightwings (Claus Ogerman) 7:45
from Cityscape 1982
...This 1982 collaboration with the late jazz saxophonist Michael Brecker is one of his most successful works, not least because the overlap between the extended harmonies of jazz and the chromaticism of the late German Romantic polyphony in which Ogerman was trained is large enough to allow Brecker to operate comfortably -- his improvisations seem to grow naturally out of the background, and the intersections between jazz band and orchestral strings come more easily here than on almost any other crossover between jazz and classical music. The mood is nocturnal and reflective. Brecker at this point had not yet made an album as a bandleader; he was primarily known to those who closely followed jazz and R&B session musicians. The album was originally billed as a release by Claus Ogerman with Michael Brecker. Yet notice how skillfully Ogerman eases the fearsomely talented young saxophonist into the spotlight....