22-07-2018 11:11 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1980-1968

Herbie Hancock

22-07-2018 11:11 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1980-1968 # Herbie Hancock, Jack DeJohnette New Directions, Keith Jarrett, Zbigniew Seifert, Joe Diorio, Flora Purim, Joe Henderson, Alice Coltrane, Chase, Steve Cropper, Larry Coryell, Chick Corea, Miles Davis

J A Z Z   M U S I C

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1980-1968

Inventive, intelligent, and talented pianist/keyboardist whose distinguished career has covered modern jazz, fusion, hip-hop, and dance.  Herbie Hancock will always be one of the most revered and controversial figures in jazz -- just as his employer/mentor Miles Davis was when he was alive. Unlike Miles, who pressed ahead relentlessly and never looked back until near the very end, Hancock has cut a zigzagging forward path, shuttling between almost every development in electronic and acoustic jazz and R&B over the last third of the 20th century and into the 21st
Herbie Hancock
Spiraling Prism (Herbie Hancock) 6:25
Shiftless Shuffle (Herbie Hancock / Paul Jackson / Bennie Maupin / Harvey Mason, Sr. / Bill Summers) 7:07
from Mr. Hands 1980
Herbie Hancock's lackluster string of electric albums around this period was enhanced by this one shining exception: an incorrigibly eclectic record that flits freely all over the spectrum. Using several different rhythm sections, Herbie Hancock is much more the imaginative hands-on player than at any time since the prime Headhunters period, overdubbing lots of parts from his ever-growing collection of keyboards...

Chick Corea has been one of the most significant jazzmen since the '60s. Not content at any time to rest on his laurels, he has been involved in quite a few important musical projects, and his musical curiosity has never dimmed. A masterful pianist who, along with Herbie Hancock and Keith Jarrett, was one of the top stylists to emerge after Bill Evans and McCoy Tyner, Corea is also one of the few electric keyboardists to be quite individual and recognizable on synthesizers...
One of the two great vibraphonists to emerge in the 1960s (along with Bobby Hutcherson), Gary Burton's remarkable four-mallet technique can make him sound like two or three players at once.
Chick Corea and Gary Burton
Señor Mouse (Chick Corea) 10:17
Crystal Silence (Chick Corea / Neville Potter) 12:09
from In Concert: Zürich, October 28, 1979 (1980)
During Chick Corea's freelance period after Return to Forever broke up and before he formed his Elektric Band, the pianist collaborated with many of his favorite musicians. This two-LP set contains eight duets with vibraphonist Gary Burton (highlighted by "Senor Mouse," "Bud Powell" and a remake of "Crystal Silence") along with one solo performance apiece by the two masterful musicians. The music is often introspective, but there are some exciting moments.

Premier percussionist and drummer often considered the finest modern jazz drummer of the '70s after Elvin Jones and Tony Williams.  At his best, Jack DeJohnette is one of the most consistently inventive jazz percussionists extant. His style is wide-ranging, and while capable of playing convincingly in any modern idiom, he always maintains a well-defined voice. DeJohnette has a remarkably fluid relationship to pulse. His timing is excellent; even as he pushes, pulls, and generally obscures the beat beyond recognition, a powerful sense of swing is ever-present. His tonal palette is huge as well: No drummer pays closer attention to the sounds that come out of his kit than DeJohnette. He possesses a comprehensive musicality rare among jazz drummers.
Jack DeJohnette
feat: John Abercrombie / Lester Bowie / Eddie Gomez
Bayou Fever (Jack DeJohnette) 8:40
Dream Stalker (John Abercrombie / Lester Bowie / Jack DeJohnette / Eddie Gomez) 5:55
from New Directions 1978
This album was indeed a new direction for drummer Jack DeJohnette, by then an ECM mainstay who with this effort flirted with the free-flowing atmospheres then characteristic of the label’s popular European projects. John Abercrombie—another household name whose amplified strings do wonders for DeJohnette’s impulses—forms, along with Chick Corea veteran Eddie Gomez on bass, a triangular foundation upon which trumpeter Lester Bowie—the album’s shining star—builds his towering sentimentalism...  A spacious inner current, heir apparent to a straightforward jazz with no strings attached, feeds into every moment of New Directions. The performances are attentively recorded with a present, live feel that gives the drums all the room they need, and us all the sonic candy we crave.

Keyboard player who became one of the most extraordinary solo improvisers in jazz, with considerable mainstream success and a wide range of styles.  Pianist, composer, and bandleader Keith Jarrett is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. As a pianist (though that is by no means the only instrument he plays), he literally changed the conversation in jazz by introducing an entirely new aesthetic regarding solo improvisation in concert. Though capable of playing in a wide variety of styles, Jarrett is deeply grounded in the jazz tradition. He has recorded over 80 albums as a leader in jazz and classical music. And he has won the Down Beat Critics Poll as a pianist numerous times, including consecutively between 2001 and 2008.
Keith Jarrett
Questar (Keith Jarrett) 9:10
Tabarka (Keith Jarrett) 9:11
Mandala (Keith Jarrett) 8:17
from My Song  Rec. November, 1977 (1978)
In addition to his solo piano concerts and the American group he led that featured tenor saxophonist Dewey Redman, Keith Jarrett was also busy in the mid-'70s with his European band, a quartet comprised of Jan Garbarek on tenor and soprano, bassist Palle Danielsson, and drummer Jon Christensen. Due to the popularity of the haunting "My Song," this album is the best known of the Jarrett-Garbarek collaborations and it actually is their most rewarding meeting on record. Jarrett contributed all six compositions and the results are relaxed and introspective yet full of inner tension.

A masterful improviser who could have ranked at the top with Adam Makowicz and Michal Urbaniak, Zbigniew Seifert's early death robbed Poland of one of its top jazz artists. Seifert started on the violin when he was six, and ten years later started doubling on alto sax...
Zbigniew Seifert
City of Spring (Zbigniew Seifert) 6:33
Man of the Light 9:43
Stillness (Cecil McBee / Zbigniew Seifert) 4:56
from Man of the Light 1976
...Seifert wastes no time combining Coltrane's "sheets of sound" with a folkloric melodism rooted in Polish traditionalism on the fiery "City of Spring." German pianist Joachim Kuhn plays with the intensity and modal vernacular of Coltrane's pianist, McCoy Tyner, but evokes a more personal sound through his unmistakable European classicism and near-reckless abandon. Bassist Cecil McBee and drummer Billy Hart play with equal exuberance on this breathtakingly up-tempo opener that sets the bar high for the rest of the set, while Seifert delivers a solo of cathartic virtuosity. The title track, based around a visceral, mid-tempo 5/4 ostinato, is just as thrilling, with Kühn and Seifert contributing solos as captivating and relevant today as when they were first recorded in 1976.
Seifert also proves capable of compositional depth and passionately beautiful calm. "Stillness"—a duet with McBee, but featuring Seifert's overdubbed violins as a mini-string orchestra—is, indeed, based on relative stasis and a spare set of changes, with McBee's robust-toned solo of equal lyrical mettle to his ever-ardent leader...

Technical virtuosity and imaginative improvisation made Joe Diorio (born: Joseph Louis Diorio) one of the busiest jazz session guitarists of the '60s and '70s. Reviewing a mid-'60s performance, influential jazz critic Leonard Feather wrote that Diorio was "one of the most mature and uncompromising (new) plectrists to work the room since Joe Pass."
Joe Diorio
Windows (Chick Corea) 5:30
Poem (Joe Diorio) 2:31
from Solo Guitar 1975
Solo Guitar was the debut recording by virtuoso guitarist Joe Diorio, a fine musician who has spent a good part of his career in jazz education, so his recordings haven't always received the attention they merited...

Influenced by both traditional Brazilian singers and the improvisations of American jazz divas like Ella Fitzgerald and Sarah Vaughan, Flora Purim was one of the most adventurous singers of the 1970s...
Flora Purim
Stories to Tell (Flora Purim / Miroslav Vitous) 3:41
Casa Forte (Edú Lobo) 3:53
Mountain Train (Ernie Hood / Flora Purim) 3:14
Silver Sword (Miroslav Vitous) 5:40
from Stories to Tell 1974
Though her recordings for Chick Corea's Return to Forever provide a better introduction to her vocal talents, Stories to Tell is an excellent outing by Flora Purim and friends. Assisted by a cast of jazz/fusion all-stars led by husband Airto Moreira, Purim shows off the wide range of her abilities: from wordless vocal soaring to songs with lyrics in English and Portuguese, from uptempo percussion-driven workouts to beautiful ballads. In addition to Airto, the assembled cast includes bassists Miroslav Vitous and Ron Carter, keyboard wunderkind George Duke, guitarists Earl Klugh and Oscar Castro-Neves, and trombonist Raul de Souza. Also, Carlos Santana turns in one of his patented sizzling guitar solos on "Silver Sword." With material from Antonio Carlos Jobim, Vitous, Milton Nascimento, McCoy Tyner, and Purim herself, this is an album worth savoring.

A remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz. 
Joe Henderson
featuring Alice Coltrane
Alice Coltrane was an uncompromising pianist, composer, and bandleader who spent the majority of her life seeking spiritually in both music and her private life.
Fire (Joe Henderson) 11:07
Water (Joe Henderson) 7:32
from  The Elements 1973
This is one of the odder Joe Henderson recordings. The four lengthy selections not only feature the great tenor-saxophonist but the piano and harp of Alice Coltrane (during one of her rare appearances as a sideman), violinist Michael White, bassist Charlie Haden, percussionist Kenneth Nash and Baba Duru Oshun on tablas. The somewhat spiritual nature of the music (Henderson's compositions are titled "Fire," "Air," "Water" and "Earth") and the presence of Alice Coltrane makes these Eastern-flavored performances rather unique if not all that essential: an early example of world music in jazz...

Mention the term "jazz-rock" and listeners will likely think of such acts as Blood, Sweat & Tears, Chicago, and Weather Report, but in the early '70s a band called Chase rivaled all of them, and bid fair to take the country by storm; in fact, for a little while in 1971, they did precisely that with a chart-topping single, a Grammy nomination, and a high place in reader polls.

Chase 

Swanee River (Stephen Foster) 3:12

Night (Ted Piercefield) 2:41

Poseidon 2:33

from Ennea 1972

Chase's second album appeared with high expectations, from within and without -- and high ambitions as well -- so it's ironic that Ennea fell so far short in critical reception and sales. There had been some personnel changes during the recording, although the group's core sound, anchored by bassist Dennis Johnson, was as solid as ever and right where it needed to be. And lots of virtuoso playing could be heard everywhere. What was lacking was balance -- the rock and jazz elements that seemed so finely tuned together on the first album don't coexist as easily on this album, and the move into more of a progressive rock mode, especially on the songs from the original LP's second side, add a third element that never seems in sync with the more traditional rock elements elsewhere on this album. It's still impressive on a technical level -- a lot of those present could have used their work here to open doors for other gigs -- but it doesn't seem like a coherent whole, so much as getting a long-player out because one was needed. And perhaps that's the fairest comment one can make, that Ennea is a snapshot of a band in transition (and which was soon to break up under financial pressures)...

House guitarist for Stax Records and co-writer of numerous '60s soul classics. 

Steve Cropper 

Crop Dustin' (Steve Cropper / Buddy Miles) 2:59

99 1/2 (Steve Cropper / Eddie Floyd / Wilson Pickett) 3:20

With a Little Help from My Friends (John Lennon / Paul McCartney) 5:33

from With a Little Help From My Friends 1971

After years of being a team player, Steve Cropper got to make a solo album for the label he helped put on the map, Stax Records (actually their Volt subsidiary). As you might figure, it turned out as an instrumental soul album, and a darn good one, too. It's a bona fide Telecaster-soaked dance workout...

Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop. 
Larry Coryell
Spaces (Infinite) (Julie Coryell) 9:23
Gloria's Step (Scott LaFaro) 4:32
Chris (Julie Coryell) 9:32
from Spaces 1970
This album features the pioneer fusion guitarist Larry Coryell with quite an all-star group. Two selections match Coryell with fellow guitarist John McLaughlin, bassist Miroslav Vitous (doubling on cello) and drummer Billy Cobham, all important fusion players at the time... Overall, the music has its energetic moments, but also contains some lyricism often lacking in fusion of the mid-'70s. In addition, all of the musicians already had their own original voices, making Spaces a stimulating album worth searching for.

Talented pianist who has a wide palette of influences but was highly important in early fusion and jazz/rock. 
Chick Corea
The Brain (Chick Corea) 7:29
Waltz for Bill Evans (Chick Corea) 6:47
Sundance (Chick Corea) 11:51
from Early Days / Rec. 1969 (1996)
Some musicians crawl into their comfort zones and stay there, but Chick Corea isn't one of them. Over the years, the pianist/keyboardist has not been afraid to hurl himself into a variety of musical situations. Early Days, a Japanese reissue from 1986, takes a look at some post-bop and avant-garde material that he recorded in 1969. These recordings find Corea playing both acoustic and electric piano and leading a group that includes Woody Shaw on trumpet, Bennie Maupin on tenor sax, Hubert Laws on flute, Dave Holland on bass and two drummers: Jack De Johnette and Horace Arnold. The only participant who isn't well-known is Arnold; except for him, Early Days boasts an all-star cast (although some of the musicians became better known in the '70s than they were in 1969)...

The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s. 
Miles Davis
Nefertiti (Wayne Shorter) 7:50
Hand Jive (Tony Williams) 8:54
Riot (Herbie Hancock) 3:02
from Nefertiti 1968
Nefertiti, the fourth album by Miles Davis' second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In a Silent Way, yet it remains rooted in hard bop... Perhaps Nefertiti's charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.