15-08-2018 10:09 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1973-1961

Alice Coltrane

15-08-2018 10:09 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1973-1961 # Joe Henderson, Alice Coltrane, Chase, Steve Cropper, Larry Coryell, Chick Corea, Miles Davis, Thelonious Monk, Art Blakey & The Jazz Messengers, Wayne Shorter, Herbie Hancock, Miles Davis, Ike Quebec, Sarah Vaughan

J A Z Z   M U S I C

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1973-1961

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...

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.

A brilliant composer and a criminally underrated pianist whose sense of rhythm, space, and harmony made him one of the founders of modern jazz. 
Thelonious Monk
Locomotive (Thelonious Monk) 6:40
Straight, No Chaser (Thelonious Monk) 11:28
Between the Devil and the Deep Blue Sea (Harold Arlen / Ted Koehler) 7:36
from Straight, No Chaser 1967
This is the sixth studio album cut by Thelonious Monk under the production/direction of Teo Macero for Columbia and as such should not be confused with the original motion picture soundtrack to the 1988 film of the same name. The band featured here includes: Monk (piano), Charlie Rouse (tenor sax), Ben Riley (drums), and Larry Gales (bass). This would be the final quartet Monk would assemble to record with in the studio. While far from being somber, this unit retained a mature flavor which would likewise place Monk's solos in a completely new context...

The guru of hard bop, whose famous technique -- frequent, high volume snare with bass drum accents -- made him one of jazz's all-time best messengers. 
Art Blakey & The Jazz Messengers
The Egyptian (Curtis Fuller) 10:25
Calling Miss Khadija (Lee Morgan) 7:21
from Indestructible 1966
Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally. The band is rounded out by pianist Cedar Walton, a steaming Wayne Shorter on tenor, Curtis Fuller on trombone, and bassist Reggie Workman with Art Blakey on the skins, of course. Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well...

The band led by drummer Art Blakey groomed more than 150 alumni members, including saxophonist Wayne Shorter and trumpeter Lee Morgan.

A major sax innovator for hard boppers and fusionists alike, due to his influential tenures with Art Blakey, Miles Davis, and Weather Report. 
Wayne Shorter
Witch Hunt (Wayne Shorter) 8:11
Speak No Evil (Wayne Shorter) 8:23
from Speak No Evil 1966
On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work...

Herbie Hancock and Wayne Shorter

Inventive, intelligent, and talented pianist/keyboardist whose distinguished career has covered modern jazz, fusion, hip-hop, and dance. 
Herbie Hancock
Succotash (Herbie Hancock) 7:40
Jack Rabbit (Herbie Hancock) 5:57
A Jump Ahead  (Herbie Hancock) 6:33
from Inventions & Dimensions 1964
For his third album, Inventions and Dimensions, Herbie Hancock changed course dramatically. Instead of recording another multifaceted album like My Point of View, he explored a Latin-inflected variation of post-bop with a small quartet. Hancock is the main harmonic focus of the music -- his three colleagues are bassist Paul Chambers, drummer Willie Bobo, and percussionist Osvaldo "Chihuahua" Martinez, who plays conga and bongo. It is true that the music is rhythm-intensive, but that doesn't mean it's dance music. Hancock has created an improvisational atmosphere where the rhythms are fluid and the chords, harmonies, and melodies are unexpected...

The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s. 
Miles Davis
Seven Steps to Heaven (Miles Davis / Victor Feldman) 6:23
I Fall in Love Too Easily (Sammy Cahn / Jule Styne) 6:45
So Near, So Far (Tony Crombie / Bennie Green) 6:56
from Seven Steps to Heaven 1963
Seven Steps to Heaven finds Miles Davis standing yet again on the fault line between stylistic epochs. In early 1963, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb left to form their own trio, and Davis was forced to form a new band, which included Memphis tenor player George Coleman and bassist Ron Carter. When Davis next entered the studio in Hollywood, he added local drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on the road with Davis...

Big-toned tenor jazz saxophonist who played with vital big bands peaking in the 1940s.  Influenced by Coleman Hawkins and Ben Webster but definitely his own person, Ike Quebec was one of the finest swing-oriented tenor saxman of the 1940s and '50s. Though he was never an innovator, Quebec had a big, breathy sound that was distinctive and easily recognizable, and he was quite consistent when it came to came to down-home blues, sexy ballads, and up-tempo aggression.
Ike Quebec
Loie (Kenny Burrell) 3:10
Me 'N You (Ike Quebec) 5:59
Blue Samba (Ike Quebec) 5:17
from Bossa Nova Soul Samba 1962
This was veteran tenor saxophonist Ike Quebec's final recording as a leader. It was cut in October 1962 and produced by Alfred Lion a little more than three months before the saxophonist's death. Bossa Nova Soul Samba was recorded and released during the bossa nova craze, as Brazilian music was first brought to the attention of pop listeners via Stan Getz and Charlie Byrd's smash hit with Tom Jobim's "Desafinado," on their Jazz Samba record for Verve in February. After that, seemingly everyone was making a bossa nova record. Quebec's effort is a bit unusual in that none of the musicians (guitarist Kenny Burrell, bassist Wendell Marshall, drummer Willie Bobo, and percussionist Garvin Masseaux) was associated with Brazilian (as opposed to Afro-Cuban) jazz before this, and that there isn't a single tune written by Jobim on the set. Quebec emphasizes warm, long tones (reminiscent of Coleman Hawkins in a romantic fashion), and his sidemen play light and appealing but nonetheless authoritative bossa rhythms...

Bop's greatest diva, a highly influential jazz singer with extraordinary range and perfect intonation, ranging from soft and warm to harsh and throaty. 
Sarah Vaughan
Have You Met Miss Jones? 2:21
Trouble Is a Man (Alec Wilder) 3:18
Gloomy Sunday (Rezsö Seress) 3:26
from The Divine One 1961
Recorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers -- and no less a strong and clear voice than trumpeter Harry "Sweets" Edison (the perfect accompaniment for Vaughan). The Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire...