12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971

Yusef Lateef

12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971 # Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd, Zbigniew Namyslowski Quartet, Jackie McLean, Dennis Coffey, Tal Farlow, Miles Davis, Keith Jarrett, Jean-Luc Ponty Experience

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1960-1971

Hard-blowing tenor who greatly expanded his stylistic menu by exploring Asian and Middle Eastern rhythms, instruments, and concepts.  Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s.
Yusef Lateef
Salt Water Blues (Yusef Lateef) 6:47
Goin' Home (Antonin Dvorák / Mark Fisher) 5:02
Lateef Minor 7th (Joe Zawinul) 4:59
from The Three Faces of Yusef Lateef 1960
On The Three Faces of Yusef Lateef, Riverside seems eager to present Yusef Lateef, technical virtuoso, on a series of songs that step closer to jazz tradition than any of his work in the recent past. Largely absent are Lateef's experiments with Eastern modes, rhythms, and instrumentation, and in their place is a collection of largely upbeat, accessible songs, with a balanced mix of standards and originals. Much of the introspective, personal quality of his previous albums seems lost in the effort, but Lateef's playing still remains stellar, especially on oboe. That instrument, which is by nature soft and muted, is given enough power by Lateef to lead on several songs, most beautifully on "Salt Water Blues," where its naturally melancholy sound seems perfectly matched with the low, rounded tones of Lateef's rhythm section, especially Ron Carter's bowed cello. The quintet also shines on the following track, Joe Zawinul's "Lateef Minor 7th," where they provide a gentle counterpoint to Lateef's sweet flute line. Not quite as expansive or daring as much of Lateef's other recordings, The Three Faces of Yusef Lateef still documents a fine musician at work during the peak of his career.

The most influential jazz musician of the late 20th century, one of the greatest saxophonists of all time, and the pioneer of jazz without limits. Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz.
John Coltrane
Blues to Elvin (Elvin Jones) 7:50
Blues to You (John Coltrane) 6:27
Mr. Syms (John Coltrane) 5:19
from Coltrane Plays the Blues 1962
Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't)...
John Coltrane - saxophone   McCoy Tyner - piano   Steve Davis - bass   Elvin Jones - drums

The leading composer and pioneer of hard bop, plus a pianist who blended vintage R&B, gospel, blues, and Caribbean elements into jazz.  From the perspective of the 21st century, it is clear that few jazz musicians had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the '50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the '60s and '70s.
The Horace Silver Quintet
Silver's Serenade (Horace Silver) 9:22
Sweet Sweetie Dee (Horace Silver) 7:35
Nineteen Bars (Horace Silver) 6:21
from Silver's Serenade 1963
Horace Silver's LP Silver's Serenade is a swan song; it was the final recording with his most famous quintet, which included drummer Roy Brooks, bassist Gene Taylor, saxophonist Junior Cook, and trumpeter Blue Mitchell. The band had made five previous recordings for the label, all of them successful. The program here is comprised of Silver compositions. The blowing is a meld of relaxed, soulful, and swinging hard bop, as evidenced in the title track... "Sweetie Sweetie Dee" moves from hard bop to funky bop... The knotty turn-on-a-dime changes in "Nineteen Bars," the final track, are pure instrumental and compositional virtuosity. Cook's blowing on his solo is matched by Silver's comping, moving through octaves and key changes. The tune smokes from start to finish as the album comes to a close. This is another excellent recording by the greatest Silver quintet...

Highly individual American jazz pianist and composer emerged from the '60s avant-garde. Andrew Hill was a great and even groundbreaking composer and pianist, yet the relatively circumscribed scale of his innovations might have originally caused him to get lost in the shuffle of the '60s free jazz revolution. While many of his contemporaries were totally jettisoning the rhythmic and harmonic techniques of bop and hard bop, Hill worked to extend their possibilities; his was a revolution from within. 
Andrew Hill
Siete Ocho (Andrew Hill) 8:58
Yokada, Yokada (Andrew Hill) 5:17
Judgment (Andrew Hill) 6:54
from Judgment! 1964
Augmenting his rhythm section of bassist Richard Davis and drummer Elvin Jones with vibraphonist Bobby Hutcherson, pianist Andrew Hill records an excellent set of subdued but adventurous post-bop with Judgment. Without any horns, the mood of the session is calmer than Black Fire, but Hill's compositions take more risks than before. Close listening reveals how he subverts hard bop structure and brings in rhythmic and harmonic elements from modal jazz and the avant-garde. The harmonic structure on each composition is quite complex, fluctuating between dissonant chords and nimble, melodic improvisations. Naturally, Hill's playing shines in this self-created context, but Hutcherson equals the pianist with his complex, provocative solos and unexpected melodic juxtapositions. Jones shifts the rhythms with style, and his solos are exceptionally musical, as is Davis' fluid bass. The combination of the band's intricate interplay and the stimulating compositions make Judgment another important release from Hill. It may require careful listening, but the results are worth it.

Saxophone player who cross-pollinated jazz with rock as well as non-Western styles to aid the development of fusion and world music. Saxophonist Charles Lloyd is a forward-thinking musician whose supreme improvisational talents and interest in cross-pollinating jazz with rock as well as non-Western styles of music during the '60s and '70s established him as one of the key figures in the development of fusion and world music. 
Charles Lloyd
Forest Flower 7:51
Little Peace (Charles Lloyd) 6:30
Days of Wine and Roses (Henry Mancini / Johnny Mercer) 5:51
from Discovery! 1965
Charles Lloyd's recorded debut as a leader was made while he was a member of the Cannonball Adderley Sextet. Doubling on tenor and flute, Lloyd teamed up with pianist Don Friedman, either Eddie Khan or Richard Davis on bass, and Roy Haynes or J.C. Moses on drums. This out of print LP has among its highlights "Little Piece" (dedicated to Booker Little), "Days of Wine and Roses," ...  and the initial full-length version of "Forest Flower." Lloyd's Coltrane-inspired sound was already in place, and his flute playing was becoming distinctive. The music is essentially melodic but advanced hard bop, a strong start to an important career.

...Namyslowski’s Lola, recorded during his visit to the UK in 1964, caused quite a stir, since few people in Northern Europe were aware of the state of the jazz art in Soviet bloc countries (formerly). However, it was not simply the surprise of Eastern European musicians playing modern, post-bop jazz at all that impressed: Namyslowski was very good indeed, with a hard, emotional tone and considerable facility on the alto saxophone...
Zbigniew Namyslowski Quartet
Siodmawka (Zbigniew Namysłowski) 8:14
Straszna Franka (Zbigniew Namysłowski) 11:05
Lola Pijąca Miód (Zbigniew Namysłowski) 1:31
from Zbigniew Namyslowski Quartet (Polish Jazz) 1966
Alto Saxophone, Composed By – Zbigniew Namysłowski
Bass – Janusz Kozłowski
Drums – Czesław Bartkowski
Piano – Adam Matyszkowicz

A remarkably intense and furious alto saxophonist who produced numerous hard bop classics during the 1950s and '60s.  Jackie McLean has long had his own sound, played slightly sharp and with great intensity; he is recognizable within two notes. McLean was one of the few bop-oriented players of the early '50s who explored free jazz in the '60s, widening his emotional range and drawing from the new music qualities that fit his musical personality.
Jackie McLean
Demon's Dance (Jackie McLean) 7:06
Toyland (Cal Massey) 5:24
Sweet Love of Mine (Woody Shaw) 6:01
from Demon's Dance 1967
Demon's Dance was Jackie McLean's final album for Blue Note, closing out an amazing streak of creativity that's among the more underappreciated in jazz history. The record retreats a bit from McLean's nearly free playing on New and Old Gospel and 'Bout Soul, instead concentrating on angular, modal avant bop with more structured chord progressions. The whole session actually swings pretty hard, thanks to drummer Jack DeJohnette, who manages that feat while maintaining the busy, kinetic style McLean had favored since Tony Williams' appearance on One Step Beyond. Pianist Lamont Johnson and bassist Scott Holt both return from New and Old Gospel, and trumpeter Woody Shaw is in especially fiery, muscular form, rivaling the leader in terms of soloing impact and contributing two of the six compositions...
Alto Saxophone – Jackie McLean, Bass – Scott Holt, Drums – Jack DeJohnette, Piano – LaMont Johnson, Trumpet, Flugelhorn – Woody Shaw

Dennis Coffey remains an active hero from the halcyon era of Detroit soul, contributing guitar to landmark records issued on the Motown, Ric-Tic, and Revilot labels. His guitar playing can be heard on such iconic Northern soul singles as "Just My Imagination," "Ball of Confusion (That’s What the World Is Today)," "War," "Cloud Nine," "Someday We'll Be Together," and "Band of Gold." In addition, he cut a series of efforts under his own name, most notably the cult classic blaxploitation soundtrack Black Belt Jones and the hit single-turned-vintage record collector mainstay "Scorpio."
Dennis Coffey
I'm a Midnight Mover (Wilson Pickett / Bobby Womack) 4:03
Eleanor Rigby (John Lennon / Paul McCartney) 13:39
Burning Spear (Richard Evans) 13:54
from One Night at Morey's: 1968 (2018)
2017's archival Resonance release of Hot Coffey in the D: Burnin' at Morey Baker's Showplace Lounge, was a healthy dose of Funk Brother Dennis Coffey's work with organist Lyman Woodard's trio at the famed Detroit venue in 1968. It caught the band reinventing soul, jazz, and funk covers and originals in their Motor City image to reveal a highly individual, collective, in-the-pocket exploratory artistry... Unlike typical soul-jazz organ trios from the era, this music is raw: It is to jazz-funk what the MC5 and Stooges were to Detroit rock. As the band crosses from the opening rave-up of "I'm a Midnight Mover" to a brooding yet explosive cover of "Eleanor Rigby," it's easy to hear why... Anyone wise enough to pick up the Resonance set will absolutely want this volume in order to fill out the hard-grooving trio's aural portrait. Anyone who hasn't yet will find One Night at Morey's: 1968 a fine -- perhaps preferable -- place to start. All killer, no filler.

Leading early bop guitarist who helped define the modern jazz guitar with his great speed, technique, and flow of ideas.
Tal Farlow
Straight, No Chaser (Thelonious Monk) 6:24
Summertime (George Gershwin / Ira Gershwin / DuBose Heyward) 5:36
from The Return Of Tal Farlow/1969
After recording a series of rewarding albums in the '50s, guitarist Tal Farlow largely dropped out of the jazz scene, being quite content to be a sign painter in New England. This Prestige set (reissued on CD) was his first in a decade and would be followed by another seven years of silence. Fortunately, Farlow had continued playing on a low-profile basis in the interim, and he was still very much in top form. Joined by pianist John Scully, bassist Jack Six and drummer Alan Dawson...

The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s... Bitches Brew, Davis turned more overtly to a jazz-rock style. Though certainly not conventional rock music, Davis' electrified sound attracted a young, non-jazz audience while putting off traditional jazz fans.
Miles Davis
Pharaoh's Dance (Joe Zawinul) 20:04
Miles Runs the Voodoo Down (Miles Davis) 14:01
from Bitches Brew 1970
Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section...

Keyboard player who became one of the most extraordinary solo improvisers in jazz, with considerable mainstream success and a wide range of styles. 
Keith Jarrett
In Front (Keith Jarrett) 10:05
Landscape for Future Earth (Keith Jarrett) 3:29
Semblence (Keith Jarrett) 3:00
from Facing You 1971
Facing You is one of the most important recordings in contemporary jazz for several reasons, aside from being beautifully conceived and executed by pianist Keith Jarrett. It is a hallmark recording of solo piano in any discipline, a signature piece in the early ECM label discography, a distinct departure from mainstream jazz, a breakthrough for Jarrett, and a studio prelude for his most famous solo project to follow, The Köln Concert. Often meditative, richly melodic, inventive, and introspective beyond compare, Jarrett expresses his soul in tailored tones that set standards for not only this kind of jazz, but music that would serve him and his fans in good stead onward...

The first jazz violinist to incorporate electronic devices and effects into his playing. It has been a long, fascinating odyssey for Jean-Luc Ponty, who started out as a straight jazz violinist only to become a pioneer of the electric violin in jazz-rock in the '70s and an inspired manipulator of sequencers and synthesizers in the '80s. At first merely amplifying his violin in order to be heard, he switched over to electric violin and augmented it with devices that were associated with electric guitarists and keyboardists, like Echoplex machines, distortion boxes, phase shifters, and wah-wah pedals. 
Jean-Luc Ponty Experience
Flipping, Pt. 1 (Jean-Luc Ponty) 4:37
Sad Ballad (Joachim Kühn) 4:09
from Open Strings 1972
Violin – Jean-Luc Ponty, Bass – Peter Warren, Drums – Oliver Johnson, Guitar – Philip Catherine, Piano – Joachim Kühn