08-11-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1968-1978

Dennis Coffey

08-11-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1968-1978 # Dennis Coffey, Tal Farlow, Miles Davis, Keith Jarrett, Jean-Luc Ponty Experience, Larry Coryell and The Eleventh House, Orquestra Mirasol, Mulatu Astatke, Al Di Meola, Flora Purim, Pat Metheny Group

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1968-1978

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

Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop. As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, and phrasing and note-bending that owed as much to blues, rock, and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he remained comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar.
Larry Coryell and The Eleventh House
Introduction 0:25
Low-Lee-Tah (Larry Coryell) 6:39
The Funky Waltz (Mouzon) 6:20
Ism-Ejercicio (Larry Coryell) 4:39
from The Funky Waltz (Live) 1973 Jazz Workshop, Boston, MA (2016)
Guitar – Larry Coryell Bass – Danny Trifan Drums – Alphonse Mouzon Piano, Synthesizer – Mike Mandel Trumpet – Randy Brecker

Short-lived yet very interesting Jazz/Fusion band from Barcelona, Orquestra Mirasol were among the groups blending US Jazz/Fusion with Spanish music during the 70's.The line-up of their first album included Xavier Batlés on bass, Victor Ammann on piano, Ricard Roda on synthesizers, Pedrito Diaz on percussion and Miquel Lizandra on drums.This was entitled ''Salsa Catalana'', released in 1974 on the Catalan label Zeleste.
Orquestra Mirasol
To De "Re" Per A Mandolina I Clarinet 3:31
Molt Trist 7:13
No Juguis Amb Set Miralls 7:00
from Salsa Catalana 1974
...The style of Orquestra Mirasol was heavily influenced by the approach of RETURN TO FOREVER and WEATHER REPORT, mixing energetic pleasant grooves with jazzy jams and interplays in a very succesful way.Their arrangements, both short and long, featured impressive piano lines, extremely nice bass workouts and some really beautiful clarinet solos.Orquestra Mirasol change their smooth passages into more bombastic material, full of intensity and interplays, and throughout the release there is evident some admiration for Classical Music, at moments they sound a lot like a Chamber Rock band.Another reason for this approach is the addition of string instruments in a couple of tracks and some symphonic-inclined instrumental sections with a very dramatic edge.Still Fusion remains the starting point of the band and the more powerful moments can be easily compared with WEATHER REPORT's music, driven by the piano, bass and percussion work...

An influential Ethiopian musician, composer, and arranger who is known as the father of Ethio-jazz. Ethiopian musician (piano, organ, vibraphone, and percussion), composer, and arranger Mulatu Astatke (the name is spelled Astatqé on his French releases) is a household name in his native country, where he is known as the father of Ethio-jazz, a unique blend of pop, modern jazz, traditional Ethiopian music, Latin rhythms, Caribbean reggae, and Afro-funk. 
Mulatu Astatke
Yèkèrmo Sèw (Mulatu Astatke) 4:13
Shagu (Mulatu Astatke) 3:05
Wubit with Muluken Melesse (Mulatu Astatke) 5:31
Tezeta 6:09
from New York - Addis - London: The Story of Ethio Jazz 1965-1975 (2009)
...Ethio jazz was never a commercial success in Ethiopia. That Ahma and Philips Ethiopia even saw fit to release any of it is a credit to their commitment to art over commerce, and even today it remains little-heard in its homeland. But Mulatu was a master craftsman and one of the most supremely inventive composers of a time when an awful lot of creative music was being made around the world...

Spellbinding jazz guitarist who is revered for his blazing, complex fretwork in the vein of jazz fusion, Latin fusion, and acoustic styles. Guitarist Al Di Meola first rose to prominence as a blazing jazz fusion artist before his playing matured and he began to conquer other styles, such as acoustic Latin music.
Al Di Meola
The Wizard (Mingo Lewis) 6:46
Land of the Midnight Sun (Al Di Meola) 9:10
Sarabande from Violin Sonata in B Minor (Johann Sebastian Bach) 1:20
Love Theme from "Pictures of the Sea" (Al Di Meola) 2:24
from Land of the Midnight Sun 1976
One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever...  With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career.

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
Look into His Eyes (George Duke) 4:34
What Can I Say? (George Duke) 5:03
That's What She Said (George Duke) 3:39
from That's What She Said 1977
Toward the close of her Milestone years, Flora Purim teamed up with producer/keyboardist George Duke -- and the imprint of Duke, then entering his funkified "Dukey Stick" period, is heavy enough to dominate the record. Very often, Duke uses his then rhythm section of bassist Byron Miller (alternating with Alphonso Johnson) and drummer Ndugu Chandler to give the grooves a definite '70s funk feel -- and percussionist Airto adapts his talents seamlessly to this way of life. Duke's electronic keyboard arsenal is all over the record, occasionally going gonzo on the Moog synthesizer, draping a then-still-fashionable ARP string synthesizer over the landscape, comping on the Rhodes electric piano or Yamaha electric grand. Joe Henderson turns up with a funk-bop tenor solo on the Brazilian/funk groove on "What Can I Say?" (what could he say?), part of a first-call L.A. studio horn section that includes trumpet Oscar Brashear, trombonist George Bohanon, and Ernie Watts on flute...

Guitar virtuoso whose accessible, original style and extraordinary sense of technique bridged the gap between jazz and rock. One of the most original guitarists from the '80s onward (he is instantly recognizable), Pat Metheny is a chance-taking player who has gained great popularity but also taken some wild left turns. His records with the Pat Metheny Group are difficult to describe (folk-jazz? mood music?) but manage to be both accessible and original, stretching the boundaries of jazz and making Metheny famous enough that he could perform whatever type of music he wanted without losing his audience.
Pat Metheny Group
San Lorenzo (Lyle Mays / Pat Metheny) 10:13
Jaco (Pat Metheny) 5:36
from Pat Metheny Group 1978
The first recording by the Pat Metheny Group features the innovative guitarist along with keyboardist Lyle Mays, bassist Mark Egan, and drummer Dan Gottlieb. The music is quite distinctive, floating rather than swinging, electric but not rockish, and full of folkish melodies. The best known of these six Metheny-Mays originals are "Phase Dance" and "Jaco." This music grows in interest with each listen.

The Pat Metheny Group, 1977 with Lyle Mays, Mark Egan and Dan Gottlieb