03-23-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1992-1980

Allan Holdsworth

03-23-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1992-1980 # Allan Holdsworth, Larry Coryell, Things & Tony Lakatos, Dave Holland, Lyle Mays, Anthony Braxton, Miles Davis, Chet Baker & Paul Bley, Bill Frisell, Pat Metheny, Kip Hanrahan, Willem Breuker Kollektief, Weather Report

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JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.

1992-1980

Fleet-fingered British guitarist with a liquid sound, respected by aficionados as one of the greatest axemen in the electric jazz-rock fusion genre.
Allan Holdsworth
5 to 10 (Allan Holdsworth) 5:36
Wardenclyffe Tower (Allan Holdsworth) 8:44
from Wardenclyffe Tower 1992
This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work...

Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop.
Larry Coryell
Flamenco Flare-Up (Larry Coryell) 7:26
Blues for 'Charley the Lobster' (Larry Coryell) 5:16
from Twelve Frets To One Octave 1991
A guitar showcase for Coryell, who has always been among the more accomplished players on either electric or acoustic. He goes through old blues, jazz standards, and everything in between. There's absolutely nothing else to support him, enabling Coryell to display his complete technical arsenal.

Things - Jazz group from Hungary. / Members: Csanyi Zoltán, Horváth Kornél, János Solti, Kálmán Oláh, László Attila, Lattmann Béla
Antal Lakatos - Profile: Hungarian saxophonist and flutist, born 13 November 1958 in Budapest, Hungary 
Things & Tony Lakatos
Turn To East 6:26
Mother Nature Vocal – Torita Quick 3:50
from Mother Nature 1990
Acoustic Guitar, Electric Guitar, Producer – Attila László
Bass – Béla Lattmann
Drums – János Solti
Keyboards – Kalman Olah
Percussion – Kornél Horváth
Saxophone, Electronic Wind Instrument [Yamaha-WX7], Producer – Tony Lakatos
Vocals – Torita Quick

British jazz bassist famed for his work with Miles Davis, and subsequently the leader of an acclaimed big band. Dave Holland is of a generation of bassists who, in the '60s and '70s, built upon the innovations of slightly older players like Scott LaFaro, Gary Peacock, and Barre Phillips, carrying the instrument to yet another new level of creativity. Along with contemporaries like Eddie Gómez, Miroslav Vitous, and Barry Guy, Holland helped refine and extend the melodic possibilities of the cumbersome double bass.
Dave Holland
Nemesis (Kevin Eubanks) 11:31
Black Hole (Steve Coleman) 10:10
from Extensions 1989
For this tight and enjoyable quartet date, bassist Dave Holland spread the composing opportunities around, his sidemen accounting for four of the six pieces. Arguably, none of these musicians ever sounded better, or more adventurous, than when performing in Holland's bands. While the leader himself retreated a good deal from his more routinely avant-garde recordings of the '70s, he appeared unwilling to allow his younger compadres to simply coast, instead evoking probing and thoughtful playing from them. Altoist Steve Coleman derives particular benefit from Holland's supervision, sounding far more fluid and confident than own his own rather more stilted albums. .. One of his better albums from this period, Extensions should please any Holland fan, and is an agreeable and non-threatening jumping in point for the curious.

Steve Coleman – alto saxophone Kevin Eubanks – electric guitar  Dave Holland – double bass Marvin "Smitty" Smith – drums

Lyle Mays' style is difficult to describe, more atmospheric (with plenty of unique colors) than swinging and an invaluable part of the sound of the Pat Metheny Group. Mays played and composed for the North Texas State University Lab Band in the mid-'70s. He met Metheny in 1975, toured with Woody Herman's Orchestra (1975-1976), and then joined Metheny's band, continuing to play with the guitarist's group. Lyle Mays (who is also an excellent acoustic pianist) has recorded several albums as a leader for Geffen, including the excellent work Fictionary in 1992 and Solo in 2000.
Lyle Mays
Feet First (Lyle Mays) 4:23
Street Dreams (Lyle Mays) 11:05
from Street Dreams 1988
Lyle Mays' second solo album ventures even further afield than his acclaimed first record, into areas not associated with Mays nor his employer Pat Metheny. This time, the personnel list is far more varied, with several guest luminaries from the world of jazz-rock, as well as a big band and full chamber orchestra on some selections. Again, the main thrust of the album is bound up in a lengthy suite with new age atmospheric elements, juxtaposing fleet Brazilian grooves with a chamber orchestra, voluble Mays piano solos, and electronic interpolations by Mays and Frisell reminiscent of early classical electronic music...

Lyle Mays 1953 – 2020
The keyboardist, composer, and close collaborator with Pat Metheny has passed away at 66

Innovative avant-garde multi-instrumentalist and composer, one of the most important figures in the later free jazz community. Prolific multi-reedist/composer Anthony Braxton is among the most influential jazz artists to emerge from the 20th century.
Anthony Braxton
Brilliant Corners (Thelonious Monk9 9:24
Played Twice (Thelonious Monk) 6:51
from Six Monk's Compositions (1987)
The band Anthony Braxton assembled for this unique exploration of the compositions of Thelonious Monk is one of the wonders of the composer's retinue. Braxton, pianist Mal Waldron, bassist Buell Neidlinger, and drummer Bill Osborne use six Monk tunes and go hunting for harmonic invention... On alternating tunes, Braxton and Waldron provide the catalyst, but all four become changelings in light of this intense and addictive harmonic conception.

The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s.
Miles Davis
Rubberband of Life feat: Lou Donaldson (Miles Davis / Bobbie Gentry / Attala Zane Giles / Randy Hall / Arthur Haynes / Vince Wilburn, Jr. / Anthony Loffman) 5:44
Carnival Time (Neil Larsen) 4:23
Echoes in Time/The Wrinkle (Miles Davis / Attala Zane Giles / Randy Hall / Wayne Linsey) 9:25
from Rubberband 1985-1986 (2019)
Before Miles Davis recorded Tutu as his debut offering for Warner Bros., he worked on a funky, jazz-pop-vocal project called Rubberband in North Hollywood over a three-month period in late 1985 and early 1986. While co-producers Randy Hall and Attala Zane Giles felt satisfied, Warner Jazz boss Tommy LiPuma was less enthusiastic. It was ultimately shelved and the tapes languished for 30 years... Rubberband is almost thoroughly reinvented from its original tapes with full cooperation from the Davis estate. It was guided by Davis' nephew and drummer Vince Wilburn, Jr., who played on the original sessions. The bookend tracks "Rubberband of Life" featuring Ledisi (it was penned for Chaka Khan's voice), and a remixed version of the title track (featuring a stellar Mike Stern guitar break), were previously released on a limited five-track EP. They are easily the set's high points. Davis' trumpet playing is engaged and tasteful throughout... (Thom Jurek)

Chet Baker was a primary exponent of the West Coast school of cool jazz in the early and mid-'50s. As a trumpeter, he had a generally restrained, intimate playing style and he attracted attention beyond jazz for his photogenic looks and singing. But his career was marred by drug addictio
Among the most influential jazz pianists and composers of the 20th century, and a founding father of avant-garde jazz. Pianist Paul Bley took the styles and techniques associated with Oscar Peterson, Wynton Kelly, and Bill Evans to new levels of creative experimentation, becoming an indispensable force in modern music by combining the best elements in bop and early modern jazz with extended free improvisation and procedural dynamics often found in 20th-century chamber music.
Chet Baker & Paul Bley
If I Should Lose You (Ralph Rainger / Leo Robin) 7:16
Skidadidlin' (Chet Baker) 4:15
Diane (Erno Rapee) 5:32
from Diane 1985
Chet Baker recorded at every opportunity during the last decade or so of his tragic life, with widely varying results due to his drug addiction. But this surprising duo session with pianist Paul Bley is one of his better efforts from this period, focusing primarily on standard ballads by top composers. Bley's playing in the mid-'80s usually was freer in nature, but he willingly plays more mainstream backing for the trumpeter. Baker's tone adds to the poignant air in a rather deliberate interpretation of "If I Should Lose You," with Bley playing beautiful, sparse chords behind him...(Ken Dryden)

A stunning, eclectic guitarist who blends the best elements of rock energy with jazz harmonic sophistication and melodic interpretation.
Bill Frisell
Tone (Bill Frisell) 8:00
Rambler (Bill Frisell) 8:12
Resistor (Bill Frisell) 5:49
from Rambler 1984
This relatively early set from Bill Frisell is a fine showcase for the utterly unique guitarist. Frisell has the ability to play nearly any extroverted style of music and his humor (check out the date's "Music I Heard") is rarely far below the surface. This particular quintet (with trumpeter Kenny Wheeler, tuba player Bob Stewart, electric bassist Jerome Harris and drummer Paul Motian) is not exactly short of original personalities and their outing (featuring seven Frisell compositions) is one of the most lively of all the ones in the ECM catalog. (Scott Yanow)

Guitar virtuoso whose accessible, original style and extraordinary sense of technique bridged the gap between jazz and rock.
Pat Metheny
Humpty Dumpty (Ornette Coleman) 5:40
Rejoicing (Ornette Coleman) 3:15
The Calling (Pat Metheny) 9:51
from Rejoicing 1983
Pat Metheny takes a vacation from his Group and performs advanced material with bassist Charlie Haden and drummer Billy Higgins. In addition to Horace Silver's "Lonely Woman,... and three Ornette Coleman tunes, the guitarist plays three of his originals here, including "The Calling," a lengthy exploration of sounds with his guitar synthesizer. Throughout this excellent set, Metheny and his sidemen engage in close communication and create memorable and unpredictable music. (Scott Yanow)

Contemporary producer who creates eclectic Latin-tinged musical melanges utilizing the best New York musicians. He leads the band, and doesn't really play, but Kip Hanrahan is a forward thinker and an incredible organizer of all-star progressive bands.
Kip Hanrahan
Whatever I Want (Kip Hanrahan) 5:44
India Song (Marguerite Duras / Carlos d'Alessio) 4:16
Heart on My Sleeve (Teo Macero) 5:19
from Coup de tête 1982
Fittingly enough, the first sound heard on Kip Hanrahan's premier release is that of the conga and the first word sung is "sex," two leitmotifs that would appear consistently in his ensuing work. Coup de Tete burst on the scene in the early '80s as an entirely fresh, invigorating amalgam of Cuban percussion (much of it Santeria-based), free jazz, funk, and intimate, confrontational lyrics. Hanrahan had worked at New Music Distribution Service, a project run by Carla Bley and Michael Mantler (both of whom appear on this album), and had established contacts with numerous musicians from varied fields who he threw together in a glorious New York City melting pot. With the percussion and electric bass laying down thick and delicious grooves, the cream of the younger avant saxophonists in New York at the time wail over the top, accompanying some of the most brutally uncomfortable lyrics ever put to wax...  Interspersed among the bitter love harangues and ecstatic percussion-driven numbers are two stunningly lovely pieces, Marguerite Duras' "India Song" and Teo Macero's "Heart on My Sleeve," both aching with romanticism. Coup de Tete is a superb record, an impressive debut, and, arguably, one of the finest moments in Hanrahan's career along with the following release, Desire Develops an Edge. Highly recommended. (Brian Olewnick)

Inventive, fiery Dutch jazz saxophonist, clarinetist, composer and arranger whose absurdist collectives have stoked controversy and passion.
Willem Breuker Kollektief
Tango Superior/Interruptie (Willem Breuker) 3:23
Deining (Willem Breuker) 5:34
Prokof (Willem Breuker) 3:51
from In Holland 1981
Simply put, this is the finest album ever released by the Willem Breuker Kollektief as a jazz tentet (as opposed to the repertory ensemble they later became). In Holland contains the most creative orchestrations, and the most thrilling solo work by the Kollektief, and ranks among the best jazz albums of the '80s... continuing on through an uproarious tango featuring a comically frustrated Breuker on alto, a drunkenly careening showcase for the brilliant trumpeter Boy Raaymakers, a loving homage to Prokofiev... Though the group lost quite a bit of freshness after the mid-'80s, In Holland qualifies as an extraordinary record by one of the most creative and enjoyable jazz ensembles to have emerged from Europe.

Fired some of the first shots in the fusion revolution, and, for the majority of the 15 years of its existence, was its premier exponent. Weather Report started out as a jazz equivalent of what the rock world in 1970 was calling a "supergroup." But unlike most of the rock supergroups, this one not only kept going for a good 15 years, it more than lived up to its billing, practically defining the state of the jazz-rock art throughout almost all of its run.
Weather Report
Night Passage (Joe Zawinul) 6:33
Rockin' in Rhythm (Harry Carney / Duke Ellington / Irving Mills) 3:02
Fast City (Joe Zawinul) 6:16
from Night Passage 1980
All things being relative, this is Weather Report's straightahead album, where the elaborate production layers of the late-'70s gave way to sparer textures and more unadorned solo improvisation in the jazz tradition, electric instruments and all. The flaw of this album is the shortage of really memorable compositions; it is more of a vehicle for the virtuosic feats of what is considered by some to be the classic WR lineup -- Joe Zawinul, Wayne Shorter, Jaco Pastorius, Robert Thomas, Jr. and Peter Erskine. For Erskine, this is is first full studio album and he amply demonstrates his terrific sense of forward drive unique among the other superb drummers in WR annals... There is also a tremendously fun retro trip to Duke Ellington's "Rockin' in Rhythm," everybody swinging their heads and hands off. (Richard S. Ginell)