01-05-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1983-1972

Pat Metheny

01-05-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1983-1972 # Pat Metheny, Kip Hanrahan, Willem Breuker Kollektief, Weather Report, John Abercrombie Quartet, Oregon, Shakti,  McCoy Tyner, Steve Reid, Keith Jarrett, Eero Koivistoinen Music Society, Mulatu Astatke

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1983-1972

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)

Versatile and inventive guitarist who skirted the edge of fusion and rock while remaining true to jazz. John Abercrombie's tying together of jazz's many threads made him one of the most influential acoustic and electric guitarists of the 1970s and early '80s; his recordings for ECM helped define that label's progressive chamber jazz reputation.
John Abercrombie Quartet
Arcade (John Abercrombie) 9:43
Nightlake (Richie Beirach)
from Arcade 1979
...These three dates also represent an important foundation for Abercrombie as a composer. Arcade's title track is an energetic post-bop number that borders on jazz-rock, with keen interactions between the front-line players and the rhythm section. Another aspect of the band's conversational ability can be heard on Richie Beirach's gentle "Nightlake."... What's more, they remain thoroughly engaging after all these decades. The simple fact that the quartet form remains one of this guitarist's favorite ways of working well into the 21st century can be attributed to the creative fire and enduring merit of what is found here.
Richie Beirach   Piano
George Mraz   Bass
Peter Donald   Drums
John Abercrombie   Guitar, Electric Mandolin

Uncompromising avant-jazz group who defy categorization. Oregon emerged in 1970 as a splinter band from the Paul Winter Consort. Its members each had experience in jazz, classical, and a variety of non-western musical styles, and were also multi-instrumentalists. Ralph Towner played standard acoustic and 12-string guitar, piano, a variety of electric keyboards, trumpet, and flügelhorn. Paul McCandless' instrumental arsenal included oboe, English horn, soprano sax, bass clarinet, the musette, and tin flute. Collin Walcott handled most of the percussion duties on tabla and various African and Latin rhythm instruments plus sitar, dulcimer, clarinet, and violin. Glen Moore was the bassist, and also played clarinet, viola, piano, and flute. 
Oregon
Yellow Bell (Ralph Towner) 7:06
Reprise (Ralph Towner) 1:02
Witchi-Tai-To (Jim Pepper) 8:24
from Out of the Woods 1978
Long before "New Age" and "World Music" became part of the musical-term language, Oregon was making music that would influence (directly or indirectly) those genres. During the early 1970s, the much-maligned fusion movement in jazz was building up steam, and Oregon, in their quiet, understated way, contributed greatly. The band played acoustically--all the players had jazz backgrounds as well as a strong interest in ethnic musics from around the globe. They all played multiple instruments as well. Oregon's music might be described as elegant folk melodies and "Third World" rhythms played by a jazz band with the precision and grace of a classical chamber ensemble. OUT OF THE WOODS was originally released in 1978, but it sounds like it came from a time all its own. "Witchi-Tai-To" (composed by the late Jim Pepper) has a captivating, dreamlike feel, and "Reprise" shows the respect they have for the blues. Once you take a stroll in these WOODS, you'll want to lose yourself in them.

As jazz-rock fusion pioneer John McLaughlin delved deeper into Eastern spirituality and mysticism, he developed a corresponding interest in the music of South India. Following the collapse of the second version of the Mahavishnu Orchestra in 1975, McLaughlin put together Shakti, an outfit dedicated to fusing high-energy jazz and Indian music. In addition to McLaughlin (who played acoustic guitar instead of his customary electric),

Shakti 

Mind Ecology (John McLaughlin) 5:47

The Daffodil and the Eagle (John McLaughlin / Lakshminarayana Shankar) 7:00

Happiness Is Being Together (John McLaughlin) 4:27

from Natural Elements 1977

The third and final Shakti recording from the '70s. The songs here are shorter than those on Shakti and Handful of Beauty, but no less impressive. The novelty of combining Eastern and Western musical styles had worn off and McLaughlin sounds comfortable. This allows for memorable compositions and interchanges, rather than the blistering virtuosity that characterized the first two releases. From the intense ("Daffodil and the Eagle") to the joyful ("Happiness Is Being Together"), Natural Elements stands as a milestone in McLaughlin's illustrious career.

Jazz pianist whose inventive two-handed forays, extensive modal solos, and dashing phrases made him arguably the best pianist to debut in the '60s. It is to McCoy Tyner's great credit that his career after John Coltrane was far from anticlimactic. Along with Bill Evans, Tyner was the most influential pianist in jazz during the second half of the 20th century (and into the new millennium), with his chord voicings being adopted and utilized by virtually every younger pianist. A powerful virtuoso and a true original -- compare his playing in the early '60s with anyone else from the time -- Tyner, like Thelonious Monk, never altered his style all that much from his early days but continued to grow and become even stronger.

McCoy Tyner 

Mes Trois Fils (McCoy Tyner) 7:55

Theme for Nana (McCoy Tyner) 5:14

from Focal Point 1976

In an attempt to avoid similarities, most of pianist McCoy Tyner's Milestone records of the 1970s used different instrumentation from each other. Here Tyner and his 1976 trio (with bassist Charles Fambrough and drummer Eric Gravatt) are joined by a trio of talented reed players (Gary Bartz, Joe Ford, and Ron Bridgewater) and percussionist Guilherme Franco for three of Tyner's originals; in addition, Ford is the only horn on his feature "Theme for Nana,"... Because virtually all of Tyner's records are superior examples of modal-oriented jazz, this gem is merely an above-average effort.

Deeply valued touring and session drummer (James Brown, Miles Davis, Sun Ra) who cut many well-regarded albums from the mid-'70s through the 2000s. Drummer, bandleader, and composer Steve Reid was born on January 29, 1944 in the South Bronx in New York. He became interested in the drums when he heard Art Blakey playing a dance in his neighborhood. The next day, Reid procured a set of drums via a friend of his mother's and began playing. At the age of 16, Reid was already playing drums in the house band at the legendary Apollo in Harlem, under the direction of Quincy Jones.

Steve Reid 

Kai (Les Walker) 11:31

Rocks (For Cannonball) (Les Walker) 9:31

from Rhythmatism 1975

Recently reissued on Soul Jazz, Steve Reid's Rhythmatism steps expertly between funky and free. "Soul jazz" is the perfect moniker for the album, which both reflects the exploratory soloing and marathon track lengths of the free jazz school and digs intently into hard-swinging grooves. Recorded in 1975, Rhythmatism is exactly what its title implies: an examination into the power and pliability of the beat. Reid takes the helm on drums, and the rest of his acoustic quintet-- bass, piano, sax, and trombone-- exudes a warm, earthy sound, diving into the rhythmic core of their instruments rather than taking them on unfettered flights. Reid's drums propel these tunes against their tempo, building tension through repetition and slight nuance. There are no flashy fills-- instead, he's content to add subtle color with variations in volume and pace.

Prolific jazz and classical pianist, and bandleader. His 1975 improvised solo outing The Koln Concert is one of the best-selling albums in jazz history. 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.

Keith Jarrett 

Spiral Dance (Keith Jarrett) 4:07

'Long as You Know You're Living Yours (Keith Jarrett) 6:10

Belonging (Keith Jarrett) 2:12

from Belonging 1974

On Keith Jarrett's first recording with his "European" quartet -- Jan Garbarek (sax), Palle Danielsson (bass), Jon Christensen (drums) -- he stakes out somewhat less abrasive territory than that which his "American" foursome was exploring at this time. Garbarek sports a neutral, vibratoless tone that occasionally reaches an emotional climax; the rhythm section is supportive and just loose enough... this LP-turned-CD successfully bucked the powerful electric trends of its time and holds up well today.

Eero Koivistoinen is a Finnish jazz musician and saxophone player, who started his career in the mid-1960s. Koivistoinen has worked as a musician, composer, arranger, conductor, producer and educator. He first heard jazz from the records his sailor brother had brought in from his travels... Eero Koivistoinen's later solo albums such as Wahoo (1972) enjoy a considerable international reputation...

Eero Koivistoinen Music Society 

Hot C 7:37

7 Up 4:58

6 Down 7:58

from Wahoo! 1973

This was originally recorded in December 1972. They sure knew how to save on heating ! 16 musicians, including guests Sabú Martínez, then established in Sweden, and Edward Vesala. Koivistoinen used simultaneously on some tracks two drummers, two electric guitarists and two electric bassists, in order to use complicated and intricate patterns ... and get a big funky sound. Finland was one of the many houses of Funk in the 70s, this is one of the best proofs you can get. Get ready to shake your booty, even in Finland's snow by winter !

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 

Mulatu (Mulatu Astatke) 5:03

Dewel 4:14

Chifara (Mulatu Astatke) 7:08

from Mulatu Of Ethiopia 1972 

Mulatu Astatqé (also sometimes spelled Mulatu Astatke, as he is on the liner notes to this release) might be most known to international audiences through his tracks on the excellent Ethiopiques CD anthology series of Ethiopian music. Long before those tracks were compiled for that series, however, he had an American release with this 1972 instrumental album, on which he's billed as "Mulatu of Ethiopia." Like much of the best of the circa-early-'70s contemporary Ethiopian music on Ethiopiques, it's a fine, at times captivating blend of late-'60s American soul and jazz with Ethiopian music, resulting in something not quite comparable to anything else. It is undeniably funky, with wah-wah guitar and organ aplenty. There's plenty of contemporary jazz in the arrangements, too, the sax runs sometimes showing the influence of the likes of John Coltrane. Yet there's a melancholy minor cast to the melodies that marks this off as something quite different, and the rhythms likewise have irregularities that are more African than American...