01-06-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1977-1965

01-06-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1977-1965 # Shakti,  McCoy Tyner, Steve Reid, Keith Jarrett, Eero Koivistoinen Music Society, Mulatu Astatke, Pharoah Sanders, Joe Henderson, Sonny Sharrock, Bobby Hutcherson, Big John Patton, Larry Young, Grant Green

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1977-1965

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) 

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

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) 

Theme for Nana (McCoy Tyner) 

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) 

Rocks (For Cannonball) (Les Walker) 

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) 

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

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 Up 

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)

Dewel

Chifara (Mulatu Astatke)

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...

Respected tenor saxophonist whose many acclaimed recordings developed his freedom of expression in a spiritual and often introspective setting. Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz. Harmonically rich and heavy with overtones, Sanders' sound can be as raw and abrasive as it is possible for a saxophonist to produce. Yet, Sanders is highly regarded to the point of reverence by a great many jazz fans.
Pharoah Sanders
Astral Traveling (Lonnie Liston Smith)
Thembi (Pharoah Sanders)
Love (Cecil McBee)
from Thembi 1971
Recorded with two different ensembles, Thembi was a departure from the slowly developing, side-long, mantra-like grooves Pharoah Sanders had been pursuing for most of his solo career. It's musically all over the map but, even if it lacks the same consistency of mood as many of Sanders' previous albums, it does offer an intriguingly wide range of relatively concise ideas, making it something of an anomaly in Sanders' prime period... The compositions, too, try all sorts of different things. Keyboardist/pianist Lonnie Liston Smith's "Astral Traveling" is a shimmering, pastoral piece centered around his electric piano textures; "Love" is an intense, five-minute bass solo by Cecil McBee...  If there's a unifying factor, it's the classic title track, which combines the softer lyricism of Sanders' soprano and Michael White's violin with the polyrhythmic grooves of the most Africanized material (not to mention a catchy bass riff)... it's rare to have this many different sides of Sanders coexisting in one place, and that's what makes the album such an interesting listen.

Remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz.
Joe Henderson
Black Narcissus (Joe Henderson)
Isotope (Joe Henderson)
Power to the People (Joe Henderson)
from Power to the People 1970
This album (which has been included in Joe Henderson's complete, eight-CD Milestone Years box set) has quite a few classic moments. At that point in time, tenor saxophonist Henderson was a sideman with Herbie Hancock's Sextet, so Hancock was happy to perform as a sideman, doubling on piano and electric piano, with the all-star group, which also includes trumpeter Mike Lawrence, bassist Ron Carter and drummer Jack DeJohnette...

One of the most remarkable guitarists in contemporary jazz, he played with countless major artists.Of the electric guitar's few proponents in avant-garde jazz, Sonny Sharrock is easily the most influential; he was one of the earliest guitarists to even attempt free playing, along with Derek Bailey and Sonny Greenwich. Sharrock's visceral aggression and monolithic sheets of noise were influenced by the screaming overtones of saxophonists like Coltrane, Sanders, and Ayler, and his experiments with distortion and feedback predated even Jimi Hendrix. Naturally, he provoked much hostility among traditionalists, but once his innovations were assimilated, he enjoyed wide renown in avant-garde circles.
Sonny Sharrock
Black Woman (Sonny Sharrock)
Bialero (Traditional)
Blind Willy (Sonny Sharrock)
from Black Woman 1969
Black Woman documents Sonny Sharrock's temporary departure from the confines of Herbie Mann's always invaluable patronage. Around the time of recording, Sharrock was struggling to express his own musical ideas within the rigid framework of the successful Mann bands. Black Woman marks an early opportunity for Sharrock's own voice to be heard; he composed all the songs except "Bailero" and personally chose the band to reflect his own interests. The music is full of Sharrock's skittering, trademark clusters of notes and remains at a consistently high-intensity level with Linda Sharrock, Milford Graves, and Teddy Daniel on board... The beauteous "Bialero" with piano and bass figures oscillating around Linda's lilting yet unpredictable voice ... she doesn't enunciate a single word throughout, except on the traditional "Bialero," instead using her instrument, her voice to express, like her husband does, the inexpressible: those emotions, passions, or exaltations that cannot be rationally shared, only referred to comparatively vaguely by the "knower."...

Daring jazz vibraphonist who expanded the instrument's role with speedy tempos and often dazzling harmonic maneuvers using four mallets. Easily one of jazz's greatest vibraphonists, Bobby Hutcherson epitomized his instrument in relation to the era in which he came of age the way Lionel Hampton did with swing or Milt Jackson with bop. He wasn't as well-known as those two forebears, perhaps because he started out in less accessible territory when he emerged in the '60s playing cerebral, challenging modern jazz that often bordered on avant-garde.
Bobby Hutcherson
Una Muy Bonita (Ornette Coleman)
Summer Nights (Bobby Hutcherson)
Blues Mind Matter (Bobby Hutcherson)
from Stick-Up! 1968
Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson... The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that -- coupled with the energetic performances -- ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.

John Patton, often known as Big John Patton, was one of Blue Note's busiest soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton cooked up 11 albums' worth of material as a leader and sat in with a dizzying procession of skilled improvisers, and his best work has since been compared with that of tragically short-lived innovator Larry Young.
Big John Patton
Let 'Em Roll )Big John Patton)
Latona (Big John Patton)
The Turnaround (Hank Mobley)
from Let 'Em Roll 1967
In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's "The Turnaround," which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs... Also notable are Patton's own tunes, the most beautiful of which is "Latona," a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.

An acclaimed innovator of the '60s jazz organ approach, who utilized swirling chords, surging lines, and rock-influenced improvisations. Larry Young, also known as Khalid Yasin, offered as radical an approach to organ in the '60s as Jimmy Smith had posed in the '50s. His free, swirling chords, surging lines, and rock-influenced improvisations were an alternative to the groove-centered, blues and soul jazz sound that had become the organ's dominant direction.
Larry Young
Pavanne (Morton Gould / Jelly Roll Morton)
Seven Steps to Heaven (Miles Davis / Victor Feldman)
from Of Love And Peace 1966
By 1966, Larry Young was playing music that fell between advanced hard bop/soul-jazz and the avant-garde. For this stimulating Blue Note date, the organist meets up with trumpeter Eddie Gale (who was playing with Cecil Taylor during this era), altoist/flutist James Spaulding, and three obscure but fine sidemen: tenor saxophonist Herbert Morgan and both Wilson Moorman III and Jerry Thomas on drums. Two of the selections ("Of Love and Peace" and "Falaq") are essentially free improvisations that have a momentum and purpose of their own, moving forward coherently. In addition, Young and his group perform adventurous versions of "Pavanne" and "Seven Steps to Heaven." Very stimulating and intriguing music, this was one of Larry Young's best recordings.

One of the great jazz guitarists of the 1960s, with a clear tone and a unique emphasis on single-note lines. A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar. He combined an extensive foundation in R&B with a mastery of bebop and simplicity that put expressiveness ahead of technical expertise. Green was a superb blues interpreter, and while his later material was predominantly blues and R&B, he was also a wondrous ballad and standards soloist.
Grant Green
Talkin' About J.C. (Larry Young)
Luny Tune (Larry Young)
I'm an Old Cowhand (From the Rio Grande) (Johnny Mercer)
from Talkin' About! 1965
On the heels of Matador and Solid, two of his most advanced albums, Grant Green decided to continue the more modal direction he'd begun pursuing with the help of members of Coltrane's quartet. Accordingly, he hooked up with organist Larry Young, who was just beginning to come into his own as the first Hammond B-3 player to incorporate Coltrane's modal innovations into his own style. Talkin' About is the first of three albums the Green/Young team recorded together with Coltrane drummer Elvin Jones, and it's exceptional, one of the most underrated items in Green's discography.