15-06-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1986-1997 (3h 47m)# Ginger Baker, Steve Tibbetts,Bill Frisell, Either/Orchestra, Rabih Abou-Khalil, Sun Ra, David Murray, Allan Holdsworth, Flora Purim, Dave Holland Quartet, Jimmy Smith, Derek Bailey
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1986-1997
Interlock (Ginger Baker)
Dust To Dust (Ginger Baker)
from Horses and Trees 1986
Bill Laswell's musical career has been a highly collaborative one. Almost every new release from solo excursions to a variety of mercurial group projects finds him engaged with a notable instrumentalist from the arenas of jazz, electronica, funk, hip-hop, reggae, and world music... Horses & Trees is no exception. Persuaded by Laswell to continue working throughout the second half of 1980s, drummer Ginger Baker produced some of his most stimulating collections, not least of which were the Laswell produced Middle Passage and this 1986 set. The drummer is rock-solid throughout, which means that most of the compositions become a showcase for an impressive lineup of guest musicians that reads like a list of the Bill Laswell all-stars... "Dust to Dust" is the only piece composed solely by Baker (he shares credits everywhere else) and is the most stunning of the set with a repeated section that sounds like an alien hoe-down with world music undertones... "Uncut" finds the likes of Bernie Worrell, Shankar and Laswell in fine form, taking solos like a jazz combo... Baker, while never caught stealing the show on any track, looms large. On Horses & Trees, his big beat pulls the greatest weight.
Name Everything (Marc Anderson / Steve Tibbetts)
Your Cat (Marc Anderson / Steve Tibbetts)
from Exploded View 1987
Opening with a bang that builds to a thunderstorm, Exploded View is the definitive Steve Tibbets album. His electric guitar howls defiantly without a lot of power chords or convention, and his musicianship is top-notch, perhaps an Adrian Belew without the pop, plus a nod toward world music in production value. Tibbets scrapes and tears through the sky ("Name Everything," "Your Cat") with jaw-dropping intensity, but it would all be too much if there weren't such rich texture and softness folded into the disc as well. "Drawing Down the Moon" is a comparatively restrained piece with acoustic guitars, shakers, kalimba, congas, and a mixed bag of other percussives. .. The album is also a great showcase for Marc Anderson, a fantastic percussionist who shines here. He really understands the musical dialogue going on between himself and Tibbets' guitar...
A stunning, eclectic guitarist who blends the best elements of rock energy with jazz harmonic sophistication and melodic interpretation. Guitarist Bill Frisell is widely known as one of the most versatile players in jazz history, despite possessing an instantly recognizable warm, bell-like tone on his instrument. Whether playing avant-jazz with his own bands, exploring various aspects of Americana and pop, or composing film scores, Frisell's focus on timbral clarity and elegance shines through.
Lookout for Hope (Bill Frisell)
Lonesome (Bill Frisell)
from Lookout for Hope 1988
Bill Frisell's early work even in its retrospectively rawest form holds all of the values that he has evinced through his entire career. Country and eastern sounds merge with a signature sky church electric approach that is unique unto only himself. Lookout for Hope brands Frisell as a visionary, a virtuoso, and a fusioneer of many sounds that set him far apart from labelmates Pat Metheny, John Abercrombie, and Terje Rypdal... there is a sense of peace and serenity that puts soulfulness on a different plane. Cellist Hank Roberts and bassist Kermit Driscoll have much to do with giving Frisell his head, weaving similar silver sounds in and through him. Then add Joey Baron's deft, precise, and colorful drumming to put the exclamation point on Frisell's new approach to improvised music... With Lookout for Hope, Bill Frisell is not so much setting trends and fashion as he is establishing a fresh sound, utterly unique from all others, and laying a foundation for many things to come.
Strange Meridian
Red (Robert Fripp)
He Who Hesitates
from The Half-Life of Desire 1989
A lot of bands do covers. Some bands do oddball covers. But few and far between are the bands who dare to end an album with back to back to back covers of a Bing Crosby hit, a Miles Davis/Ellington medley, and Robert Fripp's "Red"! But on The Half-Life of Desire, Either/Orchestra's finest, most accomplished release, that's exactly what this Boston-based ensemble does. Russ Gershon leads the 11-piece group (including future demi-celeb John Medeski) through four originals as well, all strong, especially his own "Strange Meridian" and trombonist Curtis Hasselbring's "He Who Hesitates."... Perhaps the highlight of this set is "Circle in the Round/I Got It Bad" with its furious bass intro segueing into the billowing Davis melody as though skirting a thunderstorm, only to merge unexpectedly into Ellingtonia. Quite a journey, resulting in arguably the best of this unusual band's release. Very highly recommended.
Remembering Machghara (Rabih Abou-Khalil)
Wordless (Rabih Abou-Khalil)
Caravan (Rabih Abou-Khalil / Duke Ellington / Irving Mills / Juan Tizol)
from Roots & Sprouts / Rec. 1990 (1994)
In a satisfying stylistic experiment, Lebanese composer and oud player Rabih Abou-Khalil has decided to put together an album of jazz numbers with no Western instruments other than Glen Moore's standup bass. There is Yassin El-Achek on violin, but the violin is almost as much a Middle Eastern instrument as a Western one. El-Achek usually remains in the Middle Eastern style of playing, but occasionally, as on "Wordless," he double-stops and trills like Paganini... This conceit paves the way for the extremely rare event of Abou-Khalil covering someone else's song. And which did he choose? Duke Ellington's "Caravan," the all-time most famous faux-Arabic jazz number! The song turns into a duet between El-Achek's violin and Selim Kusur's nay (Arabic flute). It's fun but lightweight compared to the album's originals. All the instrumentalists are in fine form, particularly Glen Velez, who really shakes his tambourine as well as pulling out his snare drums for several numbers. Abou-Khalil has never been better as a performer, especially on the opening of "Remembering Machgara," where he makes his oud sound like an electric guitar...
Chicago USA 2:56
Saturn 3:01
Medicine For A Nightmare 2:27
Urnack 3:49
from Singles: The Definitive 45s Collection 1952-1991 (2016)
The set contains much of Ra's more accessible work, making it an excellent (and very generous) introduction for newcomers, but there's also plenty of material that might've escaped notice from longtime fans.
Paul Consalves (David Murray) 17:37
Instanbul )David Murray) 9:24
from David Murray Big Band, Conducted by Lawrence "Butch" Morris 1992
The David Murray big band, which can be undisciplined and even a bit out of control, is never dull. This generally brilliant effort has quite a few highpoints. "Paul Gonsalves" recreates the tenor's famous 1956 Newport Jazz Festival solo and has some heated playing from the ensemble... and the eerie "Istanbul" are more memorable. This disc is easily recommended to listeners with open ears.
Ruhkukah (Allan Holdsworth) 5:32
Low Levels, High Stakes
Allan Holdsworth) 9:05
Tullio (Allan Holdsworth) 6:02
from Hard Hat Area 1993
Allan Holdsworth is arguably one of the most important post-Hendrix electric guitarists to grace either the fusion or rock scenes, while Hard Hat Area, signifies one of the artist's better solo excursions. With this 1994 effort, the guitarist receives excellent support from Icelandic electric bass phenom Skuli Sverrissson, whereas keyboardist Steve Hunt renders melodically tinged synth lines and ethereal backwashes throughout. Essentially, the group produces a series of climactic overtures, accelerated by a distinct sense of uninhibited force... Consequently, the group conveys an underlying sense of tension and release, as Holdsworth's scathing legato-based lines might spur notions of a hawk zooming in on its prey. Thus, a must-have for the ardent Holdsworth aficionado.
Aviao (Airplane) 4:13
Radio Experienca (Radio Experience) 4:47
Finale 3:54
from The Flight 1994
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. After meeting and marrying her husband, percussionist Airto Moreira, in their native Brazil, Purim moved with him to the U.S. in the late '60s. Though she worked with Stan Getz and pianist Duke Pearson before the decade ended, it wasn't until joining Chick Corea, Joe Farrell, Stanley Clarke, and Moreira in the original Return to Forever in 1972 that she became well known in the States.
Dave Holland Quartet
The Winding Way (Dave Holland) 11:57
Claressence (Dave Holland) 7:28
Dream of the Elders(Dave Holland) 11:07
from Dream of the Elders 1995
Stylewise, the music on this CD sounds much closer to a mid-'60s Blue Note release than what one might expect from ECM. Although the general sound of the ensembles is light, the music is often filled with inner heat, a little reminiscent of a Wayne Shorter record. Altoist Eric Person and vibraphonist Steve Nelson work well together, bassist Dave Holland takes plenty of solo space, drummer Gene Jackson keeps the momentum flowing... Holland's originals have plenty of variety in moods while close attention is paid to dynamics. A satisfying and thought-provoking session.
Stolen Moments (Oliver Nelson) 7:00
Angel Eyes (Earl Brent / Matt Dennis) 8:10
Slow Freight (Lupin Fein / Irving Mills / Buck Ram) 5:52
froim Angel Eyes 1996
A follow-up to the mostly heated performances of Damn!, this CD features organist Jimmy Smith sticking to ballads and slower material. There is a sextet rendition of "Stolen Moments" (with both Roy Hargrove and Nicholas Payton on trumpets); duets with both trumpeters, bassist Christian McBride, and guitarist Mark Whitfield; a trio; a quartet...
DNJBB (Derek Bailey) 13:46
Re-Re-Re (Derek Bailey) 1:35
Concrete (Derek Bailey) 7:02
from Guitar, Drums 'n' Bass 1997
Derek Bailey, who was in his mid-sixties when this disc was released in 1996, is generally recognized as the elder statesman of avant-garde guitar; his former students include the hugely influential Fred Frith, and he has made particularly notable records with Evan Parker, Steve Lacy and John Zorn. He mostly records on his own Incus label, but for this album on Avant he teamed up with DJ Ninj, a well-regarded drum'n'bass artist, to create what may be the first program of guitar/breakbeat duets. It's a brilliant idea... Bailey plays with his usual ferocity, skirling out ideas at such a rate that it's hard to keep up -- at times, he even plays in tempo with DJ Ninj's double-speed breakbeats, a feat that is impressive physically, not to say musically....
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