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| Flora Purim & Airto Moreira |
07-17-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1994-2004 (3h 47m)# Flora Purim, Dave Holland Quartet, Jimmy Smith, Derek Bailey, Marcus Miller, David S. Ware,Charles Lloyd, Grażyna Auguścik, Attila Laszlo Band, Jaco Pastorius Big Band, Dave Douglas
J A Z Z M U S I C
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1994-2004
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....
Jazz fusion bassist who came to fame with Miles Davis in the 1980s and went on to a successful solo career.
Intro (Marcus Miller) 2:25
Tutu (Marcus Miller) 10:57
Strange Fruit (Lewis Allan) 3:55
from Live & More 1998
Marcus Miller is one of the great hyphenates of contemporary rhythm and jazz, equally successful as a producer (Luther Vandross, David Sanborn), songwriter (numerous Vandross hits, James/Sanborn's "Maputo"), and artist in his own right. It's not easy to capture every aspect of the man who has been called the "Superman of Soul" on one disc, but Live and More -- which draws from sold out performances in Los Angeles, Montreux, and throughout Japan -- gives it a solid effort. While Miller plays everything but the kitchen sink himself (bass, bass clarinet, guitar, and vocoder), the genuine excitement here emerges from giving space to and interacting and stretching out with his sea of all-stars. Miller wrote the moody trumpet-led seduction "Tutu" for Miles, but Michael "Patches" Stewart carries on in those muted footsteps (complemented by a flügelhorn solo) above a controlled Miller bassline and Poogie Bell's subtle drum...
Unconventional saxophonist, emerged during the free jazz movement of the 1960s, among the cream of the circa 1990 avant-garde.
Yesterdays (Otto Harbach / Jerome Kern) 9:18
Sentient Compassion 8:21
Autumn Leaves (Johnny Mercer) 7:50
from Balladware 1999
A ballads album is not something one might associate with David S. Ware, the fiery tenor saxophonist. It was recorded in 1999 as Ware was making a series of albums for Aum Fidelity and Japan's DIW label -- in fact, many of the tracks on this set appeared in different versions on those recordings. It's a wonderful thing that this set produced by Steven Joerg (owner of Aum Fidelity) was licensed by Thirsty Ear for release. The seven tracks that appear on this release, split between original compositions and standards, offer a very different side of the saxophonist, without sacrificing his iconic individuality. They are forward-thinking and utterly passionate -- albeit in a lower-key manner. Ware is ably assisted by the ubiquitous William Parker on bass, pianist Matthew Shipp, and Guillermo Brown on drums...
Saxophonist who cross-pollinated jazz with rock as well as non-Western styles to aid the development of fusion and world music.
Charles Lloyd
Georgia (Hoagy Carmichael / Stuart Gorrell) 6:37
The Monk and the Mermaid (Charles Lloyd) 8:34
Prayer (Charles Lloyd) 4:19
from The Water Is Wide 200
Like 1999's Voice in the Night, The Water Is Wide features Charles Lloyd in the company of one of his dearest friends, drummer Billy Higgins, who would pass away less than a year after the album's release. Guitarist John Abercrombie also remains on board, but Lloyd extends the group's generational span by recruiting two younger players: pianist Brad Mehldau and bassist Larry Grenadier. ..
Grażyna Auguścik is a Polish jazz vocalist, composer, and arranger. She frequently uses Polish folk music, Latin American music, and klezmer music.
The Moon Is a Harsh Mistress (Jimmy Webb) 5:10
Bachianas Brasilieras No. 5 I Aria (Cantilena) (Heitor Villa-Lobos) 6:51
Dancing All Around (Grazyna Auguscik) 4:07
from River 2001
Her voice has a distinctive sound and style, and her choice of tunes spans genres, so it is not surprising that Polish-born vocalist Grazyna Auguscik has made a bit of a name for herself in the active Chicago jazz scene. Like contemporary Patricia Barber, another word sculptor from the Windy City, Auguscik defies pigeonholing, and as with Barber, her voice emanates a dark, brooding quality that is quite unlike any other. Ultimately, Auguscik's sound will not appeal to everyone, with its slightly off-beat qualities and odd harmonies. One thing in her favor: a compatible band, with first-rate performers such as accordionist Jarek Bester, who solos beautifully on "Bachianas Brasileiras," and local mainstays bassist Eric Hochberg and guitarist John McLean. .. She leaps across intervals, repeats phrases, and puts her entire self into her songs. The results sometimes charm and more often challenge, auguring well for the future of jazz singing. She points in an uncharted direction that takes nothing for granted, as little sounds mix with soft subtlety and poetic lyrics to achieve something just different enough to raise a few eyebrows.
Having graduated as an architect from the Technical University Budapest (BME), and as guitarist from the Jazz Faculty of the Béla Bartók Conservatory, he started to play in leading Hungarian jazz bands. He founded his own band, the group „Kaszakő” in 1975, which had a really original sound. Their first record was published under the title Édenkert (Garden of Eden) in 1983. He formed the group „Things” with sax player Tony Lakatos in 1985, which functioned for a period of seven years.
Attila Laszlo Band
Brother I. 7:07
Last Moment 9:18
Sentimental Voices 9:26
from Once Upon a Time 2002
I have been blessed to meet and play with Attila László and his music for over ten years. Attila László's music is so wonderful in so many ways, I always hear a very broad span of musical influences coming from his playing and music so much, that I stopped trying to figure it out, I just enjoy it and always be alert and ready for what comes next. Every time I play a concert with him, I can expect the music to live within me, and it does. Which is what we have become, "Brothers". - Tommy Campbell
Attila László - electric and acoustic guitars, Kálmán Oláh - piano, keyboards, Béla Lattman - electric and acoustic bass, Kornél Horváth - percussions, Péter Szendőfi - drums
Jaco Pastorius was a meteor who blazed on to the scene in the 1970s, only to flame out tragically in the 1980s. With a brilliantly fleet technique and fertile melodic imagination, Pastorius made his fretless electric bass leap out from the depths of the rhythm section into the front line with fluid machine-gun-like passages that demanded attention.
Teen Town - Victor Wooten (Jaco Pastorius) 4:10
Punk Jazz - Richard Bona (Jaco Pastorius) 5:03
Killing Me Softly - Jeff Carswell (Pee Wee Ellis / Charles Fox / Norman Gimbel / Jaco Pastorius) 4:22
from Word of Mouth Revisitied 2003
Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself...
Cutting-edge trumpeter who seems equally at home in the avant-garde jazz world and the pop milieu.
Strange Liberation (Dave Douglas) 8:03
Seventeen (Dave Douglas) 8:42
Rock of Billy (Dave Douglas) 5:55
The Frisell Dream (Dave Douglas) 3:55
from Strange Liberation 2004
On Strange Liberation -- a play on a phrase of Martin Luther King's; he once said that the Vietnamese must have seen Americans as "strange liberators" -- trumpeter and composer Dave Douglas expands his quintet to realize a long-held ambition: to have guitarist Bill Frisell in the ranks of his group. Douglas has once again stepped back from the precipice of his intense gaze at the musical landscape of American culture and turned his focus directly and intensely toward jazz for this set. Along with Frisell, pianist Uri Caine, saxophonist Chris Potter, bassist James Genus, and drummer Clarence Penn join Douglas for an electric jazz outing that falls far outside the purview of "fusion." Douglas has obviously composed these works with Frisell in mind, and this is his most saturated jazz date in some time. His playing here is front-line and full of his trademark counterpoint and atmospheric fills, as Douglas engages both the pastoral nature and the complexity of his harmonic view, making Caine a conflating bridge between the horns, guitar, and rhythm section...
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