15-08-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2001-2011 (3h 53m)# Grażyna Auguścik, Attila Laszlo Band, Jaco Pastorius Big Band, Dave Douglas, Joe Diorio,Dennis Coffey, Charlie Haden & Brad Mehldau, S.M.V., Crimson Jazz Trio,Bushman's Revenge, Avishai Cohen
J A Z Z M U S I C (3h 53m)
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.JAZZ_line on deezer
2001-2011
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
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
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...
Technical virtuosity and imaginative improvisation made Joe Diorio (born: Joseph Louis Diorio) one of the busiest jazz session guitarists of the '60s and '70s. Reviewing a mid-'60s performance, influential jazz critic Leonard Feather wrote that Diorio was "one of the most mature and uncompromising (new) plectrists to work the room since Joe Pass."
Solar 10:40
My Funny Valentine 5:38
Bye Bye Blackbird10:24
from It's About Time 2005
...Since releasing his debut solo album, Solo Guitar, in 1975, Diorio has gone on to record more than a dozen impressive platters, including tribute albums to Wes Montgomery and Antonio Carlos Jobim. Starting with a jazz improvisation class that he taught at the University of Miami, Diorio increasingly turned his focus to teaching. Since relocating to Los Angeles in the late '70s, he has taught in the studio/jazz guitar department of the University of Southern California and the GIT (Guitar Institute of Technology)...
Unsung session guitarist from Detroit who played on dozens of soul and funk hits and scored one of his own, "Scorpio," in 1971. Dennis Coffey remains an active hero from the halcyon era of Detroit soul, contributing guitar to landmark records issued on the Motown, Ric-Tic, and Revilot labels...
Little Sunflower (Freddie Hubbard) 10:56
Scorpio (Dennis Coffey) 9:10
All Blues (Miles Davis) 8:17
from Live at Baker's / Rec. May 20, 2006 (2019)
...Live at Baker's (Omnivore) finds the guitarist leading his own quartet at Detroit's oldest jazz venue, Baker's Keyboard Lounge, in 2006. Without edits or overdubs this "as-it-happened" set leans heavily on jazz tunes but allows room for his brand of funky psychedelic soul and blues. Coffey seldom plays any tune straight; he is groove-centric and a supreme melodist, and leaves plenty of room for tunes to develop spontaneously on the bandstand. With this group -- Grammy-nominated drummer Gaelyn McKinney, keyboardist Demetrius Nabors, and bassist Damon Warmack -- the guitarist allows his approach to interpret canonical jazz tunes and standards... Live at Baker's reveals the mature artist at a creative peak, still interested in the discovery of any tune's hidden self -- it is also more intimate, spontaneous, and better recorded. This is essential Coffey.
Charlie Haden is one of the most important post-bop jazz bassists, a skillful and adventurous player who helped establish the blueprint for free jazz. An immensely celebrated and forward-thinking bassist, Charlie Haden first emerged in the late '50s as one of free jazz's founding fathers.
Improvisational jazz pianist who introduced a classical impressionist influence into modern jazz, often using pop music as source material. One of the most acclaimed pianists of his generation, Brad Mehldau is a virtuoso performer with an ear for deeply nuanced, harmonically sophisticated acoustic jazz.
recorded during the 2007 Enjoy Jazz Festival in Mannheim, Germany
Au Privave (Charlie Parker) 9:55
Long Ago and Far Away (Ira Gershwin / Jerome Kern) 15:05
from Long Ago and Far Away 2018
Long Ago and Far Away captures pianist Brad Mehldau and bassist Charlie Haden in a live duo performance recorded during the 2007 Enjoy Jazz Festival in Mannheim, Germany. One can hardly think of a more compatible pairing, with both Mehldau and Haden embodying an introverted, harmonically rich, and endlessly inventive jazz paradigm. This concert comes roughly a decade after their first outing, alongside saxophonist Lee Konitz and drummer Paul Motian, on 1997's Alone Together. That album, and its follow-up, 2011's Live at Birdland, are themselves deeply introspective standards sets. This concert bridges those albums with an equal amount of atmosphere and introspection, and with an added layer of intimacy from the duo setting... It's that casual intensity, and the willingness to commune with yearning lyricism one minute and dive into dark voids the next, that make Mehldau and Haden's duo work here so compelling.
S.M.V. is a jazz supergroup featuring the talents of bassists Stanley Clarke, Marcus Miller, and Victor Wooten. Individually, the members of S.M.V. are widely accepted as innovative, creative, and technically proficient musicians who have performed in a variety of genres. The trio released its debut self-titled album on Heads Up in 2008.
Maestros de Las Frecuencias Bajas (Stanley Clarke) 2:52
Thunder (Marcus Miller) 6:37
Los Tres Hermanos (Marcus Miller) 5:25
Tutu (Marcus Miller) 5:04
from Thunder 2008
Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two... Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners.
The trio was conceived by Wallace, who recruited Tim Landers (bass) and Jody Nardone (piano) in 2004.
The Court of the Crimson King (Robert Fripp / Peter Giles / Greg Lake / Ian McDonald / Peter Sinfield) 6:16
Frame By Frame (Adrian Belew / Bill Bruford / Robert Fripp / Tony Levin) 5:30 Soprano Saxophone, Alto Saxophone: Mel Collins
Heartbeat (Adrian Belew / Bill Bruford / Robert Fripp / Tony Levin) 8:56
from King Crimson Songbook, Vol. 2 2009
King Crimson founder Robert Fripp approved of the group, stating: "The CJ3 have respectfully and irreverently taken eight Crimson classics, repositioned them in the musical spectrum, and delivered their first songbook with superb musicianship in service to wit and invention".
This Norwegian power trio melds jazz improvisation with prog rock composition and heavy metal's dynamics.
Always in Motion the Future Is (Even Helte Hermansen) 9:59
While My Guitar Gently Breaks (Even Helte Hermansen) 6:33
Personal Poltergeist (Even Helte Hermansen) 7:48
Waltz for My Good Man (Even Helte Hermansen) 4:48
from Jitterbug 2010
Rune Grammofon's contributions to the Norwegian jazz scene (and that of the world at large) continues with Bushman's Revenge's third album, finding the trio again exploring their own variety of garagey psych fusion... Jitterbug is at once a product of its time -- namely a worship of a lot of things going down sonically at the dawn of the '70s -- and something that doesn't quite fit into any easy description of that; they're a power trio and a jazz trio without settling for being specifically one or the other, as the excellent opener "Always in Motion the Future Is" shows...
Virtuoso bassist who often combines his eclectic and acoustic jazz with Mediterranean and Israeli folk traditions. A jazz bassist, keyboardist, and singer, Avishai Cohen plays a sophisticated mix of post-bop and contemporary jazz, infused with elements culled from Mediterranean and Israeli traditions. Influenced by bass mavericks like Charles Mingus and Jaco Pastorius, Cohen initially garnered attention in the mid-'90s as a member of Chick Corea's Origin ensemble...
Seven Seas (Avishai Cohen) 5:23
Two Roses [Shnei Shoshanim] (Mordechai Zeira) 5:24
Ani Aff (Avishai Cohen) 4:34
from Seven Seas 2011
Over the past few years, bassist Avishai Cohen has become recognized as one of the most creative musicians of current times. A fertile composer of the highest rank, he has, among other things, enriched and expanded the genre he works in: a master of the upright bass, an improviser of not-so-often-seen genius, and a bandleader with a rich and kaleidoscopic history. Seven Seas is another exceptional chapter in the Cohen catalog, one that showcases a willingness to stretch itself to the breaking point and open up the music to a wider array of approaches. It is one of his most spontaneous recordings, with both disciplinarian and freewheeling sense of adventurous interaction. In general, there is a spirit of true exploration on his records which is also evident here, with adventurous improvisation added to that blend of Mediterranean melodies (with touches of Ladino/Judeo-Spanish heritage) and the art of jazz. As always, he successfully blends, extracts, adapts, and layers one set of music onto another, through a personal approach to music making. In the constant sonic middle ground, there are the sounds of piano, bass and percussion, and the occasional oud and brass ensemble, that merge the melody and rhythm brilliantly...
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