15-11-2011 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2015-2021 (3h 22m)# Stanley Clarke, Bireli Lagrène, Jean-Luc Ponty, Mike Dillon, Tobias Meinhart, Wolfgang Muthspiel, Antonio Sanchez, Mary Halvorson, Makaya McCraven, Wildflower, Todd Marcus, Muriel Grossmann, Mike Dillon, Ron Miles, Bremer/McCoy, Kurt Elling, Charlie Hunter
J A Z Z M U S I C (3h 22m)
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.JAZZ_line on deezer
2015-2021
Blue Train (John Coltrane) 6:15
Mercy, Mercy, Mercy (Joe Zawinul) 6:33
from D-Stringz 2015
The occasion for this trio to work together was a 2010 concert that celebrated violinist Jean-Luc Ponty's 50th anniversary as a recording artist. Both the violinist and Stanley Clarke had collaborated before (a previous electric trio set with Al Di Meola, The Rite of Strings was issued in 1995), but neither had collaborated with French jazz guitarist Biréli Lagrène prior to that evening...
Vibraphonist, percussionist, and songwriter Mike Dillon is an eclectic, highly adventurous musician with a sound steeped in post-bop jazz, funk, and avant-garde rock. Drawing upon such wide-ranging influences as Harry Partch, Thelonious Monk, Tom Waits, and Frank Zappa...
Half Right 3:51
Christian Brothers 5:20
Bachelor Pad 3:24
from Functioning Broke 2016
As idiosyncratic as Mike Dillon's work has been with Critters Buggin' and Garage a Trois, it's well-nigh impossible not to fall under the spell of the music he creates all by himself on Functioning Broke. A deep dream-like quality emanates from his musicianship, most resonant in the warm glow of vibes that open "Half Right" and continues virtually unabated... Mike Dillon played all the instruments here himself, a total of eleven according to the credits. Nevertheless, he restrains himself from becoming too busy on a number like "Christian Brothers:" by the self-discipline that allows the ethereal tones of vibes, marimba, xylophone and bells, among others, to sustain and hang in the air until followed by the next instrumental sound... so as much as Functioning Brokesuspends the passage of time for those who hear the album, it'd seem Mike Dillon too is caught up in the spirit of the moment(s),
A gifted German-born saxophonist, Tobias Meinhart plays harmonically sophisticated post-bop jazz. He first garnered attention performing in Europe in the mid-2000s, and gained wider recognition following his move to New York in 2010. He has played often with trumpeter Ingrid Jensen, with whom he recorded 2015's Natural Perception and 2017's Silent Dreamer.
Fighting Your Fears 5:37
Silent Dreamer 5:51
Ghost Gardens 6:54
from Silent Dreamer 2017
...Tobias Meinhart had racked up a host of awards in Europe before moving to the United States to study with some of New York's top saxophonists. He now resides in Brooklyn and works with a variety of groups. His fourth album, "Silent Dreamer," is not only a vehicle for his bold tenor style, it's also a showcase for his adventurous compositions and gorgeous arrangements.
The album is also brimming with superb solos and group playing by some familiar players, like trumpeter Ingrid Jensen and bassist Orlando Le Fleming, and some less familiar but equally powerful musicians. Yago Vazquez is excellent on piano, and Justin Carroll makes the synthesizer wail. Charles Altura crosses over into rock-fusion territory on every guitar solo, and Phil Donkin and Jesse Simpson are a formidable rhythm section on acoustic and electric bass and powerhouse drums.
Wolfgang Muthspiel is an Austrian guitarist, composer, and founder/owner of Material Records. His intuitive, probing style has made him a celebrated, in-demand sideman since the 1980s. He has worked with Gary Burton, Youssou N’Dour, Gary Peacock, Dave Liebman, Paul Motian, and dozens more, and has pursued everything from straight-ahead jazz to pop to electronic to world music. Muthspiel's sound, whether on electric guitar or nylon-string acoustic, is immediately recognizable for its soft touch and elegant use of chord voicings interspersed with fluid, single-string playing.
Where the River Goes (Wolfgang Muthspiel) 7:42
Clearing (Ambrose Akinmusire / Larry Grenadier / Eric Harland / Brad Mehldau / Wolfgang Muthspiel) 7:26
Blueshead (Brad Mehldau) 7:41
from Where the River Goes 2018
In 2016, Austrian guitarist and composer Wolfgang Muthspiel released the widely celebrated quintet offering Rising Grace as his sophomore effort for ECM. Its meditative -- and sometimes oblique -- compositions were riven with smooth, percolating grooves and an intelligent, canny conversation among the players, thanks in no small part to the musicians recording live in the same room. Muthspiel returns to the same French studio with three of those sidemen -- pianist Brad Mehldau, trumpeter Ambrose Akinmusire, and bassist Larry Grenadier -- with Eric Harland replacing Brian Blade on drums. Just as on Rising Grace, Muthspiel penned all but one of these eight tunes, with "Blueshead" composed by Mehldau. The guitarist uses electric and acoustic instruments in tunes that reveal the conversational m.o. of this band...
Antonio Sanchez - Sgt. Pepper's Lonely Hearts Club Band 2:53
Mary Halvorson - With A Little Help From My Friends 3:08
Makaya McCraven - Lucy In The Sky With Diamonds 5:56
Wildflower - Getting Better 4:24
from A Day In The Life: Impressions Of Pepper 2018
...
It’s a good thing, then, that A Day in the Life: Impressions of Pepper is not actually a Beatles cover album. Sure, its 13 tracks sync with the sequence of Sgt. Pepper’s, and you can hear traces of that totemic record in every piece here. But A Day in the Life is instead a full-length interpretation of Sgt. Pepper’s, rendered by some of the most captivating young musicians in the modern jazz orbit. Rather than offering obvious renditions of these standards, the likes of Makaya McCraven, Mary Halvorson, Shabaka Hutchings, and Sullivan Fortner reimagine them in the grandest jazz tradition—as fodder and grist, inspiration for making something else entirely. From sweeping solo piano vamps to cinematic takes bordering on post-rock, these versions treat the originals like colorful clothes worn by today’s most electrifying jazz musicians, who give these old chestnuts a new body and vitality...
A Baltimore-based jazz musician and community activist, Todd Marcus is an engaging bass clarinetist whose lyrical style touches upon acoustic post-bop and classical sounds, as well as traditional music from his Egyptian-American heritage...
1st Movement (Todd Marcus) 3:47
Cantata (Todd Marcus) 6:42 (My Foolish Heart
Victor Young) 9:16
from Trio+ 2019
Baltimore's Todd Marcus has distinguished himself among his post-bop contemporaries as a harmonically engaging soloist whose propulsive architectural lines are made even more distinctive by his choice of instrument, the bass clarinet. A favorite of luminaries like the late Eric Dolphy, David Murray, and Don Byron, the bass clarinet is nonetheless a less-played, and therefore less-appreciated instrument in jazz. In Marcus' hands, however, it's in full flower, grabbing the spotlight in ways normally heard by the trumpet and tenor sax. Marcus spotlights his dynamic low-end sound to superb effect on his fourth album, 2019's Trio+. Joining him are an equally adventurous cadre of associates including, at various times, veteran drummer Ralph Peterson, bassist Jeff Reed, drummer Eric Kennedy, and bassist Ameen Saleem. Also adding his own high-energy dynamism is former Jazz at Lincoln Center trumpeter and Peabody Jazz Department head Sean Jones...
European jazz saxophonist, composer, and bandleader Muriel Grossmann is responsible for some of the most musically evocative and emotionally resonant jazz albums of the last two decades. Issued primarily through her own Dreamland Records, Grossmann is equally adept on alto, soprano, and tenor saxophones. Her compositions, written specifically to showcase the strengths of her collaborators, reflect the place where post-Coltrane modalism meets spiritual post-bop and experimentalism...
Okan Ti Aye (Muriel Grossmann) 9:58
Water Bowl (Muriel Grossmann) 9.43
Afrika Mahala (Muriel Grossmann) 10:26
from Reverence 2019
In 2018, saxophonist Muriel Grossmann's fine Ibiza-based quartet issued Golden Rule on the tiny Estonian RRGems label. It showcased a band that had come fully into its own after three albums. Its passionate articulation of John Coltrane's technical and spiritual inspirations were woven through intensely focused rhythmic and globally infused harmonic aesthetics. Grossmann has worked with Serbian guitarist Radomir Milojkovic since Homecoming Reunion in 2007. Austrian bassist Gina Schwarz and Serbian drummer Uros Stamenkovic joined her in 2016 for three albums. That group is appended here by Catalonian Hammond B-3 organist Llorenç Barceló, whose playing creates a wide palette of tonal, rhythmic, and textural possibilities. Grossmann's eight compositions continue to evoke Coltrane as a touchstone, but they also embrace the polyrhythmic traditions of the African continent and filter their discoveries through the band's innate groove consciousness...
Vibraphonist, percussionist, and songwriter Mike Dillon is an eclectic, highly adventurous musician with a sound steeped in post-bop jazz, funk, and avant-garde rock. Drawing upon such wide-ranging influences as Harry Partch, Thelonious Monk, Tom Waits, and Frank Zappa...
Tiki Bird Whistle (Mike Dillon) 3:50
Mulatu Goes to India (Mike Dillon) 3:53
Sober Mardi Gras (Mike Dillon) 2:56
from Rosewood 2020
Named after the deeply red-toned wood that marimba bars are made out of, Mike Dillon's 2020 album Rosewood finds the vibraphonist further honing his genre-bending brand of percussion-based music. The album follows up his kinetic punk-, jazz-, and experimental rock-influenced 2018 album Bonobo Bonobo, which featured his large Mallet Men ensemble. With Rosewood, Dillon decided to work primarily as a soloist, only collaborating sparingly with fellow percussionist Earl Harvin and audio engineer Chad Meise. Consequently, while improvisation is still at the core of his sound, he took a more compositional approach, showcasing his deft arranging skills on a mix of original compositions and surprising covers...
A highly regarded trumpeter, composer, and educator, Ron Miles is a progressive artist with a bent toward harmonically nuanced, genre-bending jazz. A star of the Denver, Colorado jazz scene and a longtime professor at the Metropolitan State University of Denver, Miles is a lauded performer who has worked as both a leader and a collaborator with such similarly inclined luminaries as Bill Frisell and Fred Hess. Miles' sound has a warm, rounded, signature tone.
Like Those Who Dream (Ron Miles) 15:56
Average (Ron Miles) 11:12
The Rumor (Ron Miles) 4:30
from Rainbow Sign 2020
Rainbow Sign is trumpeter/composer Ron Miles' debut recording for Blue Note. He re-enlists the same intuitive quintet who played on 2017's I Am a Man. It features guitarist Bill Frisell, pianist Jason Moran, bassist Thomas Morgan, and drummer Brian Blade. Written during the summer of 2018 while caring for his dying father, these nine compositions were intended to provide empathy, peace, love, and reassurance to his transitioning parent and his family. Clocking in at over 71 minutes, Rainbow Sign bridges polytonal modal music, blues, gospel, post-bop, and pop...
Danish duo Bremer/McCoy make atmospheric jazz- and dub-influenced instrumental music. Weaving together acoustic and electronic sounds, they evoke the languid '70s ECM work of artists like Keith Jarrett and Ralph Towner, as well as new age artists like Mike Oldfield and Klaus Schulze...
Natten 5:37
Gratitude 3:12
Måneskin 2:44
from Natten 2021
Named after the Danish word for "The Night," Natten is Bremer/McCoy's hypnotic fifth album and second for the Luaka Bop label. It follows the Danish instrumental duo's equally engaging 2019 album Utopia and again finds them building an expansive dreamscape that touches upon jazz, classical, and electronic sounds. The group features bassist Jonathan Bremer and keyboardist/tape delay artist Morten McCoy... It's an organic, spectral atmosphere, the kind that begs to be heard in surround sound or through headphones in one extended session. With Natten, Bremer/McCoy successfully evoke the dark glow of the night sky, a sound that is vast and enrapturing.
A highly adept singer and writer who possesses a resonant baritone and four-octave range, Kurt Elling has won a global fan base, numerous awards, and countless accolades for his distinctive brand of vocal jazz. Given the depth and vision of his recordings and his theatrical performance style, an Elling concert can contain ranting, beat poetry, dramatically sung readings of Garcia Lorca and Rainier Maria Rilke, and tunes by Ellington, Cole Porter, Johnny Mercer, and the Beatles, complete with hard-swinging scat.
SuperBlue (Kurt Elling / Benard Ingher) 4:45
Manic Panic Epiphanic (Kurt Elling / Corey Fonville / DJ Harrison / Charlie Hunter) 5:29
Can't Make It With Your Brain )Kurt Elling / Corey Fonville / Phil Galdston / DJ Harrison / Charlie Hunter)
from SuperBlue 2021
A collaboration with guitarist Charlie Hunter, SuperBlue finds vocalist Kurt Elling exploring a sophisticated funk and soul sound. Hunter, who plays here and also produced the album, is primarily known for his fusion-informed jazz and adventurous, funk-influenced projects like Garage a Trois. However, he has also made significant contributions to albums by forward-thinking neo-soul and R&B artists, including D'Angelo and Frank Ocean. It's this deep grasp of those funky, groove-oriented vibes that he brings to his work with Elling on SuperBlue. Also contributing are Butcher Brown bandmates drummer Corey Fonville and bassist-keyboardist DJ Harrison, who bring their own hip-hop sensibilities to the proceedings... SuperBlue certainly straddles the line between electric jazz fusion and groove-based neo-soul, with a heavy leaning toward the latter. While there are some superb solo moments here from Hunter, not to mention dazzling sections of vocal gymnastics by Elling, the focus is less on post-bop improvisation and more on a song's overall vibe. For Elling and Hunter, the choice feels purposeful and right for the funky, organic nature of these songs. SuperBlue is an ebullient and creative production that further underlines Elling's dynamic and endlessly adaptable vocal skills, regardless of genre.
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