08-12-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2015-2005 (3h 13m)# Ben Williams, Nels Cline Singers, Thundercat, Hiromi, Gerald Clayton, Russell Malone. Wes Montgomery, Ramsey Lewis, Gabor Szabo, The Bad Plus, Eivind Aarset, Dave Douglas, David Becker, Joe Diorio
J A Z Z M U S I C (3h 13m)
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.JAZZ_line on deezer
2015-2005
Jazz bassist Ben Williams is a forward-thinking musician who crosses easily between straight-ahead, funk, and gospel-influenced jazz. A native of Washington, D.C., Williams graduated from the Duke Ellington School of Music before studying with renowned bassist Rodney Whitaker while earning a B.A. in jazz studies at Michigan State University. He is an in-demand sideman and has performed with a veritable who's who of jazz, including Wynton Marsalis, Roy Hargrove, Mulgrew Miller, Terence Blanchard, and others...
Black Villain Music (Ben Williams) 4:27
Forecast (Ben Williams) 8:15
Smells Like Teen Spirit - Nirvana cover (Kurt Cobain / Dave Grohl / Krist Novoselic) 3:20
from Coming of Age 2015
Ben Williams' sophomore full-length album, 2015's Coming of Age, finds the adept bassist/composer delivering another sophisticated mix of post-bop, fusion, and contemporary R&B-infused jazz. The album follows up Williams' equally striking 2011 debut, State of Art, and showcases the winner of the 2009 Thelonious Monk International Jazz Competition's further development as a bandleader, composer, and improviser. Once again joining Williams is his longtime backing ensemble Sound Effect, featuring tenor and soprano saxophonist Marcus Strickland, guitarist Matthew Stevens, pianist and Fender Rhodes keyboardist Christian Sands, synth and Fender Rhodes keyboardist Masayuki "Big Yuki" Hirano, and drummer John Davis...
Nels Cline Singers
Companion Piece (Nels Cline) 5:37
Respira (Nels Cline) 4:19
Seven Zed Heaven (Nels Cline) 11:15
from Macroscope 2014
Macroscope is the fifth offering from the Nels Cline Singers and another album that defies simple stylistic categories. Most people would hesitate to call this a rock album, but probably just as many (especially purist jazz snobs) would not consider it a jazz album either. Ultimately, who cares? The Nels Cline Singers make wonderful, adventurous music and Macroscope may be their most accessible album yet, but that doesn't mean it's for everyone. There are pretty melodies and some cool grooves that most listeners might enjoy, but there's also some serious dissonance and swirling clouds of effects that some people will love and some just won't. Nels' use of effects is pretty well known when he's playing electric, but new bass player Trevor Dunn isn't afraid of effects either and drummer Scott Amendola has been using loops, electronics, and processing for years, so the band often sounds like more than just a trio even when there are no guests present. You never know where a song might lead from where it begins... So while the Nels Cline Singers may have a new bass player and a new label, fortunately their sound has not changed. They're still making some of the most interesting, adventurous, genre-smashing music of the early 21st century. Guitar nerds need to check this out, but it's got wider appeal than that too.
Stephen "Thundercat" Bruner rose during the first decade of the new millennium as the go-to bassist for a multitude of forward-looking artists traversing electric jazz, punk, R&B, and hip-hop. His nimble, syncopated, groove-heavy basslines have propelled songs by Sa-Ra, Erykah Badu, Flying Lotus, and Kendrick Lamar, some of which have also featured his gentle and sweet vocals...
Tenfold (Stephen Bruner / Steven Ellison) 3:04
The Life Aquatic (Stephen Bruner) 2:36
Tron Song (Stephen Bruner / Steven Ellison) 2:34
from Apocalypse 2013
One of the many charms of Thundercat's first album, The Golden Age of Apocalypse, was the manner in which the supernaturally skilled bassist seemed to wing his way through songwriting -- stumbling upon ideas, going with the flow, goofing off -- and come up with brilliance. On his sharper, more focused second album, he works through anguish -- the loss of close friend and musical partner Austin Peralta -- with some staggeringly emotive and tightly composed content. There's less room for instrumentals and noodling, but even those moments are purposeful...
Whether playing solo, with a trio, a full-on electric band, or an orchestra, adventurous jazz pianist and composer Hiromi Uehara is as likely to meld post-bop and funk as she is pop and classical -- sometimes in the same composition...
feat. Anthony Jackson and Simon Phillips
Move (Hiromi) 8:34
Suite Escapism: Reality (Hiromi) 5:32
11:49 PM (Hiromi) 11:29
from Move: The Trio Project 2012
Move is Hiromi's second "Trio Project" recording with electric bassist Anthony Jackson and drummer Simon Phillips, and is a worthy follow-up to 2011's Voice. The pianist/composer defines the compositions on Move as mirroring an average day, starting with the title track, a choppy excursion that finds the trio connecting through a maze of twists and turns...
Jazz pianist Gerald Clayton is an adept, Grammy Award-winning improviser and composer with a bent toward post-bop and straight-ahead jazz. In addition to his own recordings and those with the Clayton Brothers, his playing has helped to shape a number of high-profile jazz projects including Roberta Gambarini's Easy to Love, Diana Krall's From This Moment On, and Roy Hargrove's Earfood to Ambrose Akinmusire's When the Heart Emerges Glistening and Terri Lyne Carrington's Money Jungle: Provocative in Blue. His own trio dates, including 2009's Two Shade and 2011's Bond: The Paris Sessions (with bassist Joe Sanders and drummer Justin Brown) established his reputation as both a composer and arranger of great skill...
If I Were a Bell (Frank Loesser) 7:46
Bootleg Bruise (Gerald Clayton) 5:07
3D (Gerald Clayton) 6:39
from Bond: The Paris Sessions 2011
...His second release as a leader is a trio session with bassist Joe Sanders and drummer Justin Brown, plus some solo piano tracks. His interpretations of standards are remarkably fresh, considering how often they have been recorded in a jazz setting... Where Clayton really stands apart from young musicians of his generation is as a composer. He shows a surprising maturity for his age, as his pieces display a wealth of stylistic influences yet retain memorable themes that hold one's interest as well...
An adept jazz guitarist with a clean attack and fluid, lyrical style, Russell Malone often plays in a swinging, straight-ahead style, weaving in elements of blues, gospel, and R&B. Born in Albany, Georgia in 1963, Malone first began playing guitar around age four on a toy instrument, quickly graduating to the real thing...
Honeybone (Russell Malone) 4:55
The Witching Hour (Quincy Jones) 6:38
Unchained Melody (Alex North / Hy Zaret) 4:19
from Triple Play 2010
Russell Malone's Triple Play is a notable session because it mixes his infectious originals with a number of decades-old songs that have unjustly been overlooked. Superbly accompanied by bassist David Wong and drummer Montez Coleman, Malone kicks off with his breezy bossa nova "Honeybone," which blends in a funky flavor and a bit of the blues... a moving solo interpretation of Alex North's hit "Unchained Melody" (the latter which has been recorded many times but infrequently by jazz artists). All in All, Triple Play is an impressive outing by Russell Malone.
Ramsey Lewis - Day Tripper (John Lennon / Paul McCartney) 3.11
Gabor Szabo - Yesterday (John Lennon / Paul McCartney) 2:30
An acclaimed, genre-bending jazz trio, the Bad Plus play a maverick combination of originals and covers that blur the line between post-bop jazz, and instrumental rock. Formed in 1990, the group originally featured longtime friends, pianist Ethan Iverson, bassist Reid Anderson, and drummer David King...
joined by Wendy Lewis
Lithium (Kurt Cobain) 4:48
Comfortably Numb (David Gilmour / Roger Waters) 6:43
Long Distance Runaround (Jon Anderson) 3:44
from For All I Care 2008
That the Bad Plus have recorded pop covers since their inception as a piano/bass/drums trio is a given in their M.O. The Minnesota-based trio has consistently added tunes by Blondie, Queen, Black Sabbath, David Bowie, Ornette Coleman, and Burt Bacharach to their albums -- in addition to their own compositions -- as they've gone about reinventing the piano trio sound and dynamic in jazz (they have become the loudest, most hard rocking acoustic trio in the music's history). Some critics have accused them of camp, but this is simply a pronouncement of ignorance and prejudicial conservative and "preservationist" paranoia... For All I Care also marks their first recording entirely comprised of covers. The songs range from tunes by Nirvana (who they've covered before), Wilco, and Pink Floyd to Milton Babbitt, Igor Stravinsky, Yes, the Flaming Lips, and Gyorgy Ligeti, to Heart, Roger Miller, and the Bee Gees. There isn't an original on the set. Another first for the trio on For All I Care is the addition of Minneapolis rock vocalist Wendy Lewis. Perhaps the most compelling, shocking, and wonderful thing about this collaboration is how much Lewis' presence becomes part of the trio's landscape... This is one of the most compelling releases yet by one of the new jazz's finest bands to emerge in the 21st century.
Since making his full-length leader debut with 1998's Électronique Noire, Norway's Eivind Aarset has established himself as an exploratory guitarist, composer, producer, and sound designer. His unique musical vision absorbs and reflects influences from many musical genres and approaches. Aarset's attention to detail and careful craftsmanship have resulted in recontextualizing the role of the guitar in modern creative music as evidenced by 2007's Sonic Codex and 2012's Dream Logic...
Sign Of Seven / Bass clarinet – Hans Ulrik / Baritone guitar & celesta – Audun Erlien 6:26
Black Noise/White Silence / Electric bass – Marius Reksjø 3:06
Cameo / Celesta – Wetle Holte (5:17)
from Sonic Codex 2007
This fourth solo album Sonic Codex from Norwegian guitarist Eivind Aarset incorporates concepts from his earlier albums, restates, elaborates and reinforces them to generate a genuine masterpiece, that might be a defining moment in both Aarset’s career and the history of Jazzland. Sonic Codex puts forward rules of engagement that Aarset collaborate with the audience, and very deliberately quotes and redefines the musicality that made up his previous three albums, “Electronique Noire”, “Light Extracts”, and “Connected”, yet also points his way forward: it is an innovative present that simultaneously summarizes the past, and predicts the future.
Dave Douglas is among the most original trumpeters and composers of his generation. His stylistic range is broad yet unaffected, his music reflects a personal aesthetic with a panoply of interests, and he explicitly cites such diverse influences as Igor Stravinsky, Stevie Wonder, and John Coltrane (among many others)...
Culture Wars (Dave Douglas) 12:46
Blues to Steve Lacy (Dave Douglas) 5:55
The Team (Dave Douglas) 7:46
from Meaning and Mystery 2006
...Meaning and Mystery showcases the band -- Douglas on trumpet, Uri Caine on Fender Rhodes, bassist James Genus, and drummer Clarence Penn -- with its first personnel change as tenor saxophonist Donny McCaslin replaces Chris Potter, whose own star is rising and is too busy to maintain a constant presence in the group. McCaslin, who is less well known, is no less a player. His voice on the horn is unique, and his phrasing complex and songlike... The standout track here is "Culture Wars." Douglas has never made bones about Miles being a huge influence -- he even refers to it in the liner notes. Obviously, the quintet format echoes the great inconoclasts as well. But Douglas moves it into other areas. The open, relaxed, moody atmosphere of the cut begins slowly, reminding one -- perhaps because of Caine's Rhodes playing -- of Davis' In a Silent Way, particularly when the simple groove takes over. Genus' ostinato is infectious, chantlike, hypnotic... Meaning and Mystery is yet another album in the Douglas catalog that showcases his fine compositional and arrangement abilities, but more than this, it's the sound of a group in the process of continued restless development long after the bandmembers have found their collective voice.
David Becker has led the DAVID BECKER TRIBUNE to a worldwide audience by performing in more than 18 countries, with the DBT sharing the stage with such celebrated jazz acts as Miles Davis, Chick Corea, Michael Brecker and many more. German television journalist Roger Willemsen (ZDF) called him “One of the best Jazz guitarists ever.” Jazz Podium and Downbeat called him “A poet on the Jazz Guitar.” Jazz Thing and Gitarre & Bass called him” a virtuoso”.
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."
Blues for Brother Bru
David Becker) 7:21
The Color of Sound (David Becker) 4:27
Summertime (Ira Gershwin) 6:44
from The Colour of Sound 2005
Although guitarist David Becker gained his initial fame as a fusion-oriented guitarist, he has always been a well-rounded player. Early in his career he befriended guitarist/educator Joe Diorio when he attended the Guitar Institute in Hollywood. After knowing each other nearly 25 years, Becker and Diorio recorded a colorful duo set. Their explorations include both standards and Becker's originals, post-bop romps and spacier mood pieces. Most winning are the ways that Becker and Diorio consistently challenge each other and show no fear in stretching themselves... This superior recording rewards repeated listenings, for it is full of subtle creativity and a wide variety of emotions expressed by a pair of masterful guitarists.
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