24-01-2022 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2008-1997 (3h 34m)# The Bad Plus, Eivind Aarset, Dave Douglas, David Becker, Joe Diorio, Craig Taborn, Graeme Revell, Willem Breuker Kollektief, Chuck Bergeron, The Coryells, Jan Akkerman, Bireli Lagrene, Joe Zawinul
J A Z Z M U S I C (3h 34m)
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.JAZZ_line on deezer
2008-1997
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
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
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
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.
Craig Taborn is an award-winning pianist, bandleader, and sideman. His technical skills, intellectual curiosity, and stylistic versatility have earned him collaborations with a range of recognized masters in contemporary jazz. From his professional debut with the James Carter Quartet as a student, Taborn branched out to include synthesizers and organ, and subsequently drew many musicians into his orbit. His distinctive style -- as evidenced by his ECM debut, Avenging Angel, in 2011 -- is informed by jazz masters of the instrument from Duke Ellington and Cecil Taylor to Thelonious Monk, Ran Blake, and Sun Ra. His approach to polyrhythmic invention and expansive harmonic reach -- the latter counterintuitively expressed with a judicious use of economy -- is always focused; he refuses to draw attention to himself...
Junk Magic (Craig Taborn) 6:18
Shining Through (Craig Taborn) 5:50
Bodies at Rest and in Motion (Craig Taborn) 7:07
from Junk Magic 2004
After his tenure with James Carter, many in the stuffed-shirt, ultraconservative world of "mainstream" (not commercial, just boring) neo-and-post-bop societal misanthropes known as jazz purists, had hoped pianist/composer Craig Taborn would become the next supplicant to the past with his virtuosity and taste. Curses, foiled again. On Junk Magic, his second date for Thirsty Ear's glorious Blue Series, Taborn, armed with his piano, laptop, and techno and breakbeat pedigrees, makes jazz just another part of marginal pop culture as it endures, changes, and mutates. For Taborn, jazz is not an elitist, detached, academic, celebration of all things dead and gone. For him, history is in the making, not in the gnashing of teeth over its passing. Recruiting tenor saxophonist Aaron Stewart, drummer David King, and violist and mictrotonal improviser Mat Maneri, Taborn shapes an entirely new aesthetic; in so doing, he fulfills Blue Series curator Matthew Shipp's mission statement "to make it all new."... Junk Magic is a stunner from start to finish, and one that challenges the notions and linguistic senses as to what jazz "is," as well as what it is not.
Drawing upon his early years in the industrial band SPK, composer Graeme Revell has championed a sophisticated and stylistically eclectic approach to film scoring...
Out of Time Theme (Graeme Revell) 4:10
Out of Time (Main Titles) (Graeme Revell) 4:20
Hot on the Trail (Graeme Revell) 1:49
from Out Of Time 2003
Gritty urban police dramas tend to immerse themselves in dissonant, forgettable orchestral crescendos punctuated by overproduced industrial programming. In Out of Time, composer Graeme Revell experiments with tropicalia and African rhythms, creating a truly fleshed out score that transports as opposed to irritates. Borrowing the cool brass chic of Henry Mancini and the marimba-heavy technological artistry of Thomas Newman, Revell sounds loose and confident, replacing his usual excess for fun... Revell's polyrhythmic foray into cinematic worldbeat is a cop movie gem.
The Willem Breuker Kollektief is a jazz group formed in 1974 by 10 musicians leaded by Dutch bandleader Willem Breuker. The band plays unconventional jazz mixed with different styles, from latin to (contemporary) classical to theater and vaudeville.
Hap Sap (Willem Breuker Kollektief) 6:23
Thirst IV (The End of the Rope) (Willem Breuker Kollektief) 9:19
Angry Jungle (Reginald Foresythe) 3:58
from Misery 2002
As bassist and composer, Chuck Bergeron is one of the most active and innovative musicians working in the field of jazz. Equally versatile on the acoustic and electric bass, his unique compositional style and approach to improvisation reflect a wide variety of musical influences and confirm a deep commitment to the rich polyrhythmic characteristics of his musical and cultural heritage...
The Rub (Chuck Bergeron) 6:20
Local Heroes (Chuck Bergeron) 4:27
My Folks' Song (Chuck Bergeron) 5:17
from Cause and Effect 2001
A veteran of the New York jazz scene and now living in the Miami area, Chuck presents his 3rd album as a leader, featuring some of the most creative & influential musicians recording today, including guitarist John Abercrombie, sax man Rick Margitza, pianist Mike Holober & drummers Bob Moses & Peter Erskine. This album is a collection of Chuck’s originals, plus a funky New Orleans-style version of Cole Porter’s “Love For Sale.” A native of the New Orleans area, Chuck’s unique compositional style & approach to improvisation reflect a wide variety of musical influences, while confirming a deep commitment to the rich polyrhythmic characteristics of his musical & cultural heritage.
As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, and phrasing and note-bending that owed as much to blues, rock, and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he remained comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar.
Murali Coryell (born October 27, 1969) is an American blues guitarist and singer. Best known for performing live in small venues in New York State, Coryell has also opened for George Thorogood, Gregg Allman, B.B. King and Wilson Pickett. While touring the United States, he uses local session musicians for his performances rather than traveling with a regular backing band.
Julian Coryell (born 1973) is an American guitarist, singer, songwriter, and producer.
Sentenza del Cuore: Allegro (Larry Coryell) 5:14
Sink or Swim (Julian Coryell) 3:53
Trouble No More (Muddy Waters) 3:14
from The Coryells 2000
Like father, like sons, acoustic guitarist Larry Coryell and sons Julian and Murali get together for their first recorded project, and it sounds fine. Larry tends to dominate improv space, but doesn't get in the way of his kids, who are adept in their own bluesy ways. Bassist Brain Torff and percussionist Alphonse Mouzon (no drum kit, only hand drums and tambourine) join on several selections... Though some speedy lines crop up here and there, this is a more musical than pyrotechnical display that proves quite enjoyable throughout. A very good first step for the Coryell family's musical bonding recorded for public display, this is definitely recommended.
A musician of abundant prowess, former Focus guitarist Jan Akkerman once eclipsed Eric Clapton, Jimmy Page, and Jeff Beck in England's reader polls as the world's best rock guitarist. Akkerman is fluent in most guitar languages and plays several instruments. He is adept at rock, jazz, funk, blues and classical music. He keeps up with technology and isn't afraid to appear on stage with dance music DJs in the 21st century...
Hocus Pocus/Pietons 11:17
Mercy Mercy Mercy (Joe Zawinul) 7:48
My Pleasure 16:54
from Live At Alexanders 1999
An adept French guitarist, Biréli Lagrène has drawn praise for his fertile blend of swinging continental jazz, post-bop, and fusion. Emerging with Routes to Django: Live in 1980, the then 13-year-old guitarist was quickly praised as an heir to the legendary Django Reinhardt. Over time, however, he broadened his approach, exploring artists like Wes Montgomery, Larry Coryell, and Jimi Hendrix...
A Foggy Day (George Gershwin / Ira Gershwin) 3:34
It's All Right with Me
Cole Porter) 4:15
Autumn in New York (Vernon Duke) 4:36
from Blue Eyes 1998
Throughout his career, Bireli Lagrene has often confounded expectations. He started out as a brilliant young Django Reinhardt impressionist; a few years later, he switched to rock-oriented fusion, and then returned to straight-ahead jazz with a more original (if blander) voice than he had displayed in his Django days. On this 1997 set Blue Eyes, a tribute to Frank Sinatra, Lagrene not only plays with swing and subtlety in a conventional quartet (with pianist Maurice Vander, bassist Chris Minh Doky, and drummer André Ceccarelli), but sings a few numbers quite effectively...
Joe Zawinul belonged in a category unto himself -- a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remained insatiable. Zawinul's curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe...
Patriots (Joe Zawinul) 10:59
Indiscretions (Joe Zawinul) 12:09
Two Lines (Joe Zawinul) 7:19
from World Tour 1997
This version of the Zawinul Syndicate could swing harder than any Zawinul-led unit since the heyday of Weather Report, as this two-CD set -- taken from three concerts in Berlin and Trier, Germany -- triumphantly illustrates. Small wonder, for the lineup of the Syndicate looks almost like a Weather Report alumni gathering, with Zawinul, the brilliant percussionist Manolo Badrena from the 1977 Heavy Weather band, and bassist Victor Bailey, from the great '80s global-funk edition forming a quorum, with Paco Sery on drums and Gary Poulson on guitar filling out the ranks. Zawinul remains a marvel at 65, always in touch with the idea and feel of the groove, weaving spare, enigmatic electronic comments and spangled layers of synthesizers into the mix... For a souvenir of the state of Zawinul's art in the 1990s, this is the album to get.
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