15-06-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1986-1997 (3h 47m)

 

15-06-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1986-1997 (3h 47m)# Ginger Baker, Steve Tibbetts,Bill Frisell, Either/Orchestra, Rabih Abou-Khalil, Sun Ra, David Murray, Allan Holdsworth, Flora Purim, Dave Holland Quartet, Jimmy Smith, Derek Bailey

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1986-1997

Legendary rock and jazz drummer, best known as a member of seminal rock/blues supergroup Cream...  Baker made his name entirely on his playing, initially as showcased in Cream, but far transcending even that trio's relatively brief existence. Though he only cut top-selling records for a period of about three years at the end of the '60s, virtually every drummer of every heavy metal band that has followed since that time has sought to emulate some aspect of Baker's playing...

Ginger Baker 

Interlock (Ginger Baker)

Dust To Dust (Ginger Baker)

from Horses and Trees 1986

Bill Laswell's musical career has been a highly collaborative one. Almost every new release from solo excursions to a variety of mercurial group projects finds him engaged with a notable instrumentalist from the arenas of jazz, electronica, funk, hip-hop, reggae, and world music...  Horses & Trees is no exception. Persuaded by Laswell to continue working throughout the second half of 1980s, drummer Ginger Baker produced some of his most stimulating collections, not least of which were the Laswell produced Middle Passage and this 1986 set. The drummer is rock-solid throughout, which means that most of the compositions become a showcase for an impressive lineup of guest musicians that reads like a list of the Bill Laswell all-stars... "Dust to Dust" is the only piece composed solely by Baker (he shares credits everywhere else) and is the most stunning of the set with a repeated section that sounds like an alien hoe-down with world music undertones...  "Uncut" finds the likes of Bernie Worrell, Shankar and Laswell in fine form, taking solos like a jazz combo... Baker, while never caught stealing the show on any track, looms large. On Horses & Trees, his big beat pulls the greatest weight.

St. Paul-based guitarist and sonic experimentalist whose urban-landscape fusion offers a totally original approach to the creation of sound. Steve Tibbetts is a contemporary American guitarist, producer, instructor, recording engineer, and composer. His fusion of exotic and urban landscapes offers a widely acknowledged, totally original approach to the creation of sound. He plays acoustic and electric guitar as well as numerous percussion instruments including kendang and kalimba.

Steve Tibbetts 

Name Everything (Marc Anderson / Steve Tibbetts)

Your Cat (Marc Anderson / Steve Tibbetts)

from Exploded View 1987

Opening with a bang that builds to a thunderstorm, Exploded View is the definitive Steve Tibbets album. His electric guitar howls defiantly without a lot of power chords or convention, and his musicianship is top-notch, perhaps an Adrian Belew without the pop, plus a nod toward world music in production value. Tibbets scrapes and tears through the sky ("Name Everything," "Your Cat") with jaw-dropping intensity, but it would all be too much if there weren't such rich texture and softness folded into the disc as well. "Drawing Down the Moon" is a comparatively restrained piece with acoustic guitars, shakers, kalimba, congas, and a mixed bag of other percussives. .. The album is also a great showcase for Marc Anderson, a fantastic percussionist who shines here. He really understands the musical dialogue going on between himself and Tibbets' guitar... 

A stunning, eclectic guitarist who blends the best elements of rock energy with jazz harmonic sophistication and melodic interpretation. Guitarist Bill Frisell is widely known as one of the most versatile players in jazz history, despite possessing an instantly recognizable warm, bell-like tone on his instrument. Whether playing avant-jazz with his own bands, exploring various aspects of Americana and pop, or composing film scores, Frisell's focus on timbral clarity and elegance shines through.

Bill Frisell 

Lookout for Hope (Bill Frisell)

Lonesome (Bill Frisell)

from Lookout for Hope 1988

Bill Frisell's early work even in its retrospectively rawest form holds all of the values that he has evinced through his entire career. Country and eastern sounds merge with a signature sky church electric approach that is unique unto only himself. Lookout for Hope brands Frisell as a visionary, a virtuoso, and a fusioneer of many sounds that set him far apart from labelmates Pat Metheny, John Abercrombie, and Terje Rypdal... there is a sense of peace and serenity that puts soulfulness on a different plane. Cellist Hank Roberts and bassist Kermit Driscoll have much to do with giving Frisell his head, weaving similar silver sounds in and through him. Then add Joey Baron's deft, precise, and colorful drumming to put the exclamation point on Frisell's new approach to improvised music... With Lookout for Hope, Bill Frisell is not so much setting trends and fashion as he is establishing a fresh sound, utterly unique from all others, and laying a foundation for many things to come.

03-24-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1980-1990

 

03-24-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1980-1990 # John Scofield,Carla Bley, Don Cherry, Latif Kahn, Kenny Burrell,Pat Metheny,Wynton Marsalis, Ginger Baker, Steve Tibbetts,Bill Frisell, Either/Orchestra, Rabih Abou-Khalil

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1980-1990

A dazzling electric guitarist with a steely tone and fluid lines to mark his distinctive post-bop style. Known for his distinctive, slightly distorted sound, guitarist John Scofield is a masterful jazz improviser who has straddled the lines between straight-ahead post-bop, fusion, funk, and soul-jazz. One of the big three of late-20th-century jazz guitarists (along with Pat Metheny and Bill Frisell), Scofield's influence grew in the '90s and continued into the 21st century.

John Scofield 

Fat Dancer (John Scofield)

Beckon Call (Gary Campbell)

Never (Steve Swallow)

from Bar Talk 1980

1980's Bar Talk features a young John Scofield already showing the virtuosity on guitar that subsequently made him a giant in his field. Scofield -- who honed his chops with artists like Miles Davis, Gerry Mulligan, Pat Metheny, Chick Corea, Chet Baker, and Charles Mingus -- displays his talents here as both a player and composer. Scofield is joined in the venture by Steve Swallow on bass and Adam Nussbaum on drums -- a perfectly balanced trio...  The album was well received at the time of its printing in 1980. Its influence has grown, becoming a jazz guitar classic, often listed as a favorite recording by professional critics, other musicians, and fans alike...The musician likes to joke around and have fun, but make no mistake, John Scofield is serious about his music.

Genre-bending jazz pianist and composer, known for her avant-garde work, whose writing style is unique and highly regarded.

Carla Bley 

Reactionary Tango (In Three Parts) (Carla Bley / Steve Swallow)

Útviklingssang (Carla Bley)

Walking Batteriewoman (Carla Bley)

from Social Studies 1981

Not everything Carla Bley has done has been artistically successful, but much of it has -- and the imaginative, good-humored pianist/organist/composer certainly deserves credit for daring to take so many risks. Bley's risk-taking serves her quite well on Social Studies, an unorthodox and adventurous pearl that is as rewarding as it is cerebral. Highlights of this LP range from "Reactionary Tango" (an abstract take on Argentinian music) to the melancholy "Utviklingssang" to the angular quasi-hard bop number "Walking Batteriewoman." This time, Bley leads a nonet, and the star soloists include Carlos Ward (soprano and alto sax), Tony Dagradi (tenor sax, clarinet), Gary Valente (trombone), and frequent allies Michael Mantler (trumpet) and Steve Swallow (electric bass). Bley doesn't allot herself much solo space, but the results are appealing when she does.

One of the most influential jazz musicians of the late 20th century, thanks to his imagination and passion for exploration. Imagination and a passion for exploration made Don Cherry one of the most influential jazz musicians of the late 20th century. A founding member of Ornette Coleman's groundbreaking quartet of the late '50s, Cherry continued to expand his musical vocabulary until his death in 1995.

Don Cherry, Latif Kahn 

Untitled / Inspiration from Home

Air Mail

Sangam

from Music / Sangam 1982

Awesome trippy slow pulsing space jazz with electronics, spacey vocals, and Indian percussion! This is a great reisue of a little known Don Cherry album that was recorded in collaboration with Indian master percussionist Latif Khan. Recorded in 1978 and released in the early eighties on a small European label, this is the nearest thing to a follow-up to Don Cherry's essential Brown Rice album. Like that album, it fuses cosmic electronics, hypnotic percussion, and spacey vocals to create a kind of forward-looking worldbeat jazz that sounds fresher than ever!

"Your Sex is Overrated" 098 ALTER.NATION.MiX weekly favtraX 17-08-2020 (50')

ALTER.NATION #98

Fantastic Negrito, The Dirty Streets, King Gizzard & the Lizard Wizard, Eyedress, Sufjan Stevens, Black Marble, Helvetia, Prins Thomas, Ganser, Fontaines D.C., Robby Krieger, Bill Frisell

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"Your Sex is Overrated"

ALTER.NATION #98 on deezer

An inventive modern-day blues musician who plays with tradition and culture. Bay Area-based singer/songwriter Xavier Dphrepaulezz rebooted his career in the 2010s by adopting the name Fantastic Negrito and pioneering a blues, hip-hop, rock, folk, and funk hybrid ...
Fantastic Negrito - Have You Lost Your Mind Yet? / Your Sex is Overrated feat. Masa Kohama
Have You Lost Your Mind Yet? is a title suitable for the madness of 2020 and its timeliness is further proof that Fantastic Negrito is the rare modern blues musician whose eye is keenly upon the present, not the past. His insistence on grappling with the realities of now also meant that he never resigned himself to playing traditional chord changes, preferring to rely as heavily on funk, hip-hop, soul, and rock as the blues themselves...

No-nonsense blues rock trio from Memphis with a knack for the boogie. Memphis hard rock revivalists the Dirty Streets like big guitar riffs, equally big amplifiers and drums, and tunes full of swaggering boogie rhythms in the manner of their '60s and '70s heroes. Powerfully influenced by classic rock and vintage blues-rock, the Dirty Streets write and play in a manner that honors the artists who paved the way for their music, but with enough originality and passion to establish an approach of their own. 
The Dirty Streets - Rough and Tumble / Good Pills
This rough and tumble recording captures the high-energy power trio Dirty Streets live on Ditty TV, in Memphis, Tennessee. This is heavy, bluesy rock'n'roll played with heart. Crank up the volume and let it rip! Justin Toland (vocals/guitar), Thomas Storz (vocals/bass), and Andrew Denham (drums/percussion), go through a set of songs culled from their catalogue ..

Australian psychedelic collective with an intense work ethic and a wildly experimental outlook that reaches from synth prog to folk rock.
King Gizzard & The Lizard Wizard – Some Of Us
---Last month, they got back on track with a brand-new song called “Honey” and now they’re following it up with another new single, “Some Of Us,” a jerky and chaotic and barreling track that’s out now.
“This Cookie penned, Stu sung song came together early this year as the world was slowly descending into madness, but before it was truly on fire,” the band wrote in a tweet. “Can’t wait to show y’all some more tunes before we go down in flames.”

Eyedress was the nom de plume of Filipino Idris Vicuña, whose woozy, narcotic sound was not dissimilar to the American "witch house" trend.
Eyedress - Let's Skip To the Wedding / Happy Hour
In its earliest days, Idris Vicuña's solo project Eyedress fell more in line with the dark atmospherics and sludgy beats of the witch house movement, but it grew increasingly dreamier and brighter as it evolved. When Vicuña began introducing heavily processed guitar lines into his arrangements, Eyedress moved away from its early bleakness and into territory more similar to King Krule's fractured songwriting or Mac Demarco's wobbly indie rock. Let's Skip to the Wedding is the first Eyedress album since Vicuña returned to America after a time in his homeland of the Philippines, and the sound has reached new levels of both lovestruck romanticism and faded lo-fi production...

Critically feted indie pop singer/songwriter who paired personal and spiritual musings with hypnotic melodic patterns.
Sufjan Stevens - Video Game
On “Video Game,” the second single from Sufjan Stevens’ forthcoming album The Ascension, the singer-songwriter gazes outward at the nation that still considers itself the most powerful on Earth. The midtempo, soft-rocking synth-pop here becomes a Trojan horse for a refusenik idealism. Your own personal Jesus? The center of the universe? A modern-day Julius Caesar? Stevens rejects all these potential roles, and resume-building careerism to boot, repeating in the chorus, “I don’t wanna play.”

Influenced by coldwave, early-'80s synth pop, and the mighty bass playing of New Order's Peter Hook, Black Marble is the project of singer/songwriter/multi-instrumentalist Chris Stewart. 
Black Marble - I Must Be Living Twice / Johnny and Mary
Like a lot of bands, Black Marble like to liven up their concert set lists with well-chosen covers. Unlike a lot of bands, on I Must Be Living Twice they took the opportunity to record studio versions of these songs. Chris Stewart and company made the EP at the request of their fans, some of whom loved the group's interpretations of these songs, and some of whom weren't even aware that they weren't Black Marble originals. Listening to I Must Be Living Twice, that confusion is easy to understand: Stewart knows exactly what songs suit his style, and exactly how to adapt them. The EP's mix of new wave, post-punk, and indie pop is very much a continuation of Black Marble's sound, and shares the dreamy L.A. haze that covered the project's previous album, Bigger Than Life...

Experimental indie group Helvetia was formed by ex-members of similarly forward thinking slowcore band Duster. Over the course of the next decade and beyond, founding member Jason Albertini enlisted a revolving host of bandmates as Helvetia's sound moved from hazy indie pop beginnings to unexpected song structures and off-center home recorded production...
Helvetia - This Devastating Map / Inverted
As one-third of San Jose slowcore icons Duster—and bassist for Built to Spill from 2012 until 2019 -Jason Albertini is well-versed in indie rock that peers inwards to find a way out. As the core member of Helvetia, a project that he has helmed since 2005, his pining lo-fi multi-instrumentalism delves deeper still. Alongside a rotating cast including Built to Spill alumni Scott Plouf and Jim Roth...  Still, there’s a sunken, almost submerged quality to many of these songs—the kind of thrifty reverb glow and soft-focus hiss that makes Albertini’s studio seem to be situated not just in his basement but far below it. Stretching this quality to its outer reaches, Albertini—backed by ex-Built to Spill drummer Steve Gere and Tiburones’ Samantha Stidham on bass—fills out a sphere of sound...

Norwegian producer whose vision of space disco encompasses house, electro, psychedelia, jazz fusion, and more.
Prins Thomas - Træns / Traæns 1
With Træns, Prins Thomas explores the common ground between his trademark space disco style and the euphoric trance sound that was prevalent throughout the 1990s. For the most part, he channels trance's more tasteful elements, focusing on shimmering synths and letting the percolating rhythms build steadily, rather than constructing overblown epics with endless breakdowns and bombastic, Wagnerian melodies. Nothing here sounds too self-important or dramatic -- Thomas' take on trance is a smoothly hypnotic ride rather than a peaks-and-valleys emotional roller coaster...

Chicago quartet Ganser built on a foundation of moody, goth-indebted post-punk, drawing on more art rock influences as their sound developed.
Ganser - Just Look at That Sky / Lucky
Chicago quartet Ganser began when two art school students bonded over their shared love of the Residents and David Lynch movies. As the experimental-leaning duo grew into a full band, they took on a dour, shadowy post-punk sound that combined moments of abrasive noise with moody, goth-tinged songwriting. On second album Just Look at That Sky, Ganser continue to develop by embracing a wider spectrum of approaches to their ever-pessimistic sound...

Dublin five-piece who have strong ties to their native city, which they translate into abrasive vocals and driving percussion.
Fontaines D.C. - A Hero's Death / I Don't Belong
Setting a high bar on a debut album has always been a double-edged sword, as demonstrated here on A Hero's Death, which is a fine album that is nonetheless a step down from the booze-soaked sticky floors of Dogrel. Fontaines D.C.'s debut benefited from strong singles and a cohesive locational element to give it strength. Here the singles are not as strong, and the sweaty vibe from the debut is gone, as if someone has switched on the air conditioning... It gets off to a great start with opener "I Don't Belong," which features Grian Chatten's trademark tar-covered vocals bouncing off a midtempo strut laid out by the rest of the band... Although A Hero's Death does suffer from repetition and a lack of literacy, it remains fun enough; the mistakes it makes won't deter existing fans of the band...

Guitarist Robby Krieger rose to fame in the 1960s as guitarist and songwriter with the iconic band the Doors. His work after the group broke up in 1973 wasn't as well known; however, he earned critical respect and a loyal following for his solo recordings that blended rock, jazz, psychedelia, and world music, filtered through a guitar style that was clean, expressive, and straightforward.
Robby Krieger - The Ritual Begins at Sundown / Chunga's Revenge
The label described the instrumental LP as a “return to friends” and features a wide range of his colleagues from the era when he began exploring jazz music, including a number of people who worked with Frank Zappa. The record contains nine original compositions and a cover of Zappa’s “Chunga’s Revenge.”

A stunning, eclectic guitarist who blends the best elements of rock energy with jazz harmonic sophistication and melodic interpretation.
Bill Frisell - Valentine / Baba Drame
Bill Frisell's catalog is as vast as it is diverse. Whenever he releases an album, the question is often, "which Frisell will show up?" On Valentine, the debut offering from the guitarist's 2020 trio with bassist Thomas Morgan and drummer Rudy Royston, he offers a multi-dimensional display of his many identities. Frisell has led few recorded trio offerings, although he performs in that setting most often. This rhythm section jumped into the studio immediately after a well-reviewed two-week run at the Village Vanguard in New York and that live sense of presence and intuition is ever present... Check "Baba Drame," the set opener by Malian guitarist Boubacar Traoré. It appeared as a droning desert blues with the composer's vocals and Jenny Scheinman's haunted violin on 2003's The Intercontinentals. Here it's breezier, lighter, and jazzier, with multi-tracked drones framed by earthy tom-toms and a syncopated bassline...

Fantastic Negrito, The Dirty Streets, King Gizzard & the Lizard Wizard, Eyedress, Sufjan Stevens, Black Marble, Helvetia, Prins Thomas, Ganser, Fontaines D.C., Robby Krieger, Bill Frisell Trio

03-23-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1992-1980

Allan Holdsworth

03-23-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1992-1980 # Allan Holdsworth, Larry Coryell, Things & Tony Lakatos, Dave Holland, Lyle Mays, Anthony Braxton, Miles Davis, Chet Baker & Paul Bley, Bill Frisell, Pat Metheny, Kip Hanrahan, Willem Breuker Kollektief, Weather Report

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1992-1980

Fleet-fingered British guitarist with a liquid sound, respected by aficionados as one of the greatest axemen in the electric jazz-rock fusion genre.
Allan Holdsworth
5 to 10 (Allan Holdsworth) 5:36
Wardenclyffe Tower (Allan Holdsworth) 8:44
from Wardenclyffe Tower 1992
This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work...

Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop.
Larry Coryell
Flamenco Flare-Up (Larry Coryell) 7:26
Blues for 'Charley the Lobster' (Larry Coryell) 5:16
from Twelve Frets To One Octave 1991
A guitar showcase for Coryell, who has always been among the more accomplished players on either electric or acoustic. He goes through old blues, jazz standards, and everything in between. There's absolutely nothing else to support him, enabling Coryell to display his complete technical arsenal.

Things - Jazz group from Hungary. / Members: Csanyi Zoltán, Horváth Kornél, János Solti, Kálmán Oláh, László Attila, Lattmann Béla
Antal Lakatos - Profile: Hungarian saxophonist and flutist, born 13 November 1958 in Budapest, Hungary 
Things & Tony Lakatos
Turn To East 6:26
Mother Nature Vocal – Torita Quick 3:50
from Mother Nature 1990
Acoustic Guitar, Electric Guitar, Producer – Attila László
Bass – Béla Lattmann
Drums – János Solti
Keyboards – Kalman Olah
Percussion – Kornél Horváth
Saxophone, Electronic Wind Instrument [Yamaha-WX7], Producer – Tony Lakatos
Vocals – Torita Quick

18-01-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1981-1991

Steve Khan

18-01-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1981-1991 # Steve Khan, Dewey Redman Quartet, Wynton Marsalis, Bill Frisell, Lyle Mays, Tom Harrell Quintet, The James Taylor Quartet, John Abercrombie, WATT Works Family - CARLA BLEY, MICHAEL MANTLER, STEVE SWALLOW, KAREN MANTLER, STEVE WEISBERG, John Scofield, Steve Coleman and Five Elements

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1981-1991

Session guitarist for the likes of Lou Rawls, Steely Dan, and Michael Franks, among others; also recorded as a leader, starting with 1977's Tightrope. Guitarist Steve Khan is a gifted jazz-based performer whose adept skills have found him working with his own groups and as an in-demand session artist.
Steve Khan
Auxiliary Police (Manolo Badrena / Anthony Jackson / Steven "Steven J." Jordan / Steve Khan) 5:25
Where's Mumphrey? (Manolo Badrena / Anthony Jackson / Steven "Steven J." Jordan / Steve Khan) 7:23
Eyewitness (For Folon) (Steve Khan) 7:16
from Eyewitness 1981
This release marked a new era for Steve Khan. Eyewitness was essentially birthed of earlier jam session/improv ideas, and the chemistry between each musician, plus polished-up ideas readied for final studio recording. Khan had returned to his college-days Gibson guitar purity of tone and a touch of reverb, laying aside his Fender Telecaster and big band mindset to groove with friends over eclectic rhythms of Manolo Badrena, Steve Jordan, and exotic bass grooves only the creative genius of Anthony Jackson could lay down...

An eclectic jazz tenor saxophonist who seamlessly linked the blues with free-form music over a hard bop base. One of the great avant-garde tenors, Dewey Redman has never received anywhere near the acclaim that his son Joshua Redman gained in the 1990s, but ironically Dewey is much more of an innovative player...
Dewey Redman Quartet
Thren (Dewey Redman) 7:53
Turn Over Baby (Dewey Redman) 4:27
Dewey Square (Charlie Parker) 8:01
from The Struggle Continues 1982
When ECM released Dewey Redman's The Struggle Continues in January 1982, he was busier than he had been in years. He'd spent three years recording and touring with Old and New Dreams (and a few more after). This date has Redman fronting a standard rhythm trio comprised of bassist Mark Helias, pianist Charles Eubanks, and drummer Ed Blackwell (a bandmate from the time they spent with Ornette Coleman through to Old and New Dreams, and with other Coleman alumni Cherry and Charlie Haden). Redman was versatile, as comfortable playing inside as outside, and here he does a bit of both, straying in and out of free and hard bop mode. It is one of the saxophonists most consistent and "melodic" recordings, but that doesn't mean he's any less adventurous. On his five compositions and an excellent eight-plus-minute workout on Charlie Parker's "Dewey Square," Redman is at the top of his game as an improviser and as a bandleader...

An esteemed trumpeter who worked tirelessly to ensure jazz's status as a respected American art form into the 21st century. The most famous jazz musician since 1980, Wynton Marsalis had a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B...
Wynton Marsalis
Knozz-Moe-King (Wynton Marsalis) 6:00
My Ideal (Newell Chase / Leo Robin / Richard A. Whiting) 6:17
from Think of One 1983
In his early years after leaving Art Blakey's Jazz Messengers, Wynton Marsalis strode forth with this excellent recording, his second as a leader, done in tandem with brother Branford, also out of Blakey's herd. The combination of the two siblings created quite a buzz in the music community, and this recording, which may stand the test of time as his finest, is one of the more solid mainstream jazz statements from the Young Lions movement of the early '80s. Top to bottom, this music sings, swings, simmers, and cooks with a cool verve that, in retrospect, would turn more overtly intellectual over time...

05-12-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1974-1985

05-12-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1974-1985 # Al Di Meola, Orquestra Mirasol, Mulatu Astatke, Flora Purim, Pat Metheny Group, Flora Purim, Gil Scott-Heron, Steve Khan, Dewey Redman Quartet, Wynton Marsalis, Bill Frisell, Lyle Mays

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1974-1985

Spellbinding jazz guitarist who is revered for his blazing, complex fretwork in the vein of jazz fusion, Latin fusion, and acoustic styles. Guitarist Al Di Meola first rose to prominence as a blazing jazz fusion artist before his playing matured and he began to conquer other styles, such as acoustic Latin music.
Al Di Meola
Land of the Midnight Sun (Al Di Meola) 9:10
The Wizard (Mingo Lewis) 6:46
Love Theme from "Pictures of the Sea" (Al Di Meola) 2:24
from Land of the Midnight Sun 1976
One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever...  With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career.

Short-lived yet very interesting Jazz/Fusion band from Barcelona, Orquestra Mirasol were among the groups blending US Jazz/Fusion with Spanish music during the 70's.The line-up of their first album included Xavier Batlés on bass, Victor Ammann on piano, Ricard Roda on synthesizers, Pedrito Diaz on percussion and Miquel Lizandra on drums.This was entitled ''Salsa Catalana'', released in 1974 on the Catalan label Zeleste.
Orquestra Mirasol
Molt Trist 7:13
No Juguis Amb Set Miralls 7:00
from Salsa Catalana 1974
...The style of Orquestra Mirasol was heavily influenced by the approach of RETURN TO FOREVER and WEATHER REPORT, mixing energetic pleasant grooves with jazzy jams and interplays in a very succesful way.Their arrangements, both short and long, featured impressive piano lines, extremely nice bass workouts and some really beautiful clarinet solos.Orquestra Mirasol change their smooth passages into more bombastic material, full of intensity and interplays, and throughout the release there is evident some admiration for Classical Music, at moments they sound a lot like a Chamber Rock band.Another reason for this approach is the addition of string instruments in a couple of tracks and some symphonic-inclined instrumental sections with a very dramatic edge.Still Fusion remains the starting point of the band and the more powerful moments can be easily compared with WEATHER REPORT's music, driven by the piano, bass and percussion work...

An influential Ethiopian musician, composer, and arranger who is known as the father of Ethio-jazz. Ethiopian musician (piano, organ, vibraphone, and percussion), composer, and arranger Mulatu Astatke (the name is spelled Astatqé on his French releases) is a household name in his native country, where he is known as the father of Ethio-jazz, a unique blend of pop, modern jazz, traditional Ethiopian music, Latin rhythms, Caribbean reggae, and Afro-funk. 
Mulatu Astatke
Yèkèrmo Sèw (Mulatu Astatke) 4:13
Shagu (Mulatu Astatke) 3:05
Wubit with Muluken Melesse (Mulatu Astatke) 5:31
from New York - Addis - London: The Story of Ethio Jazz 1965-1975 (2009)
...Ethio jazz was never a commercial success in Ethiopia. That Ahma and Philips Ethiopia even saw fit to release any of it is a credit to their commitment to art over commerce, and even today it remains little-heard in its homeland. But Mulatu was a master craftsman and one of the most supremely inventive composers of a time when an awful lot of creative music was being made around the world...