02-02-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1970-1982

 

02-02-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1970-1982 # John Coltrane, Donald Byrd, Joe Henderson, Milt Jackson, Harry Beckett, Manfredo Fest Brazilian, Hailu Mergia and The Walias,Al Di Meola, Urszula Dudziak, John Scofield,Carla Bley, Don Cherry, Latif Kahn

J A Z Z   M U S I C

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1970-1982

A titan of the 20th century, the saxophonist pioneered many of the jazz revolutions of the post-hard bop era. A towering musical figure of the 20th century, saxophonist John Coltrane reset the parameters of jazz during his decade as a leader. At the outset, he was a vigorous practitioner of hard bop, gaining prominence as a sideman for Miles Davis before setting out as a leader in 1957, when he released Coltrane on Prestige and Blue Train on Blue Note...

John Coltrane 

Transition (John Coltrane)

Suite: Prayer and Meditation - Day/Peace and After/Prayer and Meditation - Evening/Affirmation /Prayer and Meditation - 4 A.M. (John Coltrane)

from Transition 1970 

Recorded in June of 1965 and released posthumously in 1970, Transition acts as a neat perforation mark between Coltrane's classic quartet and the cosmic explorations that would follow until Trane's passing in 1967. Recorded seven months after the standard-setting A Love Supreme, Transition's first half bears much in common with that groundbreaking set. Spiritually reaching and burningly intense, the quartet is playing at full steam, but still shy of the total free exploration that would follow mere months later...McCoy Tyner's gloriously roaming piano chord clusters add depth and counterpoint to Coltrane's ferocious lyrical runs on the five-part suite that makes up the album's second half. In particular on "Peace and After," Tyner matches Trane's range of expression...

A leading bop trumpet stylist with biting, dynamic lines and a crackling sound, later a champion of jazz/R&B crossover during the 1970s. Donald Byrd was considered one of the finest hard bop trumpeters of the post-Clifford Brown era. He recorded prolifically as both a leader and sideman from the mid-'50s into the mid-'60s, most often for Blue Note, where he established a reputation as a solid stylist with a clean tone, clear articulation, and a knack for melodicism. Toward the end of the '60s, Byrd became fascinated with Miles Davis' move into fusion, and started recording his own forays into the field. In the early '70s, with the help of brothers Larry and Fonce Mizell, Byrd perfected a bright, breezy, commercially potent take on fusion that was distinct from Davis, incorporating tighter arrangements and more of a smooth soul influence...

Donald Byrd 

The Emperor (Donald Byrd)

The Little Rasti (Donald Byrd)

from Ethiopian Knights 1971

Right from the stop-start bass groove that opens "The Emperor," it's immediately clear that Ethiopian Knights is more indebted to funk -- not just funky jazz, but the straight-up James Brown/Sly Stone variety -- than any previous Donald Byrd project. And, like a true funk band, Byrd and his group work the same driving, polyrhythmic grooves over and over, making rhythm the focal point of the music. Although the musicians do improvise, their main objective is to keep the grooves pumping, using their solos more to create texture than harmonic complexity... in truth, even though Ethiopian Knights did move Byrd closer to R&B, it's still more jazz than funk, and didn't completely foreshadow his crossover... Byrd again leads a large ensemble, but with mostly different players than on his recent sessions; some come from the group assembled for Bobby Hutcherson's Head On album, others from the Jazz Crusaders. That's part of the reason there are fewer traces of hard bop here, but it's also clear from the title that Byrd's emerging Afrocentric consciousness was leading him -- like Davis -- to seek ways of renewing jazz's connection to the people who created it... Ethiopian Knights is another intriguing transitional effort that deepens the portrait of Byrd the acid jazz legend.

Remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz. Joe Henderson is proof that jazz can sell without watering down the music; it just takes creative marketing. Although his sound and style were virtually unchanged from the mid-'60s, Joe Henderson's signing with Verve in 1992 was treated as a major news event by the label (even though he had already recorded many memorable sessions for other companies)...

Joe Henderson 

Tress-Cun-Deo-La (Joe Henderson)

Turned Around (Joe Henderson / Dave Holland)

from Multiple 1973

Multiple is a bellwether album for jazz fans. You can tell a lot about listeners' ear and where their tastes reside based on whether they're big fans of Multiple, indifferent toward it, or don't like it at all. Joe Henderson's career arc has three major nodes -- his hard bopping '60s era, his '70s fusion stint, and his later reincarnation as a Grammy-winning, critically acclaimed, standard-blowing sage. Of these three, Henderson's '70s run is often underappreciated or, in some cases, dismissed and even mildly maligned. The detractors are usually those with more traditional and, at times, stodgy ears. Hip cats -- "with-it cats," as they said in the '70s -- loved Multiple Joe, Afrocentric Joe, semi-militant Joe, grooving Joe, burnin' Joe. Multiple is probably Henderson's greatest album from this era and its fans share a cult-kinship. Whereas most fusion artists of the day were spiking their jazz with rock guitar and "elements" of funk, there was a certain set (Gary Bartz, for example) who offered concentrated, pungent funk. You won't find a bassline like Dave Holland's "Turned Around" on a Return to Forever album. It's the Multiple rhythm section (Holland, a maniacally drumming Jack DeJohnette, and pianist Larry Willis) that makes it such a nasty set. The album's classic cut, "Tress-Cum-Deo-La," doesn't walk or bop; it struts with a pronounced limp, like the fellas who swaggered up urban avenues with tilted fedoras... 

20-02-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1989-1998

Carla Bley

20-02-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1989-1998 # WATT Works Family - CARLA BLEY, MICHAEL MANTLER, STEVE SWALLOW, KAREN MANTLER, STEVE WEISBERG, John Scofield, Steve Coleman and Five Elements, Al Di Meola, Tom Harrell, Patricia Barber, Dave Douglas, Diana Krall, Zachary Breaux, Jane Bunnett and The Spirits of Havana

J A Z Z   M U S I C

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1989-1998

CARLA BLEY, MICHAEL MANTLER, STEVE SWALLOW, KAREN MANTLER, STEVE WEISBERG
Walking Batteriewoman (Carla Bley) 3:57
Steve Weisberg - I Can't Stand Another Night Alone (In Bed With You) (Clifton Chenier / Steve Weisberg) 5:37
Michael Mantler - Alien, Pt. 2 (Michael Mantler) 3:56
from The WATT Works Family Album / Rec. 1973 - 1989

A dazzling electric guitarist with a steely tone and fluid lines to earmark his distinctive post-bop style. Known for his distinctive, slightly distorted sound, jazz 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
Wabash III (John Scofield) 6:22
So Sue Me (John Scofield) 6:03
Flower Power (John Scofield) 5:01
from  Time on My Hands 1990
John Scofield has turned the corner from journeyman jazz guitarist to become one of the most inventive and witty players on the contemporary scene. This date, his first for the Blue Note label, builds on a discography following several recordings for the Gramavision label, and also progresses this contemporary jazz music into an individualism that can only bode well for his future efforts. Teamed with the rising-star saxophonist Joe Lovano and the bulletproof rhythm team of bassist Charlie Haden and drummer Jack DeJohnette, Scofield is emerging as a player of distinction on the electric guitar, and a composer whose mirthful ideas add spark and vigor to his newfound musical setting. In this co-production with Peter Erskine, Sco has found his melodic stride in making music that is bright and clever without being overly intellectual, retaining a soulful quality enriched by the deep-rooted, bluesy tenor sax of Lovano...

Alto saxophonist, composer, producer, and MacArthur Fellow who founded the influential cross-genre M-Base movement and leads several bands. According to many musicians who came of age between the 1980s and the early 21st century, the influence of M-Base founder, composer, and alto saxophonist Steve Coleman cannot be overstated. His technical virtuosity and engagement with musical traditions and styles from around the world are expanding the possibilities of spontaneous composition.
Steve Coleman and Five Elements
Twister (Steve Coleman) 7:48
Beyond All We Know (Steve Coleman) 4:10
Black Phonemics (Steve Coleman) 4:01
Magneto (Steve Coleman) 2:52
from  Black Science 1991
The mixture of complex funk rhythms and inside/outside soloing performed by the "M-Base" stylists, although similar to Ornette Coleman's free funk, is quite different from any other earlier idiom. Altoist Steve Coleman's CD is recommended as a good example of his music. The improvisations are dynamic, unpredictable, and quite original and the ensemble (which includes pianist James Weidman, guitarist David Gilmore, and three guest vocals by Cassandra Wilson) is tight. Coleman, who wrote all but one of the originals, is the dominant force behind this often-disturbing but generally stimulating music.

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

J A Z Z   M U S I C

LISTEN THE PLAYLIST ON DEEZER.COM

JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.

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...