24-01-2022 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2008-1997 (3h 34m)

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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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...

The Bad Plus 

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...

Eivind Aarset 

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)...

Dave Douglas 

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.

08-12-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2015-2005 (3h 13m)

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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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...

Ben Williams 

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... 

Up until the mid-2000s, guitarist Nels Cline was probably best-known for his work in the group Quartet Music and other projects in the jazz, rock, and avant-garde idioms, as well as for his general involvement in the West Coast's avant and improv scenes. During the '90s, Cline recorded a pair of duo outings with Thurston Moore and Devin Sarno before embarking on Interstellar Space Revisited: The Music of John Coltrane with drummer Gregg Bendian; he joined the latter's Interzone group while leading his own trio, the Nels Cline Singers. In 2004, Cline opened up a much larger audience for a jazz guitarist than is typical, joining the alt-country and experimental pop act Wilco...

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...

Thundercat 

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...

Hiromi 

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...

12-10-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2008-2018 (3h 16m)

12-10-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2008-2018 (3h 16m)# S.M.V., Crimson Jazz Trio, Bushman's Revenge, Avishai Cohen, Dave Douglas Quintet, Matana Roberts, Nir Felder, Stanley Clarke, Bireli Lagrène, Jean-Luc Ponty, Mike Dillon, Tobias Meinhart, Wolfgang Muthspiel

J A Z Z   M U S I C (3h 53m)

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2008-2018

S.M.V. is a jazz supergroup featuring the talents of bassists Stanley Clarke, Marcus Miller, and Victor Wooten. Individually, the members of S.M.V. are widely accepted as innovative, creative, and technically proficient musicians who have performed in a variety of genres. The trio released its debut self-titled album on Heads Up in 2008.

S.M.V.

Stanley Clarke, Marcus Miller, Victor Wooten 

Thunder (Marcus Miller) 6:37

Los Tres Hermanos (Marcus Miller) 5:25

from Thunder 2008

Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two... Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners.

The trio was conceived by Wallace, who recruited Tim Landers (bass) and Jody Nardone (piano) in 2004.

Crimson Jazz Trio 

Ian Wallace, Jody Nardone, Tim Landers

The Court of the Crimson King (Robert Fripp / Peter Giles / Greg Lake / Ian McDonald / Peter Sinfield) 6:16

Frame By Frame (Adrian Belew / Bill Bruford / Robert Fripp / Tony Levin) 5:30 Soprano Saxophone, Alto Saxophone: Mel Collins

Heartbeat (Adrian Belew / Bill Bruford / Robert Fripp / Tony Levin) 8:56

from King Crimson Songbook, Vol. 2 2009

King Crimson founder Robert Fripp approved of the group, stating: "The CJ3 have respectfully and irreverently taken eight Crimson classics, repositioned them in the musical spectrum, and delivered their first songbook with superb musicianship in service to wit and invention".

This Norwegian power trio melds jazz improvisation with prog rock composition and heavy metal's dynamics.

Bushman's Revenge 

Always in Motion the Future Is (Even Helte Hermansen) 9:59

While My Guitar Gently Breaks (Even Helte Hermansen) 6:33

Personal Poltergeist (Even Helte Hermansen) 7:48

Waltz for My Good Man (Even Helte Hermansen) 4:48

from Jitterbug 2010

Rune Grammofon's contributions to the Norwegian jazz scene (and that of the world at large) continues with Bushman's Revenge's third album, finding the trio again exploring their own variety of garagey psych fusion... Jitterbug is at once a product of its time -- namely a worship of a lot of things going down sonically at the dawn of the '70s -- and something that doesn't quite fit into any easy description of that; they're a power trio and a jazz trio without settling for being specifically one or the other, as the excellent opener "Always in Motion the Future Is" shows... 

15-08-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2001-2011 (3h 53m)

15-08-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2001-2011 (3h 53m)# Grażyna Auguścik, Attila Laszlo Band, Jaco Pastorius Big Band, Dave Douglas, Joe Diorio,Dennis Coffey, Charlie Haden & Brad Mehldau, S.M.V., Crimson Jazz Trio,Bushman's Revenge, Avishai Cohen

J A Z Z   M U S I C (3h 53m)

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2001-2011

Grażyna Auguścik is a Polish jazz vocalist, composer, and arranger. She frequently uses Polish folk music, Latin American music, and klezmer music.

Grażyna Auguścik 

The Moon Is a Harsh Mistress (Jimmy Webb) 5:10

Dancing All Around (Grazyna Auguscik) 4:07

from River 2001

Her voice has a distinctive sound and style, and her choice of tunes spans genres, so it is not surprising that Polish-born vocalist Grazyna Auguscik has made a bit of a name for herself in the active Chicago jazz scene. Like contemporary Patricia Barber, another word sculptor from the Windy City, Auguscik defies pigeonholing, and as with Barber, her voice emanates a dark, brooding quality that is quite unlike any other. Ultimately, Auguscik's sound will not appeal to everyone, with its slightly off-beat qualities and odd harmonies. One thing in her favor: a compatible band, with first-rate performers such as accordionist Jarek Bester, who solos beautifully on "Bachianas Brasileiras," and local mainstays bassist Eric Hochberg and guitarist John McLean. .. She leaps across intervals, repeats phrases, and puts her entire self into her songs. The results sometimes charm and more often challenge, auguring well for the future of jazz singing. She points in an uncharted direction that takes nothing for granted, as little sounds mix with soft subtlety and poetic lyrics to achieve something just different enough to raise a few eyebrows.

Having graduated as an architect from the Technical University Budapest (BME), and as guitarist from the Jazz Faculty of the Béla Bartók Conservatory, he started to play in leading Hungarian jazz bands. He founded his own band, the group „Kaszakő” in 1975, which had a really original sound. Their first record was published under the title Édenkert (Garden of Eden) in 1983. He formed the group „Things” with sax player Tony Lakatos in 1985, which functioned for a period of seven years.

Attila Laszlo Band 

Last Moment 9:18

Sentimental Voices 9:26

from Once Upon a Time 2002

I have been blessed to meet and play with Attila László and his music for over ten years. Attila László's music is so wonderful in so many ways, I always hear a very broad span of musical influences coming from his playing and music so much, that I stopped trying to figure it out, I just enjoy it and always be alert and ready for what comes next. Every time I play a concert with him, I can expect the music to live within me, and it does. Which is what we have become, "Brothers". - Tommy Campbell

Attila László - electric and acoustic guitars, Kálmán Oláh - piano, keyboards, Béla Lattman - electric and acoustic bass, Kornél Horváth - percussions, Péter Szendőfi - drums

Jaco Pastorius was a meteor who blazed on to the scene in the 1970s, only to flame out tragically in the 1980s. With a brilliantly fleet technique and fertile melodic imagination, Pastorius made his fretless electric bass leap out from the depths of the rhythm section into the front line with fluid machine-gun-like passages that demanded attention. 

Jaco Pastorius Big Band 

Teen Town - Victor Wooten (Jaco Pastorius) 4:10

Punk Jazz - Richard Bona (Jaco Pastorius) 5:03

Killing Me Softly -  Jeff Carswell (Pee Wee Ellis / Charles Fox / Norman Gimbel / Jaco Pastorius) 4:22 

from Word of Mouth Revisitied 2003

Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself... 

07-17-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1994-2004 (3h 47m)

Flora Purim & Airto Moreira

07-17-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1994-2004 (3h 47m)# Flora Purim, Dave Holland Quartet, Jimmy Smith, Derek Bailey, Marcus Miller, David S. Ware,Charles Lloyd, Grażyna Auguścik, Attila Laszlo Band, Jaco Pastorius Big Band, Dave Douglas

J A Z Z   M U S I C

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1994-2004

Brazilian singer and a founding member of Return to Forever. Her trademark is an adventurous improvisational fusion of Brazilian and American jazz.

Flora Purim 

Radio Experienca (Radio Experience) 4:47

Finale 3:54

from The Flight 1994

Influenced by both traditional Brazilian singers and the improvisations of American jazz divas like Ella Fitzgerald and Sarah Vaughan, Flora Purim was one of the most adventurous singers of the 1970s. After meeting and marrying her husband, percussionist Airto Moreira, in their native Brazil, Purim moved with him to the U.S. in the late '60s. Though she worked with Stan Getz and pianist Duke Pearson before the decade ended, it wasn't until joining Chick Corea, Joe Farrell, Stanley Clarke, and Moreira in the original Return to Forever in 1972 that she became well known in the States.

An acclaimed, ever-evolving jazz bassist, Dave Holland is a gifted improvisor and composer whose work has touched on acoustic post-bop, avant-garde jazz, and fusion.

Dave Holland Quartet

The Winding Way (Dave Holland) 11:57

Claressence (Dave Holland) 7:28

Dream of the Elders(Dave Holland) 11:07

from Dream of the Elders 1995

Stylewise, the music on this CD sounds much closer to a mid-'60s Blue Note release than what one might expect from ECM. Although the general sound of the ensembles is light, the music is often filled with inner heat, a little reminiscent of a Wayne Shorter record. Altoist Eric Person and vibraphonist Steve Nelson work well together, bassist Dave Holland takes plenty of solo space, drummer Gene Jackson keeps the momentum flowing... Holland's originals have plenty of variety in moods while close attention is paid to dynamics. A satisfying and thought-provoking session.

A pioneer of soul-jazz who revolutionized the Hammond organ, turning it into one of the most incisive, dynamic jazz instruments of its time.

Jimmy Smith 

Stolen Moments (Oliver Nelson) 7:00

Angel Eyes (Earl Brent / Matt Dennis) 8:10

Slow Freight (Lupin Fein / Irving Mills / Buck Ram) 5:52

froim Angel Eyes 1996

A follow-up to the mostly heated performances of Damn!, this CD features organist Jimmy Smith sticking to ballads and slower material. There is a sextet rendition of "Stolen Moments" (with both Roy Hargrove and Nicholas Payton on trumpets); duets with both trumpeters, bassist Christian McBride, and guitarist Mark Whitfield; a trio; a quartet...

04-04-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1995-2006

Dave Douglas

04-04-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1995-2006 # Dave Douglas, Diana Krall, Zachary Breaux, Jane Bunnett and The Spirits of Havana, Paul Motian & the Electric Bebop Band, Matthew Shipp Quartet, Brad Mehldau, Howard Alden, Jeremy Pelt, Donny McCaslin, Jenny Scheinman, Medeski Scofield Martin and Wood

J A Z Z   M U S I C

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1995-2006

Cutting-edge trumpeter who seems equally at home in the avant garde jazz world and the pop milieu. Dave Douglas arguably became the most original trumpeter/composer of his generation. Douglas' stylistic range is broad yet unaffected; his music is not a pastiche, but rather a personal aesthetic that reflects a wide variety of interests. He explicitly cites such diverse influences as Igor Stravinsky, Stevie Wonder, and John Coltrane. As a composer, Douglas adapts and synthesizes unusual forms and creates his own out of disparate elements. As a trumpeter, he possesses a comprehensive jazz technique; certainly one hears the ghost of Lester Bowie in Douglas' expressive manipulations of timbre and pitch, but more pronounced is the integration of distinctive compositional and improvisational conceptions that ultimately defines his work.
Dave Douglas
Mirrors (Dave Douglas) 3:03
Going, Going (Dave Douglas) 5:47
Who Knows? (Thelonious Monk)
from Five 1995
Trumpeter Dave Douglas' unusual string group (which also includes violinist Mark Feldman, cellist Erik Friedlander, bassist Drew Gross and drummer Michael Sarin) is reminiscent in some ways of Ornette Coleman's free-jazz quartet despite not playing any of Ornette's originals and having a very different instrumentation. All of the musicians function as equals, the interaction is often intuitive, and the improvising on eight Douglas originals (including tunes dedicated to Steve Lacy, Wayne Shorter, Mark Dresser, Woody Shaw, John Cage and John Zorn), Thelonious Monk's "Who Knows," and Rahsaan Roland Kirk's "The Inflated Tear" is on a high level. Well worth exploring.

Contemporary jazz singer and pianist who took the pop world by storm in the 1990s, often echoing early swinging simplicity in her work. At the outset of her career in the 1990s, Diana Krall appeared to be a throwback to a different, classier era -- specifically, the mid-20th century, when the Great American Songbook experienced a revival in the hands of singers such as Nat King Cole. Krall's 1996 breakthrough, All for You: A Dedication to the Nat King Cole Trio, deliberately paid tribute to this period, but Krall didn't focus merely on singing the song in an old-fashioned way: as the subtitle of All for You suggested, Krall placed equal emphasis on the piano playing...
Diana Krall 
I'm an Errand Girl for Rhythm (Nat King Cole) 2:56
You Call It Madness (Russ Columbo / Con Conrad / Gladys Dubois / Paul Gregory) 4:36
Hit That Jive Jack (John Alston / Alex Alstone / Skeets Tolbert) 4:16
from All For You (A Dedication To The Nat King Cole Trio) 1996
Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although his influence is obviously felt on some of the songs. The slow ballads are actually as reminiscent of Shirley Horn as Cole, particularly the somber "I'm Through With Love" and "If I Had You." Guitarist Russell Malone gets some solo space on many of the songs and joins in on the group vocal of "Hit That Jive Jack," although it is surprising that he had no other opportunities to interact vocally with Krall; a duet could have been delightful. Bassist Paul Keller is fine in support, pianist Benny Green backs Krall's vocal on "If I Had You," and percussionist Steve Kroon is added on one song. Overall, this is a tasteful effort that succeeds.

Influenced by George Benson and Wes Montgomery, Zachary Breaux was a flexible guitarist who could handle soul-jazz, post-bop, and hard bop as well as more commercial pop-jazz and NAC music.
Zachary Breaux 
Breakfast at the Epiphany (Zachary Breaux) 0:16
Cafe Reggio (Isaac Hayes) 6:06
The Thrill Is Gone (Arthur Benson / Dale Pettite) 5:10
All Blues (Miles Davis) 6:33
from Uptown Groove 1997
Guitarist Zachary Breaux, who tragically died just a few months after recording this CD (his debut), was a potentially great guitarist with a style coming from George Benson. In fact, his solos are generally more memorable than the purposely commercial material on this set, which largely consists of melodic, jazzy funk jams, usually with rather basic electronic rhythms... Among the other guest musicians are flutist Hubert Laws, bassist Brian Bromberg and pianist Renee Rosnes.

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.