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.
