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

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... 

08-11-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1963-1975

 

08-11-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1963-1975 # Johnny Hartman, Jimmy Smith, Sonny Rollins, Dexter Gordon, Stan Getz, Gábor Szabó, Lalo Schifrin, John Coltrane, Donald Byrd, Les McCann, Joe Henderson, Milt Jackson, Harry Beckett

J A Z Z   M U S I C

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

1963-1975

A superior ballad singer with a warm baritone, best known for his classic full-length collaboration with John Coltrane.

Johnny Hartman
Stairway to the Stars (Matty Malneck / Mitchell Parish / Frank Signorelli)

Charade (Henry Mancini / Johnny Mercer)
In the Wee Small Hours of the Morning (Bob Hilliard / David Mann)
from I Just Dropped By to Say Hello 1963
The second Impulse! session for ballad singer Johnny Hartman followed his classic collaboration with John Coltrane. Hartman is heard in peak form throughout these 11 pieces, which include "In the Wee Small Hours of the Morning," "Stairway to the Stars," and even "Charade." Tenor saxophonist Illinois Jacquet is on five of the songs, guitarists Kenny Burrell and Jim Hall help out on a few tunes, and Hartman is consistently accompanied by pianist Hank Jones, bassist Milt Hinton, and drummer Elvin Jones. This is one of his finest recordings.

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
Prayer Meeting (Jimmy Smith)
I Almost Lost My Mind (Ivory Joe Hunter)
Lonesome Road (Gene Austin / Nat Shilkret)
from Prayer Meetin' 1964
Playing piano-style single-note lines on his Hammond B-3 organ, Jimmy Smith revolutionized the use of the instrument in a jazz combo setting in the mid-'50s and early '60s, and arguably his best albums for Blue Note during this period were the ones he did with tenor sax player Stanley Turrentine. Recorded on February 8, 1963, at Van Gelder Studio in New Jersey, and featuring Quentin Warren on guitar and Donald Bailey on drums in addition to Smith and Turrentine, Prayer Meetin' is a delight from start to finish... The blues roots are obvious here, and the Smith-penned title track might even be called jazz-gospel, but the single most striking cut is a version of Ivory Joe Hunter's "I Almost Lost My Mind," with both Smith and Turrentine building wonderful solos, suggesting new pathways for organ and sax as complementary instruments.

Voted by Miles Davis as the greatest tenor ever, an inventive saxophonist and an astonishing soloist.
Sonny Rollins
On Green Dolphin Street (Bronislaw Kaper / Ned Washington)
Hold 'Em Joe (Harry Thomas)
Three Little Words (Bert Kalmar / Harry Ruby)
from On Impulse! 1965
In 1965 and 1966 tenor giant Sonny Rollins issued three albums for the Impulse label. They would be his last until 1972 when he re-emerged on the scene from a self-imposed retirement. This date is significant for the manner in which Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins, who's been recording for RCA and its Bluebird subsidiary, had spent the previous three years (after emerging from his first retirement) concentrating on standards and focusing deeply on intimate, intricate aspects of melody and harmony. He inverts the approach here, and digs deeply into pulse and rhythm and leaving melody to take care of itself...

One of the outstanding tenor saxophonists in jazz history, and a major figure in bop known for his heavy doses of swing.
Dexter Gordon
Manha de Carnaval (Luiz Bonfá / Antônio Maria)
Heartaches (Al Hoffman / John Klenner)
Everybody's Somebody's Fool (Howard Greenfield / Jack Keller)
from Gettin' Around 1966
Dexter Gordon's mid-'60s period living in Europe also meant coming back to the U.S. for the occasional recording session. His teaming with Bobby Hutcherson was intriguing in that the vibraphonist was marking his territory as a maverick and challenging improviser. Here the two principals prove compatible in that they have a shared sense of how to create sheer beauty in a post-bop world. Add the brilliant Barry Harris to this mix, and that world is fortunate enough to hear these grand masters at their creative peak, stoked by equally extraordinary sidemen like bassist Bob Cranshaw and drummer Billy Higgins, all on loan from Lee Morgan's hitmaking combo. The subtle manner in which Gordon plays melodies or caresses the most recognizable standard has always superseded his ability to ramble through rough-and-tumble bebop...