05-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1967-1959

05-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1967-1959 # Thelonious Monk, Art Blakey & The Jazz Messengers, Wayne Shorter, Herbie Hancock, Miles Davis, Ike Quebec, Sarah Vaughan, Hank Crawford, Bill Jennings, Herbie Mann, Milt Buckner, Joe Castro, Sonny Stitt

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.

1967-1959

A brilliant composer and a criminally underrated pianist whose sense of rhythm, space, and harmony made him one of the founders of modern jazz. 
Thelonious Monk
Locomotive (Thelonious Monk) 6:40
Straight, No Chaser (Thelonious Monk) 11:28
from Straight, No Chaser 1967
This is the sixth studio album cut by Thelonious Monk under the production/direction of Teo Macero for Columbia and as such should not be confused with the original motion picture soundtrack to the 1988 film of the same name. The band featured here includes: Monk (piano), Charlie Rouse (tenor sax), Ben Riley (drums), and Larry Gales (bass). This would be the final quartet Monk would assemble to record with in the studio. While far from being somber, this unit retained a mature flavor which would likewise place Monk's solos in a completely new context...

The guru of hard bop, whose famous technique -- frequent, high volume snare with bass drum accents -- made him one of jazz's all-time best messengers. 
Art Blakey & The Jazz Messengers
The Egyptian (Curtis Fuller) 10:25
Calling Miss Khadija (Lee Morgan) 7:21
from Indestructible 1966
Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally. The band is rounded out by pianist Cedar Walton, a steaming Wayne Shorter on tenor, Curtis Fuller on trombone, and bassist Reggie Workman with Art Blakey on the skins, of course. Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well...

The band led by drummer Art Blakey groomed more than 150 alumni members, including saxophonist Wayne Shorter and trumpeter Lee Morgan.

A major sax innovator for hard boppers and fusionists alike, due to his influential tenures with Art Blakey, Miles Davis, and Weather Report. 
Wayne Shorter
Witch Hunt (Wayne Shorter) 8:11
Speak No Evil (Wayne Shorter) 8:23
from Speak No Evil 1966
On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work...

Herbie Hancock and Wayne Shorter

Inventive, intelligent, and talented pianist/keyboardist whose distinguished career has covered modern jazz, fusion, hip-hop, and dance. 
Herbie Hancock
Succotash (Herbie Hancock) 7:40
Jack Rabbit (Herbie Hancock) 5:57
from Inventions & Dimensions 1964
For his third album, Inventions and Dimensions, Herbie Hancock changed course dramatically. Instead of recording another multifaceted album like My Point of View, he explored a Latin-inflected variation of post-bop with a small quartet. Hancock is the main harmonic focus of the music -- his three colleagues are bassist Paul Chambers, drummer Willie Bobo, and percussionist Osvaldo "Chihuahua" Martinez, who plays conga and bongo. It is true that the music is rhythm-intensive, but that doesn't mean it's dance music. Hancock has created an improvisational atmosphere where the rhythms are fluid and the chords, harmonies, and melodies are unexpected...

15-08-2018 10:09 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1973-1961

Alice Coltrane

15-08-2018 10:09 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1973-1961 # Joe Henderson, Alice Coltrane, Chase, Steve Cropper, Larry Coryell, Chick Corea, Miles Davis, Thelonious Monk, Art Blakey & The Jazz Messengers, Wayne Shorter, Herbie Hancock, Miles Davis, Ike Quebec, Sarah Vaughan

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.

1973-1961

A remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz. 
Joe Henderson
featuring Alice Coltrane
Alice Coltrane was an uncompromising pianist, composer, and bandleader who spent the majority of her life seeking spiritually in both music and her private life.
Fire (Joe Henderson) 11:07
Water (Joe Henderson) 7:32
from  The Elements 1973
This is one of the odder Joe Henderson recordings. The four lengthy selections not only feature the great tenor-saxophonist but the piano and harp of Alice Coltrane (during one of her rare appearances as a sideman), violinist Michael White, bassist Charlie Haden, percussionist Kenneth Nash and Baba Duru Oshun on tablas. The somewhat spiritual nature of the music (Henderson's compositions are titled "Fire," "Air," "Water" and "Earth") and the presence of Alice Coltrane makes these Eastern-flavored performances rather unique if not all that essential: an early example of world music in jazz...

House guitarist for Stax Records and co-writer of numerous '60s soul classics. 

Steve Cropper 

Crop Dustin' (Steve Cropper / Buddy Miles) 2:59

99 1/2 (Steve Cropper / Eddie Floyd / Wilson Pickett) 3:20

With a Little Help from My Friends (John Lennon / Paul McCartney) 5:33

from With a Little Help From My Friends 1971

After years of being a team player, Steve Cropper got to make a solo album for the label he helped put on the map, Stax Records (actually their Volt subsidiary). As you might figure, it turned out as an instrumental soul album, and a darn good one, too. It's a bona fide Telecaster-soaked dance workout...

Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop. 
Larry Coryell
Spaces (Infinite) (Julie Coryell) 9:23
Gloria's Step (Scott LaFaro) 4:32
Chris (Julie Coryell) 9:32
from Spaces 1970
This album features the pioneer fusion guitarist Larry Coryell with quite an all-star group. Two selections match Coryell with fellow guitarist John McLaughlin, bassist Miroslav Vitous (doubling on cello) and drummer Billy Cobham, all important fusion players at the time... Overall, the music has its energetic moments, but also contains some lyricism often lacking in fusion of the mid-'70s. In addition, all of the musicians already had their own original voices, making Spaces a stimulating album worth searching for.

22-07-2018 11:11 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1980-1968

Herbie Hancock

22-07-2018 11:11 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1980-1968 # Herbie Hancock, Jack DeJohnette New Directions, Keith Jarrett, Zbigniew Seifert, Joe Diorio, Flora Purim, Joe Henderson, Alice Coltrane, Chase, Steve Cropper, Larry Coryell, Chick Corea, Miles Davis

J A Z Z   M U S I C

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1980-1968

Inventive, intelligent, and talented pianist/keyboardist whose distinguished career has covered modern jazz, fusion, hip-hop, and dance.  Herbie Hancock will always be one of the most revered and controversial figures in jazz -- just as his employer/mentor Miles Davis was when he was alive. Unlike Miles, who pressed ahead relentlessly and never looked back until near the very end, Hancock has cut a zigzagging forward path, shuttling between almost every development in electronic and acoustic jazz and R&B over the last third of the 20th century and into the 21st
Herbie Hancock
Spiraling Prism (Herbie Hancock) 6:25
Shiftless Shuffle (Herbie Hancock / Paul Jackson / Bennie Maupin / Harvey Mason, Sr. / Bill Summers) 7:07
from Mr. Hands 1980
Herbie Hancock's lackluster string of electric albums around this period was enhanced by this one shining exception: an incorrigibly eclectic record that flits freely all over the spectrum. Using several different rhythm sections, Herbie Hancock is much more the imaginative hands-on player than at any time since the prime Headhunters period, overdubbing lots of parts from his ever-growing collection of keyboards...

Chick Corea has been one of the most significant jazzmen since the '60s. Not content at any time to rest on his laurels, he has been involved in quite a few important musical projects, and his musical curiosity has never dimmed. A masterful pianist who, along with Herbie Hancock and Keith Jarrett, was one of the top stylists to emerge after Bill Evans and McCoy Tyner, Corea is also one of the few electric keyboardists to be quite individual and recognizable on synthesizers...
One of the two great vibraphonists to emerge in the 1960s (along with Bobby Hutcherson), Gary Burton's remarkable four-mallet technique can make him sound like two or three players at once.
Chick Corea and Gary Burton
Señor Mouse (Chick Corea) 10:17
Crystal Silence (Chick Corea / Neville Potter) 12:09
from In Concert: Zürich, October 28, 1979 (1980)
During Chick Corea's freelance period after Return to Forever broke up and before he formed his Elektric Band, the pianist collaborated with many of his favorite musicians. This two-LP set contains eight duets with vibraphonist Gary Burton (highlighted by "Senor Mouse," "Bud Powell" and a remake of "Crystal Silence") along with one solo performance apiece by the two masterful musicians. The music is often introspective, but there are some exciting moments.

Premier percussionist and drummer often considered the finest modern jazz drummer of the '70s after Elvin Jones and Tony Williams.  At his best, Jack DeJohnette is one of the most consistently inventive jazz percussionists extant. His style is wide-ranging, and while capable of playing convincingly in any modern idiom, he always maintains a well-defined voice. DeJohnette has a remarkably fluid relationship to pulse. His timing is excellent; even as he pushes, pulls, and generally obscures the beat beyond recognition, a powerful sense of swing is ever-present. His tonal palette is huge as well: No drummer pays closer attention to the sounds that come out of his kit than DeJohnette. He possesses a comprehensive musicality rare among jazz drummers.
Jack DeJohnette
feat: John Abercrombie / Lester Bowie / Eddie Gomez
Bayou Fever (Jack DeJohnette) 8:40
Dream Stalker (John Abercrombie / Lester Bowie / Jack DeJohnette / Eddie Gomez) 5:55
from New Directions 1978
This album was indeed a new direction for drummer Jack DeJohnette, by then an ECM mainstay who with this effort flirted with the free-flowing atmospheres then characteristic of the label’s popular European projects. John Abercrombie—another household name whose amplified strings do wonders for DeJohnette’s impulses—forms, along with Chick Corea veteran Eddie Gomez on bass, a triangular foundation upon which trumpeter Lester Bowie—the album’s shining star—builds his towering sentimentalism...  A spacious inner current, heir apparent to a straightforward jazz with no strings attached, feeds into every moment of New Directions. The performances are attentively recorded with a present, live feel that gives the drums all the room they need, and us all the sonic candy we crave.

04-07-2018 9:06 - JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1986-1974

Joe Zawinul

04-07-2018 9:06 - JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1986-1974 / 3:47 # Joe Zawinul,  Willem Breuker Kollektief, Mark King, David Friesen, Claus Ogerman / Michael Brecker, James Blood Ulmer, Herbie Hancock, Chick Corea and Gary Burton, Jack DeJohnette New Directions, Keith Jarrett, Zbigniew Seifert, Joe Diorio, Flora Purim

J A Z Z   M U S I C

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1986-1974

An outstanding jazz pianist/keyboardist who worked with artists such as Cannonball Adderley and Miles Davis.  Joe Zawinul belonged in a category unto himself -- a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remained insatiable. Zawinul's curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe. He was one of a bare handful of synthesizer players who actually learned how to play the instrument, to make it an expressive, swinging part of his arsenal. Prior to the invention of the portable synthesizer, Zawinul's example helped bring the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul also became a significant composer, ranging (like his idol Duke Ellington) from soulful hit tunes to large-scale symphonic jazz canvases. Yet despite his classical background, he preferred to improvise compositions spontaneously onto tape rather than write them out on paper.
Joe Zawinul 
The Harvest (Joe Zawinul) 6:02
Zeebop (Joe Zawinul) 4:52
Carnavalito (Joe Zawinul) 6:19
from  Dialects 1986
If Joe Zawinul was out to prove that he didn't need Weather Report anymore, he succeeded spectacularly in this virtual one-man show. Zawinul recorded many of the vocals (assisted now and then by Bobby McFerrin and a vocal trio) and all of the synthesizer and rhythm machine tracks himself in his Pasadena home studio, yet the results are anything but mechanical. Zawinul in fact achieves a rare thing: He manages to get his stacks of electronics to swing like mad in these pan-global grooves that pick up where WR was about to leave off... This is an important, overlooked album because it proves that electronic instruments can reach your emotions and shake your body when played by someone who has bothered to learn how to master them.

The Willem Breuker Kollektief is a jazz group formed in 1974 by 10 musicians leaded by Dutch bandleader Willem Breuker. The band plays unconventional jazz mixed with different styles, from latin to (contemporary) classical to theater and vaudeville.
Willem Breuker Kollektief
Like Other People Say 1:43
Hap Sap (But Not From Jaffa) 5:59
Driebergen-Zeist 10:00
from To Remain 1985
...There's a sense of wonder combined with the glee of a kid in a candy shop that he exploits with passion and humor, going so far to have composed sections with some band members "misplaying" their parts while others exasperatedly wait for them to get it right...

Virtuoso bass player and singer of English pop band Level 42 known for his bass-slapping technique. 
Mark King
Essential (Mark King) 18:36
I Feel Free (Pete Brown / Jack Bruce) 4:50
from Influences 1984
EXCLUSIVE! Level 42’s Mark King speaks to movingtheriver.com about his classic solo album Influences, released by Polydor in July 1984.

Talented and prolific jazz bassist who has continually experimented yet remained decidedly accessible.  A technically adept, immensely intuitive bassist and pianist, David Friesen is a forward-thinking performer whose albums touch upon spiritually minded contemporary jazz, folk, world traditions, and acoustic post-bop.
David Friesen
Amber Skies 8:16
Voices 7:17
from Amber Skies 1983
One of bassist David Friesen's better jazz sessions as a leader, this set (which has been reissued by other labels on CD) has some excellent playing by tenor saxophonist Joe Henderson on "Amber Skies" and "Underlying," a rare opportunity for flutist Paul Horn to take a solo in a straight-ahead setting ("Blue and Green"), and was the first opportunity that pianist Chick Corea and drummer Paul Motian had to work together; percussionist Airto completes the sextet. The diverse originals, all by Friesen, feature each of the players quite favorably, and the overall results are stimulating.

The prolific arranger and orchestrator, Claus Ogerman moved from Europe to the United States in 1959 and began an association with the Verve label, where his arrangements were featured on albums by Frank Sinatra and Antonio Carlos Jobim (1967's Francis Albert Sinatra & Antonio Carlos Jobim -- the first of two collaborative albums by the pair), Astrud Gilberto, Bill Evans, Wes Montgomery, Stan Getz, Cal Tjader, and other leading artists
Claus Ogerman / Michael Brecker
A remarkable technician and a highly influential tenor saxophonist (the biggest influence on other tenors since Wayne Shorter), Michael Brecker took a long time before getting around to recording his first solo album. He spent much of his career as a top-notch studio player who often appeared backing pop singers, leading some jazz listeners to overlook his very strong improvising skills.
Cityscape (Claus Ogerman) 8:46
Nightwings (Claus Ogerman) 7:45
from Cityscape 1982
...This 1982 collaboration with the late jazz saxophonist Michael Brecker is one of his most successful works, not least because the overlap between the extended harmonies of jazz and the chromaticism of the late German Romantic polyphony in which Ogerman was trained is large enough to allow Brecker to operate comfortably -- his improvisations seem to grow naturally out of the background, and the intersections between jazz band and orchestral strings come more easily here than on almost any other crossover between jazz and classical music. The mood is nocturnal and reflective. Brecker at this point had not yet made an album as a bandleader; he was primarily known to those who closely followed jazz and R&B session musicians. The album was originally billed as a release by Claus Ogerman with Michael Brecker. Yet notice how skillfully Ogerman eases the fearsomely talented young saxophonist into the spotlight....