28-09-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2017-2007

28-09-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2017-2007 # Roots Magic, Takuya Kuroda, The Breathing Effect, James Farm, Mulatu Astatke, Christian Scott, James Carter Organ Trio, Dr. Lonnie Smith, Portico Quartet, Todd Sickafoose, Charlie Hunter

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2017-2007

The Roots Magic core concept is about reworking tunes from the Deep Blues repertoire of the late Twenties/early Thirties, Charley Patton, Blind Willie Johnson, Skip James  Geeshie Wiley...  alongside with chosen compositions by Creative Jazz luminaries such as Julius Hemphill, John Carter, Marion Brown, Olu Dara, Phil Cohran, Sun Ra, Roscoe Mitchell, Henry Threadgill, Pee Wee Russell, Ornette Coleman      
Roots Magic
Down the Dirt Road Blues (Charley Patton) 4:23
Last Kind Words (Geeshie Wiley) 6:29
Tom Rushen Blues (Charley Patton) 5:10
from Last Kind Word 2017
Roots Magic are an Italian quartet who draw strong lines between deep blues and free jazz by reworking tunes by Blind Willie Johnson, Charley Patton, and Geeshie Wiley alongside works by Marion Brown, Julius Hemphill, Roscoe Mitchell, Henry Threadgill, and others. There’s always been plenty of blues in free jazz; check the catalogs of David Murray and Archie Shepp, not to mention the Art Ensemble Of Chicago. But Roots Magic also blend the fierce and hypnotic cry of their horns with tight funk rhythms, and add elements of dub once in a while. This is their second album, and it’s a strong demonstration that their core concept is one that gives players this talented and imaginative a lot of room to run.

Jazz trumpeter Takuya Kuroda is a forward-thinking musician with a bent toward mixing post-bop and adventurous soul-jazz. Born in Kobe, Japan, Kuroda followed his older trombonist brother into the local music scene, playing in big bands. After studying music in Japan, Kuroda relocated to Boston to attend the Berklee College of Music. 
Takuya Kuroda
I Don't Remember How It Began (Takuya Kuroda) 6:36
Little Words (Takuya Kuroda) 6:09
from Zigzagger 2016
Takuya Kuroda's follow-up to his breakthrough 2014 album, Rising Son, 2016's colorful Zigzagger finds the trumpeter digging even deeper into his hip-hop and Afrobeat-influenced jazz sound. Whereas last time Kuroda benefitted from the production of one-time boss and collaborator/singer Jose James, here he mans the production chair himself. It's a bold, if natural choice for the Japan-born/New York-based performer and brings his journey from James' talented sideman to jazz star and captain of his own funk-jazz ship full-circle. Although steeped in acoustic jazz tradition, Kuroda (who studied at both Berklee and the New School) has gravitated toward more jam-oriented sounds in recent years. Blessed with a warm, robust trumpet sound and a knack for delivering lithe, soulful solos that bring to mind both Roy Hargrove and Hugh Masekela, Kuroda is truly a 21st century performer. Another shift from Rising Son is Kuroda's choice to use his longtime backing ensemble, featuring trombonist/vocalist Corey King, keyboardist Takeshi Ohbayashi, bassist Rashaan Carter, and drummer Adam Jackson...

The Breathing Effect was initiated as a project of two lifelong friends and musical partners that set out to unearth a sound of their own. Eli Goss (Synthesist/Keyboardist/Vocalist) and Harry Terrell (Drummer/Bassist) both grew up in Los Angeles, where they spent years honing their respective crafts and being immersed in the experimental beat scene that Los Angeles has to offer...
The Breathing Effect
Cold Meteor Showers 6:50
One for the Mountains by the Sea 3:29
Streetlights Out of Focus 4:02
from Mars Is a Very Bad Place For Love 2015
Jazz is supposedly a grown folks’ genre, played by aging bohemians in tiny clubs. Tell that to the Breathing Effect—a self-described electronic group influenced by soul, rock and jazz—whose debut album, Mars Is a Very Bad Place for Love, toes a line between traditional and turn up. As a unit, producer/keyboardist Eli Goss and drummer/bassist Harry Terrell merge the standards of conventional jazz with modern bounce beats. By definition, it scans as "jazz fusion," but the results conjure '70s R&B as well as the contemporary Los Angeles beat scene and hip-hop. Clearly, Goss and Terrell study Pink Floyd and the Soft Machine, but it seems they dig Thundercat and Stevie Wonder, too...