15-11-2011 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2015-2021 (3h 22m)

15-11-2011 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2015-2021 (3h 22m)# Stanley Clarke, Bireli Lagrène, Jean-Luc Ponty, Mike Dillon, Tobias Meinhart, Wolfgang Muthspiel, Antonio Sanchez, Mary Halvorson, Makaya McCraven, Wildflower, Todd Marcus, Muriel Grossmann, Mike Dillon, Ron Miles, Bremer/McCoy, Kurt Elling, Charlie Hunter

J A Z Z   M U S I C (3h 22m)

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2015-2021

Stanley Clarke - Bireli Lagrène - Jean-Luc Ponty 

Blue Train (John Coltrane) 6:15

Mercy, Mercy, Mercy (Joe Zawinul) 6:33

from D-Stringz 2015

The occasion for this trio to work together was a 2010 concert that celebrated violinist Jean-Luc Ponty's 50th anniversary as a recording artist. Both the violinist and Stanley Clarke had collaborated before (a previous electric trio set with Al Di Meola, The Rite of Strings was issued in 1995), but neither had collaborated with French jazz guitarist Biréli Lagrène prior to that evening...

Vibraphonist, percussionist, and songwriter Mike Dillon is an eclectic, highly adventurous musician with a sound steeped in post-bop jazz, funk, and avant-garde rock. Drawing upon such wide-ranging influences as Harry Partch, Thelonious Monk, Tom Waits, and Frank Zappa...

Mike Dillon 

Half Right 3:51

Christian Brothers 5:20

Bachelor Pad 3:24

from Functioning Broke 2016

As idiosyncratic as Mike Dillon's work has been with Critters Buggin' and Garage a Trois, it's well-nigh impossible not to fall under the spell of the music he creates all by himself on Functioning Broke. A deep dream-like quality emanates from his musicianship, most resonant in the warm glow of vibes that open "Half Right" and continues virtually unabated... Mike Dillon played all the instruments here himself, a total of eleven according to the credits. Nevertheless, he restrains himself from becoming too busy on a number like "Christian Brothers:" by the self-discipline that allows the ethereal tones of vibes, marimba, xylophone and bells, among others, to sustain and hang in the air until followed by the next instrumental sound... so as much as Functioning Brokesuspends the passage of time for those who hear the album, it'd seem Mike Dillon too is caught up in the spirit of the moment(s),

A gifted German-born saxophonist, Tobias Meinhart plays harmonically sophisticated post-bop jazz. He first garnered attention performing in Europe in the mid-2000s, and gained wider recognition following his move to New York in 2010. He has played often with trumpeter Ingrid Jensen, with whom he recorded 2015's Natural Perception and 2017's Silent Dreamer.

Tobias Meinhart 

Fighting Your Fears 5:37

Silent Dreamer 5:51

Ghost Gardens 6:54

from Silent Dreamer 2017

...Tobias Meinhart  had racked up a host of awards in Europe before moving to the United States to study with some of New York's top saxophonists. He now resides in Brooklyn and works with a variety of groups. His fourth album, "Silent Dreamer," is not only a vehicle for his bold tenor style, it's also a showcase for his adventurous compositions and gorgeous arrangements.

The album is also brimming with superb solos and group playing by some familiar players, like trumpeter Ingrid Jensen and bassist Orlando Le Fleming, and some less familiar but equally powerful musicians. Yago Vazquez is excellent on piano, and Justin Carroll makes the synthesizer wail. Charles Altura crosses over into rock-fusion territory on every guitar solo, and Phil Donkin and Jesse Simpson are a formidable rhythm section on acoustic and electric bass and powerhouse drums.

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... 

13-052021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1979-1984 (2h 37m)

13-052021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1979-1984  >>The Police, Embryo, Alvin Lee, Jean-Luc Ponty, Frank Zappa, Robin Trower, Jack Bruce, King Crimson, R.E.M, David Bowie, The Honeydrippers, Julian Cope<<

 M U S I C  (2h 37m)

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1979-1984

British rock trio with an innovative rock/reggae fusion, superb songwriting, and crossover appeal that shot them straight to international stardom.

The Police 

Message in a Bottle  (Sting)

Reggatta de Blanc (Stewart Copeland / The Police / Sting / Andy Summers)

It's Alright for You (Stewart Copeland / Sting)

from Reggatta de Blanc 1979

By 1979's Reggatta de Blanc (translation: White Reggae), nonstop touring had sharpened the Police's original blend of reggae-rock to perfection, resulting in breakthrough success. .. Whereas their debut got its point across with raw, energetic performances, Reggatta de Blanc was much more polished production-wise and fully developed from a songwriting standpoint... With Reggatta de Blanc, many picked Sting and company to be the superstar band of the '80s, and the Police would prove them correct on the band's next release.

German band mixed Krautrock with an eclectic world beat over a career spanning decades. One of the most original and innovative Krautrock bands, Embryo fused traditional ethnic music with their own jazzy space rock style. Over an existence spanning decades, during which Christian Burchard became the only consistent member, the group traveled the world, playing with hundreds of different musicians and releasing over 20 records.

Embryo 

Strasse nach Asien

Kurdistan

Far East

from Embryo's Reise 1979

"Reise" is the German word for "Travel", and that's exactly what the album has to offer here: a genuine musical journey... to the East. After the band's average jazz/rock/world releases during the second half of the 70's (last good album being 1973's "We Keep On"), EMBRYO's leader Christian Burchard decided to save his baby and brought with him the other members for a long trip, from Middle-East to India. During their journey, they met various local musicians, played jam sessions and recorded tracks in their company...

British blues-rock singer, songwriter, and guitarist who found success fronting Ten Years After before launching a lengthy solo career.

Alvin Lee  

Stealin' (Steve Goulding)

Ridin' Truckin' (Alvin Lee)

No More Lonely Nights (Steve Goulding / Alvin Lee)

from Free Fall 1980

...This band probably should have been called the Lee/Gould band, as former Rare Bird vocalist Steve Gould has at least as much to do with the sound of the band on those first few tracks. About four cuts into Freefall, Lee seems to wake up, and he turns in some really tasty guitar and a nice, energetic vocal on "Stealin'." There are even a few whoops and shrieks thrown in, and that's OK, because the song deserves it. So does "Ridin' Truckin'"... 

18-02-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1976-1980 (2h 30m)

18-02-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1976-1980  >>Tom Waits, Pat Metheny, Talking Heads, The Clash, Iggy Pop, Brian Eno, Talking Heads, David Bowie, The Police, Embryo, Alvin Lee, Jean-Luc Ponty<<

 M U S I C  (2h 30m)

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1976-1980

A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.

Tom Waits 

Step Right Up (Tom Waits)

Invitation to the Blues  (Tom Waits)

from Small Change 1976

The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners...  If you like it, you also will like the ones before and after; otherwise, you're not Tom Waits' kind of listener.

Guitar virtuoso whose accessible, original style and extraordinary sense of technique bridged the gap between jazz and rock.

Pat Metheny 

Bright Size Life (Pat Metheny)

Missouri Uncompromised (Pat Metheny)

from Bright Size Life 1976

Pat Metheny's debut studio album is a good one, a trio date that finds him already laying down the distinctively cottony, slightly withdrawn tone and asymmetrical phrasing that would serve him well through most of the swerves in direction ahead. His original material, all of it lovely, bears the bracing air of his Midwestern upbringing... Besides being Metheny's debut, this LP also features one of the earliest recordings of Jaco Pastorius, a fully formed, well-matched contrapuntal force on electric bass, though content to leave the spotlight mostly to Metheny. Bob Moses, who like Metheny played in the Gary Burton Quintet at the time, is the drummer, and he can mix it up, too.

One of the most acclaimed bands of the post-punk era, a vision of innovative art-pop featuring David Byrne's manic yelp over tight R&B grooves.

Talking Heads 

New Feeling (David Byrne)

Tentative Decisions (David Byrne)

Psycho Killer  (David Byrne / Chris Frantz / Tina Weymouth)

from Talking Heads: 77 1977 

Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal...

08-11-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1968-1978

Dennis Coffey

08-11-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1968-1978 # Dennis Coffey, Tal Farlow, Miles Davis, Keith Jarrett, Jean-Luc Ponty Experience, Larry Coryell and The Eleventh House, Orquestra Mirasol, Mulatu Astatke, Al Di Meola, Flora Purim, Pat Metheny Group

J A Z Z   M U S I C

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1968-1978

Dennis Coffey remains an active hero from the halcyon era of Detroit soul, contributing guitar to landmark records issued on the Motown, Ric-Tic, and Revilot labels. His guitar playing can be heard on such iconic Northern soul singles as "Just My Imagination," "Ball of Confusion (That’s What the World Is Today)," "War," "Cloud Nine," "Someday We'll Be Together," and "Band of Gold." In addition, he cut a series of efforts under his own name, most notably the cult classic blaxploitation soundtrack Black Belt Jones and the hit single-turned-vintage record collector mainstay "Scorpio."
Dennis Coffey
I'm a Midnight Mover (Wilson Pickett / Bobby Womack) 4:03
Eleanor Rigby (John Lennon / Paul McCartney) 13:39
Burning Spear (Richard Evans) 13:54
from One Night at Morey's: 1968 (2018)
2017's archival Resonance release of Hot Coffey in the D: Burnin' at Morey Baker's Showplace Lounge, was a healthy dose of Funk Brother Dennis Coffey's work with organist Lyman Woodard's trio at the famed Detroit venue in 1968. It caught the band reinventing soul, jazz, and funk covers and originals in their Motor City image to reveal a highly individual, collective, in-the-pocket exploratory artistry... Unlike typical soul-jazz organ trios from the era, this music is raw: It is to jazz-funk what the MC5 and Stooges were to Detroit rock. As the band crosses from the opening rave-up of "I'm a Midnight Mover" to a brooding yet explosive cover of "Eleanor Rigby," it's easy to hear why... Anyone wise enough to pick up the Resonance set will absolutely want this volume in order to fill out the hard-grooving trio's aural portrait. Anyone who hasn't yet will find One Night at Morey's: 1968 a fine -- perhaps preferable -- place to start. All killer, no filler.

Leading early bop guitarist who helped define the modern jazz guitar with his great speed, technique, and flow of ideas.
Tal Farlow
Straight, No Chaser (Thelonious Monk) 6:24
Summertime (George Gershwin / Ira Gershwin / DuBose Heyward) 5:36
from The Return Of Tal Farlow/1969
After recording a series of rewarding albums in the '50s, guitarist Tal Farlow largely dropped out of the jazz scene, being quite content to be a sign painter in New England. This Prestige set (reissued on CD) was his first in a decade and would be followed by another seven years of silence. Fortunately, Farlow had continued playing on a low-profile basis in the interim, and he was still very much in top form. Joined by pianist John Scully, bassist Jack Six and drummer Alan Dawson...

The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s... Bitches Brew, Davis turned more overtly to a jazz-rock style. Though certainly not conventional rock music, Davis' electrified sound attracted a young, non-jazz audience while putting off traditional jazz fans.
Miles Davis
Pharaoh's Dance (Joe Zawinul) 20:04
Miles Runs the Voodoo Down (Miles Davis) 14:01
from Bitches Brew 1970
Thought by many to be among the most revolutionary albums in jazz history, Miles Davis' Bitches Brew solidified the genre known as jazz-rock fusion. The original double LP included only six cuts and featured up to 12 musicians at any given time, some of whom were already established while others would become high-profile players later, Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Bennie Maupin, Larry Young, and Lenny White among them. Originally thought to be a series of long jams locked into grooves around keyboard, bass, or guitar vamps, Bitches Brew is actually a recording that producer Teo Macero assembled from various jams and takes by razor blade, splice to splice, section to section...

12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971

Yusef Lateef

12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971 # Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd, Zbigniew Namyslowski Quartet, Jackie McLean, Dennis Coffey, Tal Farlow, Miles Davis, Keith Jarrett, Jean-Luc Ponty Experience

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1960-1971

Hard-blowing tenor who greatly expanded his stylistic menu by exploring Asian and Middle Eastern rhythms, instruments, and concepts.  Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s.
Yusef Lateef
Salt Water Blues (Yusef Lateef) 6:47
Goin' Home (Antonin Dvorák / Mark Fisher) 5:02
Lateef Minor 7th (Joe Zawinul) 4:59
from The Three Faces of Yusef Lateef 1960
On The Three Faces of Yusef Lateef, Riverside seems eager to present Yusef Lateef, technical virtuoso, on a series of songs that step closer to jazz tradition than any of his work in the recent past. Largely absent are Lateef's experiments with Eastern modes, rhythms, and instrumentation, and in their place is a collection of largely upbeat, accessible songs, with a balanced mix of standards and originals. Much of the introspective, personal quality of his previous albums seems lost in the effort, but Lateef's playing still remains stellar, especially on oboe. That instrument, which is by nature soft and muted, is given enough power by Lateef to lead on several songs, most beautifully on "Salt Water Blues," where its naturally melancholy sound seems perfectly matched with the low, rounded tones of Lateef's rhythm section, especially Ron Carter's bowed cello. The quintet also shines on the following track, Joe Zawinul's "Lateef Minor 7th," where they provide a gentle counterpoint to Lateef's sweet flute line. Not quite as expansive or daring as much of Lateef's other recordings, The Three Faces of Yusef Lateef still documents a fine musician at work during the peak of his career.

The most influential jazz musician of the late 20th century, one of the greatest saxophonists of all time, and the pioneer of jazz without limits. Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz.
John Coltrane
Blues to Elvin (Elvin Jones) 7:50
Blues to You (John Coltrane) 6:27
Mr. Syms (John Coltrane) 5:19
from Coltrane Plays the Blues 1962
Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't)...
John Coltrane - saxophone   McCoy Tyner - piano   Steve Davis - bass   Elvin Jones - drums

The leading composer and pioneer of hard bop, plus a pianist who blended vintage R&B, gospel, blues, and Caribbean elements into jazz.  From the perspective of the 21st century, it is clear that few jazz musicians had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the '50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the '60s and '70s.
The Horace Silver Quintet
Silver's Serenade (Horace Silver) 9:22
Sweet Sweetie Dee (Horace Silver) 7:35
Nineteen Bars (Horace Silver) 6:21
from Silver's Serenade 1963
Horace Silver's LP Silver's Serenade is a swan song; it was the final recording with his most famous quintet, which included drummer Roy Brooks, bassist Gene Taylor, saxophonist Junior Cook, and trumpeter Blue Mitchell. The band had made five previous recordings for the label, all of them successful. The program here is comprised of Silver compositions. The blowing is a meld of relaxed, soulful, and swinging hard bop, as evidenced in the title track... "Sweetie Sweetie Dee" moves from hard bop to funky bop... The knotty turn-on-a-dime changes in "Nineteen Bars," the final track, are pure instrumental and compositional virtuosity. Cook's blowing on his solo is matched by Silver's comping, moving through octaves and key changes. The tune smokes from start to finish as the album comes to a close. This is another excellent recording by the greatest Silver quintet...