19-08-2020 > JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1966

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Paul Chambers

19-08-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1966 # Paul Chambers, The Joe Newman Quintet, The Curtis Fuller Sextette, Charlie Byrd Trio & Woodwinds. The Tubby Hayes Quartet, Herbie Mann, Louis Armstrong & Duke Ellington, Johnny Hartman, Jimmy Smith, Sonny Rollins, Dexter Gordon

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.

1959-1966

One of the top bassists of 1955-1965, Paul Chambers was among the first in jazz to take creative bowed solos (other than Slam Stewart, who hummed along with his bowing). He grew up in Detroit, where he was part of the fertile local jazz scene.
Paul Chambers
Melody (Yusef Lateef)
Retrogress (Yusef Lateef)
Blessed (Yusef Lateef)
from 1st Bassman 1961
As a lead instrument in jazz, the acoustic bass was in many ways liberated by Paul Chambers, and paved the way for many others to follow... 1st Bassman is anchored by rising stars from Detroit such as Yusef Lateef, Curtis Fuller, and adopted (from Pittsburgh) car city resident Chambers, with trumpeter Tommy Turrentine, pianist Wynton Kelly, and drummer Lex Humphries evenly balancing the session. Interestingly enough, it was recorded not in New York or the Motor City, but Chicago. Lateef wrote all of the material... The small horn inserts of "Melody" give sway to the big bass strut of Chambers, with solos from Turrentine's stoic trumpet, Lateef's advanced tenor, and Fuller's wanton but mushy trombone included... The slightly dour post-bopper "Retrogress" gives Kelly's piano his due diligence...  the ballad "Blessed" features the arco bowed bass of the leader in a mournful mood, brightened up by the effervescent and hopeful flute of the brilliant Lateef....

Joe Newman was a superb, exciting trumpeter whose style echoed the best of Harry Edison, Dizzy Gillespie, and Thad Jones, seasoned with his own flavoring. He was among a select corps who not only enjoyed playing, but communicated that joy and exuberance in every solo.
The Joe Newman Quintet
Wednesday's Blues (Joe Newman)
Jive at Five (Count Basie / Harry "Sweets" Edison)
Taps Miller (Count Basie / Luis Russell)
from Jive at Five 1960
Originally put out on the Swingville label, this CD reissue is very much in the Count Basie vein. That fact is not too surprising when one considers that the quintet includes three members of Basie's men: trumpeter Joe Newman, tenor saxophonist Frank Wess and bassist Eddie Jones. Joined by the complementary pianist Tommy Flanagan and drummer Oliver Jackson, Newman and his friends swing their way through four vintage standards and a couple of the leader's original blues in typical fashion.

30-06-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1970-1959

Joe Henderson

30-06-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1970-1959 # Joe Henderson, Bobby Hutcherson, Big John Patton, Larry Young, Grant Green, John Coltrane, Kenny Burrell / Jimmy Smith, Dexter Gordon, Paul Chambers, The Joe Newman Quintet, The Curtis Fuller Sextette, Charlie Byrd Trio & Woodwinds

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.

1970-1959

Remarkable tenor saxophonist whose passionate ballad playing and often fiery solos made him one of the most influential tenors in jazz.
Joe Henderson
Black Narcissus (Joe Henderson)
Isotope (Joe Henderson)
from Power to the People 1970
This album (which has been included in Joe Henderson's complete, eight-CD Milestone Years box set) has quite a few classic moments. At that point in time, tenor saxophonist Henderson was a sideman with Herbie Hancock's Sextet, so Hancock was happy to perform as a sideman, doubling on piano and electric piano, with the all-star group, which also includes trumpeter Mike Lawrence, bassist Ron Carter and drummer Jack DeJohnette...

Daring jazz vibraphonist who expanded the instrument's role with speedy tempos and often dazzling harmonic maneuvers using four mallets. Easily one of jazz's greatest vibraphonists, Bobby Hutcherson epitomized his instrument in relation to the era in which he came of age the way Lionel Hampton did with swing or Milt Jackson with bop. He wasn't as well-known as those two forebears, perhaps because he started out in less accessible territory when he emerged in the '60s playing cerebral, challenging modern jazz that often bordered on avant-garde.
Bobby Hutcherson
Una Muy Bonita (Ornette Coleman)
Summer Nights (Bobby Hutcherson)
from Stick-Up! 1968
Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson... The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that -- coupled with the energetic performances -- ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.

John Patton, often known as Big John Patton, was one of Blue Note's busiest soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton cooked up 11 albums' worth of material as a leader and sat in with a dizzying procession of skilled improvisers, and his best work has since been compared with that of tragically short-lived innovator Larry Young.
Big John Patton
Let 'Em Roll )Big John Patton)
Latona (Big John Patton)
The Turnaround (Hank Mobley)
from Let 'Em Roll 1967
In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It's truly weird to think of vibes on a groove date, but the way Patton's understated playing works, and the way Green is literally all things to all players, Hutcherson's role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley's "The Turnaround," which expands the blues vibe into solid soul territory because of Hutcherson's ability to play pianistically and slip into the funk groove whenever necessary. Green's deadly in his solo on the track, shimmering arpeggios through Patton's big fat chords and chunky hammering runs... Also notable are Patton's own tunes, the most beautiful of which is "Latona," a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of Patton's records, and there's no reason for it; it is great.