27-08-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1991-1996 (2h 49m)

27-08-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1991-1996  >>Massive Attack, Gong, Peter Gabriel, Medeski Martin & Wood, Anekdoten, Helmet, Grant Lee Buffalo, King Crimson, Monster Magnet, Beck<<

 M U S I C  (2h 49m)

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

1991-1996

Bristol collective whose combination of dark rhythms, reverb-laden guitars, and atmospheric samples helped pioneer the sound of trip-hop.

Massive Attack 

Daydreaming  (W. Badarou / Robert del Naja) 4:14

Be Thankful for What You've Got 4:09

Five Man Army (Robert del Naja) 6:04

Unfinished Sympathy  (Robert del Naja) 5:08

from Blue Lines 1991

The first masterpiece of what was only termed trip-hop much later, Blue Lines filtered American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance. The album balances dark, diva-led club jams along the lines of Soul II Soul with some of the best British rap (vocals and production) heard up to that point, occasionally on the same track... Flaunting both their range and their tremendously evocative productions, Massive Attack recorded one of the best dance albums of all time.

Anarchic, experimental, and whimsical ensemble originally led by guitarist Daevid Allen, a founding member of the Soft Machine.

Gong 

Shapeshifter (Daevid Allen / Didier Malherbe) 4:43

Hymnalayas (Daevid Allen / Keith Bailey) 7:38

Dog-O-Matic (Shyamal "Banana Ananda" Maitra) 3:00

from Shapeshifter 1992

For their first album of new material in over 20 years, the real Gong (i.e., one led by Daevid Allen and containing a number of players from the classic '60s-'70s period) offer -- well, much of what made them so popular in the first place. There's an impish sense of humor to the lyrics, Gilli Smyth's deeply echoing space whisper, stunning sax and flute work from the criminally underrated Didier Malherbe, and plenty of trademark glissando guitar from Allen himself. Goddesses are invoked, gnomes are mentioned, and rhubarb is eaten, among many other things. Guitarist Steffi Sharpstrings fills what was Steve Hillage's role with plenty of post-punk energy, but really it all revolves around Allen's personality and some stunning music. Time's been kind to Gong. Their pioneering space rock ways found a home with the ambient crowd and their music shows they've listened to what's gone on and incorporated it into their sonic journey, which is part prog rock, part jazz, and part just out there...

Daevid Allen

Theatrical leader of '70s-era Genesis and a bona fide pop star by the '80s despite his experimental, often exotic, material. As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music.
Peter Gabriel 

Come Talk to Me (Peter Gabriel) 7:05

Only Us (Peter Gabriel) 6:32

Digging in the Dirt (Peter Gabriel) 5:18

Kiss That Frog (Peter Gabriel) 5:19

from Us 1992

Six years after earning his first blockbuster, Peter Gabriel finally delivered Us, his sequel to So. Clearly, that great span of time indicates that Gabriel was obsessive in crafting the album, and Us bears the sound of endless hours in the studio... Since the music is so muted, it's no surprise that the album failed to capture a mass audience the way So did, but it's foolish to expect anyone but serious fans to unravel an album this deliberate. Gabriel is as adventurous as ever, yet he is relentlessly sober about his experiments, burying exotic sounds and percussion underneath crawling tempos measured atmospherics -- this is tastefully two-toned music, assembled by a consummate craftsman who became too immersed in detail to make anything but an insular, introspective work... But it takes a lot of spins and patience to get to that point, since this is an album he made for himself, and only those dedicated to the artist will have the patience to decode it.

13-02-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1999-1987

Larry Coryell

13-02-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1999-1987 # Larry Coryell, Diana Krall, Zachary Breaux, Medeski Martin & Wood, Kenny Garrett, Digable Planets, Andy Summers, John Etheridge, Allan Holdsworth, Larry Coryell, Things & Tony Lakatos, Dave Holland, Lyle Mays, Anthony Braxton

J A Z Z   M U S I C

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1999-1987

Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop.

Larry Coryell
Almost a Waltz (Larry Coryell) 5:08
All Blues (Miles Davis) 7:43
from Monk, Trane, Miles & Me 1999
This recording properly acknowledges Coryell's main influences, swings nicely, delves into his under-appreciated mellow side, and reaffirms his status as an enduring jazz guitarist who still has plenty to say. Gone are the flash and the kamikaze riffs in favor of lean chords and structured, sensible, slightly gritty linear improvisations. Tributes to his heroes fall along standard company lines. Still, there's a lingering trace of the steely, hair-trigger old days of fusion in his interpretation of Thelonious Monk's spastic "Trinkle Tinkle" with tenor saxophonist Willie Williams. For contrast is the warm, spiritual blanket of John Coltrane's "Naima"... The elongated lines of Miles Davis's "All Blues" almost lull you into a false sense of security, so beautifully subtle, understated and cool are they. Coryell always chooses extraordinary sidemen, and when you pick pianist John Hicks (on four cuts, including the gorgeous "Naima") bassist Santi Debriano and drummer Yoron Israel, you've got a winning team...  Coryell's virtuosity is evident; harnessed, and sounding better than ever, utilizing a prototype Cort LCS-1 model he designed. Several recent efforts can also be easily recommended, but this finely crafted recording ranks with any of his many better-to-best dates.

Contemporary jazz singer and pianist who took the pop world by storm in the 1990s, often echoing early swinging simplicity in her work.
Diana Krall 
Devil May Care (Bob Dorough / Terrell Kirk / Joe South) 3:20
I Can't Give You Anything But Love (Dorothy Fields / Jimmy McHugh) 2:33
from When I Look in Your Eyes 1998
With this CD, the young Canadian singer/pianist/arranger joins forces with producer Tommy LiPuma, who places his orchestral stamp on eight of the 13 tracks. It is the latest attempt to push Krall to an even wider pop/smooth jazz audience than she already enjoys. After all, Nat Cole, Wes Montgomery, and George Benson, among others, went this route. Wonder if she'd agree the cuts sans strings were more fun and challenging? Krall does get to it with central help from bassists John Clayton and Ben Wolfe, drummers Jeff Hamilton and Lewis Nash, and guitarist Russell Malone, all stellar players. Krall's voice is sweet and sexy... Some might call this fluff or mush, but it depends solely on your personal taste. This will certainly appeal to Krall's fans, lovers, and lovers at heart.

Influenced by George Benson and Wes Montgomery, Zachary Breaux was a flexible guitarist who could handle soul-jazz, post-bop, and hard bop as well as more commercial pop-jazz and NAC music. 
Zachary Breaux
Cafe Reggio (Isaac Hayes) 6:06
Uptown Groove (Zachary Breaux) 5:13
from Uptown Groove 1997
Guitarist Zachary Breaux, who tragically died just a few months after recording this CD (his debut), was a potentially great guitarist with a style coming from George Benson. In fact, his solos are generally more memorable than the purposely commercial material on this set, which largely consists of melodic, jazzy funk jams, usually with rather basic electronic rhythms... A diverse and sadly final statement from a fine player.

16-12-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2003-1994

16-12-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2003-1994 # Two Banks of Four, Weather Report, Chuck Bergeron, Patricia Barber, Larry Coryell, Diana Krall, Zachary Breaux, Medeski Martin & Wood, Kenny Garrett, Digable Planets

J A Z Z   M U S I C

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2003-1994

Two Banks of Four are Dilip Harris and Robert Gallagher. Erstwhile Senior Demus & Earl Zinger. They both live in London. They both are involved in various musical projects... They both have various names and have a label called red egyptian jazz.Though neither make jazz music, one has a photograph of himself on top of a train in india as the sun is rising...
Two Banks of Four
One Day 6:25
Two Miles Before Dawn 4:29
Three Street Worlds 5:44
from Three Street Worlds 2003
Taking inspiration from the radical, spiritual jazz of the late 60s & early 70s, and blending that with a downtempo smokers soundtrack, this amalgamation of renowned producers, DJ and current UK jazz talent goes along way to prove that having one foot in the past doesn't prevent progressive music making.
The assorted members of Two Banks of Four certainly have the historical credentials to move jazz & dancefusions forward. Messrs Gallagher, Demus & Valarie Ettienne have a combined history that include Galliano, The Brand New Heavies & The Young Disciples, and combine the jazz approach with a template that won't frighten ears used to clubbier sounds. Two Banks of Four may owe a small debt to the jazz & beats feel of 4 Hero, but only for opening a musical door - not providing a roadmap...

Weather Report started out as a jazz equivalent of what the rock world in 1970 was calling a "supergroup." But unlike most of the rock supergroups, this one not only kept going for a good 15 years, it more than lived up to its billing, practically defining the state of the jazz-rock art throughout almost all of its run. Weather Report also anticipated and contributed to the North American interest in world music rhythms and structures, prodded by keyboardist/co-founder Joe Zawinul...
Weather Report
Freezing Fire (Wayne Shorter) 8:13
Teen Town (Jaco Pastorius) 6:29
Black Market (Joe Zawinul) 9:26
Cigano (Wayne Shorter) 3:59
from Live and Unreleased 2002
...All of these are wonderful moments in a collection of tracks that has nothing whatsoever to apologize for and is a more than worthy addition to any fan's library. Ultimately, this still leaves room for Legacy to come up with a live Weather Report Box, perhaps documenting the Jaco years. Here's to hoping.

An identifiable criterion for a jazz musician is his/her musical personality. Bassist-composer Chuck Bergeron has a sustained personality on his instrument, which is seated on a high watermark of achievement. Seldom is the refinement of a spirited personality in philosophy, conception, sound, language, and execution without a rich experience profile. And Bergeron's is no exception, his work has been densely seeded and nurtured within a prized roster of high reputation players from the likes of Randy Brecker, Brian Lynch, and Adam Nussbaum to the big bands of Buddy Rich, Woody Herman, and John Fedchock-plus singers Joe Williams, Jon Hendricks and Kevin Mahogany. 
Chuck Bergeron
John Abercrombie - guitar, Charlie Pillow - Tenor, Mike Holober - Organ, Chuck Bergeron - Bass, Peter Erskine - Drums + Percussion, Rick Margitza - Tenor, John Hansen - Piano, Jon Wiken - Drums, Bob Moses - Drums, Jeff Busch - Percussion and Berimbau, Jay Thomas - Trumpet
The Rub 6:18
My Folks Song 5:14
Jay-Walk 5:23
from Cause And Effect 2001
Bergeron's broad adaptive and cross-pollinative abilities are well served, and his versatility is planted in varied traditions without getting swallowed by the diffusion of contexts or styles. And he has such a rich, warm round and alluring sound-it is extra special when he pulls a note and permits it to stretch and linger, underlining his caring sense of melody. Another attribute is his ownership of a great time feel. Note how he bides his time to develop his ideas in a thoughtful manner...
This CD illuminates Bergeron's attitude in serving the music. It reflects an appetizing artistic diet. In effect, the sum of the pieces of music produces a colorful swath of diverse sketches of Bergeron's inventive mixing of his own palette. Collapsing generic boundaries, he reveals vivid causal effects of his elastic, open viewpoint. This position is reinforced by his two earlier CDs as well. In common with them, this latest one also armed with the luster and simpatico of all the musicians deepens its validity relative to Bergeron's values. Utilizing their individual flavors to compliment one another in varying combinations, the band and CD take on an arch of surprises, earthy feelings, persuasions and imaginative treatments; and the musicians are plainly having a ball playing!

Barber performes in a cooly understated vocal style influenced as much by film noir as by Carmen McRae and Peggy Lee. Award-winning jazz pianist, singer, and songwriter Patricia Barber's unique style and unusual voice make her an easy artist to distinguish. Her playing and singing are almost iconoclastically inventive, inhabiting a terrain inside and outside a musical slipstream that exists between post-bop, pop, classical music, cabaret song, and avant-garde, while being performed -- in studio and on-stage -- with a smoky, dreamy, yet imposing, mercurial presence.

Patricia Barber 

Bye Bye Blackbird (Mort Dixon / Ray Henderson) 4:03

All or Nothing at All (Arthur Altman / Jack Lawrence) 3:25

A Man & A Woman (Pierre Barouh / Jerry Keller / Francis Lai) 4:19

from Nightclub 2000

Chicago native and classically trained pianist Patricia Barber's sixth album is a collection of downtempo standards, perfect for a rainy day... Her production is spare, allowing her to sing with such melancholy it's almost eerie. Not many performers can relay such harrowing feeling without over-emoting, but Barber makes it seem effortless. Nightclub is an appropriate title; listening to these love songs is like being in a smoky room, courted by a lounge singer. This is a classy, solid effort.