03-24-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1980-1990

 

03-24-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1980-1990 # John Scofield,Carla Bley, Don Cherry, Latif Kahn, Kenny Burrell,Pat Metheny,Wynton Marsalis, Ginger Baker, Steve Tibbetts,Bill Frisell, Either/Orchestra, Rabih Abou-Khalil

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1980-1990

A dazzling electric guitarist with a steely tone and fluid lines to mark his distinctive post-bop style. Known for his distinctive, slightly distorted sound, guitarist John Scofield is a masterful jazz improviser who has straddled the lines between straight-ahead post-bop, fusion, funk, and soul-jazz. One of the big three of late-20th-century jazz guitarists (along with Pat Metheny and Bill Frisell), Scofield's influence grew in the '90s and continued into the 21st century.

John Scofield 

Fat Dancer (John Scofield)

Beckon Call (Gary Campbell)

Never (Steve Swallow)

from Bar Talk 1980

1980's Bar Talk features a young John Scofield already showing the virtuosity on guitar that subsequently made him a giant in his field. Scofield -- who honed his chops with artists like Miles Davis, Gerry Mulligan, Pat Metheny, Chick Corea, Chet Baker, and Charles Mingus -- displays his talents here as both a player and composer. Scofield is joined in the venture by Steve Swallow on bass and Adam Nussbaum on drums -- a perfectly balanced trio...  The album was well received at the time of its printing in 1980. Its influence has grown, becoming a jazz guitar classic, often listed as a favorite recording by professional critics, other musicians, and fans alike...The musician likes to joke around and have fun, but make no mistake, John Scofield is serious about his music.

Genre-bending jazz pianist and composer, known for her avant-garde work, whose writing style is unique and highly regarded.

Carla Bley 

Reactionary Tango (In Three Parts) (Carla Bley / Steve Swallow)

Útviklingssang (Carla Bley)

Walking Batteriewoman (Carla Bley)

from Social Studies 1981

Not everything Carla Bley has done has been artistically successful, but much of it has -- and the imaginative, good-humored pianist/organist/composer certainly deserves credit for daring to take so many risks. Bley's risk-taking serves her quite well on Social Studies, an unorthodox and adventurous pearl that is as rewarding as it is cerebral. Highlights of this LP range from "Reactionary Tango" (an abstract take on Argentinian music) to the melancholy "Utviklingssang" to the angular quasi-hard bop number "Walking Batteriewoman." This time, Bley leads a nonet, and the star soloists include Carlos Ward (soprano and alto sax), Tony Dagradi (tenor sax, clarinet), Gary Valente (trombone), and frequent allies Michael Mantler (trumpet) and Steve Swallow (electric bass). Bley doesn't allot herself much solo space, but the results are appealing when she does.

One of the most influential jazz musicians of the late 20th century, thanks to his imagination and passion for exploration. Imagination and a passion for exploration made Don Cherry one of the most influential jazz musicians of the late 20th century. A founding member of Ornette Coleman's groundbreaking quartet of the late '50s, Cherry continued to expand his musical vocabulary until his death in 1995.

Don Cherry, Latif Kahn 

Untitled / Inspiration from Home

Air Mail

Sangam

from Music / Sangam 1982

Awesome trippy slow pulsing space jazz with electronics, spacey vocals, and Indian percussion! This is a great reisue of a little known Don Cherry album that was recorded in collaboration with Indian master percussionist Latif Khan. Recorded in 1978 and released in the early eighties on a small European label, this is the nearest thing to a follow-up to Don Cherry's essential Brown Rice album. Like that album, it fuses cosmic electronics, hypnotic percussion, and spacey vocals to create a kind of forward-looking worldbeat jazz that sounds fresher than ever!

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...

PnM.MiX - 40 selected songs from ALLMUSIC FAVORITE JAZZ ALBUMS 2020 (3h 57m)

PnM.MiX - 40 selected songs from  ALLMUSIC  FAVORITE JAZZ ALBUMS 2020 (3h 57m)

2 0 2 0

There was no shortage of high-quality jazz in 2020...

Pat Metheny - From This Place / Wide and Far

John Scofield / Bill Stewart / Steve Swallow - Swallow Tales / Awful Coffee

Kurt Rosenwinkel - Angels Around / Simple ˇ#2

Hedvig Mollestad Thomassen - Ekhidna / Ekhidna

Avishai Cohen's Big Vicious - Big Vicious / King Kutner

Gilfema - Three / Têkê

Ambrose Akinmusire - On the Tender Spot of Every Calloused Moment  / Yessss

Gary Bartz / Maisha - Night Dreamer Direct-to-Disc Sessions / Harlem to Haarlem

Brian Blade / Christian McBride / Brad Mehldau / Joshua Redman - RoundAgain / Right Back Round Again

Artemis - Artemis / The Sidewinder

Endless Field - Alive In the Wilderness / Zim

Wolfgang Muthspiel / Scott Colley / Brian Blade - Angular Blues / Kanon in 6/8

Diego Urcola Quartet feat. Paquito D'Rivera - El Duelo / La Yumba \ Caravan

Derrick Hodge - Color of Noize / The Cost

Makaya McCraven - Universal Beings E&F Sides / Half Steppin'

Damu the Fudgemunk / Raw Poetic / Archie Shepp - Ocean Bridges / Tulips

Butcher Brown - #KingButch / Broad Rock

Christian Sands - Be Water / Sonar

Cat Toren's HUMAN KIND - Scintillating Beauty / Ignis Fatuus

Yelena Eckemoff - Nocturnal Animals / Fox

Tani Tabbal Trio - Now Then / Inky Bud

Irreversible Entanglements - Who Sent You? /  The Code Noir / Amina

Takuya Kuroda - Fly Moon Die Soon / ABC

Sunny Jain - Wild Wild East / Brooklyn Dhamal

Shabaka & the Ancestors - We Are Sent Here by History / They Who Must Die 

Jimmy Greene - While Looking Up / Overreaction

Sam Gendel - Satin Doll / Goodbye Pork Pie Hat

Ron Miles - Rainbow Sign / Queen Of The South

Jimmy Heath - Love Letter / Fashion Or Passion

Grégoire Maret / Romain Collin / Bill Frisell - Americana / Brothers In Arms

Joel Ross - Who Are You? / Dream

Oded Tzur - Here Be Dragons / The Dream

Jyoti aka Georgia Anne Muldrow - Mama, You Can Bet! / Orgone

Nubya Garcia - Source / The Message Continues

Kandace Springs - The Women Who Raised Me / I Put A Spell On You feat. David Sanborn

Moses Boyd – Dark Matter / Y.O.Y.O

Marcin Wasilewski Trio, Joe Lovano - Arctic Riff / Vashkar

Lara Driscoll - Woven Dreams / Airport Limbo

Kurt Elling - Secrets Are the Best Stories / Stays

Keith Jarrett - Budapest Concert / It’s A Lonesome Old Town

17-12-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1972-1977

17-12-2020 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1972-1977  >>Chick Corea, King Crimson, Mahavishnu Orchestra, Gentle Giant, Mikael Ramel, Grateful Dead, Neil Young, Tom Waits, Pat Metheny, Talking Heads, The Clash<<

  M U S I C

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1972-1977

Talented pianist who has a wide palate of influences but was highly important in early fusion and jazz-rock. A masterful jazz pianist, Chick Corea is a celebrated performer whose influential albums have found him exploring harmonically adventurous post-bop, electric fusion, Latin traditions, and classical.

Chick Corea 

Return to Forever (Chick Corea)

What Game Shall We Play Today? (Chick Corea / Neville Potter)

from Return to Forever 1972

The legendary first lineup of Chick Corea's fusion band Return to Forever debuted on this classic album (titled after the group but credited to Corea), featuring Joe Farrell on soprano sax and flute, the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira, and electric bass whiz Stanley Clarke. It wasn't actually released in the U.S. until 1975, which was why the group's second album, Light as a Feather, initially made the Return to Forever name. Nonetheless, Return to Forever is every bit as classic, using a similar blend of spacy electric-piano fusion and Brazilian and Latin rhythms. It's all very warm, light, and airy, like a soft breeze on a tropical beach...

Arguably the definitive exponents of British progressive rock, spurred on by Robert Fripp's innovative guitar work. If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but made their albums among the most enduring and respectable of the prog rock era.

King Crimson 

Larks' Tongues in Aspic, Pt. 1 (Bill Bruford / David Cross / Robert Fripp / Jamie Muir / John Wetton)

Book of Saturday (Robert Fripp / Richard Palmer-James / John Wetton)

Exiles (David Cross / Robert Fripp / Richard Palmer-James)

from Larks' Tongues In Aspic 1973

King Crimson reborn yet again -- the then-newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time -- though some of it actually dated (in embryonic form) back to the tail-end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit, working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering yet melodic bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes.

Led by guitarist John McLaughlin, a band whose sophisticated improvisations and high-powered music helped pioneer the jazz-rock fusion of the '70s. One of the premiere fusion groups, the Mahavishnu Orchestra were considered by most observers during their prime to be a rock band, but their sophisticated improvisations actually put their high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. 

Mahavishnu Orchestra 

Birds of Fire (John McLaughlin)

Miles Beyond (John McLaughlin)

from Birds Of Fire 1973

Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury...

Acclaimed British progressive rock band noted for their meld of hard rock with classical music and medieval approach to singing. Formed at the dawn of the progressive rock era in 1969, Gentle Giant seemed poised for a time in the mid-'70s to break out of its cult-band status... Somewhat closer in spirit to Yes and King Crimson than to Emerson, Lake & Palmer or the Nice, their unique sound melded hard rock and classical music, with an almost medieval approach to singing.

Gentle Giant 

Playing the Game (Kerry Minnear / Derek Shulman / Ray Shulman)

Cogs in Cogs (Kerry Minnear / Derek Shulman / Ray Shulman)

No God's a Man (Kerry Minnear / Derek Shulman / Ray Shulman)

from The Power And The Glory 1974

...When asked where he thinks ‘The Power and the Glory’ sits in the catalog of 11 albums Gentle Giant released in their 10-year existence, Derek pets his beard with the back of his hand, gazes out a second and says, "I think it’s part of the culmination of what Gentle Giant had become. A band has to go through the same processes as a person. A band is born, has a childhood and then goes into adulthood. I think we became an adult on ‘The Power and the Glory’. It was Gentle Giant becoming adults and the culmination of the best of our musicianship coming together as a band; it was a golden period for the band. Not to say any period before or after was better or worse, but it was a good period in being creative musically while gaining fan acceptance."...

01-05-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1983-1972

Pat Metheny

01-05-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1983-1972 # Pat Metheny, Kip Hanrahan, Willem Breuker Kollektief, Weather Report, John Abercrombie Quartet, Oregon, Shakti,  McCoy Tyner, Steve Reid, Keith Jarrett, Eero Koivistoinen Music Society, Mulatu Astatke

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

1983-1972

Guitar virtuoso whose accessible, original style and extraordinary sense of technique bridged the gap between jazz and rock.
Pat Metheny
Humpty Dumpty (Ornette Coleman) 5:40
Rejoicing (Ornette Coleman) 3:15
The Calling (Pat Metheny) 9:51
from Rejoicing 1983
Pat Metheny takes a vacation from his Group and performs advanced material with bassist Charlie Haden and drummer Billy Higgins. In addition to Horace Silver's "Lonely Woman,... and three Ornette Coleman tunes, the guitarist plays three of his originals here, including "The Calling," a lengthy exploration of sounds with his guitar synthesizer. Throughout this excellent set, Metheny and his sidemen engage in close communication and create memorable and unpredictable music. (Scott Yanow)

Contemporary producer who creates eclectic Latin-tinged musical melanges utilizing the best New York musicians. He leads the band, and doesn't really play, but Kip Hanrahan is a forward thinker and an incredible organizer of all-star progressive bands.
Kip Hanrahan
Whatever I Want (Kip Hanrahan) 5:44
India Song (Marguerite Duras / Carlos d'Alessio) 4:16
Heart on My Sleeve (Teo Macero) 5:19
from Coup de tête 1982
Fittingly enough, the first sound heard on Kip Hanrahan's premier release is that of the conga and the first word sung is "sex," two leitmotifs that would appear consistently in his ensuing work. Coup de Tete burst on the scene in the early '80s as an entirely fresh, invigorating amalgam of Cuban percussion (much of it Santeria-based), free jazz, funk, and intimate, confrontational lyrics. Hanrahan had worked at New Music Distribution Service, a project run by Carla Bley and Michael Mantler (both of whom appear on this album), and had established contacts with numerous musicians from varied fields who he threw together in a glorious New York City melting pot. With the percussion and electric bass laying down thick and delicious grooves, the cream of the younger avant saxophonists in New York at the time wail over the top, accompanying some of the most brutally uncomfortable lyrics ever put to wax...  Interspersed among the bitter love harangues and ecstatic percussion-driven numbers are two stunningly lovely pieces, Marguerite Duras' "India Song" and Teo Macero's "Heart on My Sleeve," both aching with romanticism. Coup de Tete is a superb record, an impressive debut, and, arguably, one of the finest moments in Hanrahan's career along with the following release, Desire Develops an Edge. Highly recommended. (Brian Olewnick)

Inventive, fiery Dutch jazz saxophonist, clarinetist, composer and arranger whose absurdist collectives have stoked controversy and passion.
Willem Breuker Kollektief
Tango Superior/Interruptie (Willem Breuker) 3:23
Deining (Willem Breuker) 5:34
Prokof (Willem Breuker) 3:51
from In Holland 1981
Simply put, this is the finest album ever released by the Willem Breuker Kollektief as a jazz tentet (as opposed to the repertory ensemble they later became). In Holland contains the most creative orchestrations, and the most thrilling solo work by the Kollektief, and ranks among the best jazz albums of the '80s... continuing on through an uproarious tango featuring a comically frustrated Breuker on alto, a drunkenly careening showcase for the brilliant trumpeter Boy Raaymakers, a loving homage to Prokofiev... Though the group lost quite a bit of freshness after the mid-'80s, In Holland qualifies as an extraordinary record by one of the most creative and enjoyable jazz ensembles to have emerged from Europe.

Fired some of the first shots in the fusion revolution, and, for the majority of the 15 years of its existence, was its premier exponent. 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
Night Passage (Joe Zawinul) 6:33
Rockin' in Rhythm (Harry Carney / Duke Ellington / Irving Mills) 3:02
Fast City (Joe Zawinul) 6:16
from Night Passage 1980
All things being relative, this is Weather Report's straightahead album, where the elaborate production layers of the late-'70s gave way to sparer textures and more unadorned solo improvisation in the jazz tradition, electric instruments and all. The flaw of this album is the shortage of really memorable compositions; it is more of a vehicle for the virtuosic feats of what is considered by some to be the classic WR lineup -- Joe Zawinul, Wayne Shorter, Jaco Pastorius, Robert Thomas, Jr. and Peter Erskine. For Erskine, this is is first full studio album and he amply demonstrates his terrific sense of forward drive unique among the other superb drummers in WR annals... There is also a tremendously fun retro trip to Duke Ellington's "Rockin' in Rhythm," everybody swinging their heads and hands off. (Richard S. Ginell)

03-23-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1992-1980

Allan Holdsworth

03-23-2020 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1992-1980 # Allan Holdsworth, Larry Coryell, Things & Tony Lakatos, Dave Holland, Lyle Mays, Anthony Braxton, Miles Davis, Chet Baker & Paul Bley, Bill Frisell, Pat Metheny, Kip Hanrahan, Willem Breuker Kollektief, Weather Report

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

1992-1980

Fleet-fingered British guitarist with a liquid sound, respected by aficionados as one of the greatest axemen in the electric jazz-rock fusion genre.
Allan Holdsworth
5 to 10 (Allan Holdsworth) 5:36
Wardenclyffe Tower (Allan Holdsworth) 8:44
from Wardenclyffe Tower 1992
This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work...

Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop.
Larry Coryell
Flamenco Flare-Up (Larry Coryell) 7:26
Blues for 'Charley the Lobster' (Larry Coryell) 5:16
from Twelve Frets To One Octave 1991
A guitar showcase for Coryell, who has always been among the more accomplished players on either electric or acoustic. He goes through old blues, jazz standards, and everything in between. There's absolutely nothing else to support him, enabling Coryell to display his complete technical arsenal.

Things - Jazz group from Hungary. / Members: Csanyi Zoltán, Horváth Kornél, János Solti, Kálmán Oláh, László Attila, Lattmann Béla
Antal Lakatos - Profile: Hungarian saxophonist and flutist, born 13 November 1958 in Budapest, Hungary 
Things & Tony Lakatos
Turn To East 6:26
Mother Nature Vocal – Torita Quick 3:50
from Mother Nature 1990
Acoustic Guitar, Electric Guitar, Producer – Attila László
Bass – Béla Lattmann
Drums – János Solti
Keyboards – Kalman Olah
Percussion – Kornél Horváth
Saxophone, Electronic Wind Instrument [Yamaha-WX7], Producer – Tony Lakatos
Vocals – Torita Quick