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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.JAZZ_line on deezer

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

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... 

15-08-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2001-2011 (3h 53m)

15-08-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 2001-2011 (3h 53m)# Grażyna Auguścik, Attila Laszlo Band, Jaco Pastorius Big Band, Dave Douglas, Joe Diorio,Dennis Coffey, Charlie Haden & Brad Mehldau, S.M.V., Crimson Jazz Trio,Bushman's Revenge, Avishai Cohen

J A Z Z   M U S I C (3h 53m)

if you want excitement PRESS SHUFFLE!

.JAZZ_line on deezer

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

2001-2011

Grażyna Auguścik is a Polish jazz vocalist, composer, and arranger. She frequently uses Polish folk music, Latin American music, and klezmer music.

Grażyna Auguścik 

The Moon Is a Harsh Mistress (Jimmy Webb) 5:10

Dancing All Around (Grazyna Auguscik) 4:07

from River 2001

Her voice has a distinctive sound and style, and her choice of tunes spans genres, so it is not surprising that Polish-born vocalist Grazyna Auguscik has made a bit of a name for herself in the active Chicago jazz scene. Like contemporary Patricia Barber, another word sculptor from the Windy City, Auguscik defies pigeonholing, and as with Barber, her voice emanates a dark, brooding quality that is quite unlike any other. Ultimately, Auguscik's sound will not appeal to everyone, with its slightly off-beat qualities and odd harmonies. One thing in her favor: a compatible band, with first-rate performers such as accordionist Jarek Bester, who solos beautifully on "Bachianas Brasileiras," and local mainstays bassist Eric Hochberg and guitarist John McLean. .. She leaps across intervals, repeats phrases, and puts her entire self into her songs. The results sometimes charm and more often challenge, auguring well for the future of jazz singing. She points in an uncharted direction that takes nothing for granted, as little sounds mix with soft subtlety and poetic lyrics to achieve something just different enough to raise a few eyebrows.

Having graduated as an architect from the Technical University Budapest (BME), and as guitarist from the Jazz Faculty of the Béla Bartók Conservatory, he started to play in leading Hungarian jazz bands. He founded his own band, the group „Kaszakő” in 1975, which had a really original sound. Their first record was published under the title Édenkert (Garden of Eden) in 1983. He formed the group „Things” with sax player Tony Lakatos in 1985, which functioned for a period of seven years.

Attila Laszlo Band 

Last Moment 9:18

Sentimental Voices 9:26

from Once Upon a Time 2002

I have been blessed to meet and play with Attila László and his music for over ten years. Attila László's music is so wonderful in so many ways, I always hear a very broad span of musical influences coming from his playing and music so much, that I stopped trying to figure it out, I just enjoy it and always be alert and ready for what comes next. Every time I play a concert with him, I can expect the music to live within me, and it does. Which is what we have become, "Brothers". - Tommy Campbell

Attila László - electric and acoustic guitars, Kálmán Oláh - piano, keyboards, Béla Lattman - electric and acoustic bass, Kornél Horváth - percussions, Péter Szendőfi - drums

Jaco Pastorius was a meteor who blazed on to the scene in the 1970s, only to flame out tragically in the 1980s. With a brilliantly fleet technique and fertile melodic imagination, Pastorius made his fretless electric bass leap out from the depths of the rhythm section into the front line with fluid machine-gun-like passages that demanded attention. 

Jaco Pastorius Big Band 

Teen Town - Victor Wooten (Jaco Pastorius) 4:10

Punk Jazz - Richard Bona (Jaco Pastorius) 5:03

Killing Me Softly -  Jeff Carswell (Pee Wee Ellis / Charles Fox / Norman Gimbel / Jaco Pastorius) 4:22 

from Word of Mouth Revisitied 2003

Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself...