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A következő címkéjű bejegyzések mutatása: The James Taylor Quartet. Összes bejegyzés megjelenítése
A következő címkéjű bejegyzések mutatása: The James Taylor Quartet. Összes bejegyzés megjelenítése

2019. január 18., péntek

18-01-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1981-1991

Steve Khan
18-01-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1981-1991 Steve Khan, Dewey Redman Quartet, Wynton Marsalis, Bill Frisell, Lyle Mays, Tom Harrell Quintet, The James Taylor Quartet, John Abercrombie, WATT Works Family - CARLA BLEY, MICHAEL MANTLER, STEVE SWALLOW, KAREN MANTLER, STEVE WEISBERG, John Scofield, Steve Coleman and Five Elements

J A Z Z   M U S I C



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1981-1991




Session guitarist for the likes of Lou Rawls, Steely Dan, and Michael Franks, among others; also recorded as a leader, starting with 1977's Tightrope. Guitarist Steve Khan is a gifted jazz-based performer whose adept skills have found him working with his own groups and as an in-demand session artist.
Steve Khan
Auxiliary Police (Manolo Badrena / Anthony Jackson / Steven "Steven J." Jordan / Steve Khan) 5:25
Where's Mumphrey? (Manolo Badrena / Anthony Jackson / Steven "Steven J." Jordan / Steve Khan) 7:23
Eyewitness (For Folon) (Steve Khan) 7:16
from Eyewitness 1981
This release marked a new era for Steve Khan. Eyewitness was essentially birthed of earlier jam session/improv ideas, and the chemistry between each musician, plus polished-up ideas readied for final studio recording. Khan had returned to his college-days Gibson guitar purity of tone and a touch of reverb, laying aside his Fender Telecaster and big band mindset to groove with friends over eclectic rhythms of Manolo Badrena, Steve Jordan, and exotic bass grooves only the creative genius of Anthony Jackson could lay down...


An eclectic jazz tenor saxophonist who seamlessly linked the blues with free-form music over a hard bop base. One of the great avant-garde tenors, Dewey Redman has never received anywhere near the acclaim that his son Joshua Redman gained in the 1990s, but ironically Dewey is much more of an innovative player...
Dewey Redman Quartet
Thren (Dewey Redman) 7:53
Turn Over Baby (Dewey Redman) 4:27
Dewey Square (Charlie Parker) 8:01
from The Struggle Continues 1982
When ECM released Dewey Redman's The Struggle Continues in January 1982, he was busier than he had been in years. He'd spent three years recording and touring with Old and New Dreams (and a few more after). This date has Redman fronting a standard rhythm trio comprised of bassist Mark Helias, pianist Charles Eubanks, and drummer Ed Blackwell (a bandmate from the time they spent with Ornette Coleman through to Old and New Dreams, and with other Coleman alumni Cherry and Charlie Haden). Redman was versatile, as comfortable playing inside as outside, and here he does a bit of both, straying in and out of free and hard bop mode. It is one of the saxophonists most consistent and "melodic" recordings, but that doesn't mean he's any less adventurous. On his five compositions and an excellent eight-plus-minute workout on Charlie Parker's "Dewey Square," Redman is at the top of his game as an improviser and as a bandleader...


An esteemed trumpeter who worked tirelessly to ensure jazz's status as a respected American art form into the 21st century. The most famous jazz musician since 1980, Wynton Marsalis had a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B...
Wynton Marsalis
Knozz-Moe-King (Wynton Marsalis) 6:00
My Ideal (Newell Chase / Leo Robin / Richard A. Whiting) 6:17
from Think of One 1983
In his early years after leaving Art Blakey's Jazz Messengers, Wynton Marsalis strode forth with this excellent recording, his second as a leader, done in tandem with brother Branford, also out of Blakey's herd. The combination of the two siblings created quite a buzz in the music community, and this recording, which may stand the test of time as his finest, is one of the more solid mainstream jazz statements from the Young Lions movement of the early '80s. Top to bottom, this music sings, swings, simmers, and cooks with a cool verve that, in retrospect, would turn more overtly intellectual over time...