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.

04-04-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1995-2006

Dave Douglas

04-04-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1995-2006 # Dave Douglas, Diana Krall, Zachary Breaux, Jane Bunnett and The Spirits of Havana, Paul Motian & the Electric Bebop Band, Matthew Shipp Quartet, Brad Mehldau, Howard Alden, Jeremy Pelt, Donny McCaslin, Jenny Scheinman, Medeski Scofield Martin and Wood

J A Z Z   M U S I C

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1995-2006

Cutting-edge trumpeter who seems equally at home in the avant garde jazz world and the pop milieu. Dave Douglas arguably became the most original trumpeter/composer of his generation. Douglas' stylistic range is broad yet unaffected; his music is not a pastiche, but rather a personal aesthetic that reflects a wide variety of interests. He explicitly cites such diverse influences as Igor Stravinsky, Stevie Wonder, and John Coltrane. As a composer, Douglas adapts and synthesizes unusual forms and creates his own out of disparate elements. As a trumpeter, he possesses a comprehensive jazz technique; certainly one hears the ghost of Lester Bowie in Douglas' expressive manipulations of timbre and pitch, but more pronounced is the integration of distinctive compositional and improvisational conceptions that ultimately defines his work.
Dave Douglas
Mirrors (Dave Douglas) 3:03
Going, Going (Dave Douglas) 5:47
Who Knows? (Thelonious Monk)
from Five 1995
Trumpeter Dave Douglas' unusual string group (which also includes violinist Mark Feldman, cellist Erik Friedlander, bassist Drew Gross and drummer Michael Sarin) is reminiscent in some ways of Ornette Coleman's free-jazz quartet despite not playing any of Ornette's originals and having a very different instrumentation. All of the musicians function as equals, the interaction is often intuitive, and the improvising on eight Douglas originals (including tunes dedicated to Steve Lacy, Wayne Shorter, Mark Dresser, Woody Shaw, John Cage and John Zorn), Thelonious Monk's "Who Knows," and Rahsaan Roland Kirk's "The Inflated Tear" is on a high level. Well worth exploring.

Contemporary jazz singer and pianist who took the pop world by storm in the 1990s, often echoing early swinging simplicity in her work. At the outset of her career in the 1990s, Diana Krall appeared to be a throwback to a different, classier era -- specifically, the mid-20th century, when the Great American Songbook experienced a revival in the hands of singers such as Nat King Cole. Krall's 1996 breakthrough, All for You: A Dedication to the Nat King Cole Trio, deliberately paid tribute to this period, but Krall didn't focus merely on singing the song in an old-fashioned way: as the subtitle of All for You suggested, Krall placed equal emphasis on the piano playing...
Diana Krall 
I'm an Errand Girl for Rhythm (Nat King Cole) 2:56
You Call It Madness (Russ Columbo / Con Conrad / Gladys Dubois / Paul Gregory) 4:36
Hit That Jive Jack (John Alston / Alex Alstone / Skeets Tolbert) 4:16
from All For You (A Dedication To The Nat King Cole Trio) 1996
Pianist/vocalist Diana Krall pays tribute to the Nat King Cole Trio on her Impulse! set. In general, the medium and up-tempo tunes work best, particularly such hot ditties as "I'm an Errand Girl for Rhythm," "Frim Fram Sauce," and "Hit That Jive Jack." Krall does not attempt to directly copy Cole much (either pianistically or vocally), although his influence is obviously felt on some of the songs. The slow ballads are actually as reminiscent of Shirley Horn as Cole, particularly the somber "I'm Through With Love" and "If I Had You." Guitarist Russell Malone gets some solo space on many of the songs and joins in on the group vocal of "Hit That Jive Jack," although it is surprising that he had no other opportunities to interact vocally with Krall; a duet could have been delightful. Bassist Paul Keller is fine in support, pianist Benny Green backs Krall's vocal on "If I Had You," and percussionist Steve Kroon is added on one song. Overall, this is a tasteful effort that succeeds.

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 
Breakfast at the Epiphany (Zachary Breaux) 0:16
Cafe Reggio (Isaac Hayes) 6:06
The Thrill Is Gone (Arthur Benson / Dale Pettite) 5:10
All Blues (Miles Davis) 6:33
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... Among the other guest musicians are flutist Hubert Laws, bassist Brian Bromberg and pianist Renee Rosnes.

20-02-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1989-1998

Carla Bley

20-02-2019 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1989-1998 # WATT Works Family - CARLA BLEY, MICHAEL MANTLER, STEVE SWALLOW, KAREN MANTLER, STEVE WEISBERG, John Scofield, Steve Coleman and Five Elements, Al Di Meola, Tom Harrell, Patricia Barber, Dave Douglas, Diana Krall, Zachary Breaux, Jane Bunnett and The Spirits of Havana

J A Z Z   M U S I C

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1989-1998

CARLA BLEY, MICHAEL MANTLER, STEVE SWALLOW, KAREN MANTLER, STEVE WEISBERG
Walking Batteriewoman (Carla Bley) 3:57
Steve Weisberg - I Can't Stand Another Night Alone (In Bed With You) (Clifton Chenier / Steve Weisberg) 5:37
Michael Mantler - Alien, Pt. 2 (Michael Mantler) 3:56
from The WATT Works Family Album / Rec. 1973 - 1989

A dazzling electric guitarist with a steely tone and fluid lines to earmark his distinctive post-bop style. Known for his distinctive, slightly distorted sound, jazz 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
Wabash III (John Scofield) 6:22
So Sue Me (John Scofield) 6:03
Flower Power (John Scofield) 5:01
from  Time on My Hands 1990
John Scofield has turned the corner from journeyman jazz guitarist to become one of the most inventive and witty players on the contemporary scene. This date, his first for the Blue Note label, builds on a discography following several recordings for the Gramavision label, and also progresses this contemporary jazz music into an individualism that can only bode well for his future efforts. Teamed with the rising-star saxophonist Joe Lovano and the bulletproof rhythm team of bassist Charlie Haden and drummer Jack DeJohnette, Scofield is emerging as a player of distinction on the electric guitar, and a composer whose mirthful ideas add spark and vigor to his newfound musical setting. In this co-production with Peter Erskine, Sco has found his melodic stride in making music that is bright and clever without being overly intellectual, retaining a soulful quality enriched by the deep-rooted, bluesy tenor sax of Lovano...

Alto saxophonist, composer, producer, and MacArthur Fellow who founded the influential cross-genre M-Base movement and leads several bands. According to many musicians who came of age between the 1980s and the early 21st century, the influence of M-Base founder, composer, and alto saxophonist Steve Coleman cannot be overstated. His technical virtuosity and engagement with musical traditions and styles from around the world are expanding the possibilities of spontaneous composition.
Steve Coleman and Five Elements
Twister (Steve Coleman) 7:48
Beyond All We Know (Steve Coleman) 4:10
Black Phonemics (Steve Coleman) 4:01
Magneto (Steve Coleman) 2:52
from  Black Science 1991
The mixture of complex funk rhythms and inside/outside soloing performed by the "M-Base" stylists, although similar to Ornette Coleman's free funk, is quite different from any other earlier idiom. Altoist Steve Coleman's CD is recommended as a good example of his music. The improvisations are dynamic, unpredictable, and quite original and the ensemble (which includes pianist James Weidman, guitarist David Gilmore, and three guest vocals by Cassandra Wilson) is tight. Coleman, who wrote all but one of the originals, is the dominant force behind this often-disturbing but generally stimulating music.