12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971

Yusef Lateef

12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971 # Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd, Zbigniew Namyslowski Quartet, Jackie McLean, Dennis Coffey, Tal Farlow, Miles Davis, Keith Jarrett, Jean-Luc Ponty Experience

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1960-1971

Hard-blowing tenor who greatly expanded his stylistic menu by exploring Asian and Middle Eastern rhythms, instruments, and concepts.  Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s.
Yusef Lateef
Salt Water Blues (Yusef Lateef) 6:47
Goin' Home (Antonin Dvorák / Mark Fisher) 5:02
Lateef Minor 7th (Joe Zawinul) 4:59
from The Three Faces of Yusef Lateef 1960
On The Three Faces of Yusef Lateef, Riverside seems eager to present Yusef Lateef, technical virtuoso, on a series of songs that step closer to jazz tradition than any of his work in the recent past. Largely absent are Lateef's experiments with Eastern modes, rhythms, and instrumentation, and in their place is a collection of largely upbeat, accessible songs, with a balanced mix of standards and originals. Much of the introspective, personal quality of his previous albums seems lost in the effort, but Lateef's playing still remains stellar, especially on oboe. That instrument, which is by nature soft and muted, is given enough power by Lateef to lead on several songs, most beautifully on "Salt Water Blues," where its naturally melancholy sound seems perfectly matched with the low, rounded tones of Lateef's rhythm section, especially Ron Carter's bowed cello. The quintet also shines on the following track, Joe Zawinul's "Lateef Minor 7th," where they provide a gentle counterpoint to Lateef's sweet flute line. Not quite as expansive or daring as much of Lateef's other recordings, The Three Faces of Yusef Lateef still documents a fine musician at work during the peak of his career.

The most influential jazz musician of the late 20th century, one of the greatest saxophonists of all time, and the pioneer of jazz without limits. Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz.
John Coltrane
Blues to Elvin (Elvin Jones) 7:50
Blues to You (John Coltrane) 6:27
Mr. Syms (John Coltrane) 5:19
from Coltrane Plays the Blues 1962
Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't)...
John Coltrane - saxophone   McCoy Tyner - piano   Steve Davis - bass   Elvin Jones - drums

The leading composer and pioneer of hard bop, plus a pianist who blended vintage R&B, gospel, blues, and Caribbean elements into jazz.  From the perspective of the 21st century, it is clear that few jazz musicians had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the '50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the '60s and '70s.
The Horace Silver Quintet
Silver's Serenade (Horace Silver) 9:22
Sweet Sweetie Dee (Horace Silver) 7:35
Nineteen Bars (Horace Silver) 6:21
from Silver's Serenade 1963
Horace Silver's LP Silver's Serenade is a swan song; it was the final recording with his most famous quintet, which included drummer Roy Brooks, bassist Gene Taylor, saxophonist Junior Cook, and trumpeter Blue Mitchell. The band had made five previous recordings for the label, all of them successful. The program here is comprised of Silver compositions. The blowing is a meld of relaxed, soulful, and swinging hard bop, as evidenced in the title track... "Sweetie Sweetie Dee" moves from hard bop to funky bop... The knotty turn-on-a-dime changes in "Nineteen Bars," the final track, are pure instrumental and compositional virtuosity. Cook's blowing on his solo is matched by Silver's comping, moving through octaves and key changes. The tune smokes from start to finish as the album comes to a close. This is another excellent recording by the greatest Silver quintet...