21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959

John Hammond Jr July 1964 Newport

21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959 # John Hammond, Fred McDowell, Howlin' Wolf, John Lee Hooker, Willie Dixon, Lightnin' Hopkins, Elmore James, Champion Jack Dupree, Big Joe Williams, Curtis Amy & Paul Bryant, Brownie McGhee

B L U E S   M U S I C

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1969-1959

John Hammond, Jr. is one of a handful of white blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-'60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a white Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence.
John Hammond
Mystery Train (Junior Parker) 3:00
I'm Leavin' You (Chester Burnett) 3:21
from Southern Fried 1969
Southern Fried differed little from other early Hammond albums in its repertoire, consisting entirely of covers of blues and R&B songs. As usual, the Chicago sound came in for especially heavy tribute, with versions of songs by Howlin' Wolf, Muddy Waters, and Chuck Berry, as well as a pass at "Mystery Train," though more vocal-oriented R&B got a nod with Chuck Willis' "It's Too Late" and some of the other tunes. Where this might have a leg up on some other early Hammond efforts -- and a leg up on blues cover albums in general -- is in the stellar band, featuring Muscle Shoals stalwarts like Eddie Hinton and Roger Hawkins. Allman Brothers fans, too, will want to keep an eye out for it as it features Duane Allman playing fine lead guitar on four tracks...

...As a stylist and purveyor of the original Delta blues, he was superb, equal parts Charley Patton and Son House coming to the fore through his roughed-up vocals and slashing bottleneck style of guitar playing. McDowell knew he was the real deal, and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota...
Fred McDowell
Levee Camp Blues (Mississippi Fred McDowell) 3:49
My Baby Don't Treat Me Like Humankind (Mississippi Fred McDowell) 2:21
from Levee Camp Blues / Rec. 1968 (1998)
When Mississippi Fred McDowell recorded these sides in March of 1968, producer Pete Welding encouraged McDowell to recall the earliest material he had learned when he first started playing. The result is a selection of tunes that simply don't show up on his other recordings, both stylistically and because of their previously unreleased status...

A primal, ferocious blues belter with a roster of classics rivaling anyone else, and a sandpaper growl of a voice that has been widely imitated.   In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.
Howlin' Wolf
Just My Kind (Chester Burnett / Howlin' Wolf) 2:53
I'm the Wolf (Chester Burnett / Howlin' Wolf) 2:54
from More Real Folk Blues 1967
This companion volume to the Real Folk Blues album was issued in 1967 (after the Wolf had appeared on network television with the Rolling Stones, alluded to in the original liner notes) and couldn't be more dissimilar in content to the first one if you had planned it that way. Whereas the previous volume highlighted middle-period Wolf, this one goes all the way back to his earliest Chess sessions, many of which sound like leftover Memphis sides...

18-09-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2011-2007

David Lynch's strange world

18-09-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2011-2007  >>David Lynch, Karen O, Black Devil Disco Club, Martina Topley-Bird, Zaz, Bushman's Revenge, Malachai, Rival Sons, Roy Hargrove, Elvin Bishop, Back Door Slam, Radiohead<<

M U S I C

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2011-2007

The visionary director has also had a healthy musical career, as a collaborator and on his own.  In addition to his prodigious careers as a director, writer, producer, sound designer, and carpenter (to name a few), David Lynch also stretched his artistic reach to music. He collaborated heavily with his go-to composer Angelo Badalamenti on the scores and soundtracks to his projects, including the music for Blue Velvet, 1990's iconic Twin Peaks soundtrack, and Mulholland Drive...
David Lynch
So Glad (Dean Hurley / David Lynch) 3:35
Pinky's Dream feat. Karen O (Dean Hurley / David Lynch / Karen O) 4:00
from Crazy Clown Time 2011
Crazy Clown Time may be David Lynch's first solo album, but he’s far from a newcomer to music-making. He worked so closely with Angelo Badalamenti on the soundtracks to his films and television shows that the term “Lynchian” can be applied to music as well as movies, and his work with acts such as Blue Bob, Sparklehorse's Mark Linkous, and Danger Mouse as a musician and sound designer underscored that he has clear, and creative, musical ideas of his own. He continues to explore these ideas -- plus a few new ones -- on Crazy Clown Time, handling all the instrumental and vocal duties, with one notable exception: opening track “Pinky’s Dream,” which features the Yeah Yeah Yeahs' Karen O. ..

Initially a one-off "collaboration" between French producer Bernard Fevre and alleged financier Jackie Giordano -- credited, respectively, as Joachim Sherylee and Junior Claristidge -- Black Devil released a six-track album of spooky electro-disco entitled Disco Club...
Black Devil Disco Club
Fuzzy Dream feat. Jon Spencer (Bernard Fevre) 3:24
To Ardent feat. Nancy Sinatra (Bernard Fevre) 3:19
from Circus 2011
When Bernard Fevre, the soi-disant Black Devil, released 2008's Eight Oh Eight, it was allegedly the capstone to an increasingly redundant trilogy of electro-disco albums he'd begun 30 years earlier. Some might have assumed he'd slink back into his accustomed obscurity, his diabolical mission accomplished. But little about the Frenchman's career trajectory to date has been straightforward, so it's not all that surprising that now, following 2009's cobbled-together The Strange New World of Bernard Fevre, we're presented with a fourth Black Devil Disco Club album. This time, though, he's learned a few new tricks: instead of six five-minute dance tracks, Circus consists of ten three-minute pop songs, each featuring a different vocalist. For an artist who's never before enlisted collaborators, Fevre's amassed an impressive roster of guests here...

Because of a printing error on Maxinquaye, Martina Topley-Bird has often been referred to as "Martine," an error the unpredictable, low-profile, and confusion-loving singer/songwriter didn't bother correcting. The woman Vibe referred to as "the black Dietrich of Soul" grew up in London and went to schools that were mostly white and middle class...
Martina Topley-Bird
Baby Blue (Martina Topley-Bird) 2:47
Phoenix (Martina Topley-Bird) 2:45
Lying (Martina Topley-Bird) 3:49
Da Da Da (Martina Topley-Bird) 1:20
from Some Place Simple 2010
Martina Topley-Bird's Some Place Simple follows the release of her dynamite 2008 Danger Mouse-produced Blue God full-length by two years. That said, this set wasn't planned. She was actually approached by Damon Albarn who suggested recording stripped-down versions of songs from both her albums (the other is her 2003 debut, Quixotic) for his Honest Jon's imprint. What's more interesting is that the production on both of those recordings -- which were wildly different from one another -- was far from excessive. Nonetheless, Topley-Bird took Albarn up on his offer, and stripped her songs to the bone, completely recontextualizing her melodies. Some Place Simple is driven by minimal instrumentation on each of its 15 tracks. Other than her melodies, her approach is unique, even riveting...

15-09-2018 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX

15-09-2018 alter:MiX # 33 alter tracks in PRSNT_PRFCT_MiX [from the recent past] # Thao & the Get Down Stay Down, Cigarettes After Sex, Halo Maud, Palm, La Luz, Tunng, Maston, Quilt, OCS aka Orinoka Crash Suite, Gorillaz, Cowboy Junkies

M U S I C

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Folk-informed indie pop guided by Thao Nguyen, whose songwriting tends toward the musically playful and lyrically heavy-hearted. 
Thao & the Get Down Stay Down
Fool Forever 3:08
Nobody Dies 3:48
from A Man Alive 2016
Having constructed prior albums with the likes of Tucker Martine (the Decemberists, Camera Obscura) and John Congleton (St. Vincent, FFS), bandleader Thao Nguyen enlisted longtime side project collaborator Merrill Garbus to produce her band's fourth LP, A Man Alive. A match that sounds as good on the final product as it does on paper, Garbus brings the musical moxie associated with her tUnE-yArDs outfit and reinforces that same quality in Thao & the Get Down Stay Down for an especially muscular outing...

Ambient pop collective started as a recording experiment in an echoey hallway.  Ambient pop collective Cigarettes After Sex were formed almost accidentally in 2008 by songwriter and bandleader Greg Gonzalez. While living in El Paso, Texas, Gonzalez was experimenting with capturing the spacious sounds of recording songs in a four-story stairwell at the University of Texas.
Cigarettes After Sex
K 5:20
Flash 4:34
from Cigarettes After Sex 2017
After a slow start, Cigarettes After Sex saw their fortunes swiftly reversed by a whirlwind of YouTube hits. Although they formed in 2008, CAS waited nearly a decade to release their debut record, and rather fittingly it unfolds at a lethargic pace. The music that Greg Gonzales and his fellow bandmates produce is slowcore in the extreme. The shimmering guitars, placid percussion, and wistfully delivered vocals also reveal their debt to dream pop and shoegaze. More than anything, early supporters of the band have praised Gonzales' unashamed sentimentality and dyed-in-the-wool romanticism. You don't have to venture beyond the opening track to experience his hazy passion...

Psychedelic pop with touches of proggy and space age indie played by French musician Maud Nadal and friends. 
Halo Maud
Wherever 5:23
Je Suis une Île 2:3
Dans la Nuit 4:11
from Je Suis Une Île 2018
Lots of bands were making ethereal, hypnotically drifting, modern psychedelic pop in 2018 and lots of them were really good at it, especially those fronted by women, like Death and Vanilla and Gloria. Add to that female solo artists like Gwenno, Jane Weaver, and Melody's Echo Chamber and the field starts to get a little crowded. To make a record that stands out next to all the high-quality work of those artists, one would need to go a little outside the lines to add something extra. On her debut album, Je Suis Une Île, the French artist Halo Maud (known to her parents as Maud Nadal) does just that. With the help of producer/multi-instrumentalist Robin Leduc, Pablo Padovani from Moodoïd -- a band she played in in the early 2010s -- Benjamin Glibert from Aquaserge, and the members of her live band (Olivier Marguerit, Stéphane Bellity, and Vincent Mougel), Nadal crafts a sound that is indebted to the epic psych-pop of the '60s, but also adds some oddball prog touches, a little bit of electronica here and there, and a hefty dose of the kind of space age indie that bands like Broadcast and Stereolab did so well in the '90s...

14-09-2018 PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1920s-1900s

Bessie Smith

14-09-2018 DOWN HEARTED BLUES ~ PREHiSTORiC:MiX ~ 33 pieces excavation finds from ancient sounds ~ 1920s-1900s   >>Bessie Smith, Ida Cox, Original Dixieland Jazz Band, Tango, Scott Joplin, Antología del Tango, King Oliver's Creole Jazz Band Featuring Louis Armstrong & Johnny Dodds, Bessie Smith, Bix Beiderbecke And The Wolverines, Lonnie Johnson, Clara Smith, Joe Venuti, Genesis of Rock 'n' Roll<<

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1900s-1920s

The greatest female blues singer of all time, with a passionate voice and thundering delivery.   The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition.
Bessie Smith
Down Hearted Blues 3:29
Aggravatin' Papa 3:16
Baby Won't You Please Come Home 2:59
from Down Hearted Blues (Columbia Recordings, Vol. 1) 1923-1924
...Listening to these recordings 80 years down the road offers us a brief glimpse of American vocal arts at ground zero. Smith’s phrasing derived from that of the Delta blues singers crossed with Vaudeville. Listening to these sides is like hearing Robert Johnson after Led Zeppelin. It is the epiphany of realizing that there is nothing new under the sun and that sometimes the original is best left alone. The sonics of these old recordings have been improved by technology, but not enough to remove the sepia tone from the music. This is music so strong and vibrant that it emerges from the murk of decades.

Ida Cox (born Ida M. Prather, 1888 or 1896 - 1967) was an American singer and vaudeville performer, best known for her blues performances and recordings. She was billed as "The Uncrowned Queen of the Blues". 
Ida Cox
Any Women's Blues 3:33
Blue Monday Blues (Eddie Boyd) 2:45
from Ida Cox Complete Recorded Works, Vol. 1 (1923)
Ida Cox was one of the most powerful blues singers of the 1920s, ranking just below Bessie Smith. The Document label has reissued all of Cox's 1920s recordings on four CDs, leaving out many of the alternate takes (since there are a great deal from 1923-24) to be put out on a later series. The first CD has the master takes of all of Cox's recordings from 1923, plus four alternates.

The Original Dixieland Jass Band (ODJB) was a Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. The group composed and recorded many jazz standards, the most famous being "Tiger Rag". In late 1917 the spelling of the band's name was changed to Original Dixieland Jazz Band...
Original Dixieland Jazz Band
Livery Stable Blues (1917-02-26) 3:06
At The Jazz Band Ball (1918-03-18) 2:39
from The Ultimate Jazz Archive Vol. 1
In early 1916 a promoter from Chicago approached clarinetist Alcide Nunez and drummer Johnny Stein about bringing a New Orleans-style band to Chicago, where the similar Brown's Band From Dixieland, led by trombonist Tom Brown, was enjoying success.[9] They then assembled trombonist Eddie Edwards, pianist Henry Ragas, and cornetist Frank Christian. Shortly before they were to leave, Christian backed out, and Nick LaRocca was hired as a last-minute replacement.

2018. 09. 09. 12:39 # magyarugar:MiX # 33 válogatott szám 2003-1993

Mantra Porno

2018. 09. 09. 12:39 # magyarugar:MiX # 33 válogatott szám 2003-1993 >>Mantra Porno, Erik Sumo, Quimby, László Attila Band, Kispál és a Borz, Dönci és a Vadsanzon Zenekar,  Kimnowak, Anima Sound System, Millenniumi Földalatti Vasút, Téli Márta, Kispál és a Borz<<

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2003-1993

Mantra Porno
Mantra for Trinity 5:58
Mantra Porno 2:16
~ Ganja Police 2003
Vegyünk egy bandát, akinek a zenéje kellően illik a jelenlegi nemzetközi trendbe. Massive Attack, Morcheeba, Nine Inch Nails, Portishead, Moby vezeti az underground zenei listákat, meg a nem annyira földalatti listákat is. Ez a tény hazánkban senkit nem dob fel. Kishazánkban ezek a zenekarok csak a szigeten jelentenek fellépőt, de a lemezeik továbbra sem vezetik a Mahasz listáit... Van ez a Mantra Pornó nevű banda. Aki ezt a megemlített műfaj(oka)t műveli, ráadásul még jól is. De, hogy a médiák miért nem cuppannak rá, mint maci a málnára, azt nem bírom kitalálni. Bár reklámozták őket egy kis ideig. Zenéjüket, valahol azt olvastam, hogy a triphop-elektro-funk stílusba kell sorolni, nekem egyszerűen jónak tűnik...

Erik Sumo
Just A Woman 5:48
Pretty Nu! 5:31
~ Just a Woman EP 2002
A rádió nem játssza a számaimat, de nem zavar
... Ambrus folyamatosan termeli ki magából a zenéket, akár a saját zenekarainak, akár producerként másoknak (dolgozott a Kiscsillagnak, a Tudósoknak, illetve a Hó Márton és a Jégkorszaknak is), vagy akár csak a saját szórakoztatására. A podcast-interjúnkban elmondja, hogy neki ez egy addikció, amire úgy rá lehet csúszni, mint egy tetszőleges kábítószerre, a képzeletbeli fiókja tele van kis dalkezdeményekkel, amiket még senki sem hallhatott...

Quimby
Parafenomén 3:19
Halleluja (Juice KO remix) 4:35
Az ördög magyar hangja (Sziszi-Faszi remix) 3:58
~ Morzsák és Szilánkok 2001
Zenei körökben elterjedt, hogy a Quimby remixlemezt csinál, pedig az együttes senkit nem kért fel, de aki akart alapanyagot, annak odaadták a sávokat. Végül beérkezett kábé 25 pályamű, amelyek közül a zenekar szavazással választotta ki kedvenceit. (est.hu)

08-09-2018 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW

Esko Järvelä Epic Male Band

08-09-2018 # WORLD:MiX # 33 selected ETHNiC FUSiON tracks # WmW   Esko Järvelä Epic Male Band, Criolo, Kepa Junkera & Sorginak, Djessou Mory Kante, Ali Khattab, Hanoi Masters, German Diaz, Electro Bamako, Bamba Wassoulou Groove, Skip&Die, Khaira Arby

M U S I C

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Esko Järvelä Epic Male Band is an exuberant, crispy and powerful Folk Rock line-up based in Helsinki Finland. The band is formed and led by Esko Järvelä, an innovative fiddler and composer from Kaustinen, which is often considered as the home of Finnish folk music. Esko grew up surrounded by several top-class folk musicians and has developed a powerful and unique fiddle style of his own breaking the boundaries of sometimes clumsy image of folk fiddling. Besides Epic Male Band he’s been touring around the world with numerous Scandinavian top folk bands such as Frigg, JPP, Baltic Crossing, and Tsuumi Sound System.
Esko Järvelä Epic Male Band
Epic Theme 8:26
Bottom Fellows 6:22
What Is The Drink Of Kings? 6:1
from Esko Järvelä Epic Male Band 2013
This Finnish fiddler with the fiddly name (I'll just call him Esko) is a widely respected tunesmith, traditional musician, and member of the massively entertaining band Frigg. Despite all this, Esko decided he wanted to play in a rock band! So this is Finnish fiddle with a rock band, and actually it works really well. Some tracks are close to the polskas and Nordgrass genre of Frigg, but most of this album is louder, brasher, faster, and more funked up than folk music ever was. It's still folk rock - Rush and Queen don't have to be worried about the competition yet - but there is an insistent beat and a throbbing bass line which mark this as something heavier than ceilidh music. The sleeve notes are helpfully in pucker English, but the translated track names are sometimes a little surprising. There's also some confusion over the CD title - it's perhaps the debut of Esko Järvelä and the Epic Male Band, and may someday be known simply as "The Red Album" when these guys are worldwide megastars...

Kleber Gomes Cavalcante (1975), better known by stage names like Criolo Doido or Criolo, is a Brazilian singer of rap and soul.
Criolo
Convoque Seu Buda 3:51
Cartão De Visita 3:27
Fermento Pra Massa 3:41
from Convoque Seu Buda 2014
...Brought up in the favelas outside São Paulo, he stacked shelves and worked with street children until he shook up the Brazilian rap scene by mixing hip-hop with an adventurous range of musical styles. The new album continues the experiment. Produced by David Ganjaman and Marcelo Cabral, whose keyboards, programming and bass provide much of the backing, the album matches Criolo’s cool, thoughtful balladry and rap against settings that range from easygoing samba and stomping dub reggae to jazz and forro from north-east Brazil...

Kepa Junkera became a professional musician as a young man, when the band Oskorri took a liking to him and became interested in his advanced abilities on the trikitixa, the Basque style of diatonic accordion. The word can be roughly translated as "bellows from hell," which should get the point across. 
Kepa Junkera & Sorginak
Sorginak Infernuko Hauspotik Irtetzen 4:03
Auntxaren Ibilerak 4:42
from Trikitixaren Historia Txiki Bat 2015
Kepa Junkera documents the history of music played with the trikitixa, the Basqua diatonic accordion. In this case the documentation is literal, as the CD comes tucked in the back flap of an impressive and weighty 160 page hardback book. Junkera is accompanied by the 7-strong group Sorginak, who provide tambourine and accompaniment.

For many hundreds of years, the Maninka people of Guinea and Mali have promulgated one of the world's great stringed-instrument traditions. Indigenous harps and lutes have always predominated in this music, but around 50 years ago an influential innovator called Facelli Kanté introduced the guitar to Maninka music. One of his nephews, Kanté Manfila, further modernized the tradition, playing the lead electric guitar in Les Ambassadors in the 1970s and '1980s. Manfila's younger brother, Djessou Mory Kanté, is best-known as the guitarist that such world-renowned singers as Salif Keita and Sekouba Bambino engage when they want the best. River Strings is an album of beautifully-crafted instrumentals, impeccably recorded in Salif Keita's Studio Moffou in Bamako, Mali. Djessou Mory Kanté's acoustic and electric guitars -- understated but masterly, gentle but beguiling -- are accompanied by bass, percussion and, on two pieces, the supporting guitar of the Super Rail Band's Djelimady Tounkara.
Djessou Mory Kante
Coucou 5:20
Toubaka 4:33
Senekela 4:25
from River Strings - Maninka Guitar 2014
...River Strings brings this artist into a sonic space that is near perfect. A clean, clear recording technique buoys the performances, and a spare ensemble of guitars, ngoni, bass, keyboards and percussion carry it all simply and beautifully. It was all recorded in two studios in Bamako in 2012 and mixed in 2014 by Iain Scott and Ben Turner back in Weymouth, UK with openness and clarity...

05-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1967-1959

05-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1967-1959 # Thelonious Monk, Art Blakey & The Jazz Messengers, Wayne Shorter, Herbie Hancock, Miles Davis, Ike Quebec, Sarah Vaughan, Hank Crawford, Bill Jennings, Herbie Mann, Milt Buckner, Joe Castro, Sonny Stitt

J A Z Z   M U S I C

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1967-1959

A brilliant composer and a criminally underrated pianist whose sense of rhythm, space, and harmony made him one of the founders of modern jazz. 
Thelonious Monk
Locomotive (Thelonious Monk) 6:40
Straight, No Chaser (Thelonious Monk) 11:28
from Straight, No Chaser 1967
This is the sixth studio album cut by Thelonious Monk under the production/direction of Teo Macero for Columbia and as such should not be confused with the original motion picture soundtrack to the 1988 film of the same name. The band featured here includes: Monk (piano), Charlie Rouse (tenor sax), Ben Riley (drums), and Larry Gales (bass). This would be the final quartet Monk would assemble to record with in the studio. While far from being somber, this unit retained a mature flavor which would likewise place Monk's solos in a completely new context...

The guru of hard bop, whose famous technique -- frequent, high volume snare with bass drum accents -- made him one of jazz's all-time best messengers. 
Art Blakey & The Jazz Messengers
The Egyptian (Curtis Fuller) 10:25
Calling Miss Khadija (Lee Morgan) 7:21
from Indestructible 1966
Lee Morgan once again became part of the Jazz Messengers after replacing Freddie Hubbard, who left after replacing Morgan originally. The band is rounded out by pianist Cedar Walton, a steaming Wayne Shorter on tenor, Curtis Fuller on trombone, and bassist Reggie Workman with Art Blakey on the skins, of course. Indestructible is a hard-blowing blues 'n' bop date with Shorter taking his own solos to the outside a bit, and with Blakey allowing some of Fuller's longer, suite-like modal compositional work into the mix as well...

The band led by drummer Art Blakey groomed more than 150 alumni members, including saxophonist Wayne Shorter and trumpeter Lee Morgan.

A major sax innovator for hard boppers and fusionists alike, due to his influential tenures with Art Blakey, Miles Davis, and Weather Report. 
Wayne Shorter
Witch Hunt (Wayne Shorter) 8:11
Speak No Evil (Wayne Shorter) 8:23
from Speak No Evil 1966
On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work...

Herbie Hancock and Wayne Shorter

Inventive, intelligent, and talented pianist/keyboardist whose distinguished career has covered modern jazz, fusion, hip-hop, and dance. 
Herbie Hancock
Succotash (Herbie Hancock) 7:40
Jack Rabbit (Herbie Hancock) 5:57
from Inventions & Dimensions 1964
For his third album, Inventions and Dimensions, Herbie Hancock changed course dramatically. Instead of recording another multifaceted album like My Point of View, he explored a Latin-inflected variation of post-bop with a small quartet. Hancock is the main harmonic focus of the music -- his three colleagues are bassist Paul Chambers, drummer Willie Bobo, and percussionist Osvaldo "Chihuahua" Martinez, who plays conga and bongo. It is true that the music is rhythm-intensive, but that doesn't mean it's dance music. Hancock has created an improvisational atmosphere where the rhythms are fluid and the chords, harmonies, and melodies are unexpected...