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2017. március 16., csütörtök

16-03-2017 11:44 # 41 jazz tracks on the the JAZZ_line 1968-1975 / 5h 05m

16-03-2017 11:44 # Miles Davis, John McLaughlin, McCoy Tyner, Kenny Burrell, Gabor Szabo, Annette Peacock, Oregon, Michal Urbaniak, Roy Ayers Ubiquity, Sam Rivers, Richard "Groove" Holmes, Wayne Shorter feat. Milton Nascimento, Weather Report, Sonny & Linda Sharrock # 5h 05m


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1968-1975





The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s. 
Miles Davis
Two Faced (Wayne Shorter) 18:03
Mademoiselle Mabry (Miss Mabry) (Miles Davis) 16:33
Splash: Interlude 1/Interlude 2/Interlude 3 (Miles Davis) 10:05
from The Complete In a Silent Way Sessions Rec. 1968-1969 (2001)
Of all the recording sessions completed by Miles Davis with his various bands, the sessions surrounding In a Silent Way Sessions in 1968 and 1969 are easily the most mysterious and enigmatic. For starters, they signified the completion of his transformation from acoustic to electric sound, and secondly, they marked the complete dissolution of the "second" quintet of Davis, Herbie Hancock, Tony Williams, Wayne Shorter, and Ron Carter that had begun on Filles de Kilimanjaro. The addition of Chick Corea as a second keyboard player and the replacement of Ron Carter with Dave Holland had changed the sound of the band's dynamic, textural, and rhythmic palettes. The final break with Davis' own previous musical sound happened when he added guitarist John McLaughlin and keyboardist/composer Joe Zawinul (for a temporary three-keyboard sound)...



Influential jazz guitarist who also explored blues, flamenco, and Indian music, and helped found the jazz/rock fusion movement. 
John McLaughlin
Devotion (John McLaughlin) 11:26
Marbles (John McLaughlin) 4:11
Siren (John McLaughlin) 5:44
from Devotion 1970
This album is from a pivotal moment in McLaughlin's history. This was just after he left Miles' group, but before Mahavishnu Orchestra started, and the music captures this moment perfectly. McLaughlin's technique had not progressed to "Mahavishnu" perfection yet, but the music has the in-your-face rock drive of the Mahavishnu Orchestra. This recording date grew out of sessions Alan Douglas put together, featuring McLaughlin and Larry Young jamming with Jimi Hendrix and Buddy Miles (Billy Rich was the bass player). McLaughlin sounded timid next to Hendrix (none of the material with Hendrix has been officially released), but really comes to life on Devotion. This is arguably one of the finest acid rock albums of all time. McLaughlin is on fire, using fuzzboxes and phasers, over Larry Young's swirling Hammond B-3, with Billy Rich and Buddy Miles as the rock-solid rhythm section. If you think that McLaughlin's solo at the end of "Right Off" (from A Tribute to Jack Johnson) is one of the high points of his career, then this is the album for you...

Jazz pianist whose inventive two-handed forays, extensive modal solos, and dashing phrases made him arguably the best pianist to debut in the '60s. 
McCoy Tyner
Message from the Nile (McCoy Tyner) 12:22
Survival Blues (McCoy Tyner) 13:16
from Extensions 1970
This stimulating LP has an interesting combination of players. It may be the only recording to include both pianist McCoy Tyner and his successor with the John Coltrane Quartet, Alice Coltrane (who adds atmosphere with her harp). The set also matches the young altoist Gary Bartz with Wayne Shorter (doubling on tenor and soprano), whom he succeeded in Miles Davis' group, and reunites Shorter and bassist Ron Carter, and Tyner and drummer Elvin Jones. The all-star sextet stretches out on lengthy renditions of four of Tyner's modal originals, and there is strong solo space for the leader and the two saxophonists. Wayne Shorter in particular is often quite intense.



The epitome of good taste and solid swing, there's no finer exponent of smoky guitar jazz. / One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-'50s onward and a standard by which many jazz guitarists gauge themselves to this day.
Be Yourself 5:54
Do What You Gotta Do 9:33
God Bless the Child 8:52
Kenny Burrell's guitaristry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless the Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalog. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them...


One of the most original guitarists to emerge in the 1960s, mixing his Hungarian heritage and a distinctive sound with advanced jazz settings. / Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Inspired by a Roy Rogers cowboy movie, Szabo began playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in Budapest. 
Breezin' (Bobby Womack) 3:11
Fingers (Wolfgang Melz / Gabor Szabo) 7:35
Just a Little Communication (Bobby Womack) 7:50
from High Contrast 1971
Recorded in 1970 for Blue Thumb with producer Tommy LiPuma and engineer Bruce Botnick, High Contrast, issued in 1971, represents one of the more remarkable collaborations in Gabor Szabo's career. The Hungarian guitarist enlisted Bobby Womack as both rhythm guitarist and as a composer -- he contributed four of these seven tunes. The rest of the band included drummer Jim Keltner, bassists Wolfgang Melz and Phil Upchurch, and conguero Felix "Flaco" Falcon, as well as a couple of other percussionists. Predating Bob James' One by three years, and issued in the same annum as Grover Washington, Jr.'s Inner City Blues, High Contrast is a truly wonderful early exercise in highly polished, funky jazz...


A unique force in avant-garde jazz as a singer, composer, and multi-instrumentalist.  / Annette Peacock's work as a vocalist, pianist, and composer is austere, cryptic, laconic, minimalistic, and relentlessly individual. Her dry delivery and penchant for stark, stripped-down musical "environments" have made her something of a cult figure and an icon of the avant-garde. An early participant (1961-1962) in Dr. Timothy Leary's psychedelic culture experiments and a longtime adherent of Zen Macrobiotics, Peacock has been releasing albums since 1968. But her career has been marked by fairly long periods of silence; this partly explains her relative obscurity.
I'm the One (Annette Peacock / Bob Ringe) 6:55
Pony (Annette Peacock) 6:21
Love Me Tender (Vera Matson / Elvis Presley) 3:45
from I'm The One 1972 
Annette Peacock’s 1972 album I’m the One—first released by RCA and now reissued by Light in the Attic’s Future Days imprint—is positively impressive. Peacock, one of the first people and maybe the first woman to own one of Robert Moog’s famed synthesizers—crafted an album that bridges with soul, pop, jazz, and a few other genres that still haven’t been named. Her 1968 album with then-husband Paul Bley (as the Bley-Peacock Synthesizer Show), Revenge, showcased her imagination for and acumen with the instrument. I’m the One spotlights her abilities as a vocalist, composer, and innovator in a fashion that is seamless and still—40 years after this record’s first appearance—breathtaking.


Uncompromising avant-jazz group who defy categorization  / Oregon emerged in 1970 as a splinter band from the Paul Winter Consort. Its members each had experience in jazz, classical, and a variety of non-western musical styles, and were also multi-instrumentalists. Ralph Towner played standard acoustic and 12-string guitar, piano, a variety of electric keyboards, trumpet and flügelhorn. Paul McCandless' instrumental arsenal included oboe, English horn, soprano sax, bass clarinet, the musette, and tin flute. Collin Walcott handled most of the percussion duties on tabla and various African and Latin rhythm instruments plus sitar, dulcimer, clarinet, and violin. Glen Moore was the bassist, and also played clarinet, viola, piano, and flute.
Sail (Collin Walcott) 4:33
Opening (Oregon) 5:33
The Swan (Paul McCandless) 3:53
Music of Another Present Era remains Oregon's most enduring masterwork. Achieving a perfect balance of musical traditions from the East and West, ancient to future, they set the stage not only for a new transculturalism in jazz, but also created a lasting template for the fusion of musics from world traditions that would flower over a decade later. The four participants in Oregon, oboist and pianist Paul McCandless, guitarist and pianist Ralph Towner, upright bassist and pianist Glen Moore, and the late multi-instrumentalist Collin Walcott, operated on the premise that melodic ideas and expansive harmonies all contributed to a music that didn't bridge cultures, but erased them and eradicated them. This is a place where the astute dynamics of classical music meet the freedom of post-bop jazz in an inquiry of world rhythms and harmonics...

An acclaimed Polish violinist and saxophonist. His eclectic career has covered jazz, folk and funk. / Once Poland's most promising import in the jazz-rock 1970s, Michal Urbaniak's chief value in retrospect was as a fellow traveler of Jean-Luc Ponty, a fluid advocate of the electric violin, the lower-pitched Violectra, and the Lyricon (the first popular, if now largely under-utilized wind synthesizer). Like many Eastern European jazzmen, he would incorporate elements of Polish folk music into his jazz pursuits, and his other heroes range from the inevitable Miles Davis to Polish classicist Witold Lutoslawski. His electric violin was often filtered with a gauze of electronic modifying devices, and on occasion, he could come up with an attractively memorable composition like "Satin Lady."
Michal Urbaniak
Bengal (Michal Urbaniak)17:41
Lato (Michal Urbaniak) 8:01
from Constellation In Concert 1973


A gifted jazz vibraphonist and vocalist who successfully bridged jazz, funk, and disco in the mid 1970s and early '80s.  / Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and '80s, Roy Ayers' reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time.
Roy Ayers Ubiquity
Brother Louie (Errol Brown / Anthony Wilson) 6:08
I Am Your Mind (Roy Ayers / Carl Clay) 6:13
Giving Love (Leroy Hutson / Joe D. Reaves / Joe Reaves) 4:26
from Virgo Red 1973
Despite contributions from an abundance of soul-jazz greats including Dee Dee Bridgewater, Jimmy Owens, and Garnett Brown, Virgo Red is the most stripped-down and nuanced of Roy Ayers' Ubiquity LPs. Its sinuous funk grooves are first and foremost a showcase for the intuitive interplay of Ayers and electric keyboardist Harry Whitaker, whose Fender Rhodes' fills orbit Ayers' vibes' solos like a planet circling the sun...


One of the great, and most underrated, figures in the jazz avant-garde, composer, and reedman Sam Rivers turned out rigorous, substantive work from the early '60s well into the 2000s. 
Sam Rivers
Exultation (Sam Rivers) 8:26
Orb (Sam Rivers) 9:37
from Crystals 1974
When Sam Rivers' Crystals was released in 1974, it had been over a decade since Ornette had worked with his Free Jazz Double Quartet, nine years since Coltrane assembled his Ascension band, and six since the first Jazz Composers' Orchestra Association was formed and whose first records were issued (a couple of members of that band also perform with Rivers here). It's difficult to note in the 21st century just how forward-thinking this avant-garde big band was, and how completely innovative Rivers' compositions are...


Great jazz organist who developed a strong, swinging style with powerful basslines and a superb harmonic and melodic edge.  / Revered in soul-jazz circles, Richard "Groove" Holmes was an unapologetically swinging Jimmy Smith admirer who could effortlessly move from the grittiest of blues to the most sentimental of ballads. Holmes, a very accessible, straightforward and warm player who was especially popular in the black community, had been well respected on the Philadelphia/Southern New Jersey circuit by the time he signed with Pacific Jazz in the early '60s and started receiving national attention by recording with such greats as Ben Webster and Gene Ammons..
Richard "Groove" Holmes
Groovin' for Mr. G. (Richard "Groove" Holmes) 4:13
Mr. Clean (Weldon Irvine) 5:04
Don't Mess With Me (Richard "Groove" Holmes) 6:47
from Comin' On Home 1974


A major sax innovator for hard boppers and fusionists alike, due to his influential tenures with Art Blakey, Miles Davis, and Weather Report. / Though some will argue about whether Wayne Shorter's primary impact on jazz has been as a composer or as a saxophonist, hardly anyone will dispute his overall importance as one of jazz's leading figures over a long span of time. Though indebted to a great extent to John Coltrane, with whom he practiced in the mid-'50s while still an undergraduate, Shorter eventually developed his own more succinct manner on tenor sax, retaining the tough tone quality and intensity and, in later years, adding an element of funk. On soprano, Shorter is almost another player entirely, his lovely tone shining like a light beam, his sensibilities attuned more to lyrical thoughts, his choice of notes becoming more spare as his career unfolded...
Milton Nascimento
Wayne Shorter feat. Milton Nascimento
Brazilian singer-songwriter who draws inspiration from his homeland’s Portuguese heritage. / International singing superstar and songwriter Milton Nascimento may have his roots in Brazil, but his songs have touched audiences all over the world.
Ponta de Areia (Milton Nascimento) 5:15
Tarde (Fernando Brant / Milton Nascimento) 5:48
Ana Maria (Wayne Shorter) 5:05
from Native Dancer 1974
Some jazz purists would say that Wayne Shorter went downhill in the 1970s, when he passionately embraced electric jazz-fusion and co-led the innovative Weather Report with Joe Zawinul. But remember: Those are the same people who also claim that Miles Davis' stunning Bitches Brew has no value, and that Chick Corea's visionary Return to Forever was a complete waste -- so it's hard to take their opinions seriously. The fact is that the '70s were a highly productive time for Shorter, and it wasn't until the '80s that the tenor and soprano saxophonist really declined creatively. One of Shorter's best-selling albums from the '70s was Native Dancer, a Brazilian-oriented jazz-fusion masterpiece that boasts Herbie Hancock on acoustic piano and electric keyboards, and employs such Brazilian talent as singer Milton Nascimento (a superstar in Brazil) and percussionist Airto Moreira...


Fired some of the first shots in the fusion revolution, and, for the majority of the 15 years of its existence, was its premier exponent.
Weather Report
Man in the Green Shirt (Joe Zawinul) 6:28
Between the Thighs (Joe Zawinul) 9:28
Freezing Fire (Wayne Shorter) 7:27
from Tale Spinnin' 1975
Weather Report's ever-changing lineup shifts again, with the somewhat heavier funk-oriented Leon "Ndugu" Chancler dropping into the drummer's chair and Alyrio Lima taking over the percussion table. As a result, Tale Spinnin' has a weightier feel than Mysterious Traveller, while continuing the latter's explorations in Latin-spiced electric jazz/funk. Zawinul's pioneering interest in what we now call world music is more in evidence with the African percussion, wordless vocals, and sandy sound effects of "Badia," and his synthesizer sophistication is growing along with the available technology. Wayne Shorter's work on soprano sax is more animated than on the previous two albums and Alphonso Johnson puts his melodic bass more to the fore. While not quite as inventive as its two predecessors, this remains an absorbing extension of WR's mid-'70s direction.


One of the most remarkable guitarists in contemporary jazz, he played with countless major artists.  / Of the electric guitar's few proponents in avant-garde jazz, Sonny Sharrock is easily the most influential; he was one of the earliest guitarists to even attempt free playing, along with Derek Bailey and Sonny Greenwich. Sharrock's visceral aggression and monolithic sheets of noise were influenced by the screaming overtones of saxophonists like Coltrane, Sanders, and Ayler, and his experiments with distortion and feedback predated even Jimi Hendrix. Naturally, he provoked much hostility among traditionalists, but once his innovations were assimilated, he enjoyed wide renown in avant-garde circles.
Sonny & Linda Sharrock
While not as well known or extensively recorded as other vocal improvisers like Jeanne Lee, Irene Abei, or even Urzula Dudziak, Linda Sharrock's soaring, swelling sound is just as penetrating and striking...
Apollo (Dave Artis / Linda Sharrock / Sonny Sharrock) 7:50
Miss Doris (Sonny Sharrock) 9:22
1953 Blue Boogie Children (Sonny Sharrock) 7:04
from Paradise 1975









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