mixtapes for weathers and moods / music for good days and bad days


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2017. május 14., vasárnap

14-05-2017 10:12 # 43 jazz tracks on the the JAZZ_line 1976-1988 / 4h 01m


14-05-2017 10:12 # Mahavishnu Orchestra, Yusef Lateef, Miles Davis, Weather Report, Jean-Luc Ponty, Larry Coryell, Imre Köszegi Quartet feat. Zbigniew Namyslowski, Tal Farlow, Freddie Hubbard, Allan Holdsworth, Wynton Marsalis, Patrick Moraz & Bill Bruford, Pat Metheny, Ornette Coleman, Kenny Wheeler Quintet, Tom Waits


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1976-1988





Led by guitarist John McLaughlin, a band whose sophisticated improvisations and high-powered music helped pioneer the jazz-rock fusion of the '70s.
Mahavishnu Orchestra
All in the Family (John McLaughlin) 6:01
In My Life (John McLaughlin / Narada Michael Walden) 3:21
Gita (John McLaughlin) 4:27
from Inner Worlds 1976
The state of the second Mahavishnu Orchestra continued to be volatile in 1975, with violinist Jean-Luc Ponty out, keyboardist Gayle Moran replaced by Stu Goldberg, and all string and horn backings removed, leaving just a steaming quartet and this lone remarkable album. The addition of Goldberg, a more interesting musician than Moran, is significant, but the biggest charge is provided by the leader who, in tandem with the latest electronic equipment, turns in some of his most passionately alive playing of the whole Mahavishnu series...


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 
The Improvisers (Yusef Lateef) 7:55
Mystique (Kenny Barron) 7:42
Mushmouth (Kenny Barron) 6:28
from The Doctor Is In ...and Out 1976
In 1976, Yusef Lateef's as restless a spiritual seeker as there ever was in the field of music, revisited some of his earliest themes in the context of modern sonic frameworks: The Eastern modal and melodic frameworks of his Prestige sides, such as Eastern Sounds, Cry!/Tender, and Other Sounds, brought to bear in much more sophisticated, complex, and grooved-out ways -- after all, it had been 20 years or more. The groove referred to is funk and soul. Funk itself was mutating at the time, so Lateef's interpolation at the crossroads of all ports in the musical journey was not only valid in 1976, but also necessary. For this recording, he utilized an absolutely huge group of musicians, bringing them in for this or that part, or a sound, or a particular vamp. Some of those present were Kenny Barron, Ron Carter, Dom Um Romao, Al Foster, Billy Butler, Anthony Jackson, a five-piece brass section, and a synth player. Lateef, as always, was offering evocative glimpses of geographical, psychological, spiritual, and emotional terrain in his compositions, but not in predictable ways...


The epitome of cool, an eternally evolving trumpeter who repeatedly changed the course of jazz between the 1950s and '90s. / Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.
Miles Davis
Water Babies (Wayne Shorter) 5:06
Sweet Pea (Wayne Shorter) 7:59
Splash (Miles Davis) 10:05
from Water Babies 1977
This studio LP was first released almost a decade after it was recorded. The first half features the 1967 Quintet (with Wayne Shorter on tenor and soprano, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams) performing three otherwise unknown Shorter compositions. The flip side finds Davis in 1968 leading the same group (with possibly Chick Corea and Dave Holland replacing Hancock and Carter) on two early fusion jams that look a bit toward Bitches Brew. Although not an essential set, this album fills in some gaps during Davis's transitional period from adventurous acoustic playing to early electric performances.



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 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. And WR, like many of jazz's great long-lived groups, proved to be an incubator for several future leaders who passed in and out of the band in a never-ending series of revolving-door personnel changes. The original members of the band were Zawinul, Wayne Shorter (saxophones), Miroslav Vitous (electric bass), Airto Moreira (percussion) and Alphonse Mouzon (drums), with only Zawinul and (until 1985) Shorter remaining in place throughout the band's lifespan. Zawinul, Shorter and Moreira all had experience playing in and influencing the studio and live electric bands of Miles Davis -- and at first, WR was a direct extension of Miles' In a Silent Way/Bitches Brew period, with free-floating collective improvisation and interplay, combining elements of jazz, rock, funk, Latin and other ethnic musics...
Birdland (Joe Zawinul) 5:59
Teen Town (Jaco Pastorius) 2:52
The Juggler (Joe Zawinul) 5:03
from Heavy Weather 1977
Weather Report's biggest-selling album is that ideal thing, a popular and artistic success -- and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!). By now, Zawinul has become WR's de facto commander in the studio; his colorful synthesizers dictate the textures, his conceptions are carefully planned, with little of the freewheeling improvisation of only five years before. Wayne Shorter's saxophones are now reticent, if always eloquent, beams of light in Zawinul's general scheme while Alex Acuña shifts ably over to the drums and Manolo Badrena handles the percussion. Released just as the jazz-rock movement began to run out of steam, this landmark album proved that there was plenty of creative life left in the idiom.


The first jazz violinist to incorporate electronic devices and effects into his playing. / It has been a long, fascinating odyssey for Jean-Luc Ponty, who started out as a straight jazz violinist only to become a pioneer of the electric violin in jazz-rock in the '70s and an inspired manipulator of sequencers and synthesizers in the '80s. At first merely amplifying his violin in order to be heard, he switched over to electric violin and augmented it with devices that were associated with electric guitarists and keyboardists, like Echoplex machines, distortion boxes, phase shifters, and wah-wah pedals. Classically trained, with an unquenchable ability to swing when he wants to, and consumed by a passion for tight structures and repeating ostinatos, Ponty has been able to handle styles as diverse as swing, bop, free and modal jazz, jazz-rock, world music, and even country, mixing them up at will...
Cosmic Messenger (Jean-Luc Ponty) 4:42
The Art of Happiness (Jean-Luc Ponty) 4:29
Puppets' Dance (Jean-Luc Ponty) 3:39
from Cosmic Messenger 1978
Cosmic Messenger is more elegant, European-flavored jazz-rock from the French virtuoso Jean-Luc Ponty, and pretty much in the same mold as his previous Atlantic albums but with gradually tightening control over every parameter of performance. Ponty's analog-delay special effects on the title track are spectacular, and the album is loaded more than ever with revolving electronic arpeggios as Ponty's own involvement with the ARP synthesizer grows. But there is still plenty of his fluid, slippery electric violin soloing to be heard within the tight structures of these pieces, and the tunes themselves are often pretty good. In addition, this fusion express finds its way into the funk on "The Art of Happiness," and there are some tricky rhythmic experiments on some tunes.


Pioneering fusion guitarist who explored everything from psychedelic rock to unaccompanied acoustic music to straight-ahead bebop. / As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, and phrasing and note-bending that owed as much to blues, rock, and even country as it did to earlier, smoother bop influences.
w/ John Scofield and Joe Beck 
The File (Larry Coryell) 4:49
Little B's Poem (Bobby Hutcherson) 4:25
Equinox (John Coltrane) 5:05
from Tributaries 1979
This CD reissue brings back material that guitarist Larry Coryell recorded for the Novus subsidiary when it was run by Arista. Most of the set matches Coryell with fellow guitarists John Scofield and Joe Beck in acoustic trios, two duets and one overdubbed solo performance. The variation of moods and the jazz-oriented material make this summit meeting a success even if the guitarists tend to sound more distinctive on their electric counterparts; after about 20 minutes of similar sounding acoustic guitars, it is difficult not to doze off...



Imre Kőszegi, who is celebrating his 60th birthday this year, has been a major figure of the Hungarian jazz scene for decades, and is an acknowledged drummer in Europe, too. He formed his first band, the Kőszegi Rhythm and Brass in 1975, and from 1980 he played with bass player Jack Gregg, saxophone player Zbigniev Namyslowski, and pianist László Gárdonyi, with whom he toured Europe.
Imre Köszegi Quartet feat. Zbigniew Namyslowski
Darling (Imre Köszegi) 9:07
Ballad For Eve (Zbigniew Namyslowski) 4:52
from 'For Kati' 1980
Recorded: 20. September 1980 at Jazzclub "Henkelmann", Iserlohn/Westfalen
b. 9 September 1939, Warsaw, Poland. Namyslowski’s Lola, recorded during his visit to the UK in 1964, caused quite a stir, since few people in Northern Europe were aware of the state of the jazz art in Soviet bloc countries (formerly). However, it was not simply the surprise of Eastern European musicians playing modern, post-bop jazz at all that impressed: Namyslowski was very good indeed, with a hard, emotional tone and considerable facility on the alto saxophone. He had begun his musical studies on piano at the age of six, switching to the cello at 12. He also plays soprano saxophone, flute and trombone.


Leading early bop guitarist who helped define the modern jazz guitar with his great speed, technique, and flow of ideas. 
Tal Farlow
My Shining Hour 5:59
Falling In Love With Love 7:05
from Trilogy 1981
This lesser-known LP was originally released by Japanese Columbia, was made available domestically by Inner City in 1981 and then went out of print when the label folded. The music is typically excellent (Tal Farlow has yet to record an unworthy date), with the very fluent bop guitarist jamming on seven standards and two originals with pianist Mike Nock, bassist Lynn Christie.

A trumpet player of great facility who broke through with the Jazz Messengers before his burnished tone graced seminal records from the 1960s and '70s. 
Freddie Hubbard
Hubbard's Cupboard (Allyn Ferguson) 4:54
Ride Like the Wind (Christopher Cross) 4:54
Birdland (Jon Hendricks / Joe Zawinul) 6:21
from Ride Like the Wind 1982
Recorded in 1982 by Jeffrey Weber and arranger Allyn Ferguson, this live to two-track digital set showcases Freddie Hubbard in the company of two large bands -- one a brass group, the other a string orchestra -- both of which feature the same rhythm section. Ferguson wrote three tunes for the session, including the funky "Hubbard's Cupboard"... The cover of Joe Zawinul's "Birdland" is reverent but swinging...  Ride Like the Wind nonetheless showcases the trumpeter in fine solo form.

Guitarist Allan Holdsworth was widely considered one of the finest instrumentalists in all of jazz fusion, yet never truly received the recognition that he so rightfully deserved. 
Allan Holdsworth
Three Sheets to the Wind (Allan Holdsworth) 4:13
Road Games (Allan Holdsworth) 4:14
Was There?(Allan Holdsworth) 4:09
from Road Games 1983
It is a unique mix of great vocals with a more rocking, bluesy, and jazzy quasi-mainstream song-themed balladic thrust. This release showcases Allan Holdsworth playing less "out there." Don't misunderstand -- the guitar is amazing: multi-voiced, fusion-fired, ethereally chorded, delightfully crystalline clear, note-flourished, and swooningly embellished. Add in the vocals of Jack Bruce for that Cream flashback or the I.O.U. band feel of Paul Williams' crooning, back to back with killer bass by Jeff Berlin and tastefully poised drums by Chad Wackerman, and you have fusion-rock bliss.

An esteemed trumpeter who worked tirelessly to ensure jazz's status as a respected American art form into the 21st century. 
Wynton Marsalis
Stardust (Hoagy Carmichael / Mitchell Parish) 4:09
For All We Know (J. Fred Coots / Sam M. Lewis) 6:15
Hot House Flowers (Wynton Marsalis) 5:46
from Hot House Flowers 1984
Wynton Marsalis, very much in his Miles Davis period, plays quite melodically throughout this ballad-dominated outing with strings. Branford Marsalis (on tenor and soprano), flutist Kent Jordan, pianist Kenny Kirkland, bassist Ron Carter, and drummer Jeff Watts are strong assets but it is Wynton's subtle creativity... The arrangements by Robert Freedman generally keep the strings from sounding too sticky and Wynton's tone is consistently beautiful.

After playing a role in the success of Yes' Relayer album in 1974, keyboardist Patrick Moraz launched a solo career and became one of the more celebrated keyboardists of his age. During the '70s, when Moraz reached his prime as an artist, the keyboard was still a new and complex instrument.
Patrick Moraz & Bill Bruford
Bill Bruford's career is like his drumming sound -- inimitable. Known for his ringing metal snare drum, crisp cymbal work, and knack for complex time signatures, a young Bruford came to prominence in the late '60s with Yes.
Temples of Joy (Patrick Moraz) 4:51
Flags (Patrick Moraz) 4:27
from Flags 1985
Flags is a 1985 album by the duo Moraz and Bruford. Unlike their prior effort Music for Piano and Drums, which featured only an acoustic drum kit and grand piano, this recording expanded their musical palette by including a Kurzweil 250 synthesizer and electronic percussion. Keyboardist Patrick Moraz and drummer Bill Bruford had both previously been members of the progressive rock band Yes, though not at the same time. During the recording of this album, Moraz was a member of The Moody Blues, while Bruford's band King Crimson had just begun a hiatus that would last for ten years. Flags features ten instrumental works, including a drum solo based on Max Roach's "The Drum Also Waltzes".

One of the most original guitarists from the '80s onward (he is instantly recognizable), Pat Metheny is a chance-taking player who has gained great popularity but also taken some wild left turns. 
Pat MethenyOrnette Coleman
One of the most important (and controversial) innovators of the jazz avant-garde, Ornette Coleman gained both loyal followers and lifelong detractors when he seemed to burst on the scene in 1959 fully formed.
Song X (Ornette Coleman) 5:38
Endangered Species (Ornette Coleman / Pat Metheny) 13:18
from Song X 1986
Guitarist Pat Metheny had long expressed admiration for Ornette Coleman's music, had recorded his compositions, and had worked extensively with bassist Charlie Haden, so a collaboration was not totally unexpected, though who would have guessed that it would be on the Geffen label? Metheny's almost rock star status has worked against him in other partnerships from time to time (notably, his overbearing playing on his project with Derek Bailey, The Sign of 4), but here he happily sublimates his showier instincts and works as sympathetic co-leader, deferring to Coleman's experience and genius...

One of the most technically proficient of the avant-garde trumpeters, often possessing an atmospheric, introspective quality. / Jazz trumpeter and flügelhornist Kenny Wheeler was one of the most advanced voices on his instrument. Blessed with a full, lovely tone and an astounding range, Wheeler sounded equally at home in fiery free jazz explorations or softer, more lyrical post-bop meditations. 
Kenny Wheeler Quintet
Everybody's Song But My Own (Kenny Wheeler) 9:33
Miold Man (Kenny Wheeler) 9:21
Gigolo (Kenny Wheeler) 8:23
from Flutter By, Butterfly 1987
Recorded at a time when trumpeter Kenny Wheeler was playing regularly in bassist Dave Holland's band, this quintet outing with Holland, Stan Sulzman (who switches between soprano, tenor and flute), pianist John Taylor and drummer Billy Elgart features six of Wheeler's originals, some of which were written quite a few years before...

A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed. / In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed to embody the same lifestyle, which he sang about in a raspy, gravelly voice. From the '80s on, his work became increasingly theatrical as he moved into acting and composing.
Tom Waits
16 Shells from a Thirty-Ought-Six (Tom Waits) 4:17
Underground (Tom Waits) 2:20
Johnsburg, Illinois (Tom Waits) 1:30
Yesterday Is Here (Kathleen Brennan / Tom Waits) 2:42
from Big Time 1988
Big Time is an 18-track live album running nearly 68 minutes, its material drawn mostly from Tom Waits' trio of recent studio albums, Swordfishtrombones, Rain Dogs, and Franks Wild Years. (One track, "Falling Down," is a previously unissued studio recording...  It's challenging music, made somewhat more accessible in a live context. Waits' performances tended to be somewhat over the top on the studio versions of these songs, but before a live audience his theatrics seem more appropriate, and he even includes a mini-set of piano ballads...




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