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2017. július 16., vasárnap

16-07-2017 10:30 # 43 jazz tracks on the the JAZZ_line 1982-1995 / 4h 12m



16-07-2017 10:30 # 43 jazz tracks on the the JAZZ_line 1982-1995 / 4h 12m # Freddie Hubbard, Allan Holdsworth, Wynton Marsalis, Patrick Moraz & Bill Bruford, Pat Metheny, Ornette Coleman, Kenny Wheeler Quintet, Tom Waits,Tomasz Stanko, Larry Coryell, Steve Coleman and Five Elements, Herbie Mann, John Abercrombie, Jimmy McGriff, George Robert & Tom Harrell Quintet



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1982-1995




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...




Jazz trumpeter Tomasz Stańko began his tenure as a major force in European free jazz in the early '60s with the formation of the quartet Jazz Darins in 1962 with Adam Makowicz. From 1963 to 1967 he played with Krzysztof Komeda in a group that revolutionized European jazz and made an impact across the Atlantic as well...
Tomasz Stanko
feat. Janusz Skowron, Apostolis Anthimos
Mademoiselle Ka 4:47
Whistle Walk 4:30
Chameleon 5:33
from Chameleon 1989
Apostolis Anthimos is a member of the Polish progressive rock band SBB. He has also co-operated with Czesław Niemen, Tomasz Stańko, George Dalaras, Vangelis Katsoulis, and also a number of bands, including Krzak, Dżem and Osjan. He has participated in the recording of over fifty albums, including three solo albums of his own: Days We Can't Forget (1994, backed by Gil Goldstein, Jim Beard, Matthew Garrison & Paul Wertico), Theatro (1999) and Back to the North (2006, backed by Wertico and Marcin Pospieszalski).

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.
Larry Coryell
The Dragon Gate (Larry Coryell) 3:43
West Coast Blues (Wes Montgomery) 4:12
Things Ain't What They Used to Be (Mercer Ellington / Ted Persons) 3:25
from The Dragon Gate 1990
This is a strong jazz-oriented date that features Larry Coryell exclusively on acoustic guitar, playing two standard blues unaccompanied, using one or two overdubs on six other tracks and performing a pair of duets with fellow guitarist Stefan Grossman...

Chicago alto player who founded M-Base, with a style mixing everything from soul, R&B, funk, free jazz, hard bop, bebop, reggae, and disco... M-Base founder, composer, and alto saxophonist Steve Coleman hails from Chicago. His earliest years were spent playing in R&B and funk bands in emulation of his first hero, Maceo Parker. Coleman had heard all the greats in his hometown and changed his focus from R&B to jazz precipitating his move to New York...
Steve Coleman and Five Elements
The X Format (Steve Coleman) 6:44
Turbulence (Steve Coleman) 6:22
Ghost Town (Steve Coleman) 6:56
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.

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles... Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest...
Herbie Mann
Baghdad/Asia Minor (Herbie Mann / Roger Mozian) 5:09
One Note Samba (Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça) 3:23
Memphis Underground (Herbie Mann) 7:06
from The Evolution Of Mann / Rec. 1960-1992 (1994)
This two-disc anthology doesn't cover Mann's bop or swing origins, instead concentrating on Mann's evolution from the 1960s to the 1990s. The first disc has more interest for jazz fans... The second disc documents Mann's move into straight pop and light instrumentals, although near its conclusion he's returned to the groove-oriented Afro-Latin music of his earlier days...

Versatile and inventive guitarist who skirts the edge of fusion and rock while remaining true to jazz... John Abercrombie's tying together of jazz's many threads made him one of the most influential acoustic and electric guitarists of the 1970s and early '80s; his recordings for ECM have helped define that label's progressive chamber jazz reputation. His star has since faded somewhat, due largely to the general conservatism that's come to dominate jazz, though he has remained a vital creative personality. Abercrombie's style draws upon all manner of contemporary improvised music; his style is essentially jazz-based, but he also displays a more than passing familiarity with forms that range from folk and rock to Eastern and Western art musics.
John Abercrombie
Beautiful Love (Haven Gillespie / Wayne King / Egbert VanAlstyne / Victor Young) 6:29
I Mean (John Abercrombie) 8:18
Farewell (John Abercrombie) 5:33
from Farewell 1993
This 1993 recording is a follow-up to an earlier duo session by Andy LaVerne and John Abercrombie, although they add bassist George Mraz and drummer Adam Nussbaum for this date...  and the unpredictable ballad "Farewell" serves as an appropriate conclusion to this enjoyable CD.

Another successful practitioner of the funky-blues and soul-jazz sound to which the Hammond B-3 is so suited... One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification. 
Jimmy McGriff 
McGriff's Blues (Jimmy McGriff) 4:45
You Ought to Think About Me (Jimmy McGriff) 4:05
One Minite 'Til Six (Bill Easley) 8:57
from McGriff's Blues 1994

One of the finest jazz musicians born in Switzerland, altoist George Robert has long considered his main influences to be Charlie Parker and Phil Woods. He started on piano when he was eight, and clarinet at ten, playing with a family band that included his four brothers. Robert switched permanently to alto as a teenager.
A first-rate trumpet soloist, generally considered by many musicians to be the top hard bop trumpeter of the 1980s and '90s, Tom Harrell has performed in a distinguished fashion for several bandleaders. His style mixes together the power of Clifford Brown with the lyricism of Chet Baker. 
George Robert & Tom Harrell Quintet 
Streets (Tom Harrell) 8:45
Morning Star (Rodgers Grant) 12:38
Cape Verde (George Robert) 8:40
from Cape Verde 1995
This is the fifth and final release by the George Robert/Tom Harrell Quintet, taped during a pair of Swiss concerts in 1992. As in previous outings, the alto saxophonist and trumpeter/flüegelhornist are in top form and each musician also contributed strong originals as well; the potent rhythm section includes the underrated pianist Dado Moroni, bassist Reggie Johnson, and drummer Byron Landham...






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