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2018. április 19., csütörtök

19-04-2018 8:09 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2006-2000 / 3h 33m


19-04-2018 8:09 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2006-2000  / 3h 33m # Dave Douglas, Larry Coryell and Victor Bailey and Lenny White, Terence Blanchard, Susanna and the Magical Orchestra, Larry Coryell with Paul Wertico and Mark Egan, Scorch Trio, Byard Lancaster, Marsalis Family, Matthew Shipp, DJ Spooky, The Bad Plus, Karrin Allyson, Brian Blade Fellowship

J A Z Z   M U S I C


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2006-2000





Cutting-edge trumpeter who seems equally at home in the avant garde jazz world and the pop milieu / Dave Douglas arguably became the most original trumpeter/composer of his generation. Douglas' stylistic range is broad yet unaffected; his music is not a pastiche, but rather a personal aesthetic that reflects a wide variety of interests. He explicitly cites such diverse influences as Igor Stravinsky, Stevie Wonder, and John Coltrane. As a composer, Douglas adapts and synthesizes unusual forms and creates his own out of disparate elements. 
Dave Douglas
Painter's Way (Dave Douglas) 5:29
Elk's Club (Dave Douglas) 5:40
from Meaning and Mystery 2006
Dave Douglas has been involved in a number of projects over recent years that have kept his fine quintet from recording since 2002. Meaning and Mystery showcases the band -- Douglas on trumpet, Uri Caine on Fender Rhodes, bassist James Genus, and drummer Clarence Penn -- with its first personnel change as tenor saxophonist Donny McCaslin replaces Chris Potter, whose own star is rising and is too busy to maintain a constant presence in the group. McCaslin, who is less well known, is no less a player. His voice on the horn is unique, and his phrasing complex and songlike...


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, Victor Bailey, Lenny White
Victor Bailey played and recorded with a wide range of artists from the worlds of jazz, R&B, hip-hop and pop, among them Chick Corea, Branford Marsalis, Grover Washington Jnr. , Sean ‘Puffy’ Combs, Mary J. Blige and Madonna.
A versatile drummer, Lenny White is still best-known for being part of Chick Corea's Return To Forever in the 1970's. White was self-taught on drums and he largely started his career on top, playing regularly with Jackie McLean (1968) and recording "Bitches Brew" with Miles Davis in 1969. White was soon working with some of the who's who of jazz including Freddie Hubbard, Joe Henderson, Woody Shaw, Gato Barbieri, Gil Evans, Stanley Clarke and Stan Getz among others.
So What (Miles Davis) 6:17
Black Dog (John Bonham / James Page) 6:14
Born Under a Bad Sign 7:49
from Electric 2005
This trio set featuring guitarist Larry Coryell, drummer Lenny White, and bassist Victor Bailey is issued by Chesky, purveyor of uncompressed audiophile recordings. And while the sound is wondrous, it's the performances here that take front and center. The mix of jazz, funk, and rock tunes on Electric is infectious, especially when played with such incendiary inspiration. Members of this trio wrote four of the nine tunes here... This is not a recording for those looking for Coryell's jazz technique and subtle artistry in interpreting music from the days of yore. Listeners looking for a balls-out charge of electric jazz-rock will be more than delighted by this outing.


Trumpeter Terence Blanchard is film director Spike Lee’s resident composer and an accomplished solo jazz artist in his own right. / In the post-Wynton Marsalis era, jazz trumpeter Terence Blanchard has become a most prominent brass player, bandleader, recording artist, orchestrator of film scores, and leader in the mainstream post-bop community
Terence Blanchard
Wandering Wonder (Terence Blanchard) 5:46
The Source (Kendrick Scott) 8:01
Harvesting Dance (Aaron Parks) 11:42
from Flow 2005
Two years before Flow, Terence Blanchard released Bounce, a departure from anything he had done in his already storied career. It was a seminal album, with the ideas of a musician 20 years his junior, but the skill and command of the jazz great that he had become. As a follow-up, Flow exhibits that no one better balances traditionalism, provincialism and contemporary aesthetics like Blanchard...




Susanna and the Magical Orchestra are actually the Norwegian duo of singer Susanna Wallumrød and keyboardist Morten Qvenild. The pair began performing together in Norway in 2000, featuring a unique blend of atmospheric jazz, rock, and electronica...
Susanna and the Magical Orchestra
Who Am I (Leonard Bernstein / Dorothy Parker) 4:53
Jolene (Dolly Parton) 3:53
Distance Blues and Theory 5:42
from List of Lights and Buoys 2004
Albums don't come much more beautiful than List of Lights and Buoys. Susanna is singer Susanna Karolina Wallumrød, age 23 at the time of this debut CD. The Magical Orchestra is actually Jaga Jazzist keyboardist Morten Qvenild. And the music doesn't sound orchestral at all. Co-producer Andreas Mjøs (also of Jaga Jazzist) adds some vibes, timpani, guitar, and electronics. Helge Sten (aka Deathprod and a quarter of the group Supersilent) is the other co-producer; he took care of mixing and mastering duties -- one also suspects he tweaked a few electronic textures himself. But despite a certain variety in the instrumentation and an indisputable audacity in the textural dress-up, List of Lights and Buoys relies solely on the strong songwriting team of Wallumrød and Qvenild, and on Susanna's irresistibly moving, seductive torch singer of a voice...
Susanna Karolina Wallumrød

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 
with Paul Wertico and Mark Egan
Influenced as much by Elvin Jones, Roy Haynes, or Art Blakey as by Ginger Baker, Mitch Mitchell, or Keith Moon, Paul Wertico is an all-around drummer who built his reputation as a colorist with Pat Metheny.
Mark Egan, who has a floating sound, is best-known for his leadership of Elements with drummer Danny Gottlieb. His first instrument was the trumpet, switching to bass at 16.
Immer Geradeaus (Larry Coryell) 6:38
Good Citizen Swallow (Larry Coryell) 6:11
Tricycles (Mark Egan) 6:23
from Tricycles 2004
Jazz über-guitarist Larry Coryell has been hinting at a studio set like this for a long time now: a solid, top-to-bottom six-string jazz date with a crack rhythm section. Drummer Paul Wertico was on board for the dates that produced the Power Trio album, but the addition of bassist Mark Egan in the studio balances this equation perfectly. Interestingly, Wertico and Egan are both former sidemen from the Pat Metheny Group (albeit at different times). One thing both players have in common, and makes them so integral here, is their love of lyricism. Coryell, who has an astonishing variety of styles at his ready disposal, concentrates on it here in spades...


The Scorch trio came about as a result of Raoul Björkenheim and Ingebrigt Håker Flaten´s meeting at the Jyvaskyla Summer Jazz Festival in 1998. Hearing each other play, it was immediately obvious to both of them that a collaboration would lead to some highly inspired energetic music. 
Kjøle Høle 12:37
from Luggumt 2004
This the second release from the trio of Raoul Björkenheim, Ingebrigt Håker Flaten and Paal Nilssen-Love (the first came out billed to their individual names and was titled Scorch Trio). Luggumt was recorded two years later (January 2004) at the same studio, with the same engineer...


A lesser-known avant-gardist who based much of his career in Philadelphia, Byard Lancaster was an advanced improviser who was not shy to show the influence of blues and soul in his solos. He played with Sunny Murray starting in 1965 and worked with Bill Dixon (1966-1967), Sun Ra (off and on between 1968-1971), and McCoy Tyner (1971-1977)...
It's Not Up to Us (Byard Lancaster) 4:53
Misty (Johnny Burke / Erroll Garner) 5:06
Over the Rainbow (Harold Arlen / E.Y. "Yip" Harburg) 4:35
from It's Not Up to Us 1966 (2003 reissue)
Originally released in 1968 on the Vortex Label, this eight-track gem was Lancaster's debut as a leader. Lancaster is a very important musical entity and also very unspoken - his work with Sun Ra, Philly Joe Jones, Sunny Murray, Larry Young and Fred Hopkins didn't exactly make him a superstar (he would often perform on Philadelphian street corners). Lancaster, influenced by children's songs, folk music, Beethoven and James Brown, writes, teaches and plays flute, clarinet, alto, tenor and soprano saxophones. Lancaster's "new jazz" movement, with the help of Sonny Sharrock on guitar, paved a way through the embrace of rock, folk and classical during the '70s. Like his business card says: "From Love Supreme to Sex Machine" - Lancaster can do it all...
Pitchfork review

The Marsalis Family was a one-off project assembled for a 1982 Columbia recording date. Pianist Ellis Marsalis teamed up with his young-lion sons Wynton (trumpet) and Branford (tenor sax) (though brothers Delfeayo and Jason were too young to participate). Together, with bassist Charles Fambrough and drummer James Black, the Marsalis Family recorded five tunes that made up half of the LP Fathers and Sons (the other half featured the father-son saxophone team of Von and Chico Freeman).
Marsalis Family
Swinging at the Haven (Ellis Marsalis) 6:56
Nostalgic Impressions (Ellis Marsalis) 6:46
Sultry Serenade (Tyree Glenn) 5:14
from A Jazz Celebration 2003
Barring the 1982 album Fathers and Sons and a brief and legendary pairing during the '80s, the Marsalis' have largely avoided playing together. It is almost as if despite becoming some of the most technically proficient and creative forces in music, appearing together would relegate them to a freakish gimmick or biological fluke and negate all their hard work as individuals. The truth is, though, that the public has always enjoyed and often demanded that the Marsalis clan appear together, and it is an exciting thing musically when they do. Wynton Marsalis' early recordings with his brother, such as Black Codes (From the Underground), are perhaps some of his most revelatory. Before he completely dedicated himself to single-handedly rebuilding the historical foundations of jazz, he was freed-up to investigate Ornette Coleman, late-period John Coltrane, and at least evince some classical notions into his jazz recordings. Perhaps Branford Marsalis benefited most from the eventual breakup with his brother, allowing him to find his voice exploring the realm of progressive popular music and world influences with Sting -- which led directly back to some of the most lively and relevant jazz recordings of the '80s and early '90s. However, it is legend in his own time Ellis Marsalis who started it all and whose tireless and subtle guidance inspired not only his sons, but many of their contemporaries to equally creative heights. All of this is evident in the live concert featured on The Marsalis Family: A Jazz Celebration, marking the first time that every Marsalis has performed together...

A prolific vanguard jazz pianist and composer whose stylistic evolution since the 1980s has explored and redefined the entire tradition. 
Matthew Shipp
Space Shipp (Matthew Shipp) 3:21
Nu-Bop (Matthew Shipp) 6:07
D's Choice (Matthew Shipp) 4:50
from Nu Bop 2002
Here's a twist that's full-on bent: Matthew Shipp making funky avant-garde jazz. It's true that, like Sun Ra on his Lanquidity album in the late '70s, Shipp has decided to add programming and synths to his mix for this disc, to at least walk a tightrope between improvisational art and the music of the street. For any of you groaning as you read this, give it up -- this disc is one of Shipp's very best and one of the first really new things to come across on the American jazz front in over a decade. The band is comprised of Shipp on piano, William Parker on contrabass, Daniel Carter replacing David S. Ware on saxophone and flute, Guillermo Brown on drums, and FLAM on synths and programming. Shipp's methodology is one of shifting rhythmic hypnosis and modal inquiry along scaled intervals and striated harmonic pathways that lead through the middle registers of both the saxophone and the piano...

New York turntablist at the forefront of a movement in DJ culture, blending rap with the avant-garde. / DJ Spooky (That Subliminal Kid) emerged as one of the most noted proponents of turntablism, an approach to hip-hop and DJ'ing whose philosophy merges avant-garde theories of musique concrète with the increased devotion paid to mixing techniques beginning at the turn of the millennium. Influenced equally by John Cage and Sun Ra as well as Kool Herc and Grandmaster Flash, few artists have done more to mainstream the DJ-as-artist concept than him.
DJ Spooky
Ibid, Désmarches, Ibid (Paul D. Miller) 5:40
Optometry (Paul D. Miller / Daniel Bernard Roumain) 11:36
from Optometry 2002
Thirsty Ear's Blue Series has already been host to many progressive jazz projects, among them albums by William Parker, Matthew Shipp, Craig Taborn, Guillermo Brown, Mat Maneri, Tim Berne, and others. The label also did a project with British DJ drum'n'bass duo Spring Heel Jack that was neither a jazz album or a DJ record, but some strange amalgam unto itself. DJ Spooky's Optometry is the next installment in the Blue Series' DJ experiments, and it's one that succeeds on every level. For starters, Optometry is fully a DJ outing and fully a jazz record. The band playing with Spooky is comprised of Parker; Shipp; Brown; Medeski , Martin & Wood's Billy Martin; Joe McPhee; Carl Hancock Rux; and others...

Progressive jazz scientists who found a way to put a modern rock-oriented spin on jazz while still honoring its forward-thinking traditions. 
The Bad Plus
Knowing Me, Knowing You (ABBA cover) 5:46
Smells Like Teen Spirit (Nirvana cover) 6:35
from The Bad Plus 2001
Pianist Ethan Iverson, bassist Reid Anderson, and Minneapolis-based drummer David King are the Bad Plus, and they bill themselves as "the loudest piano trio ever." Upon hearing them play, one is not inclined to quibble. In any case, they're certainly the only jazz group to cover ABBA's "Knowing Me, Knowing You," Nirvana's "Smells Like Teen Spirit,"... A major example: the brilliant Nirvana cover, offered with a totally straight face, in which the famous opening guitar riff is transformed into a series of almost plodding half notes -- and that's just the start of it.

One of the more impressive jazz singers to emerge in the '90s, Karrin Allyson is a great scat singer but also highly expressive on ballads.
Karrin Allyson
Say It (Over and Over Again) (Frank Loesser / Jimmy McHugh) 6:03
Too Young to Go Steady (Harold Adamson / Jimmy McHugh) 5:41
from Ballads: Remembering Coltrane 2001
Jazz vocalist Karrin Allyson strikes a sentimental chord with this super fine 2001 release, inspired by tenor sax titan John Coltrane's infamous Ballads LP. The diva exhibits her near flawless phraseology and alluring vigor throughout these wonderfully executed pieces. Allyson also receives exemplary support from what some might consider an all-star band, featuring bassist John Patitucci; saxophonists Bob Berg, Steve Wilson, and James Carter; pianist/educator James Williams; and drummer Lewis Nash....

Drummer is one of the freshest voices in 21st century jazz because of his non-elitist, all-inclusive approach. / A native of Shreveport, Louisiana, Brian Blade established himself as a versatile, accomplished drummer early in his career, appearing on albums by the likes of Joshua Redman, Kenny Garrett, and Bob Dylan
Brian Blade Fellowship 
Perceptual (Jon Cowhred) 6:28
Reconciliation (Jon Cowherd) 6:44
Steadfast (Brian Blade) 8:21
from Perceptual 2000
With this second date from the Fellowship, Brian Blade proves that while he is one of the most in-demand session drummers of the '90s, his skills as a bandleader and composer are not to be overlooked. Blade composes songs as if he were painting a broad mural. He sculpts landscapes of sound, orchestral in their feel and truly breathtaking in their grandeur. His own playing, sinuous and breathy, ties the septet together in ways that recall the best progressive jazz of the 1960s, as well as the fusion of the 1970s...




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