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2018. május 15., kedd

MiSTY JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2003-1994 / 3h 28m

Byard Lancaster

MiSTY JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2003-1994 / 3h 28m # Byard Lancaster, Marsalis Family, Matthew Shipp, DJ Spooky, The Bad Plus, Karrin Allyson, Brian Blade Fellowship, Longineu Parsons, Harriet Tubman, Al Di Meola, Andy Summers, Howard Alden, Frank Vignola, Jimmy Bruno, Wallace Roney

J A Z Z   M U S I C

JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.

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)...
Misty (Johnny Burke / Erroll Garner) 5:06
It's Not Up to Us (Byard Lancaster) 4:53
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
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...

Longineu Warren Parsons II is a classically trained trumpeter who plays in a wide variety of styles including jazz, blues, jazz fusion and classical. He is currently an Associate Professor of Music at Florida A&M University (FAMU) and heads small independent label Tribal Records
Longineu Parsons
Take the High Road (Longineu Parsons II) 8:04
Spaced (Longineu Parsons II) 6:16
Hannibal's March (Longineu Parsons II) 6:11
from Spaced: Collected Works 1980-1999
A long-overdue collection spanning the career of an admittedly minor but often fascinating trumpeter, Spaced is a fine introduction to Longineu Parsons' distinctive style. The closest comparison to Parsons, who worked with avant-garde pianist Cecil Taylor in the '70s before striking out on his own, is the British-born trumpeter Jon Hassell, a frequent collaborator of Brian Eno whose music balances world music forms and ambient mystery. Parsons is a considerably more forceful and funkier player than Hassell, with a stronger rooting in the free jazz and post-bop scenes, but the two share a fascination with the rhythms and melodies of other lands...

Exploratory jazz trio featuring bassist Melvin Gibbs, guitarist Brandon Ross, and drummer J.T. Lewis. / A jazz-based power trio whose music mixes the muscular impact of hard rock with the sonic exploration of free jazz, Harriet Tubman are fittingly named for the iconic civil rights activist and abolitionist who devoted her life to the freedom of her people.
Harriet Tubman
Savannah 10:05
Frozen Fire (Melvin Gibbs / J.T. Lewis / Brandon Ross) 5:21
from I Am a Man 1998
Harriet Tubman is a trio dedicated to a thunderously heavy fusion. Guitarist Brandon Ross keeps melody ever present in this group. You have heard his fretwork in such varied jazz projects as Henry Threadgill, The Lounge Lizards, and Cassandra Wilson while he has invaded pop to work with Jewel and Arrested Development. His contribution to the piece can range from melancholy, reflective, multi-bar solos to churning power chords...

Spellbinding jazz guitarist who is revered for his blazing, complex fretwork in the vein of jazz fusion, Latin fusion, and acoustic styles. 
Al Di Meola
Race With Devil on Spanish Highway (Al Di Meola) 6:16
Short Tales of the Black Forest (Chick Corea) 5:39
Fantasia Suite for Two Guitars: Viva la Danzarina (Al Di Meola) 5:11
from This Is Jazz, Vol. 31 1997
This Is Jazz, Vol. 31 contains 11 well-chosen tracks taken from jazz fusion guitarist Al di Meola's seven-year stint with Columbia Records. This disc contains 11 highlights from the albums Elegant Gypsy, Electric Rendezvous, Land of the Midnight Sun, Tour de Force: Live, Scenario, and Splendido Hotel. While there is nothing here the jazz collector doesn't already own, this disc does provide a decent sampling for the curious listener.

by Andy Summers

While Andy Summers is best known as the guitarist in the Police, he has since forged a successful and acclaimed solo career with new age-influenced contemporary instrumental music that, like his work with Sting and company, draws on his love for jazz and his fascination with creating instrumental textures
Andy Summers
Cubano Rebop (Andy Summers) 5:31
Meshes of the Afternoon (Andy Summers) 4:54
Synaesthesia (Andy Summers) 5:01
from Synaesthesia 1996
During his post-Police musical career, guitarist Andy Summers has compiled a series of altogether distinctive, fusion-based solo outings marked by his shrewd compositional pen and laudable technical acumen. Moreover, Summers displays a somewhat lyrically driven guitar sound, teeming with animated lines, a rubato-like methodology, and bone-crushing crunch chords, as evidenced on this 1995 release. Here, the artist garners strong support from ex-Cream drummer Ginger Baker, along with notable session musicians Mitchell Forman (keyboards), Jerry Watts (bass), and Greg Bissonette (drums). More importantly, the guitarist integrates strings (the Trouserfly String Quartet) into this rather vibrant mix, consisting of Afro-Cuban rhythms, wailing lead soloing, East Indian modalities, and more. Otherwise, many of these works convey an eerie or foreboding musical environment, largely due to a potpourri of discordant themes and portentous musings.

Part of the '80s swing movement, Howard Alden is a brilliant guitarist (on both electric and acoustic) who has also mastered the seven-string guitar and the banjo.
Howard Alden
Frank Vignola, Jimmy Bruno
An extremely versatile jazz guitarist, Frank Vignola has demonstrated that he is capable of playing everything from fusion and commercial pop-jazz to hard bop, post-bop, and swing.
One of the finest jazz guitarists in Philadelphia, Jimmy Bruno is a passionate hard bopper who loves to swing aggressively but can be a very sensitive ballad player when he puts his mind to it.
Bittersweet 5:56
String Thing 4:38
Donna Lee (Charlie Parker) 5:28
from Concord Jazz Guitar Collective 1995
The Concord Jazz Guitar Collective was a 1995 project that united Howard Alden with fellow guitarists and Concord artists Jimmy Bruno and Frank Vignola... Despite the fact that they all play the same instrument, Alden, Bruno, and Vignola prove compatible on this outing, which also employs Jim Hughart on upright bass and Colin Bailey on drums. Although Bruno tends to be more aggressive and forceful than Alden, he can be quite lyrical when he wants to; and while Alden isn't as hard a player as Bruno, he definitely swings...

Trumpeter Wallace Roney is a forward-thinking, post-bop musician with a healthy respect for the jazz tradition. Blessed with a warm yet plaintive trumpet tone and a lithe improvisational style, Roney's distinctive playing bears the influence of such legendary predecessors as Miles Davis, Clifford Brown, and Woody Shaw.
Wallace Roney
Meu Menino (Danilo Caymmi / Ana Terra) 6:17
Michelle (John Lennon / Paul McCartney) 6:32
Mistérios (Joyce Maestro / Mauricio Maestro) 4:52
from Misterios 1994
Trumpeter Wallace Roney avoids the standard repertoire altogether on this CD, playing pieces by Pat Metheny, the Beatles, Egberto Gismonti, Jaco Pastorius and even Dolly Parton among others but, try as hard as he may, he still sounds like Miles Davis every time he hits a long tone or plays a doubletime passage. Backed by a small orchestra that mostly interprets Gil Goldstein arrangements, Roney is the main soloist throughout this interesting ballad-dominated set.

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