Marc Ducret (born April 19, 1957) is a jazz, and avant garde, guitarist, self-taught, who is most well known for his work with saxophonist Tim Berne. Ducret's guitar style is somewhat idiosyncratic, having been called "highly original and very expressive", but also "Metheny-like." -wikipedia
Miles Davis Live In Copenhagen/Rome '69
Personnel : Miles Davis - Trumpet, Wayne Shorter - Tenor and Soprano Sax, Chick Corea - Electric Piano and Keyboards, Dave Holland - Bass, Jack DeJohnette - Drums
tracklist:
01. Bitches Brew (Copenhagen)
02. Agitation (Copenhagen)
03. I Fall In Love Too Easily (Copenhagen)
04. Sanctuary (Copenhagen)
05. It's About That Time into The Theme (Copenhagen)
06. Bitches Brew (Rome)
07. Miles Runs The Voodoo Down (Rome)
08. I Fall In Love Too Easily (Rome)
09. Sanctuary into The Theme (Rome)
10. Directions (Rome)
11. Masquelero (Rome)
Charles Mingus Live in Belgium/Norway/Sweden '64
Charles Mingus showcases three exceptional concerts performed in April 1964 featuring his most celebrated lineup--Jaki Byard (piano), Dannie Richmond (drums), Johnny Coles (trumpet), Clifford Jordan (tenor sax) and the great Eric Dolphy (alto sax, flute and bass clarinet). Recorded within an eight-day span, less than three months before Dolphy's death, the three concerts showcase Mingus's visionary leadership and the band's incredible depth and diversity with unique performances and arrangements of classics including "So Long Eric" and the groundbreaking "Meditations On Integration" - jazzicons
Belgium 1964 Norway 1964 Sweden 1964
1- So Long Eric 1- So Long Eric 1- So Long Eric
2- Peggy’s Blue Skylight 2- Orange Was The Color Of Her 2- Meditations On Integration
3- Meditations On Integration 3- Dress, Then Blue Silk
4- Parkeriana
5 - Take The “A” Train Download
Personnel : Charles Mingus (Bass), Eric Dolphy (Alto Sax, Flute, Bass Clarinet), Clifford Jordan (Tenor Sax), Johnny Coles (Trumpet), Jaki Byard (Piano), Dannie Richmond (Drums)
1- So Long Eric 1- So Long Eric 1- So Long Eric
2- Peggy’s Blue Skylight 2- Orange Was The Color Of Her 2- Meditations On Integration
3- Meditations On Integration 3- Dress, Then Blue Silk
4- Parkeriana
5 - Take The “A” Train Download
Personnel : Charles Mingus (Bass), Eric Dolphy (Alto Sax, Flute, Bass Clarinet), Clifford Jordan (Tenor Sax), Johnny Coles (Trumpet), Jaki Byard (Piano), Dannie Richmond (Drums)
Portico Quartet - Line
Duncan Bellamy - drums
Nick Mulvay - hang
Milo Fitzpatrick - double bass
Jack Wyllie - saxophones
Dhafer Youssef - Odd Poetry - 2006
Dhafer Youssef - oud, vocals
Eivind Aarset - guitar
Audun Erlien - bass
Rune Arnesen - drums
'Jazz Onze Plus' festival in Lausanne 28 oct 2006
Duke Ellington Live in Holland '58
One of the earliest-known filmed full-length concert by one of the 20th Century's greatest songwriters and bandleaders. Filmed at Amsterdam's famed Concertgebouw, this 80-minute concert features the 16-piece Duke Ellington Orchestra two years after their stunning performance at the 1956 Newport Jazz Festival,which Duke considered his second birth. This epic performance includes legendary players Clark Terry, Johnny Hodges, Harry Carney, Paul Gonsalves, Quentin Jackson and Ray Nance performing some of the most beloved American music ever written. - jazzicons
download - part1 - part2 - part3 - part4 - part5
Rhythm section: Reeds:
Duke Ellington (Piano) Johnny Hodges (Alto Sax)
Jimmy Woode (Bass) Russell Procope (Alto Sax, Clarinet)
Sam Woodyard (Drums) Paul Gonsalves (Tenor Sax)
Ozzie Bailey (Vocal) Jimmy Hamilton (Tenor Sax, Clarinet)
Trumpets: Harry Carney (Baritone Sax, Clarinet, Bass Clarinet)
Cat Anderson Trombones:
Harold “Shorty” Baker Quentin Jackson
Ray Nance (Trumpet, Violin, Vocal) John Sanders (Valve Trombone)
Clark Terry Britt Woodman
Dexter Gordon Live in '63 & '64
Dexter Gordon features three concerts filmed in 1963 and 1964 in Holland, Switzerland and Belgium that highlight the bebop legend's classic style and silky tone. Filmed while Dexter was living in Europe, these shows feature legendary side musicians such as Art Taylor (drums) and Kenny Drew (piano) and jazz classics "Blues Walk", "A Night In Tunisia", "Body And Soul" and others. One of the most influential saxophonists in jazz history (both John Coltrane and Sonny Rollins claim him as an influence), Dexter Gordon is captured in sharp form and style on this 70-minute tour de force. - jazzicons
Holland 1964 Switzerland 1963 Belgium 1964
Dexter Gordon (Tenor Sax) Dexter Gordon (Tenor Sax) Dexter Gordon (Tenor Sax)
George Gruntz (Piano) Kenny Drew (Piano) George Gruntz (Piano)
Guy Pedersen (Bass) Gilbert “Bibi” Rovère (Bass) Guy Pedersen (Bass)
Daniel Humair (Drums) Art Taylor (Drums) Daniel Humair (Drums)
tracklist: tracklist: tracklist:
A Night In Tunisia Second Balcony Jump Lady Bird
What’s New You’ve Changed Body And Soul
Blues Walk
Charles Mingus - Mingus Mingus Mingus Mingus Mingus - 1963
"Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus' next sessions for Impulse found him looking back over a long and fruitful career. Mingus, Mingus, Mingus, Mingus, Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his best-known works. The titles are altered as well -- "II B.S." is basically "Haitian Fight Song" (this is the version used in the late-'90s car commercial); "Theme for Lester Young" is "Goodbye Pork Pie Hat"; "Better Get Hit in Your Soul" adds a new ending, but just one letter to the title; "Hora Decubitus" is a growling overhaul of "E's Flat Ah's Flat Too"; and "I X Love" modifies "Nouroog," which was part of "Open Letter to Duke." There's also a cover of Duke Ellington's "Mood Indigo," leaving just one new composition, "Celia." Which naturally leads to the question: With the ostensible shortage of ideas, what exactly makes this a significant Mingus effort? The answer is that the 11-piece bands assembled here (slightly different for the two separate recording sessions) are among Mingus' finest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals -- which is, of course, no small feat. This was Mingus' last major statement for quite some time, and aside from a solo piano album and a series of live recordings from the 1964 tour, also his last album until 1970. It closes out the most productive and significant chapter of his career, and one of the most fertile, inventive hot streaks of any composer in jazz history." - Steve Huey
all tracks written by Charles Mingus, except where noted.
"II B.S." – 4:48
"I X Love" – 7:41
"Celia" – 6:14
"Mood Indigo" (Duke Ellington/Barney Bigard) – 4:45
"Better Get Hit in Yo' Soul" – 6:30
"Theme for Lester Young" – 5:51
"Hora Decubitus" – 4:41
"Freedom" – 5:10 Bonus track on CD reissue
Some editions of this album such as AS-54-B on Impulse Records contains an alternate track listing, which excludes the track "Freedom".
tracks #1 and 4-8, recorded on september 20, 1963:
eddie preston - trumpet
richard williams - trumpet
britt woodman - trombone
don butterfield - tuba
jerome richardson - soprano, baritone saxes, flute
dick hafer - tenor sax, clarinet, flute
booker ervin - tenor sax
eric dolphy - alto sax, flute, bass clarinet
jaki byard - piano
charles mingus - bass, (narration, #8)
walter perkins - drums
tracks #2 and 3, recorded on January 20, 1963:
rolf ericson - trumpet
richard williams - trumpet
quentin jackson - trombone
don butterfield - tuba
jerome richardson - soprano, baritone saxes, flute
dick hafer - tenor sax, flute, oboe
charlie mariano - alto sax
jaki byard - piano
jay berliner - guitar
charles mingus - bass, piano
dannie richmond - drums
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John Coltrane Live 1960-1961-1965
"John Coltrane provides an epic 95-minute detailed overview of the truth of music giant 20-th century. Three concerts have shown increasing creative arc of Coltrane from the hard bop genre as a member of the Quartet Miles Davis Quartet in 1960, at the sole bandleader in 1961, unsurpassed dreamer jazz to 1965. This concert not only represents classic Trane's quartet with Elvin Jones (drums), Jimmy Garrison (bass) and McCoy Tyner (piano), but also with other jazz legends including Stan Getz, Eric Dolphy and Oscar Peterson. Includes breakneck versions of his songs "My Favorite Things" and "Impressions"."- jazzicons
tracklist:
1. on green dolphin street 1. my favorite things 1. vigil
2. walkin’ 2. everytime we say goodbye 2. naima
3. the theme 3. impressions 3. my favorite things
4. autumn leaves
5. what’s new
6. autumn in NY
7. hackensack
Mahavishnu Orchestra - Birds of Fire - 1973
"Emboldened by the popularity of Inner Mounting Flame among rock audiences, the first Mahavishnu Orchestra set out to further define and refine its blistering jazz-rock direction in its second -- and, no thanks to internal feuding, last -- studio album. Although it has much of the screaming rock energy and sometimes exaggerated competitive frenzy of its predecessor, Birds of Fire is audibly more varied in texture, even more tightly organized, and thankfully more musical in content. A remarkable example of precisely choreographed, high-speed solo trading -- with John McLaughlin, Jerry Goodman, and Jan Hammer all of one mind, supported by Billy Cobham's machine-gun drumming and Rick Laird's dancing bass -- can be heard on the aptly named "One Word," and the title track is a defining moment of the group's nearly atonal fury. The band also takes time out for a brief bit of spaced-out electronic burbling and static called "Sapphire Bullets of Pure Love." Yet the most enticing pieces of music on the record are the gorgeous, almost pastoral opening and closing sections to "Open Country Joy," a relaxed, jocular bit of communal jamming that they ought to have pursued further. This album actually became a major crossover hit, rising to number 15 on the pop album charts, and it remains the key item in the first Mahavishnu Orchestra's slim discography." - Richard S. Ginell
john mclaughlin : guitar
jerry goodman : violin jan hammer : piano
rick laird : bass
billy cobham : drums
download
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Archie Shepp - Four for Trane - 1964
"From 1964, Archie Shepp's first date as a leader featured -- as one would expect from the title -- four tunes by John Coltrane, his mentor, his major influence, and his bandleader. The fact that this album holds up better than almost any of Shepp's records nearly 40 years after the fact has plenty to do with the band he chose for this session, and everything to do with the arranging skills of trombonist Roswell Rudd. The band here is Shepp on tenor, John Tchicai on alto, Rudd on trombone, Trane's bassist Reggie Workman, and Ornette Coleman's drummer Charles Moffett. Even in 1964, this was a powerhouse, beginning with a bluesed-out wailing version of "Syeeda's Song Flute." This version is ingenious, with Shepp allowing Rudd to arrange for solos for himself and Tchicai up front and Rudd punching in the blues and gospel in the middle, before giving way to double time by Workman and Moffett. The rawness of the whole thing is so down-home you're ready to tell someone to pass the butter beans when listening. Rudd's arrangement of "Naima" is also stunningly beautiful: He reharmonizes the piece for the mid-register tone of Shepp, who does his best Ben Webster and adds a microtonal tag onto the front and back, dislocating the tune before it begins and after it ends, while keeping it just out of the range of the consonant throughout. Wonderful! The only Shepp original here is "Rufus (Swung, His Face at Last to the Wind, Then His Neck Snapped)." It's not a terribly sophisticated tune, but it works in the context of this band largely because of the soloing prowess of all the members -- particularly Tchicai -- here. There is barely any melody, the key changes are commensurate with tempo shifts, and the harmonics are of the sliding scale variety. Still, there are the blues; no one can dig into them and honk them better than Shepp. When it came to sheer exuberance and expression, he was a force to be reckoned with in his youth, and it shows in each of the tunes recorded here. Four for Trane is a truly fine, original, and lasting album from an under-celebrated musician." - Thom Jurek
Archie Shepp – tenor saxophone
Charles Moffett – drums
Roswell Rudd – trombone
Alan Shorter – flugelhorn
John Tchicai – alto saxophone
Reggie Workman – double bass
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Alice Coltrane/John Coltrane - Cosmic Music - 1968
"Cosmic Music is a jazz album by John Coltrane and Alice Coltrane. It was originally released after John Coltrane's death. On this release, John Coltrane only plays on "Manifestation" and "Reverend King". "Lord, Help Me to Be" and "The Sun" were later included as bonus tracks on the CD reissue of Alice Coltrane's album A Monastic Trio". -wikipedia
John Coltrane — tenor saxophone, bass clarinet
Pharoah Sanders — tenor saxophone, piccolo
Alice Coltrane — piano
Jimmy Garrison — bass
Rashied Ali — drums
Ray Appleton — percussion (1966 recordings)
Ben Riley — percussion (1968 recordings)
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Ornette Coleman - Of Human Feelings - 1982
"Coleman, like Miles Davis before him, took to playing with electrified instruments. Albums like Virgin Beauty and Of Human Feelings used rock and funk rhythms, sometimes called free funk. On the face of it, this could seem to be an adoption of the jazz fusion mode fashionable at the time, but Ornette's first record with the group, which later became known as Prime Time (the 1976 Dancing in Your Head), was sufficiently different to have considerable shock value. Electric guitars were prominent, but the music was, at heart, rather similar to his earlier work. These performances have the same angular melodies and simultaneous group improvisations – what Joe Zawinul referred to as "nobody solos, everybody solos" and what Coleman calls harmolodics – and although the nature of the pulse has altered, Coleman's own rhythmic approach has not."-wikipedia
denardo coleman – drums
ornette coleman – saxophone
charlie ellerbie – guitar
bern nix – guitar
jamaaladeen tacuma – bass
calvin weston – drums
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Steve Coleman & Five Elements - Rhythm People - 1990
Steve Coleman - alto sax
David Gilmore - guitar
James Weidman - keyboards
Reggie Washington - bass
Marvin Smitty Smith - drums
21. Jazzwoche Burghausen 1990 / Germany
Ornette Coleman - Free Jazz: A Collective Improvisation - 1960
şu anda caz tarihinin en "devrimci" albümlerinden bir tanesiyle karşı karşıyasınız. klasik formların çok dışında, cazın ne olduğunu tekrardan tartıştırabilmiş bir albüm. atlantic records etiketli, caz tarihinin mihenk taşlarından. 60 senesinde bu albüm yayınlandığında oldukça büyük ses getirmiş. şöyle diyelim; free jazz denen müzik türü adını bu albümden alıyor. hernekadar 50lerin başlarından itibaren lennie tristano, cecil taylor gibi isimler tarafından yapılmış bir takım sıradışı denemeler mevcut olsa da hiçbirisinin bu albüm kadar iddialı olduğunu söylemek mümkün değil. öncelikle, kayıtta iki quartet çalıyor, biri sağ kanalda diğeri de solda, karşılıklı sohbet gibi. aynı zamanda bu kayıt caz tarihinin ilk lp uzunluğunda doğaçlaması, 37küsür dakika. gerçek bir kolektif doğaçlama örneği. standart müzik algısının tamamen dışında, deneysel bir albüm. bu arada, hoşunuza gitmezse çok kafanıza takmayın.
free caz hakkında başarılı makale - free jazz: a subjective history by Chris Kelsey
left channel
ornette coleman - alto saxophone
don cherry - pocket trumpet
scott lafaro - bass
billy higgins - drums
right channel
eric dolphy - bass clarinet
freddie hubbard - trumpet
charlie haden - bass
ed blackwell - drums
production
nesuhi ertegün - producer
tom dowd - recording engineer
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Aebersold Series - Vol 42 - Blues in all Keys
charlie parker learned the blues in all 12 keys before he learned anything else. transposed for all instruments. each key contains a different blues melody and two compatible chord/scale progressions. the outstanding rhythm section is james williams, piano; bob cranshaw, bass; mickey roker, drums. - musicroom.com
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Bar Kokhba - John Zorn - 1996
albümün adı, 132-136 yılları arasında büyük roma imparatorluğu sınırları içindeki kudüs merkezli judea eyaletinde yaşanan üçüncü büyük yahudi ayaklanmasından geliyor. arami dilinde yıldızın oğlu anlamına gelir, aynı zamanda tevrata göndermedir. ayaklanma sonucu bağımsız bir yahudi devleti kurulduysa da yaklaşık iki senenin ardından roma imparatorluğu bölgedeki kontrolü tekrardan ele geçirmiştir. sonrasında da kudüsteki bütün yahudiler bölgeden uzaklaştırılmıştır. bu ayaklanma yahudi tarihi açısından oldukça önemli, dolayısıyla john zorn için de.
bar kokhba, john zorn'un masada quartet'i ile yapmış olduğu parçaların oda orkestrası uyarlamalarından oluşan, 96 yılında yayınlanmış albümü. herhangi bir masada albümü gibi bu albümde de esas odak oryantal yahudi müziği. parçaların bir çoğunu folk-caz diye tariflemek mümkün olsa da bazı parçalar folk ya da cazdan öte avantgard çağdaş'ın alanına girmekte. iki diskten oluşan albümde john medeski, marc ribot, anthony coleman gibi bilindik isimler de var. gerçekten özgün bir sound.
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Steve Coleman and Five Elements - Harvesting Semblances and Affinities - 2010
m-base'in babası, son yirmibeş yıldır çağdaş cazın öncü isimlerinden steve coleman ve ekibinden 2010 basımlı efsane albüm "harvesting semblances and affinities". sound inanılmaz modern olmasına rağmen klasik caz algısına da hitap eden bir albüm. parçaların ritmik altyapıları oldukça başarılı, bol bol senkoplu. beşinci parça olan "flos ut rosa floruid" dışındaki türm parçalar coleman'a ait. vokaller oldukça başarılı. "beba" favori parçam.
steve coleman: alto saxophone
jonathan finlayson: trumpet
tim albright: trombone
jen shyu: vocals
thomas morgan: bass
tyshawn sorey: drums
marcus gilmore: drums (5)
ramon garcia perez: percussion (5)
jonathan finlayson: trumpet
tim albright: trombone
jen shyu: vocals
thomas morgan: bass
tyshawn sorey: drums
marcus gilmore: drums (5)
ramon garcia perez: percussion (5)
iki adet kaliteli kritik : allaboutjazz about.com
“Undeniably introspective, this is nonetheless music with an extrovert muscularity and stark physicality that would make it hard to ignore in performance. “ - BBC
“Filled with cantilevered rhythms, intertwining melodies and oblique harmonies, Harvesting Semblances and Affinities is one of the strongest albums of Coleman’s career and compelling proof of his continued importance in the development of contemporary jazz.” - All About Jazz“
…he has quietly influenced generations of musicians; his ideas, once viewed as offbeat and inaccessible, have become crucial to the music’s contemporary language. Because of this his forthcoming CD, Harvesting Semblances and Affinities (Pi), sounds fresh and vital while also of a piece with its time and place.” - Jazz Times
“Filled with cantilevered rhythms, intertwining melodies and oblique harmonies, Harvesting Semblances and Affinities is one of the strongest albums of Coleman’s career and compelling proof of his continued importance in the development of contemporary jazz.” - All About Jazz“
…he has quietly influenced generations of musicians; his ideas, once viewed as offbeat and inaccessible, have become crucial to the music’s contemporary language. Because of this his forthcoming CD, Harvesting Semblances and Affinities (Pi), sounds fresh and vital while also of a piece with its time and place.” - Jazz Times
M-Base concept
Steve Coleman explained the substantial elements of the concept as:
- improvisation and structure
- contemporary relevance
- music as expression of life experience
- growth through creativity and philosophical broadening
- use of non-western concepts
The M-Base concept reminds of the creative energy of the bebop originators, their loose collective, and also of their musical goals. The concept does not include "neo-classical jazz," free music without structures, fusion music, music which isn’t mainly improvised, or which is shaped with respect to commercial aspects. (wikipedia)
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Avishai Cohen - Seven Seas - 2011
folkcaz denen şey baya handikaplı bir mevzu. genelde tam bir ayar tutturamama söz konusu oluyor nedense. ya etnik bir head yazıp standart tadında parça yapmak gibi abuk, ya da folk bir parçayı alakasız eğreti jazzy sololarla süslemek kadar subuk bir şey oluyor benim anladığım. bu dediklerimin hiçbiri bu albüm için geçerli değil kesinlikle. zaten albüm bunları sorgulatmadan dinletiyor kendini. orta doğu ruhunu muazzam bir şekilde temsil eden bir kayıt. yerel hissiyatların bu kadar başarılı bir şekilde modern formlarla evrensel notalara dökülebilmiş olması gerçekten heyecan verici. sanırım bir müzisyene karşı bende en çok saygı uyandıran şey de bu, yani evrensel olanı bilme ve kendini ait hissettiğin toprakları, kültürü, kimliği onun üzerinden anlatabiliyor olma, bunu bir gerek olarak görme hali. her ne kadar bambaşka hissiyatları temsil etseler de, anlatım ve form olarak iskandinav cazıyla benzeştirebileceğim bir albüm. gerçekten çok başarılı. üç beş aydır elimde olmasına rağmen hâla her seferinde hayranlıkla dinlediğim bir kayıt. özellikle şu sıralar benim için duygusal olarak çok fazla şey ifade eden bir albüm.
avishai cohen israil kibbutzlarından gelme. müzikal bir ortamda yetişmiş. 92de new yorka yerleşmesiyle beraber uluslararası kariyerinin ilk adımını atar. 96da chick corea tarafından o zamanki sexteti origin'e davet edilmesi ve 2003e kadar süren chick corea serüveninin ardından tamamen kendi işlerine yoğunlaşmış durumda. geçtiğimiz onüç senede oniki albüm çıkaracak kadar da üretken bir besteci. modern cazı yeniden tarifleyebilen çağdaş bir müzisyen. an itibariyle zaten dünyanın en kendine has müzisyenlerinden biri olduğu bilinmekte.
seven seas bu kış yayınlandı, son albümü. kesinlikle öneriyorum. about a tree ve two roses favorilerim, dinlediğinizde sanki bu şarkıları önceden de dinlemişsiniz gibi hissediceksiniz. müzikal olarak ortak duyguları anlatıyor. halah inanılmaz, sonundaki sax solo net olmuş. ani aff'taki üflemeli partisyonları çok avant-garde. adam gerçekten yapmış ya doğu-batı sentezini. alkışlıyoruz.
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