His first chorus contains concise half-valve motifs and broad, questioning upper-register lines that are gems of melodic invention, endlessly memorable. Lee Morgan, "Ceora" from Cornbread : The tune is among the most inventive of the bossa nova-influenced originals in the Blue Note catalog. Morgan's trumpet solo actually deepens it with beautifully melodic, dexterously carved lines that have their own sparkling logic. Woody Shaw, "Zoltan" from Larry Young, Unity : Though his most important recordings were for other labels, trumpeter Woody Shaw made some key contributions to Blue Note — including the three originals that form the core of organist Larry Young's trailblazing Unity , not to mention blistering solos on this and several other records.
Sauntering through the broken Latin-then-swing feel of his piece "Zoltan," Shaw gathers seemingly disparate approaches — shrieking Miles-style high notes, carefully articulated mambo riffs, glib chromatic runs — into a coherent and thrilling excursion. Eddie Henderson, "Sunburst" from Sunburst : With help from some of his cohorts in the Herbie Hancock Sextet, trumpeter Eddie Henderson seeks, and finds, a fusion identity distinct from the Miles Davis approach predominant at the time.
On this record, it's a spacey psychedelic realm where bass comes with wah-wah and the tunes can wander into impressionistic lagoons. Henderson reveals several sonic identities during his solo, but what's most notable are his searching, poignantly questioning lines. Working with producer and fellow musician Bob Belden, Hagans created a soundscape of drum 'n' bass programming to blow over — as if Miles Davis had lived to hear late '90s electronica.
The Miles influence is most audible on the title track, where Hagans' spacey first salute is colored by the distinctively Milesian Harmon mute. But he returns for a workout toward the end, literally sending us off on high notes. And like many a Blakey record, it's Blanchard's young bandmates who make Flow into a landmark of mainstream modern jazz.
West African guitarist Lionel Loueke devised the theme and processed chant behind "Wadagbe. Ambrose Akinmusire, "As We Fight Willie Penrose " from the imagined savior is far easier to paint : So far, much of the music created by fast-rising trumpeter and composer Ambrose Akinmusire has looked resolutely forward, envisioning new pathways and contexts for improvisation. This piece is a touch more evolutionary: The broken feel and fitful metric twists recall Blue Note's later hard bop period, while Akinmusire's brief, agile solo blends bop linearity with decidedly modern asymmetrical phrasing.
Inspired by the tricky rhythms, he transforms his toolbox of strange leaping intervals into unexpected — and riveting — melody. But Watkins essentially founded the field, as Blue Note documented in His sextets played a highly arranged sort of chamber jazz, but were mostly accomplished soloists themselves.
On the future jazz standard "Jordu," he bends the warm yet unruly horn to his bebop will, and even plays an arpeggiated figure that recalls a future John Coltrane. Johnson, "Groovin'" from The Eminent J.
Johnson Vol. This easygoing tune, one of a series of singles recorded by gifted trombonist J. Johnson in the mid '50s, offers excellent examples. Johnson paraphrases the melody to start his excursion, launching the simple riff into blithe, crisply turned phrases.
These continue right up until the end of the chorus, when Johnson slides into some brisk double-time and lands, with purpose, on the downbeat.
When Johnson plays, even the unwieldy trombone dances. Curtis Fuller, "Locomotion" from John Coltrane, Blue Train : By simply participating in the recording of Coltrane's classic album, trombonist Fuller etched his own name on jazz history.
But his precisely articulated, technically clean approach to a difficult instrument makes him much more than a footnote. He draws the assignment of following Coltrane, and the band drops out as he begins, but then he starts cooking with easy facility and all is well. It's state-of-the-art hard bop — a crew on top of its game, with blues feeling to boot. Jimmy Smith, "It Might As Well Be Spring" from Standards : Jazz organ pioneer Jimmy Smith is a master of the blues — some of his most revered records, like Back at the Chicken Shack , are devoted to high-octane romps through the bar form and its variants.
But Smith was also an adroit interpreter of standards and show tunes, as this subtle reading of "It Might As Well Be Spring" demonstrates. Working in an unusual medium-slow tempo — a crawling tempo, actually — Smith explores sweetly melodic phrases in single time, double time and triple time, each more intricate than the previous. But rather than the greasy, sweaty feeling of some organ solos — where the keyboardist literally pulls out all the stops and sustains — this one is breezy and clear.
Perhaps that's because "Brother" McDuff takes a bit of a pianistic approach, employing lots of clean right hand runs, avoiding lots of effects and keeping a steady walking bass line.
At least on this tune, he's in keeping with the precision and reserve of Green, one of Blue Note's most frequently recorded guitarists. Larry Young, "The Moontrane" from Unity : With this energetic album, Larry Young stretched the possibilities of the jazz organ beyond hard-driving blues a Blue Note hallmark at the time.
Working through a program of challenging tunes three by trumpeter Woody Shaw , Young dives headfirst into the modal hard bop that was another label signature. His jaunty, leaping triplets and meticulously chopped block-chord voicings operate in vivid contrast to the long tones of the melody.
It suggests that Young — 25 at the time — had already developed a distinct modern jazz vocabulary. This live date, recorded in but unreleased until , finds organist Smith's band working out on the Sly Stone hit "Thank You Falettinme Be Mice Elf Agin ," giving it a distinctly funky second-line spin. Smith's solo is a clinic in the art of groove cultivation: A cagey mix of oscillating long tones, percussive jabs and roller-coaster lines.
Also worth hearing: The patient, deceptively inventive solos from guitarist George Benson and baritone saxophonist Ronnie Cuber. Tal Farlow, "Lover" from Tal Farlow Quartet : During his first solo chorus on this brisk standard, guitarist Tal Farlow attempts an impossibly ambitious eighth-note line.
It proves to be just out of his reach, and as he fumbles through a crowd of notes, the music seems seconds away from derailing completely. Farlow does not appear rattled. Instead, he keeps going, and within just eight short measures, he restores order with a blazingly fast, impressively crisp blast of bebop. It's a reminder of a truth shared by all of Blue Note's great soloists: Improvisation involves not just taking risks, but knowing how to recover when things don't work out.
Grant Green, "Joshua Fit De Battle of Jericho" from Feelin' The Spirit : One of several thematic projects Grant Green recorded in , Feelin' The Spirit stands among the guitarist's great works — in part because it makes explicit the link between African-American spirituals, a core root of American music, and jazz.
Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. The show — and this disc — ends with a bang. As with that release, Brock Avery improvised drum and percussion solos. Azure is the first of three extended play albums of compositions which will be released starting in January and followed up in April and July. Start your music shopping from All About Jazz and you'll support us in the process.
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Featured Albums. I understand that all these artist are your picks. Did you receive any recommendation from other people about those artist or these are all your own choices? The artists are all my choices. I wanted to provide as much variety, excitement and color as possible from different styles, disciplines, perspectives and locations. But with each group using jazz as the foundation for their expression.
The variety of music styles is also wider. For instance Tali Rubinstein is a recorder player and she has a classical background. On the other hand we have Timucin Sahin which is quite avant garde. Jazz has a lot of different factions, influences and levels of outreach. Membership has its privileges. Learn more. Learn more about our star rating system. Featured Albums. Premium Roman Miroshnichenko guitar. Sign in to enter Sponsored by Frank Macchia.歌曲名《I Didn't Know About You (Live)》，由 Greg Osby 演唱，收录于《Banned In New York》专辑中。《I Didn't Know About You (Live)》下载，《I Didn't Know About You (Live)》在线试听，更多相关歌曲推荐尽在网易云音乐.