Lezzetli Duman - Anatolian Groove (1974)

 Istanbul, Turkey – 1974 – Riding high on their international success, Lezzetli Duman (a fictional band) returns with their most ambitious work yet: "Anatolian Groove", a 14-track instrumental odyssey that fuses Turkish psychedelia, funk, and Eastern mysticism. Still led by Istanbul’s five sonic alchemists—Haluk "Ateş" Demirci (lead guitar, saz), Orhan "Duman" Yılmaz (rhythm guitar, keyboards), Cemal "Gece" Arslan (keyboards, percussion), Mehmet "Kara" Kaya (bass), and Yusuf "Yel" Şahin (drums)—the album pushes boundaries while staying true to their hazy, hashish-laden roots.

Tracklist: 00:00 Ivy Shadows 02:22 Kenevir Rüzgarı 05:31 Jasmine and Smoke 09:14 Secret Garden 13:10 Opium Dream 16:46 Crimson Dawn 19:55 Büyülü Tütün 22:40 Nightflower 25:58 Altın Duman 29:28 Foggy Love 32:18 Lale ve Esrar 35:37 Dark Alleys 38:28 Eternal Bliss 41:38 Under the Stars

Lezzetli Duman - Lezzetli Duman (1973)

 Istanbul, Turkey – 1973 – Emerging from the smoky backstreets of Istanbul, Lezzetli Duman (a fictional band) ignites the Anatolian rock scene with their self-titled debut album—a hypnotic fusion of prog rock, psychedelic grooves, traditional Turkish folk, and electrifying improvisation. Composed of five virtuosos—Haluk Demirci (lead guitar, saz), Orhan Yılmaz (rhythm guitar, keyboards), Cemal Arslan (keyboards, percussion), Mehmet Kaya (bass), and Yusuf Şahin (drums)—the band weaves a sonic tapestry as intoxicating as the hashish dens that inspired their sound.

Tracklist: 00:00 Dumanlı Geceler 03:26 Esrar Dansı 05:44 Büyülü Duman 08:16 Kıvılcım Kadın 11:50 Ay Işığında Nargile 17:17 Sisli Hayaller 22:58 Karanfil ve Esrar 26:59 Gizli Bahçe 31:54 Sonsuz Duman

Lezzetli Duman - Tasty Smoke (1974)

 Istanbul, Turkey – 1974 – Following their cult-classic debut, Lezzetli Duman (a fictional band) ignites the global psychedelic scene with their sophomore album, "Tasty Smoke"—a bold fusion of Anatolian mysticism and Western rock ambition. Still rooted in Istanbul’s underground haze, the band’s five visionaries—Haluk "Ateş" Demirci (lead guitar, saz), Orhan "Duman" Yılmaz (rhythm guitar, keyboards), Cemal "Gece" Arslan (keyboards, percussion), Mehmet "Kara" Kaya (bass), and Yusuf "Yel" Şahin (drums)—expand their sound into hypnotic jams, funky grooves, and smoking hot instrumentals.

Tracklist: 00:00 Flying Smoke 03:53 Green Dreams 06:26 Nightbird 09:26 Thick Cigarette 12:08 Ayşe’s Garden 15:18 Mist and Fire 17:21 Golden Hookah 20:42 Enchanted Woman 23:39 Stardust 27:10 Endless Road

EKATHE - 1686

 Ekathé is an Argentine Jazz Fusion musician who is a true master of his instrument. He easily transports the listener on a musical trip through the alluring worlds of jazz with his captivating melodies and sophisticated improvisations. Ekathé's music is a fusion of jazz with elements of rock, funk, and Latin rhythms. He is renowned for his ability to flawlessly integrate numerous genres and styles.

 https://www.viberate.com/artist/ekathe/

00:00 04:36 LANCHERO 04:36 07:42 FRUTERIA 07:42 10:34 FIJI (Pablito's dream) 10:34 15:47 KALUA 15:47 20:48 SIN HABLAR 20:48 24:56 LA PACIENCIA 24:56 28:29 DESENCUENTRO 28:29 33:10 NIÑOS GALAXY Ekathe es: Javier Muller - Saxo alto Nicolas Pons - Teclados Tomas Torres - Guitarra eléctrica Pablo Barone - Bajo eléctrico Ivan Marcori - Batería

C̤o̤l̤o̤sseum II--E̤l̤e̤c̤tric Sav̤a̤g̤e̤ 1977

 Colosseum II was a British progressive jazz-rock band formed in 1975 by former Colosseum drummer and bandleader Jon Hiseman, which featured guitarist Gary Moore.

History

Following the demise of his previous band, Tempest, Hiseman announced his plan for a new, as yet unnamed, outfit in November 1974, but only Moore was named as a member. Rehearsals were due to begin on 1 January 1975 but a permanent line-up was not finalised until May 1975. Among the musicians considered were singer Graham Bell, keyboardist Duncan Mackay and former Colosseum and Tempest bassist Mark Clarke. The line-up was eventually completed by singer Mike Starrs, keyboardist Don Airey and bassist Neil Murray. The band was oriented toward jazz fusion, much of which was driven by the guitar work of Moore, leading to a much heavier sound than the original Colosseum. 1. Put It This Way (Gary Moore) (00:00) 2. All Skin And (Gary Moore, John Hiseman) (05:00) 3. Rivers (Gary Moore, John Hiseman) (08:49) 4. The Scorch (Gary Moore) (14:41) 5. Lament (Gary Moore, John Hiseman) (20:47) 6. Desperado (Gary Moore, John Hiseman) (25:30) 7. Am I (Don Airey) (31:30) 8. Intergalactic Strut (Don Airey)(35:51)

Colosseum II - Strange New Flesh (1976)

 Colosseum II was a British progressive jazz-rock band formed in 1975 by former Colosseum drummer and bandleader Jon Hiseman, which featured guitarist Gary Moore.

History

Following the demise of his previous band, Tempest, Hiseman announced his plan for a new, as yet unnamed, outfit in November 1974, but only Moore was named as a member. Rehearsals were due to begin on 1 January 1975 but a permanent line-up was not finalised until May 1975. Among the musicians considered were singer Graham Bell, keyboardist Duncan Mackay and former Colosseum and Tempest bassist Mark Clarke. The line-up was eventually completed by singer Mike Starrs, keyboardist Don Airey and bassist Neil Murray. The band was oriented toward jazz fusion, much of which was driven by the guitar work of Moore, leading to a much heavier sound than the original Colosseum.

After disappointing sales of their first album, Strange New Flesh, Murray left and Starrs was sacked in July 1976. They continued with a new record label and a new bass player, John Mole, and recorded two further, largely instrumental, but still commercially unsuccessful albums. They also performed on Variations with Andrew Lloyd Webber, which also featured Julian Lloyd Webber on cello, Rod Argent on keyboards and Hiseman's wife, Barbara Thompson, on flute and sax. This album reached number 2 on the UK charts in early 1978.

In August of that year, Moore left to rejoin Thin Lizzy for a fourth spell, and Airey's brother Keith Airey replaced him on guitar. Plans for a fourth album fell through when Don Airey decided to join Rainbow in December 1978.

Tracks: – 00:00 - 01. Dark Side Of The Moog (Don Airey/Gary Moore) – 06:17 - 02. Down To You (Joni Mitchell) – 15:20 - 03. Gemini And Leo (Gary Moore/Jon Hiseman) – 20:07 - 04. Secret Places (Gary Moore/Jon Hiseman) – 24:03 - 05. On Second Thoughts (Gary Moore) – 31:27 - 06. Winds (Gary Moore/Jon Hiseman) Personnel: - Mike Starrs - vocals - Gary Moore - guitars, vocals - Don Airey - Fender Rhodes piano, Steinway grand piano, ARP Odyssey, minimoog, ARP Solina synthesizers, Hammond organ, clavinet - Neil Murray - bass - Jon Hiseman - Rodgers drums, tympani, cymbals, gongs

Embryo - Steig Aus (1973)

 Embryo is, basically, the project of drummer/percussionist Christian Bruchard joining forces with whoever happens to be in the ensemble at the moment. "Steig Aus" is the band's fourth effort, and definitely one of their masterworks: you can clearly tell that the band is well rooted in its fusion-rock leanings, and that means that the psychedelic factor has only become an adorning ingredient after being half part of the band's nuclear sound for the first two albums. The band's sound is harsh and mysterious, in a way related to the rough approach pursed by many krautrock bands, but that's where the similarities with the peculiar German psychedelic prog movement ends. The swing of American-inspired jazz-rock and the vibe of standardiez funky bear a heavy presence as catalyzers of the various exotic sources that the compositions take inspiration from. The jamming is continuous and the display of energy is very solid, in both the explicit and introvertive passages of the repertoire.

01 Radio Marrakesch-Orient Express (0:00) 02 Dreaming Girls (9:50) 03 Call: - Call, Pt. 1 -Organ Walk -Marimba Village -Lost Violin -Call, Pt. 2 (20:25)

Rabih Abou-Khalil – Al-Jadida (1991 - Album)

 Rabih Abou-Khalil (Arabic: ربيع أبو خليل, born August 17, 1957)^[1] is an oud player and composer born in Lebanon, who combines elements of Arabic music with jazz, classical music, and other styles. He grew up in Beirut and moved to Munich, Germany, during the Lebanese Civil War in 1978.^[2]

 Al-Jadida is an album by the Lebanese oud player and composer Rabih Abou-Khalil, fusing traditional Arab music with jazz, which was recorded in 1990 and released on the Enja label the following year.^[1][2]

Reception

Professional ratings

Review scores
Source	Rating
AllMusic	[3]

The AllMusic review by Ron Wynn stated "Rabih Abou-Khalil, among the rare Arabic musicians who have recorded and played extensively with jazz musicians, successfully navigates the middle ground between traditional North African sounds and hard bop. Besides the leader's oud and flute, alto saxophonist Sonny Fortune provides the blues bite; bassist Glen Moore, the rhythmic connection, and percussionists Ramesh Shotham and Nabil Khaiat, provide the African seasoning".^[3]

Tracklist: [00:00] 1. Catania [07:44] 2. Nashwa [17:22] 3. An Evening With Jerry [24:26] 4 . When The Lights Go Out [31:40] 5. Storyteller [40:32] 6. Ornette Never Sleeps [44:36] 7. Nadim [54:15] 8. Wishing Well Credits: Alto Saxophone – Sonny Fortune Bass – Glen Moore Drum [South Indian Drums], Percussion – Ramesh Shotham Frame Drum [Frame Drums], Percussion – Nabil Khaiat Oud, Composed By [Compositions By], Producer, Cover, Design [Cover Design By] – Rabih Abou-Khalil Photography By – Ralph Weber Copyright © – Enja Records Matthias Winckelmann GmbH

Miles Davis- In a Silent Way

 Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major stylistic developments in jazz.^[1]

Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at Juilliard in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival, he signed a long-term contract with Columbia Records, and recorded the album 'Round About Midnight in 1955.^[2] It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959).^[3] The latter recording remains one of the most popular jazz albums of all time,^[4] having sold over five million copies in the U.S.

In a Silent Way · Miles Davis In A Silent Way ℗ Originally released 1969. All rights reserved by Columbia Records, a division of Sony Music Entertainment Released on: 1969-07-30 Composer, Lyricist: J. Zawinul Composer, Lyricist: Miles Davis Soloist, Soprano Saxophone: Wayne Shorter Piano: Chick Corea Piano: Herbie Hancock Electric Guitar, Soloist: John McLaughlin Organ: Josef Zawinul Bass: Dave Holland Producer: Teo Macero Drums: Tony Williams

Phil Woods - Greek Cooking (1967)

 

Woods was born in Springfield, Massachusetts.^[1] After inheriting a saxophone at age 12, he began taking lessons at a local music shop. His heroes on the alto saxophone included Benny Carter and Johnny Hodges. He studied music with Lennie Tristano at the Manhattan School of Music and at the Juilliard School.^[1] His friend, Joe Lopes, coached him on clarinet as there was no saxophone major at Juilliard at the time and received a bachelor’s degree in 1952. Although he did not copy Charlie Parker, Woods was known as the New Bird, a nickname also given to other alto saxophone players such as Sonny Stitt and Cannonball Adderley.

In the 1950s, Woods began to lead his own bands. Quincy Jones invited him to accompany Dizzy Gillespie on a world tour sponsored by the U.S. State Department. A few years later he toured Europe with Jones, and in 1962 he toured Russia with Benny Goodman.^[3]

After moving to France in 1968, Woods led the European Rhythm Machine, a group which tended toward avant-garde jazz.^[1] He returned to the United States in 1972 and, after an unsuccessful attempt to establish an electronic group, he formed a quintet^[1] which was still performing, with some changes of personnel, in 2004. As his theme, Woods used a piece titled "How's Your Mama?"

Woods earned the top alto sax player award almost 30 times in DownBeat magazine's annual readers' poll. His quintet was awarded the top small combo title several times.^[3]

In 1979, Woods recorded the album More Live at Armadillo World Headquarters in Austin, Texas. Perhaps his best known recorded work as a sideman is a pop piece, his alto sax solo on Billy Joel's 1977 "Just the Way You Are".^[1] He also played the alto sax solo on Steely Dan's "Doctor Wu" from their 1975 album Katy Lied,^[4] as well as Paul Simon's "Have a Good Time" from the 1975 album Still Crazy After All These Years.^[5]

 

Although Woods was primarily a saxophonist, he was also a clarinet player and solos can be found scattered through his recordings. One particular example is his clarinet solo on "Misirlou" on the compilation album, Into the Woods.^[6]

Woods, along with Rick Chamberlain and Ed Joubert, founded the organization Celebration of the Arts (COTA) in 1978 late one night in the bar at the Deer Head Inn in Delaware Water Gap. The organization would eventually become the Delaware Water Gap Celebration of the Arts. Their initial goal was to help foster an appreciation of jazz and its relationship to other artistic disciplines. Each year, the organization hosts the Celebration of the Arts Festival in the town of Delaware Water Gap in September.

In 2005, Jazzed Media released the documentary Phil Woods: A Life in E Flat – Portrait of a Jazz Legend, directed by Rich Lerner and produced by Graham Carter.^[7]

Woods was married to Chan Parker, the common-law wife of Charlie Parker, for seventeen years and was the stepfather to Chan's daughter, Kim.^[3] On September 4, 2015, he performed a tribute to Charlie Parker with Strings at the Manchester Craftsmen's Guild and announced at the end of the show that he would be retiring. He died a little more than three weeks later of emphysema on September 29, 2015, at the age of 83.^[2]

Woods in 1983

Although Woods was primarily a saxophonist, he was also a clarinet player and solos can be found scattered through his recordings. One particular example is his clarinet solo on "Misirlou" on the compilation album, Into the Woods.^[6]

Woods, along with Rick Chamberlain and Ed Joubert, founded the organization Celebration of the Arts (COTA) in 1978 late one night in the bar at the Deer Head Inn in Delaware Water Gap. The organization would eventually become the Delaware Water Gap Celebration of the Arts. Their initial goal was to help foster an appreciation of jazz and its relationship to other artistic disciplines. Each year, the organization hosts the Celebration of the Arts Festival in the town of Delaware Water Gap in September.

In 2005, Jazzed Media released the documentary Phil Woods: A Life in E Flat – Portrait of a Jazz Legend, directed by Rich Lerner and produced by Graham Carter.^[7]

Woods was married to Chan Parker, the common-law wife of Charlie Parker, for seventeen years and was the stepfather to Chan's daughter, Kim.^[3] On September 4, 2015, he performed a tribute to Charlie Parker with Strings at the Manchester Craftsmen's Guild and announced at the end of the show that he would be retiring. He died a little more than three weeks later of emphysema on September 29, 2015, at the age of 83.^[2]

Accordion (Accordian) – William Costa Bass (Fender) – Chet Amsterdam Clarinet – Souren Baronian Drums – Bill Lavorgna Drums (Dumbeg) – John Yalenezian Guitar – Stuart Scharf Lute (Buzukie) – Iordanis Tsomidis Marimba – William Costa Oud – George Mgrdichian Percussion – Seymour Salzberg Percussion (Cymbals) – Souren Baronian Saxophone – Phil Woods Arranged By – Norman Gold Producer – Bob Thiele A1 Zorba The Greek 0:00 A2 A Taste Of Honey 3:08 A3 Theme From Anthony & Cleopatra 8:56 A4 Got A Feelin' 13:50 B1 Theme From Simon & Dililah 18:17 B2 Greek Cooking 23:32 B3 Nica 28:33

 Σε μια εποχή σαν τη σημερινή όπου παντρεύεται το λαϊκό τραγούδι μιας χώρας με το ροκ ή την τζαζ, μπορεί να είναι πολύ συνηθισμένο αν όχι επιβεβλημένο. Ομως, το 1960, όταν ο Ιορδάνης Τσομίδης αυτοσχεδίαζε παρέα με έναν από τους καλύτερους Αμερικανούς τζαζίστες, τον Φιλ Γουντς, τέτοιες συνεργασίες ανήκαν σε μια τολμηρή πρωτοπορία.

«Το παίξιμο του Ιορδάνη κατά τη γνώμη μου χαρακτηρίζεται από μια μοναδική γλυκύτητα και ένα συνεχή αυτοσχεδιασμό. Ποτέ δεν παίζει με τον ίδιο τρόπο ένα τραγούδι. Κάθε φορά τού βάζει άλλο ταξίμι, το χρωματίζει διαφορετικά». Ο Γρηγόρης Φαληρέας, σε ένα γραπτό του έδωσε ακριβώς τα στοιχεία που ξεχώρισαν τον Τσομίδη από άλλους συναδέλφους του. Στο κάτω κάτω τον γνώριζε καλά αφού το 1984 προετοίμασε την έκδοση «Τα ταξίμια του Ιορδάνη». «Το πρόγραμμα που έβγαζε δεν είχε πρόγραμμα, γιατί αφηνόταν στη διάθεση της βραδιάς…». Δεν έχει σχέση «με τα υπεροργανωμένα προγράμματα που παρουσιάζονται σε άλλα μαγαζιά. Εκεί δεν αφήνουν τους μουσικούς να αυτοσχεδιάσουν ανάλογα με τη διάθεσή τους. Τους υποχρεώνουν να παίζουν προκαθορισμένα με γνώμονα την εξυπηρέτηση των τραγουδιστών, οι οποίοι άλλωστε για να το πω και καθημερινά «φέρνουν τον κόσμο και τα λεφτά» συντηρώντας μαγαζιά».

Σταθμός στην καριέρα του ήταν τα χρόνια της Αμερικής και οι ηχογραφήσεις του με Αμερικανούς τζαζίστες. Ο Ιορδάνης από την Κοκκινιά, όπως μας πληροφόρησε ο Γρ. Φαληρέας έχει κυκλοφορήσει τουλάχιστον οκτώ δίσκους στην Αμερική, τη Γερμανία, και την Ολλανδία. Οπως ο δίσκος με τον Phill Woods. το Greek Cooking της Impulse ΑS-9143.

Γεννημένος το 1933 στην Κοκκινιά όπου εργαζόταν ο πατέρας του ως υποδηματοποιός, έδειξε από μικρός την κλίση του. Στα 12 του χρόνια έμαθε μπουζούκι και βιολί και ένα χρόνο αργότερα «άρχισε να παραδίδει μαθήματα σε πιτσιρικάδες». Στην Αμερική έπαιξε για 15 χρόνια σε ελληνικά μαγαζιά και «έκανε παρέα με τον Τζακ Νίκολσον, την Σίρλει Μακ Λέιν, την Τζέιν Φόντα και άλλους διάσημους».

kathimerini.gr

Mode Plagal Τα παιδιά της γειτονιάς σου /Afrobaiduska (Live)

 

Mode Plagal is an originally Greek group who perform traditional Greek music blended with jazz, funk and other international styles.^[1] They have been described as "the preeminent ambassadors of the much-maligned vernacular Greek music in the 21st century"^[2]

The Athens-based band was formed in 1990 by Thodoris Rellos (saxophone, vocals), Kleon Antoniou (guitar, vocals) and Takis Kanellos (drums). They were joined in 1995 by Antonis Maratos (originally percussion, later bass); in 1997 by Angelos Polychronou (percussion); and in 2000 by Florian Mikuta (keyboards).^[3] After two albums of instrumental music, Mode Plagal and Mode Plagal II, they added vocals for their third album, Mode Plagal III. In 2002, they collaborated with Turkish group Bosphorus, led by composer Nikiforos Metaxas, to record the album Του Βόσπορου Το Πέρα ("Beyond the Bosphorus").^[4][5]

Critic Fiachra Gibbons wrote of Mode Plagal: "On first hearing, they are a driving, straightahead jazz-funk outfit. Listen longer and the restless Greek spirit, audible in the transcendent sax of Thodoris Rellos, becomes evident, drawing from rembetika - the Greek blues - and the dance music of the Balkans, Thrace, Asia Minor and all points east."^[6]

In 2008, they released the album Η Κάθοδος Των Σαλτιμπάγκων, recorded with Cretan band Hainides, and in 2010 they released Στην Κοιλιά Του Κήτους. In 2014, they released Πέρα Από Τα Σύνορα, a collaboration with Hainides and the musician Psarantonis (Antonis Xylouris).^[7]

 

Steve Grossman – Terra Firma (1977)

 

Steven Mark Grossman (January 18, 1951 – August 13, 2020) was an American jazz fusion and hard bop saxophonist.^[1]

Grossman was Wayne Shorter's replacement in Miles Davis's jazz-fusion band.^[2] He played with Chick Corea on the album "The Sun" in 1970, then, from 1971 to 1973, he was in Elvin Jones's band.^[2]

In the late 1970s, he was part of the Stone Alliance trio with Don Alias and Gene Perla.^[2] The group released four albums during this period, including one featuring Brazilian trumpeter Márcio Montarroyos. The albums also feature an array of other musicians. They went on to release three live reunion albums during the 2000s.^[3]

00:00 - 06:38 01.+ Katonah 06:38 - 11:07 02.+ In It 11:07 - 14:38 03. 37 Willoughby Place 14:38 - 18:00 04. Enya 18:00 - 24:51 05. Inmate Man 24:51 - 28:04 06. Relentless Lady Guitar – Don Alias Keyboards – Gene Perla Written-By – Gene Perla 28:04 - 31:33 07. This Way Out 

 Electric Bass, Engineer, Producer – Gene Perla Electric Piano, Synthesizer – Jan Hammer Percussion – Don Alias Tenor Saxophone – Steve Grossman Recorded At – Red Gate Studio

Jim McNeely – The Plot Thickens (1979)

 Jim McNeely (born May 18, 1949) is a jazz pianist, composer, arranger and faculty. 

 Jim McNeely was born in Chicago, Illinois. He earned a Bachelor of Music degree from the University of Illinois, and moved to New York City in 1975. In 1978, he joined the Thad Jones/Mel Lewis Big Band. He spent six years as a featured soloist with that band and its successor, Mel Lewis and the Jazz Orchestra (now the Vanguard Jazz Orchestra).

00:00 - 09:23 01 the plot thickens 09:23 - 12:42 02 the light at the end of the cave 12:42 - 19:03 03 burgundy and the virgin snow 19:03 - 25:20 04 inner ear 25:20 - 37:48 05 chelsea litany_feng liu 37:48 - 40:28 06 chelsea litany (piano solo) 40:28 - 50:26 07 the plot thickens (alt. take) 

 Bass – Jon Burr, Mike Richmond (tracks: A1, B3) Drums – Billy Hart Engineer, Mixed By, Mastered By – Rudy Van Gelder Guitar – John Scofield (tracks: A1, B3) Liner Notes – David Feinman, Leslie Ladd* Photography By – Deborah Feingold Piano, Composed By – Jim McNeely

 Producer, Artwork [Portrait Of Jim McNeely], Design [Album] – David Feinman Recorded May 4 and June 27, 1979.

Pharoah Sanders Live at Jazz Cafe London 2011

 Pharoah Sanders (born Ferrell Lee Sanders; October 13, 1940 – September 24, 2022) was an American jazz saxophonist. Known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound", Sanders played a prominent role in the development of free jazz and spiritual jazz through his work as a member of John Coltrane's groups in the mid-1960s, and later through his solo work. He released over thirty albums as a leader and collaborated extensively with vocalist Leon Thomas and pianist Alice Coltrane, among many others. Fellow saxophonist Ornette Coleman once described him as "probably the best tenor player in the world".^[1]

Sanders' take on “spiritual jazz” was rooted in his inspiration from religious concepts such as Karma and Tawhid, and his rich, meditative performance aesthetic.^[2] This style was seen as a continuation of Coltrane's work on albums such as A Love Supreme.^[3] As a result, Sanders was considered to have been a disciple of Coltrane or, as Albert Ayler said, "Trane was the Father, Pharoah was the Son, I am the Holy Ghost".^[4]

Pharoah Sanders - tenor sax William Henderson - piano Antoine Banville - drums Miles Danso - bass Recorded live at Jazz Cafe London, 08 December, 2011

Billy Cobham: STRATUS - 2016

 William C. Cobham was born May 16, 1944, in Panama, where as a very young child he became fascinated with the percussion instruments his cousins played. When Cobham was three, his family moved to New York City, and at age eight he made his performance debut with his father. He honed his percussion skills in a drum-and-bugle corps outfit called the St. Catherine's Queensmen, and attended New York's prestigious High School of Music and Art, graduating in 1962. From 1965 to 1968, he served as a percussionist in the U.S. Army Band, and after his release, he was hired as the new drummer in hard bop pianist Horace Silver's band. Cobham toured the U.S. and Europe with Silver in 1968, and also moonlighted with Stanley Turrentine, Shirley Scott, and George Benson. After eight months with Silver, Cobham departed to join the early jazz-rock combo Dreams in 1969, which also featured the Brecker brothers and guitarist John Abercrombie. From there, he landed a job in Miles Davis' new fusion ensemble, and played a small part in the seminal Bitches Brew sessions; he also appeared more prominently on several other Davis albums of the time, including more aggressive classics like Live-Evil and A Tribute to Jack Johnson. 

Cobham and guitarist John McLaughlin split off from Davis' group to pursue a harder rocking brand of fusion in the Mahavishnu Orchestra, which debuted in 1971 with the seminal The Inner Mounting Flame. With Mahavishnu, Cobham's fiery intensity was given its fullest airing yet, and his extraordinary technique influenced not only countless fusioneers in his wake, but also quite a few prog rock drummers who were aiming for similarly challenging musical territory. The 1972 follow-up Birds of Fire cemented his reputation, and by this time he had also become something of an unofficial in-house drummer for Creed Taylor's CTI label, known for a smoother, more polished style of fusion; here Cobham backed musicians like George Benson, Stanley Turrentine, Freddie Hubbard, Hubert Laws, and Grover Washington, Jr. Unfortunately, the volatile group chemistry that made Mahavishnu's recordings so exciting also carried over into real life and the original lineup disbanded in 1973. 

Deciding to make a go of it on his own, Cobham formed his own band, Spectrum (which initially featured ex-Mahavishnu cohort Jan Hammer on keyboards), and signed with Atlantic. His debut as a leader, also called Spectrum, was released in 1973, showcasing an exciting blend of jazz, funk, and rock that benefited from the presence of guitarists John Scofield and Tommy Bolin (the latter better known for his rock recordings); it also found Cobham experimenting a bit with electronic percussion. Spectrum is still generally acknowledged as the high point of Cobham's solo career, and holds up quite well today. Cobham followed Spectrum with a series of LPs on Atlantic that, like fusion itself, grew increasingly smoother and more commercial as the '70s wore on. For his second album, 1974's Crosswinds, ex-Dreams mate John Abercrombie joined the band, as did keyboardist George Duke, who would become a frequent Cobham collaborator over the years; that same year's performance at Montreux produced the live Shabazz. After Total Eclipse, Cobham moved more explicitly into commercial jazz-funk with 1975's A Funky Thide of Sings, which featured an expanded horn section. He pared the group back down for the improved Life and Times in 1976, and also played Montreux again, in tandem with Duke.

Billy Cobham & Band - Leverkusener Jazztage 2016 Jean-Marie Ecay - Christian Galvez - Steve Hamilton - Camelia Ben Naceur .More Billy Cobham on Drummerworld: https://www.drummerworld.com/drummers... 

 Generally acclaimed as fusion's greatest drummer, Billy Cobham's explosive technique powered some of the genre's most important early recordings -- including groundbreaking efforts by Miles Davis and the Mahavishnu Orchestra -- before he became an accomplished bandleader in his own right. At his best, Cobham harnessed his amazing dexterity into thundering, high-octane hybrids of jazz complexity and rock & roll aggression. 

He was capable of subtler, funkier grooves on the one hand, and awe-inspiring solo improvisations on the other; in fact, his technical virtuosity was such that his flash could sometimes overwhelm his music. After debuting as a leader with the classic Spectrum in 1973, Cobham spent most of fusion's glory days recording for Atlantic; briefer stints on CBS, Elektra, and GRP followed, and by the mid-'80s, Cobham was de-emphasizing his own bands in favor of session and sideman work. Even so, he continued to record for various small labels with some regularity.

Harvey Mason, "Footprints" (Wayne Shorter) Ft. Hailey Niswanger

 Harvey William Mason Sr. (born February 22, 1947)^[1] is an American jazz drummer, record producer, and member of the band Fourplay. Mason was born and grew up in Atlantic City, New Jersey, United States,^[1] and attended Atlantic City High School.^[2] Mason, who attended Berklee in the 1960s, received an Honorary Doctorate at Berklee's 2015 Commencement Ceremony for his achievement and influence in music and for his enduring contributions to American and international culture.^[3]

Hailey Niswanger’s trajectory as a jazz saxophonist resembles that of a shooting star. The young musician graduated in 2011 after studying jazz performance on a full scholarship. But by that time, she had already released the album, Confeddie, that prompted jazz critic Nat Hentoff to proclaim the 19 year old as part of the future of jazz. She had won a Mary Lou Williams Women in Jazz Award in saxophone and played in a festival in Washington, D.C. after her first year at Berklee, and in 2010, she was one of 14 students chosen for the inaugural Berklee Global Jazz Institute class.

Niswanger, who was born in 1990 in Houston, Texas, and grew up in Portland, Oregon, began her studies in woodwinds before the age of 10. In her post-Berklee career, Niswanger has performed with everyone from Esperanza Spaulding to DeeDee Bridgewater to Harvey Mason to Wynton Marsalis to Christian McBride.

Wayne Shorter (born August 25, 1933) is an American jazz saxophonist and composer.^[1] Shorter came to wide prominence in the late 1950s as a member of, and eventually primary composer for, Art Blakey's Jazz Messengers. In the 1960s, he went on to join Miles Davis's Second Great Quintet, and from there he co-founded the jazz fusion band Weather Report. He has recorded over 20 albums as a bandleader.

Harvey Mason performs a variation on Wayne Shorter's "Footprints" called "The Footprint Variation" along with Hailey Niswanger at the 2014 Alumni Reunion Concert in the Berklee Performance Center. "The Footprint Variation" - (H. Mason) Harvey Mason: drums Hailey Niswanger: soprano saxophone Matt Garrison: bass Rueben Rogers: bass Jetro Da Silva: piano Jeff Lockhart: guitar Recorded Live at the Berklee Performance Center Ed Liberatore: House Sound Mariana Migliore: Lighting Zach DiMeglio: Spot Alden Marchand: Spot Matt SanGiovanni: Stage crew Justin Vining: Stage crew Steve Nichols: mixing engineer Filmed by Berklee Video Services Katerina Tolkishevskaya: Director/Switcher Eli Chess: Video Engineer Simon Benegas: camera Allegra Cramer: camera Collin Dennen: Camera Cameron Smithson: Camera Nicole Egidio: Editor

Miles Davis - In A Silent Way ( Full Album )

 Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.^[1]

................................................................ Tenor Saxophone – Wayne Shorter.... Trumpet – Miles Davis.... Bass – Dave Holland.... Drums – Tony Williams.... Electric Piano – Chick Corea, Herbie Hancock.... Electric Piano, Organ – Josef Zawinul.... Guitar – John McLaughlin.... .......................................................... Shhh / Peaceful 18:30 A1 Shhh A2 Peaceful In A Silent Way / It's About That Time 20:00 B1 In A Silent Way B2 It's About That Time .......................................................... Recorded - February 18, 1969 - CBS 30th Street Studio