Tag Archives: Jack DeJohnette

Jackie McLean – Combined Effort (1966)

by

0

Combined Effort is the seventh track on the album Jacknife by Jackie McLean.

Jacknife is an album by American saxophonist Jackie McLean. It actually comprises two volumes, one recorded in 1965 and the other in 1966. They were originally given the catalogue number of BLP 4223 and BLP 4236, but were shelved for ten years and issued together in 1975 as a double LP, with the number BN-LA457-H2.  Whilst the 1965 tracks were released on a limited edition CD in 2002, those from 1966 have never been released singularly; however, they can be found on the four-disc Mosaic compilation The Complete Blue Note 1964 – 66 Jackie McLean Session, which was limited to 5,000 copies. [source]

Line up:
Jackie McLean – Alto Saxophone
Larry Willis – Piano
Don Moore - Bass
Jack DeJohnette – Drums

Combined Effort is recorded on April 18, 1966.

 

R-1251632-1308164696

Miles Davis – On the Corner (1972) (Full Album)

by

0

On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released later that year on Columbia Records. It was scorned by critics at the time of its release and was one of Davis’s worst-selling recordings. Its critical standing has improved dramatically with the passage of time, as it is now seen as a strong forerunner of the musical techniques of post punk, hip hop, drum and bass, and electronic music. [source]

I didn’t discover that until ten years ago but I love the grooves on it and it’s interesting in that there’s no melodies. It’s sounds like electronic music, except it has the fortunate aspect of being played by humans. It’s influenced obviously by James Brown, one of my favourite artists. James Brown is like the Bach of modern music, a fantastic composer, so complicated and yet so much below the hips as well. I love On the Corner because it’s kind of abstract but also so compulsive. I guess it’s uncharacteristic for Miles, and it caused a lot of controversy at the time. I’m not so fond of, say, Bitches Brew, with the electric guitar, but I also love Sketches of Spain, with the great arranger, Gil Evans, who also did Out Of The Cool. I like really arranged and cinematic jazz. That’s enough on that one! [source]

All songs written by Miles Davis: A1, On the Corner; New York Girl; Thinkin’ One Thing and Doin’ Another; Vote for Miles – 20:02 / A2, Black Satin – 5:20 / B1, One and One” – 6:09 / B2, Helen Butte; Mr. Freedom X – 23:18

Musicians
Miles Davis – Electric Trumpet with wah-wah
Dave Liebman – Soprano Saxophone (A2)
Carlos Garnett – Soprano and Tenor Saxophone (B1, B2)
Chick Corea – Electric Piano (A1)
Herbie Hancock – Electric Piano, Synthesizer
Harold I. Williams – Organ, Synthesizer
Lonnie Liston Smith – Organ (B2)
David Creamer – Electric guitar (A2, B1, B2)
John McLaughlin – Electric Guitar (A1)
Michael Henderson – Electric Bass with Wah Wah
Collin Walcott – Electric Sitar (A1, B1, B2)
Khalil Balakrishna - Electric Sitar (A2)
Bennie Maupin – Bass Clarinet (B1)
Badal Roy – Tabla
Jack DeJohnette – Drums
Billy Cobham – Drums
Al Foster – Drums
Jabali Billy Hart – Drums, Bongos
James “Mtume” Foreman – Percussion
Don Alias – Percussion
Paul Buckmaster – Cello, Arrangements

 

 

Miles Davis – What I Say (1970)

by

0

What I Say is the first track on side B on the double album Live-Evil by Miles Davis. Much of the record (including What I Say) was recorded live at the Washington D. C. -based nightclub The Cellar Door, December, 1970 and the rest was recorded in Columbia´s Studio B, February, 1970.

Davis had originally intended the album to be a spiritual successor to Bitches Brew, but this idea was abandoned when it became obvious that Live-Evil was “something completely different”.[source]

This particular sextet was together for just under a year, from November 1970 to July 1971, when Moreira and DeJohnette left, and has until now been undocumented on official releases. It could hitherto only be heard on Davis’ classic 1971 album Live-Evil, but in altered form: guitarist John McLaughlin was added for the December 19, 1970, performance, which dramatically changed the sound of the band. [read more]

Miles Davis (Trumpet + Wah Wah)

Gary Bartz (Soprano, Alto Sax)

Keith Jarrett (Keyboard, Organ)

Jack DeJohnette (Drums)

Michael Henderson (Bass)

Airto Moreira (Percussion)

 

 

Wayne Shorter – More Than Human (1969)

by

0

More Than Human is the last track on Wayne Shorters album Super Nova, recorded in 1969 and released on the Blue Note label.

It was the summer of 1969, flower power was in the air, conventional hard bop was in serious trouble, and Wayne Shorter wrought the hipfest Super Nova in the company of a gaggle of guitarists and percussionists. Super Nova , while typical in many ways of jazz in 1969, is by no means the average Blue Note session or the average Wayne Shorter album, but it has its charms. [source]

All compositions by Wayne Shorter except as indicated.

1. “Supernova” (4:52), 2.”Sweet Pea” (4:36), 3. ”Dindi” (Jobim) (9:35), 4.”Water Babies” (4:53), 5. ”Capricorn” (7:47), 6. ”More Than Human” (6:12)

Wayne Shorter – Soprano Saxophone / John McLaughlin – Acoutsic Guitar, Electric Guitar (1, 2, 4, 5) / Sonny Sharrock – Electric Guitar / Miroslav Vitous – Bass / Jack DeJohnette – Drums, Thumb Piano / Chick Corea – Drums, Keyboards, Vibes / Airto Moreira – Percussion / Walter Booker – Acoustic Guitar (3) / Maria Booker – Vocals (3)

 

Joe Henderson – Power To The People (1969)

by

0

Power to the People is the Title track of the album by jazz saxophonist Joe Henderson, released on Milestone in 1969, his first to feature an electric instrument.

This 1969 release finds Henderson with a near perfect rhythm section. It features imaginative compositions that easily make it a highlight of the accomplished musician’s career.

Power to the People is an appropriate title for a session filled with the sense of urgency and charisma found here. [source]

All pieces by Joe Henderson, unless otherwise noted.

1: Black Narcissus (4:50)
2: Afro-Centric (7:00)
3: Opus One-Point-Five (Ron Carter) (4:56)
4: Isotope (4:53)
5: Power to the People (8:42)
6: Lazy Afternoon (Moross, Latouche) (4:33)
7: Foresight and Afterthought (An Impromptu Suite in Three Movements) (7:33)

 

Joe Henderson – Tenor Saxophone
Mike Lawrence – Trumpet (2, 5)
Herbie Hancock – Piano (3, 4, 6), Electric Piano (1, 2, 5)
Ron Carter – Bass (Electric on 2, 5)
Jack DeJohnette – Drums