Stan Getz, Gary Burton, Steve Swallow, & Roy Haynes “Scrapple From The Apple”

 

From a performance in London, England, circa 1966, it’s a jazz standard.  There are several versions of this particular tune.  Stan Getz on tenor saxophone, Gary Burton on vibraphone, Steve Swallow on bass, and Roy Haynes on drums, play Charlie “Bird” Parker’s composition “Scrapple From The Apple”.  

Casiopea "The Continental Way"

Live at Ryōgoku Kokugikan, Tokyo on April 27, 1985.  Another tune, from this particular concert.  This is "The Continental Way".

Downbeat Magazine Reader’s Poll Award Winners concert, 1975

 

For Full Concert Friday this week, the first of two editions of the Downbeat Magazine reader’s poll awards winners concerts, broadcast live on PBS on Soundstage.  The band lineup for the concert, of the award winners is as follows.

Freddie Hubbard: trumpet

Bill Watrous: trombone

Hubert Laws: flute

Sonny Rollins: tenor saxophone

Rahsaan Roland Kirk: tenor saxophone, manzello

McCoy Tyner: piano 

Chick Corea: keyboards

George Benson: guitar

Stanley Clarke: bass

Lenny White: drums

Airto Moreira: percussion 

George Benson & McCoy Tyner Quartet “Alligator Boogaloo”

 

George Benson and McCoy Tyner performing at the Munich Philharmonic circa 1989 playing the Lou Donaldson tune “Alligator Boogaloo”.  The band lineup is:

George Benson: guitar

McCoy Tyner: piano

Avery Sharpe: bass

Aaron Scott: drums

It should be noted that George Benson played guitar on the original version of this tune recorded by Lou Donaldson on alto saxophone, in 1967, as the title track to the record of the same name, released that year on Blue Note Records.  Watch the video on YouTube.  

Stanley Clarke, Chick Corea, Jean Luc Ponty, & Billy Cobham "Lopsy Lu"

 

From the 1976 Downbeat Jazz awards.  Here’s Stanley Clarke with Chick Corea, Jean Luc Ponty, and Billy Cobham playing Clarke’s composition “Lopsy Lu”.

John Scofield "Still Warm"

Yet another selection from his live 1987 performance, here is John Scofield with a tune called "Still Warm". 

Camel live on Old Grey Whistle Test

 

From two appearances on Old Grey Whistle Test, in 1973 and 1975, here is the Canterbury, England based prog rock band, Camel, a band that has been featured on the blog before, but not for a long while.  

Trey Anastasio "The Silver Light"

 

From Trey Anastasio's November 13th, 2020 concert, again at The Beacon Theater in New York City, here is a song called "The Silver Light".  

Trey Anastasio "Bounce"

 

From his October 30th, 2020 gig at The Beacon Theater in New York City, here's Trey Anastasio with the song "Bounce".  

Chick Corea Elektric Band "Chick Corea Elektric Band"

 

Yet another Full Album Friday, this time, continuing to pay tribute to the one and the only, the late, great Armando Antonio "Chick" Corea.  This is the first album, the self-titled album, by the Chick Corea Elektric Band, that was released in 1986.  The band lineup is:

Chick Corea: keyboards, (Rhodes piano, Moog synthesizer, Yamaha KX electric piano etc.), producer

John Pattitucci: electric & acoustic bass

Dave Weckl: drums & electronic drums, percussion

Carlos Rios: guitar

Scott Henderson: guitar

The track listing:

1. Rumble

2. Side Walk (feat. Carlos Rios: guitar)

3. Cool Weasel Boogie (feat. Carlos Rios: guitar)

4. Got A Match?

5. Elektric City (feat. Carlos Rios: guitar)

6. No Zone

7. King Cockroach (feat. Scott Henderson: guitar)

8. India Town

Chick Corea & The Vigil "Anna's Tango"

 

Chick & The Vigil perform Chick's tune, "Anna's Tango" at MUPA Budapest in 2015. The Vigil features Carlitos del Puerto on bass, Marcus Gilmore on the drums, Luisito Quintero on percussion, Tim Garland on the saxes, flute, and bass clarinet, and Charles Altura on the guitar.

Corea Gadd Band “Night Streets”

 

Continuing to remember Chick Corea.  Here is Chick playing with legendary drummer, Steve Gadd.  The band lineup is stellar.  Chick Corea on piano and keyboards, Steve Gadd on drums, Luisito Quintero on percussion, Lionel Loueke on guitar, Carlitos del Puerto on bass, and also, Steve Wilson on soprano saxophone and flute.  

John McLaughlin Trio "Florianapolis"

Another post from the "Live At The Royal Festival Hall" from 1989 by John McLaughlin and his trio.  Once again, the video is via Sebastian Ars Acoustica on YouTube, with synopsis and review of the song/recording by "Ricochet", and the band lineup again, is:

John McLaughlin: acoustic guitar; Photon guitar synthesizer
Kai Eckhardt: electric bass
Trilok Gurtu: percussion

Digitally recored at the Royal Festival Hall, London November 27, 1989

With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's "now" and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.

John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.

Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.

The vibes and emotions pick up from where the music is peaceful played or "sharpshooting" sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.

Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.

Review by "Ricochet" with 5 points of 5 possible points from www.progarchives.com

"Florianapolis" follows a similar musical motif to the previous piece, and again, is something listeners might really enjoy.  You'll dig it.  Trust me.

John McLaughlin Trio "Mother Tongues"

From the 1989 live record "Live at Festival Hall" here is one of two tracks that yours truly has found.  This one, is "Mother Tongues", and the trio is:

John McLaughlin: acoustic guitar, Photon guitar synthesizer
Kai Eckhardt: electric bass
Trilok Gurtu: percussion

Digitally recorded at the Royal Festival Hall, London November 27, 1989.

Here are some thoughts about this track, posted it on YouTube, Sebastian Ars Acoustica.  However, the analysis, can be attributed to someone going by the nickname "Ricochet".

What the f***? Ok we have a lot of nice live versions of the JMcL Trio, but we neeeeed the the live ones from the absolutely f***** great release "Live At The Royal Fetsival Hall". Fellas, enjoy this - this is the definition of music.... go out and buy this record to enjoy this audiophile music experience.

With John McLaughlin's Live At the Royal Festival Hall live grand album, a small token of an extensive tour he did in 1989/1990 with the JMTrio (including in a Zagreb days or weeks ahead of war), every listener gets something special prepared for him. This is actually one of my childhood jazz albums, but until recently I was way close-minded and jazz-offed as to observe how, though in a conservatory artistic way, this is a phenomenon. Maybe one only thanks to music, compared other equally flourish lives held by McLaughlin, nevertheless one definite. Searching an expression isn't exactly the big mood, since things are influenced by nothing but the masterful talent and inspiration of the artists, in front of a unpanicked experience. The last solid albums are far to remember, whether the questionable polish of a fusion bang (such as that of Music Spoken Here) or of the bits of pieces collectible, still, from the Mahavishnu straight essence; yet that counts in such a little manner. The time of this concert is fresh, it's "now" and it's for ever. The feeling, at least, is a bit more endless than the word itself is imagined.

John McLaughlin Trio featured on this tour the incredible Trilok Gurtu, par an impressionist in his percussion par an artist beyond his craft and dazzle, and Kai Eckhardt-Karpeh, a gifted soul. The trio continued music after this year, most profoundly coming the charming and aromatic release Que Alegria, a work, itself, good to light the fire and keep the jazz at a quality both traditional and spice-modern. Also playing in the album will be Dominique Di Piazza, who eventually will replace Eckhardt-Karpeh. The reason for a trio feeling, in Royal Festival Hall, is pretty much the basis for which the concert is highly successful and excellently drawn. Mirth craft by both an individual possessive interpretation and a long-forgotten strange accent, in order for the trio sound to be mystifying. In a credentialed way, Eckhardt-Karpeh doesn't have the shine of McLaughlin and Gurtu, but that doesn't change the music dramatically. The solos are, themselves, in a state of individual art and measured performance, since the detail is to captivate, barely to collapse. The trio definitely had good moments of music and jazz. But right in Royal Festival Hall, such words are pretty much simple nuances ; the records spins frantically the high impact, instead.

Interesting to note is the music's entire character, ultimate and indescribable, over a bit less granting idea that the concert is in a blissful context, or that the trio steams towards a perfect grace (in fact, the essence of the jazz art is what makes me believe so much that, except the San Francisco monument concert of McLaughlin, Di Meola and Lucia, I haven't heard a better live album with McLaughlin). Great moments acoustically happen with McLaughlin's Photon guitar, a craft hidden, of course, beneath the waves and the groove.

The vibes and emotions pick up from where the music is peaceful played or "sharpshooting" sojourned. Blue In Green, after M. Davis, is piquant, but syrupy artistic, serving a lounge music for a beginning treat. So are the next two pieces, worked after an essence by Forman, the shorter medley giving grace and power, while the other one is the example of stable art, in more or less subtle moves. Florianapolis is of a sought-after discrete grand play than of a purely exciting jazz arrangement. Mother Tongue is the grand piece of the evening, based on a language of jazz and form already acquainted, but much surrounded by special signs and, midst an improvisation of sound and shapes, having an incendiary solo by Gurtu. Blues For L.W. (easter-egg: Blues for Lech Walesa) is the ending gem, at first with sorrow guitars and lines of noteworthy slowness, finishing with an ecstatic original voice improvisation. Just like the crowd erupts and the refinement melts your jazz senses all the way, the whole album ends up being regarded as amazing and special.

Highly acclaimed without a sketch of a new impression (or with a sign that it loses down the old-churned pleasant admiration), the Royal Festival Hall John McLaughlin Trio concert holds more special its value, its jazz gift and, lastly to resound, its humble respect for music. The rest is between magic and a splashing grand memorable performance. Greatly recommended.

Review by "Ricochet" with 5 points of 5 possible points from www.progarchives.com

My brief thoughts, McLaughlin is a musical genius, and is one of those artists who does many things with a guitar, all his own, and this trio work is fun and enjoyable to listen to, especially with the space that is given for the percussion to bloom and blossom in the middle of the tune.  Quite the soundscape adding to the musical ambience of this piece.  

Skip's Spotify Sunday 2-14-21

Bering Strait (English electronic and atmospheric music band, not to be confused with the Russian country rock/Americana/roots music band highlighted last week)

Bering Strait - singles

Bering Strait "Road" (EP)

1. Road

2. Convair

3. Torches

Bering Strait "Apart"

1. Apart

2. Luna

3. Surface

4. Journey

5. Deep Breaths

6. Surya

7. The Sea God

Chick Corea Akoustic Band " 'Round Midnight"

 

From Jazz Video Guy (Bret Primack), on YouTube, a great tribute to the memory of Chick Corea.  This will be the first of many shared.  Here is Chick with the Akoustic Band, (Chick on piano, John Pattitucci on double bass, and Dave Weckl on drums), playing Thelonius Monk's composition " 'Round Midnight" at the 1991 Mount Fuji Jazz Festival.

The legendary keyboardist who was a monster in the fusion realm and was a force of nature in all things jazz and improvisation died on February 9th at age 79 from cancer. Through his “Elektric”, fusion, trio, and combo albums Corea was extremely prolific. An electric keyboard pioneer alongside his acoustic piano accomplishments, Corea appeared on multiple Davis albums, including Black Beauty: Live at the Fillmore West and Miles Davis at Fillmore: Live at the Fillmore East. Corea most recently covered the works of Domenico Scarlatti, Bill Evans, Frédéric Chopin, and Thelonious Monk on 2020’s Plays.

In Memoriam: Chick Corea

https://www.spin.com/2021/02/chick-corea-jazz-keyboardist-obituary/

Now he sings... now he sobs.  I am heartbroken to find out the news of the passing of one of my musical heroes, the one and the only, Mr. Chick Corea, the legendary keyboardist and founder of Return To Forever, who also worked for five years with Miles Davis and his early electric bands.  I had the great honor and pleasure of meeting Chick, after a show in 2011 when Return To Forever performed here in Minneapolis, Minnesota, on their 2011 World Tour, at the Orpheum Theater, and I introduced myself and said, "I am amazed by all your work, but especially what you played on the keys with Miles Davis", and Chick was so stunned at the time, that I, a young man at the time who was nothing more than an aspiring musician, knew who he was and knew of his musical work, I thought he'd fall on the floor!

Chick's music, his mastery of keyboards like the Rhodes piano and the Minimoog synthesizer, surely inspired me, even as a guitar player.  His work with Miles Davis, with Return to Forever, and with the Elektric Band, as well as one of his later projects, The Vigil, and also his work with legendary drummer, Steve Gadd, musically, captivated my soul, whether it was an electric jazz rock fusion piece, or, his own solo piano compositions or interpretations of other jazz greats, Chick always brought a fresh and creative approach to the music, whatever setting it happened to be in.  Return To Forever, and their collective body of work, led as always, by Chick, blew my mind, and made me think about music in a completely new and different way.  

It actually started, with hearing Chick, along with Joe Zawinul, on some of the first electric Miles Davis recordings such as 1969's "In A Silent Way", and 1970's "Bitches Brew".  These recordings made me think about music in a completely new and different way, over a decade ago, while I was still a college student.  They opened, or maybe reopened, a door into the realm of jazz.  Chick and his music, was a catalyst for me to go back and beginning digging many, many, many jazz legends that came before him, or any of his contemporaries who he performed and collaborated with.  Talk about opening a window, to musical treasures.  That's what Chick's music, did for me as a musician and as a person.  

I saw Chick perform twice more, with a new group he had founded called The Vigil, in 2013 or 2014, (I believe 2014), and then, with legendary drummer and collaborator, Steve Gadd, and this goes back to somewhere between 2017 and 2019.  Sometime before the pandemic.  I cannot remember the exact year or date, except for the show being at The Dakota in Minneapolis, the venue where I did see Chick play those two subsequent shows after Return To Forever.  They are listed in the blog here, someplace, so you will be able to find them if you search for Chick Corea's name in the search box.  

If you have not listened to the aforementioned Miles Davis records, or to Return To Forever, in honor of the legacy of the man, of Chick Corea, I encourage you to do so.  It is some of the finest, and most incredible music you will ever hear.  It did not matter if Chick was playing a grand piano, a Rhodes, or a Moog synthesizer.  Anything he ever did is worth a listen.  He is a cornerstone of modern jazz music from the 1960s to the present day, and will be missed tremendously, not only by me, but my his legions of fans around the world.

Rest In Peace, Chick Corea.  Here is a tribute, from YouTube musician, engineer, producer, Rick Beato.

More tributes to Chick yet to come I am sure.  Stay tuned.  

Widespread Panic “Space Wrangler”

 

From their 25th anniversary performance in Atlanta, Georgia, in 2011, here’s Widespread Panic with the song “Space Wrangler”.  

Widespread Panic “You Got Yours”

 

Another song by Widespread Panic from their 2011 show at The Classic Center in Athens, Georgia.  This is “You Got Yours”.  

Widespread Panic “Bowlegged Woman”

 

From a performance at The Classic Center in their hometown of Athens, Georgia, here’s Widespread Panic with the song “Bowlegged Woman”.  This is from night one of their 25th anniversary on February 10th, 2011.  

John Cephas & Phil Wiggins "Baby What You Want Me To Do?"/"Walkin' Blues"

John Cephas and Phil Wiggins perform "Baby, What You Want Me To Do?" and "Walking Blues" at the White House, Washington, DC, July 28, 1999. Introduction by Della Reese.

Skip's Spotify Sunday 2-7-21

Bering Strait "Bering Strait"

1. What Is It About You

2. Tell Me Tonight

3. I Could Be Persuaded

4. When Going Home

5. I'm Not Missing You

6. I Could Use A Hero

7. The Trouble With Love

8. Jagged Edge Of A Broken Heart

9. Only This Love

10. Bearing Straight

11. Porushka-Paranya

12. Like A Child - Live

Bering Strait "Pages"

1. Safe In My Lover's Arms

2. Oy, Moroz-Moroz

3. From Ankara To Izmir

4. Long Time Comin'

5. Just Imagine

6. Pages

7. You Make Lovin' Fun (Fleetwood Mac cover)

8. Cruel Man

9. What's For Dinner?

10. Choose Your Partner

11. It Hurts Just A Little

*This Spotify listing is for the band Bering Strait that is the country and roots music band, from Russia, that existed between 2003 and 2006.  Next week, a band with the same name, that plays a totally different kind of music, will be covered.  They are an atmospheric music band, from England.  

Widespread Panic "Conrad The Caterpillar"

From their April 25th, 2015 show at Kings Theatre in Brooklyn, New York, here's Widespread Panic with the song "Conrad The Caterpillar".

Jean Luc Ponty "Enigmatic Ocean" (1977)

Jean Luc Ponty's "Enigmatic Ocean" record, released in 1977.  The band lineup is:

Jean-Luc Ponty – electric violin, five-string electric violin, violectra

with

Allan Holdsworth – lead guitar
Daryl Stuermer – lead and rhythm guitar
Allan Zavod – organ, synth, electric piano, grand piano, clavinet
Ralphe Armstrong – electric basses, fretless bass
Steve Smith – drums and percussion

The track listing:

1. Overture
2. The Trans Love Express
3. Mirage
4. Enigmatic Ocean (Part I.)
5. Enigmatic Ocean (Part II.)
6. Enigmatic Ocean (Part III.)
7. Enigmatic Ocean (Part IV.)
8. Nostalgic Lady
9. The Struggle of The Turtle To The Sea (Part I.)
10. The Struggle of The Turtle To The Sea (Part II.)
11. The Struggle of The Turtle To The Sea (Part III.)

 

Widespread Panic “Fixin’ To Die”

From their concert at The Fox Theater in Oakland, California, on October 16th, 2010, Widespread Panic performing "Fixin' To Die", a Bukka White blues song that has also been performed by Bob Dylan.  Check it out.  

Larry Carlton & Steve Lukather " 'Cause We've Ended As Lovers"

A fantastic version of Stevie Wonder's " 'Cause We've Ended As Lovers" by guitar maestros Larry Carlton and Steve Lukather.  Check it out.

George Benson “Turn Your Love Around”

The original studio version of George Benson performing his hit song "Turn Your Love Around" from his 1981 "Greatest Hits" record, written as an additional tune for the record, by producer Jay Graydon, Bill Champlin who was concurrently a member of Chicago, and Steve Lukather, concurrently, the guitarist for the band Toto, at the time it was recorded.  Check it out.  

Trey Anastasio Band "Love Is What We Are"

From the Civic Theatre in New Orleans, Louisiana, on February 1st, 2020, here is the Trey Anastasio Band performing the reggae tinged song "Love Is What We Are".