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.