jazz-rock Archives - JAZZ IMPRESSIONS

Routes: A Jazz Impressions Podcast – Episode 6

In this tribute episode, we join the dots between Stanley Cowell’s heartfelt composition ‘Sienna: Welcome My Darling’ and Chick Corea’s swirling, impressionistic ‘Litha’. Plus we delve into Sweden, beekeeping and the discography of L. Ron Hubbard – and be sure to listen out for Ollie’s uncanny impression of a shakuhachi.

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Tracklists below (SPOILERS!)

Routes: A Jazz Impressions Podcast – Episode 4

In episode 4 we connect two very different tracks recorded 10 years apart – the free-leaning post-bop of Eric Dolphy’s ‘Green Dolphin Street’ and the dark, funky, cinematic vibes of Gary Burton’s ‘Las Vegas Tango’. Plus hip-hop and samples and films, oh my!

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Tracklists below (SPOILERS!)

Cannonball Adderley – The Black Messiah

The year before pianist George Duke featured on Frank Zappa’s The Grand Wazoo, he recorded two solo albums and spent the best part of the year playing in the Cannonball Adderley Quintet. If Zappa was Duke’s mentor in all things rock, Cannonball was his teacher in jazz and soul. Joining Adderley’s Quintet gave the young Duke an opportunity to develop not only as a performer, but also as a composer and arranger. In the summer of 1971, Cannonball and his band recorded a live album at The Troubadour club in West Hollywood, Los Angeles. The album was named after its title track, a composition by Duke, and was released later that year as a double album on Capitol Records.

Frank Zappa and The Mothers – Blessed Relief

In between stints with jazz saxophonist Cannonball Adderley and fusion drummer Billy Cobham, keyboard visionary George Duke joined Frank Zappa and The Mothers for some of their most ambitious studio recordings.

George Duke – Peace

Our last post looked at Billy Cobham’s fusion classic ‘Heather’ from his album Crosswinds (1974) which featured the mellow tones of keyboardist George Duke. Flashing back a couple of years earlier to January 1971, a young George Duke had just left Frank Zappa’s group The Mothers Of Invention and joined saxophonist Cannonball Adderley’s new quintet, replacing pianist Joe Zawinul. The months that followed would prove formative for this young pianist and in this year he recorded two albums: Solus and The Inner Source, originally intended to be two separate albums but were later merged, released on German jazz label MPS in 1973.

Steely Dan – Gaucho

In our previous post, Dan wrote on the Steely Dan (not to be confused with British folk rock group Steeleye Span) Silver-inspired classic ‘Rikki Don’t Lose That Number’. Last weekend marked the 40th year anniversary of their 1980 album Gaucho and so it seemed a natural way to continue our journey of musical connections.

Steely Dan – Rikki Don’t Lose That Number

Pop fans may be hearing more jazz than they realise. James Brown’s 1967 single ‘Cold Sweat’ is indebted to Miles Davis’ ‘So What’, the opening track on Kind of Blue (1959) – which came full circle when Davis was inspired by Brown’s funky sounds for On the Corner (1972). Van Morrison (who recently became an “antifascist” because he didn’t want to wear a mask) based ‘Moondance’ (1970) on Kenny Burrell’s jazz guitar classic ‘Midnight Blue’ (1963). And the intro of Horace Silver’s ‘Song For My Father’ is lifted verbatim by Steely Dan’s 1974 hit, ‘Rikki Don’t Lose That Number.’

Mahavishnu Orchestra – Vital Transformation

Category is: skull-crushing breakbeats. Enter the Mahavishnu Orchestra, whose high-intensity fusion of psychedelia, prog and jazz took the rock world by storm with its explosive debut The Inner Mounting Flame in 1971, which according to critic Richard S. Ginell “may have been the cause of more blown-out home amplifiers than any other record this side of Deep Purple.”

Miles Davis – Rated X

Two years after Miles released On The Corner came his album Get Up With It (1974) on Columbia Records, marking the end of a seven year period of electric jazz experimentation. This was a compilation album of songs Davis recorded between 1970 and 1974, many of which were part of the sessions for his earlier albums Jack Johnson (1971) and On The Corner (1972).

Devadip Carlos Santana – Love Theme From “Spartacus”

Our last post focussed on Santana’s heady fusion offering ‘Going Home’. Now we fast-forward eight years to an underrated gem of the Santana catalogue, his version of Alex North’s ‘Love Theme From “Spartacus”‘ from his 1980 album The Swing Of Delight.