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    gjw, with your recent Japanese kick, you might be interested in particular in this NoBusiness series, which has lots of Japanese players, as well as a fair few Korean ones.

    https://www.discogs.com/label/1204489-Chap-Chap-Series

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      ‘Wings Of Desire’ from Olivier Boge’s 2015 album ‘Expanded Places’, with Boge on piano, guitar, tenor saxophone and vocals, Guillaume Begni cor anglais, Manon Ponsot violincello, Nicolas Moreaux bass and Karl Jannuska drums.
       

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        ‘The Shadow And the Self’ from Aaron Parks’ 2020 album ‘Little Big II: Dreams Of A Mechanical Man’, with Parks on keyboards, celeste, vibraphone and vocals, Greg Tuohy guitar, David Ginyard bass and Tommy Crane drums/percussion.
         

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          ‘Hov Arek Saret Djan’ from Lars Danielsson’s 2012 album ‘Liberetto’, with Danielsson on bass and cello, Tigran Hamasyan vocals/piano, Arve Henriksen trumpet, John Parricelli guitar and Magnus Ostrom drums/percussion.
           

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            The title track from ‘Magico’, the 1980 ECM album by Charlie Haden (bass), Egberto Gismonti (vocals/guitar) and Jan Garbarek (soprano saxophone) with a string orchestra. (The YouTube clip is taken from a Gismonti anthology rather than the original album).
             

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              ‘One For The Monika Linges Band’ from the Madlib-produced 2010 album ‘Miles Away’ by the Last Electro-Acoustic Space Jazz And Percussion Ensemble – Chuck King electric piano, Kamala Walker organ/accordion, Clyde Harrison piano, Tanya Harrison synthesizer, Ahmad Miller sitar/vibraphone, Teddy Davis flute, Willie Austin guitar/harp, Emil Taylor bass, Otis Jackson Jr (aka Madlib) drums/percussion and Mary Lou Hudson percussion. On an album where all of the tracks are dedicated to jazz greats like John Coltrane, Pharoah Sanders, Horace Silver and Woody Shaw, it’s curious that workaday German vocalist Monika Linges was also singled out for this honour, but presumably Madlib is a fan.
               

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                The late composer/conductor Butch Morris encouraged his musicians (many of them from a jazz background) to improvise within the overall structure of the composition. The results could occasionally be a little too discordant for my tastes, but ‘Othello A’ from the 1991 album ’Dust To Dust’ is one of his better pieces. Featuring Wayne Horvitz keyboards/electronics, Myra Melford piano, Zeena Parkins harp, Jean-Paul Bourelly guitar, Brian Carrott vibraphone, Jason Hwang violin, Janet Grice bassoon, John Purcell oboe, Marty Ehrlich clarinet, Vickey Bodner English horn, J.A Deane trombone and Andrew Cyrille drums.
                 

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                  Composer/arranger Don Sebesky recorded a handful of albums in the 1970’s that successfully merged jazz and classical music. From the 1979 album ‘Three Works For Jazz Soloists And Symphony Orchestra’, this is ‘Bird And Bela In B Flat’ (“a musical account of an imaginary meeting between Charlie ‘Bird’ Parker and Bela Bartok”). The jazz musicians featured are Jon Faddis trumpet/flugelhorn, Gordon Beck piano, Alex Foster alto saxophone, Richard Davis bass and Jimmy Madison drums. (Although the YouTube clip labels this as the 1st Movement, it is in fact the complete piece in three movements). I was torn between posting this track and ‘Firebird, Birds Of Fire’, Sebesky’s merging of Stravinsky and Mahavishnu from the 1973 album ‘Giant Box’, but if you are sufficiently curious you can seek it out.
                   

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                    Starting a dreary grey day with something that always raises the spirits, Osunlade’s remix of Grupo Batuque’s ‘Na Batida Do Agogo’, from the 2006 album ‘Ole, Ola – Futebol Bonita!’ on the wonderful Far Out label.
                     

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                      ‘Noa Noa’ from Cal Tjader’s 1976 album ‘Amazonas’, with Tjader on vibraphone, Raul De Souza trombone, David Amaro guitar, George Duke keyboards, Luiz Alves bass and Robertinho Silva drums/percussion.
                       

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                        ‘Brazilian Sugar’ from George Duke’s 1980 album ‘A Brazilian Love Affair’, with Duke on keyboards and vibraphone, Flora Purim vocals, Raul de Souza trombone, Toninho Horta guitar, Jamil Joanes bass, Roberto Silva drums and Chico Batera percussion.
                         

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                          ‘Un Dom Pra Salvador’ from Ed Motta’s 2002 album ‘Dwitza’, with Motta on keyboards and vocals, Cassio Ferreira soprano saxophone, Jesse Sadoc trumpet, Sidiel Viera bass and Vitor Cabral drums.
                           

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                            ‘Coltrane’ from the 1974 album ‘A Spirit Speaks’ by The Descendants Of Mike And Phoebe, with Cliff Lee flugelhorn, Bill Lee bass, Consuela Lee Morehead piano and Sonny Brown drums.
                             

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                              Recorded live in June 1970 but not released until 1974, this is the title track from Sphere’s ‘Inside Ourselves’, with Larry Nozero tenor saxophone, Eddie Nuccilli trumpet, Keith Vreeland electric piano, Jon Dana bass and Jimmy Pelus drums.
                               

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                                The title track from the 1973 album ‘Morning Flight’ by the Hiroshi Fukumura Quintet, featuring Fukumura and Shigeharu Mukai on trombones, Hiroshi Tamura piano, Tsutomu Okada bass and Shinji Mori drums.
                                 

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                                  I’ve recently discovered the work
                                  of Elliot Galvin. He’s quite a talent.

                                  https://m.youtube.com/watch?v=dj8W6sekDhM

                                  ...and this is excellent

                                  https://m.youtube.com/watch?v=TXT4kSS8k3o
                                  Last edited by Tony C; 11-05-2021, 12:15.

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                                    You're right, Tony, those are both very good. Reminiscent of Neil Cowley. Galvin's name seemed familiar to me although I couldn't place him, but thanks to Google I'm reminded that he has played keyboards for Emma-Jean Thackray and is a member of Dinosaur with Laura Jurd. Both of those are worth you checking out. How's the new knee?

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                                      Sore and delicate. The rehab is a pretty painful process and it’s going to be a bit of a long haul back. However on the plus side I’ve nothing to do but listen to music and read so that’s a plus!

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                                        I posted a Wayne Shorter retrospective quite early on in this thread, so it’s about time that I did the same for his long-time musical partner, Joe Zawinul. This is ‘Orient Express’ from the 2009 live album ‘75th’ by the Zawinul Syndicate, with Alegre Correa guitar/vocals, Linley Marthe bass, Sabine Kabongo vocals/percussion, Paco Sery drums, Aziz Sahmaoui percussion/vocals, Jorge Bezerra percussion/vocals and Zawinul keyboards/vocoder. Recorded in Lugano, Switzerland as part of a short European tour to celebrate Zawinul’s 75th birthday, it serves to illustrate just what a powerhouse this band was – when they locked into a groove there really was nobody to touch them. Sadly, less than two months later Zawinul had passed away from a rare skin cancer. It makes watching this rather poignant and maybe it’s just my imagination that I detect an occasional wistfulness in his eyes as if he knew that there wouldn’t be many more nights like this one.
                                         

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                                          The title track from Weather Report’s ‘Mysterious Traveller’ (1974). An album I received as a Christmas 1975 present from my parents and found so enthralling that I remained in my freezing bedroom (central heating was still a decade away) for most of the day, playing it over and over. It’s still my favourite WR recording and comfortably in my Top 10 albums of all time. Joe Zawinul keyboards, Wayne Shorter tenor/soprano saxophones, Alphonso Johnson bass, Ishmael Wilburn drums, Skip Hadden drums and Dom Um Romao percussion.
                                           

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                                            In 1969 Joe Zawinul joined the band that Miles Davis was putting together for the recording of what was to become ‘In A Silent Way’. Ironically, although the album takes its title from the composition that he provided for the session, Zawinul himself was never happy with the way that Miles and Teo Macero changed and shaped his original tune. This version, recorded for his 1971 self-titled solo album, was far closer to what he intended and I have to agree that it’s the better of the two. Featuring Earl Turbinton on soprano saxophone, Woody Shaw trumpet, George Davis flute, Miroslav Vitous bass, Billy Hart percussion, Herbie Hancock electric piano and Zawinul electric piano.
                                             

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                                              Throughout most of the 1960’s Zawinul was a member of Cannonball Adderley’s band and wrote their three biggest commercial hits - ‘Mercy Mercy Mercy’ (posted here a couple of months ago), ‘Country Preacher’ and ‘Walk Tall’. This is ‘Brother John’ from the 1963 live album ‘Nippon Soul’, with Cannonball Adderley alto saxophone, Nat Adderley cornet, Yusef Lateef oboe, Sam Jones bass, Louis Hayes drums and Zawinul piano.
                                               

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                                                Finally, from the 1976 Montreux Jazz Festival, Zawinul and Shorter performing one of their improvised duets that was always a fixture of a Weather Report concert.
                                                 

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                                                  These are great clips. The final one from Montreux ‘76 is particularly wonderful.

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                                                    As a tribute to the great trombonist Curtis Fuller, who died aged 86 just a few days ago, this is ‘Black Bath’ from his 1973 album ‘Crankin’ (great cover), with Bill Hardman trumpet, Ray Moros tenor saxophone, George Cables electric piano, Bill Washer guitar, Stan Clarke bass and Lenny White drums.
                                                     

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