Results for "BENNIE MAUPIN"
Bennie Maupin is best-known for his atmospheric bass clarinet playing on Miles Davis' classic Bitches Brew album, as well as other Miles Davis recordings such as Big Fun, Jack Johnson, and On the Corner. He was a founding member of Herbie Hancock's seminal band The Headhunters, as well as a performer and composer in Hancock's influential Mwandishi band. Born in 1940, Maupin started playing clarinet, later adding saxophone, flute, and, most notably, the bass clarinet to his formidable arsenal of woodwind instruments. Upon moving to New York in 1962, he freelanced with groups led by Marion Brown, Pharoah Sanders, and Chick Corea, and played regularly with Roy Haynes and Horace Silver
Label: Blue Note Records
Track listing: Friday, July 10, 1970: Introduction by Lee Morgan; The Beehive; Introduction; Something Like This; Yunjana; Speedball; I Remember Britt; Introduction; Absolutions; Speedball; Introduction; Neophilia; Introduction; 416 East 10th Street; The Sidewinder; Speedball; Introduction; Peyote; Speedball.
Saturday, July 11, 1970: Aon (13:47) Introduction; Yunjana; Introduction; Something Like This; Introduction; I Remember Britt; Introduction; The Beehive; Speedball; Neophilia; Nommo; Peyote; Absolutions.
Sunday, July 12, 1970: Introduction; Something Like This; Introduction; Yunjana; I Remember Britt; Absolutions; Speedball; Introduction; Neophilia; Introduction; The Beehive; Speedball; Peyote; Nommo.
by Mike Jurkovic
Suffice to say that if Blue Note's original Live at The Lighthouse (1970) lit a fire under you and all the subsequent expanded iterations did nothing to douse said flames, this definitive final word on a very good thing is going to grab your attention fast and hold it hard. Fourteen previously unreleased whirlwind ...
by AAJ Staff
From the 1995-2003 archive: This article first appeared at All About Jazz in September 2001. The following conversation took place in Wallace Roney's room at Wyndham Hotel in downtown Montreal on Sunday, July 8th 2001, the day after he performed Miles and Miles: A Musical Journey, his tribute commemorating both the seventy-fifth anniversary of ...
by Joe Dimino
From a brilliant crop of young bassists on the New York City scene, we begin the 703rd Episode of Neon Jazz with My Foolish Heart" from Brandi Disterheft's Surfboard. We also hear from her mentor Ron Carter and a crop of the old guard and young lions. The great Charles Lloyd, Coleman Hawkins and Bennie Maupin ...
by Chris May
Alto saxophonist Marion Brown was part of the band on John Coltrane's Ascension (Impulse, 1965), though you would not guess it from Why Not (ESP, 1968). Like fellow Ascension alumnus, tenor saxophonist Pharoah Sanders' contemporaneous Tauhid (Impulse, 1967), Brown's album inhabited an intensely melodic section of the 1960s' New Thing. As were Sanders' own-name ...
by Kyle Simpler
One of the most appealing aspects in jazz is the interplay among musicians in a group. There is usually a continuous musical conversation occurring during any given session, which adds an element of spontaneity. Swiss drummer Florian Arbenz is concentrating on this concept of conversation in his upcoming releases, beginning with Conversation #1: Condensed.
by Bob Osborne
On this week's show we'll feature five brand new albums from 577 Records, and one each from Greenleaf, Tao Forms, International Anthem and ECM. We also dip in the archive for some classic tracks.Playlist Jakob Bro, Arve Henriksen, Jorge Rossy Reconstructing A Dream" from Uma Elmo (ECM) 00:00 Michael Sarian & Matthew Putman Caught ...
by William Ellis
"My One LPyes, it's the Eric Dolphy album he did on Blue Note called Out to Lunch! The album has Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams, and it is such a phenomenal shift from anything that had been done on Blue Note Records. The compositions and the playing and the quality from Blue ...
by Karl Ackermann
The drum is an instrument of power and presence. It is the heartbeat of music but with uncertain origins. In Africa, China, and Turkey, archeologists have found evidence to suggest that any of those regions may have been the forebearers of the beat, of the definitive expression of freedom. Data concludes that instrumental music is at ...