Chick Corea, Miroslav Vitous, Roy Haynes - Trio Music, Live In Europe (1986/FLAC)

 

• Bass - Miroslav Vitous
• Drums - Roy Haynes
• Piano - Chick Corea

Recorded September 1984 in Willisau and Reutlingen

A1 - The Loop 6:29  Written-By - Corea

A2 - I Hear A Rhapsody 6:40 Written-By - Gasparre, Fragos, Baker

A3 - Summer Night / Night And Day 14:23 Written-by  Porter / Dubin, Warren

Side 2

B1 - Prelude No. 2 / Mock Up 12:19 Written-by (Mock Up) - Corea / (Prelude No. 2) - Scriabin

B2 - Hittin' It 5:19 Written-By - Haynes

B3 - Mirovisions 11:30 Written-By - Vitous

Terje Rypdal, Miroslav Vitous, Jack DeJohnette – To Be Continued (1981/FLAC)

 

Essentially a continuation of Rypdal Vitous DeJohnette, this album somewhat lacks the atmospheric keyboards of its predecessor. It is nonetheless quite compelling, particularly in DeJohnette's propulsive drumming on the title track, and his phantasmic piano and voice on "Uncomposed Appendix." This album also features one of Rypdal's best-loved works, the gorgeously stark and stately "Topplue, Votter & Skjerf" -- Norwegian for "Hat, gloves, and scarf," an idiomatic phrase implying the onset of their long and cold winter. 

•     Terje Rypdal — electric guitars, flute
•     Miroslav Vitous — acoustic bass, electric bass, piano
•     Jack DeJohnette — drums, voice

    All compositions by Terje Rypdal except as indicated

1.     "Maya" - 10:18
2.     "Mountain in the Clouds" (Miroslav Vitous) - 4:57
3.     "Morning Lake" (Vitous) - 7:28
4.     "To Be Continued" (Jack DeJohnette) - 9:12
5.     "This Morning" (DeJohnette, Vitous, Rypdal) - 5:24
6.     "Topplue, Votter & Skjerf" - 3:48
7.     "Uncomposed Appendix" - 1:52

        Recorded at Talent Studio in Oslo, Norway in January 1981

Miroslav Vitous discography [1969-2018]

 

Miroslav Ladislav Vitouš (6 December 1947) is a Czech jazz bassist who is known for his extensive career in the US.

Best known as one of the foremost young bassists in the jazz-rock movement of the late '60s and early '70s, Miroslav Vitous is one of Europe's most versatile imports, equally at home in mainstream idioms and even pop music. A sometime-leader, his bass dances and skitters around an ensemble as an equal member of the front line, and he makes very creative use of the bow. He is influenced not only by bassists like Scott LaFaro, Ron Carter, and Gary Peacock, but also by Czech folk music.

 

Herbie Mann - Live at the Whisky 1969: The Unreleased Masters (2 CD, 2016/FLAC)

 

While jazz flautist Herbie Mann is often remembered as a pop-jazz player, he was actually a pioneer in popularizing world music and even prog-rock with recordings released on his own Embryo imprint (as part of Atlantic Records). And in the late 60s, he was fronting one of the most progressive and electrifying bands in the world: guitarist Sonny Sharrock, Miroslav Vitous on electric & upright bass, saxophonist Steve Marcus, drummer Bruno Carr, and vibraphonist Roy Ayers. Together, the sextet cut the dynamic Live at the Whisky A Go Go album in 1969, drawn from a four night run at the legendary nightclub on Los Angeles Sunset Strip. Though the band s repertoire was quite varied on these dates, just two side-long tracks, Ooh Baby and Philly Dog, surfaced on the Atlantic Records release.

Terje Rypdal, Miroslav Vitous, Jack DeJohnette - ST (1979/FLAC)

 An otherworldly soundscape of aching beauty, this album is a must-have for aficionados of any member of this trio. Rypdal's guitar is hauntingly reverbed and distant throughout, though occasionally on "Seasons" he becomes too fond of caterwauling guitar synth. But this is truly an effort of trio fusion, with ineffable pieces like "Den Forste Sne" ("The First Snow") appearing and melting away without any tangible solos or structure. From the opening cymbal strikes of "Sunrise," this album is marked by DeJohnette's best drumming on record; his cymbal sound, pushed to the front and recorded with mikes both above and below the cymbal's bell -- "because that's how the drummer hears it" -- is nothing short of revelatory. Vitous' bass steadies Rypdal's flights of fancy, while his subtle electric piano lines float above. These elements combine most powerfully in "Believer," which builds from atmospheric shimmers of electric piano into a whorl of bass and plaintive guitar set against the dry rasp of resonating cymbals.