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Ahmad Jamal - 4 Classic Albums (remastered & Expanded 2-cds In Slipcase)
remastered two CD set containing four albums from the Jazz great: Count 'Em 88 (1958), But Not For Me (1958), At The Spotlight Cafe and Jamal At The Penthouse (1959). 36 tracks. 2010.
Disc: 1
1. Volga Boatman
2. Green Dolphin Street
3. How About You
4. I Just Can't See For Looking
5. Spring Will Be A Little Late This Year
6. Beat Out One
7. Maryam
8. Easy To Remember
9. Jim Love Sue
10. Stompin' At The Savory
11. That's All
12. Girl Next Door
13. Squatty Roo
14. Autumn In New York
15. Taboo
16. Secret Love
17. Should I
18. I Wish I Knew
Disc: 2
1. But Not For Me
2. Surrey With The Fringe On Top
3. Moonlight In Vermont
4. Put Another Nickel In The Music Music Music
5. No Greater Love
6. Poinciana
7. Woody N You
8. What's New
9. Comme Ci, Comme Ca
10. Ivy
11. Never Never Land
12. Tangerine
13. Ahmads Blues
14. Seleritus
15. I Like To Recognize The Tune
16. I'm Alone With You
17. sophisticated Gentleman
18. Poinciana
remastered two CD set containing four albums from the Jazz great: Count 'Em 88 (1958), But Not For Me (1958), At The Spotlight Cafe and Jamal At The Penthouse (1959). 36 tracks. 2010.
Disc: 1
1. Volga Boatman
2. Green Dolphin Street
3. How About You
4. I Just Can't See For Looking
5. Spring Will Be A Little Late This Year
6. Beat Out One
7. Maryam
8. Easy To Remember
9. Jim Love Sue
10. Stompin' At The Savory
11. That's All
12. Girl Next Door
13. Squatty Roo
14. Autumn In New York
15. Taboo
16. Secret Love
17. Should I
18. I Wish I Knew
Disc: 2
1. But Not For Me
2. Surrey With The Fringe On Top
3. Moonlight In Vermont
4. Put Another Nickel In The Music Music Music
5. No Greater Love
6. Poinciana
7. Woody N You
8. What's New
9. Comme Ci, Comme Ca
10. Ivy
11. Never Never Land
12. Tangerine
13. Ahmads Blues
14. Seleritus
15. I Like To Recognize The Tune
16. I'm Alone With You
17. sophisticated Gentleman
18. Poinciana
₪55.00
Alice Coltrane - Journey In Satchidananda (limited Edition Heavy Vinyl Lp)
Perhaps the best album Alice Coltrane recorded, "Journey in Satchidananda" is one of those records where everything comes together-- Alice Coltrane took her late husband's final bands and their spiritual sounds and eschewed the frantic extended improvisations in favor of a more tame and subtle spiritual groove. The results here are stunning.
The majority of the album is made of from a studio session recorded in November of 1970-- Coltrane, heard on harp and piano, is joined by Pharoah Sanders (heard exclusively on soprano sax), Tulsi (playing tamboura, an Indian droning instrument), Cecil McBee (bass), Rashied Ali (drums) and Majid Shabazz (percussion). The pieces are all set up in a deep spiritual groove by the rhythm section (particularly McBee, who really finds a pocket throughout), with an air added to the pieces by the presence of the tamboura. Coltrane's framing, on either piano or harp, is lovely, reminiscent of her works with John Coltrane, and her harp playing has evolved greatly even since "A Monastic Trio" (1968) to become very unique and exciting. Sanders, for his part, solos lyrically and rather restrained, and is far more melodic than he often was at that time. It's difficult to discuss highlights-- the whole thing is utterly superb.
The closing track is a less performance from July of the same year, with Coltrane on harp joined by Sanders (again on soprano) and Ali again, but also joined by Vishnu Wood (on oud) and Charlie Haden (on bass). The sound is remarkably different, with Wood providing the driving rhythmic figures and Sanders soloing even more delicately then he does on the studio track, and it makes for a fitting coda for the record.
I can't really recommend this album enough, it is one of the great spiritual jazz records. It belongs in the collection of anyone interested in this sort of music.
Perhaps the best album Alice Coltrane recorded, "Journey in Satchidananda" is one of those records where everything comes together-- Alice Coltrane took her late husband's final bands and their spiritual sounds and eschewed the frantic extended improvisations in favor of a more tame and subtle spiritual groove. The results here are stunning.
The majority of the album is made of from a studio session recorded in November of 1970-- Coltrane, heard on harp and piano, is joined by Pharoah Sanders (heard exclusively on soprano sax), Tulsi (playing tamboura, an Indian droning instrument), Cecil McBee (bass), Rashied Ali (drums) and Majid Shabazz (percussion). The pieces are all set up in a deep spiritual groove by the rhythm section (particularly McBee, who really finds a pocket throughout), with an air added to the pieces by the presence of the tamboura. Coltrane's framing, on either piano or harp, is lovely, reminiscent of her works with John Coltrane, and her harp playing has evolved greatly even since "A Monastic Trio" (1968) to become very unique and exciting. Sanders, for his part, solos lyrically and rather restrained, and is far more melodic than he often was at that time. It's difficult to discuss highlights-- the whole thing is utterly superb.
The closing track is a less performance from July of the same year, with Coltrane on harp joined by Sanders (again on soprano) and Ali again, but also joined by Vishnu Wood (on oud) and Charlie Haden (on bass). The sound is remarkably different, with Wood providing the driving rhythmic figures and Sanders soloing even more delicately then he does on the studio track, and it makes for a fitting coda for the record.
I can't really recommend this album enough, it is one of the great spiritual jazz records. It belongs in the collection of anyone interested in this sort of music.
₪119.00
Allen Toussaint - The Bright Mississippi
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The Bright Mississippi stands alone among Allen Toussaint albums. Technically, it is not his first jazz album, for in 2005 he released Going Places on the small CD Baby-distributed Captivating Recording Technologies, a label run by his son Reginald, but for most intents and purposes -- and for most listeners -- The Bright Mississippi might as well be his first foray into jazz, since it's the first to get a major-label production and release as it's a de facto sequel to Toussaint's successful, high-profile, 2006 duet album with Elvis Costello, The River in Reverse. Like that record, The Bright Mississippi is produced by Joe Henry, who has a knack for a sound that's clean yet soulful, one that lets the music breathe but still has heft to it. Henry teams Toussaint with a cast of heavy hitters -- including clarinetist Don Byron, trumpeter Nicholas Payton, guitarist Marc Ribot and, on a track a piece, pianist Brad Mehldau and saxophonist Joshua Redman -- to support the pianist on a run through jazz standards ranging from Duke Ellington and Django Reinhardt to Louis Armstrong and Thelonious Monk, whose 1963 classic provides the album its title. Everybody has a little bit where they shine, but this is thoroughly Toussaint's showcase, a place where he can ease back and string together New Orleans jazz and R&B in his own elegant fashion. And what impresses most about Bright Mississippi is that although straight-out jazz is uncommon in Toussaint's work, this neither feels unfamiliar or like a stretch. His signature runs and smooth grooves can be heard throughout the album, but the relaxed nature of the sessions makes it easier than ever to hear what an idiosyncratic, inventive instrumentalist he is, and that is a quality that's more evident upon repeated plays. Upon the first listen, The Bright Mississippi merely seems like a joyous good time, but subsequent spins focus attention on just how rich and multi-layered this wonderful music is.
The Bright Mississippi stands alone among Allen Toussaint albums. Technically, it is not his first jazz album, for in 2005 he released Going Places on the small CD Baby-distributed Captivating Recording Technologies, a label run by his son Reginald, but for most intents and purposes -- and for most listeners -- The Bright Mississippi might as well be his first foray into jazz, since it's the first to get a major-label production and release as it's a de facto sequel to Toussaint's successful, high-profile, 2006 duet album with Elvis Costello, The River in Reverse. Like that record, The Bright Mississippi is produced by Joe Henry, who has a knack for a sound that's clean yet soulful, one that lets the music breathe but still has heft to it. Henry teams Toussaint with a cast of heavy hitters -- including clarinetist Don Byron, trumpeter Nicholas Payton, guitarist Marc Ribot and, on a track a piece, pianist Brad Mehldau and saxophonist Joshua Redman -- to support the pianist on a run through jazz standards ranging from Duke Ellington and Django Reinhardt to Louis Armstrong and Thelonious Monk, whose 1963 classic provides the album its title. Everybody has a little bit where they shine, but this is thoroughly Toussaint's showcase, a place where he can ease back and string together New Orleans jazz and R&B in his own elegant fashion. And what impresses most about Bright Mississippi is that although straight-out jazz is uncommon in Toussaint's work, this neither feels unfamiliar or like a stretch. His signature runs and smooth grooves can be heard throughout the album, but the relaxed nature of the sessions makes it easier than ever to hear what an idiosyncratic, inventive instrumentalist he is, and that is a quality that's more evident upon repeated plays. Upon the first listen, The Bright Mississippi merely seems like a joyous good time, but subsequent spins focus attention on just how rich and multi-layered this wonderful music is.
₪69.00
Anthony Coleman - The Abysmal Richness Of The Infinite Proximity Of The Same
The second CD by keyboardist-composer Coleman's Selfhaters is a precious affair, in every sense. It presents music to cherish and sound to invest with attention despite its strange fragility - or because of it. The 22-minute title track unfolds at a snail's pace, each player
circling cautiously around a given pitch or limited gesture, as if boldly projecting anything more would endanger what German composer Richard Wagner is quoted in the liner notes as referring to as "the gently vibrating line of beauty."
Wagner is also quoted as saying that it's impossible for the Jew to achieve, given "the hurried, the restless, the unstable elements ... which we have recognized as Jewish." This music, then, is an act of defiance, rather like an early Christian turning the other cheek to an aggressive attacker; it's the radical Jewish jazz counter-defense of "So you say I am, so then will I be."
Coleman's purposeful downplay of melody and obvious rhythm, and his refusal to display florid technique is self-abnegation in submissive embrace of Wagner's stereotype. If he can get his band to quiet down, to rein in unstable impulse, and to concentrate on the vagaries of intonation and propulsionless line, he will achieve what Wagner claimed was impossible, yet sound more "Jewish" than ever.
What does so much theory sound like? Peaceful tones, dissonant pitches, and scratchy yet transparent timbres project gradually over an open expanse of uncounted time. The pianist briefly states a case, then stumbles, repeats himself, and, as if succumbing to a personal failing, reaches into his open instrument to yank a tone from one of the implacable wires. The reedsmen (Micha'l Attias, Doug Wieselman), cellist (Fred Lonberg-Holm), and percussionist/trumpeter (Jim Pugliese) nudge each other, phrasing off but nearly together, like old men praying. When they unexpectedly arrive at a unison cry in "Fifty-Seven Something," the effect is shocking. But they don't want to over-tax you. There is nothing much to take in here - just the pathetic little sounds some Jewish (East) villagers dare to eke out.
Is that OK, Mr. Wagner? Or would you and your heavy-metal friends consign this patently exotic, profoundly contrary, superficially pathetic, but insidiously proud and original music to some closely guarded, No Exit version of hell? (Howard Mandel, JAZZIZ Magazine)
The second CD by keyboardist-composer Coleman's Selfhaters is a precious affair, in every sense. It presents music to cherish and sound to invest with attention despite its strange fragility - or because of it. The 22-minute title track unfolds at a snail's pace, each player
circling cautiously around a given pitch or limited gesture, as if boldly projecting anything more would endanger what German composer Richard Wagner is quoted in the liner notes as referring to as "the gently vibrating line of beauty."
Wagner is also quoted as saying that it's impossible for the Jew to achieve, given "the hurried, the restless, the unstable elements ... which we have recognized as Jewish." This music, then, is an act of defiance, rather like an early Christian turning the other cheek to an aggressive attacker; it's the radical Jewish jazz counter-defense of "So you say I am, so then will I be."
Coleman's purposeful downplay of melody and obvious rhythm, and his refusal to display florid technique is self-abnegation in submissive embrace of Wagner's stereotype. If he can get his band to quiet down, to rein in unstable impulse, and to concentrate on the vagaries of intonation and propulsionless line, he will achieve what Wagner claimed was impossible, yet sound more "Jewish" than ever.
What does so much theory sound like? Peaceful tones, dissonant pitches, and scratchy yet transparent timbres project gradually over an open expanse of uncounted time. The pianist briefly states a case, then stumbles, repeats himself, and, as if succumbing to a personal failing, reaches into his open instrument to yank a tone from one of the implacable wires. The reedsmen (Micha'l Attias, Doug Wieselman), cellist (Fred Lonberg-Holm), and percussionist/trumpeter (Jim Pugliese) nudge each other, phrasing off but nearly together, like old men praying. When they unexpectedly arrive at a unison cry in "Fifty-Seven Something," the effect is shocking. But they don't want to over-tax you. There is nothing much to take in here - just the pathetic little sounds some Jewish (East) villagers dare to eke out.
Is that OK, Mr. Wagner? Or would you and your heavy-metal friends consign this patently exotic, profoundly contrary, superficially pathetic, but insidiously proud and original music to some closely guarded, No Exit version of hell? (Howard Mandel, JAZZIZ Magazine)
₪69.00
Antonio Carlos Jobim - Stone Flower (remastered W/ 1 Bonus Track)
The American producer Creed Taylor produced some of the best recordings Antonio Carlos Jobim ever made. Taylor's lush strings, evocative woodwinds, and selection of top-notch jazz musicians were a perfect match for Jobim's spare, bossa nova-flavored compositions. This 1970 recording features Jobim backed by bassist Ron Carter, trombonist Urbie Green, flutist Hubert Law, and soprano saxophonist Joe Farrell. Several classics, such as "Children's Games," the lilting "Tereza My Love," and the two soft samba/swing renditions of Ary Barroso's "Brazil," are lovingly draped in the velvet arrangements of the then-young Brazilian sensation Eumir Deodato. Jobim's dry and achy vocals, along with his acoustic and rarely heard electric-piano playing, add the right sonic seasoning to this delightful disk. --Eugene Holley Jr.
The American producer Creed Taylor produced some of the best recordings Antonio Carlos Jobim ever made. Taylor's lush strings, evocative woodwinds, and selection of top-notch jazz musicians were a perfect match for Jobim's spare, bossa nova-flavored compositions. This 1970 recording features Jobim backed by bassist Ron Carter, trombonist Urbie Green, flutist Hubert Law, and soprano saxophonist Joe Farrell. Several classics, such as "Children's Games," the lilting "Tereza My Love," and the two soft samba/swing renditions of Ary Barroso's "Brazil," are lovingly draped in the velvet arrangements of the then-young Brazilian sensation Eumir Deodato. Jobim's dry and achy vocals, along with his acoustic and rarely heard electric-piano playing, add the right sonic seasoning to this delightful disk. --Eugene Holley Jr.
₪49.00
Antonio Carlos Jobim - Wave (remastered)
Fusing the agitated rhythms of the traditional Brazilian samba he grew up listening to with the American jazz style exploited by Stan Getz and Charlie Byrd during the 1950s, Antonio Carlos Jobim hit upon a new musical form that became known as bossa nova. Wave, an instrumental collaboration on which Jobim displays his mastery of the piano, guitar and harpsichord, flutters along at an easy pace. With telling contributions from Urbie Green, Ron Carter and Claus Ogerman the melodies here are portraits of leisurely nights in Rio. The melancholic inflection of "Lamento" and confident stride of the title track are especially striking amongst the assorted lounge-room harmonies composed by the genius who brought us "The Girl from Ipanema".
Fusing the agitated rhythms of the traditional Brazilian samba he grew up listening to with the American jazz style exploited by Stan Getz and Charlie Byrd during the 1950s, Antonio Carlos Jobim hit upon a new musical form that became known as bossa nova. Wave, an instrumental collaboration on which Jobim displays his mastery of the piano, guitar and harpsichord, flutters along at an easy pace. With telling contributions from Urbie Green, Ron Carter and Claus Ogerman the melodies here are portraits of leisurely nights in Rio. The melancholic inflection of "Lamento" and confident stride of the title track are especially striking amongst the assorted lounge-room harmonies composed by the genius who brought us "The Girl from Ipanema".
₪49.00
Art Blakey & The Jazz Messengers - Drum Suite (remastered W/ 3 Bonus Tracks)
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The music on this album is excellent. It incorporates true African drumming and Swahili chants, and this makes it a "Must Have" for students of percussion. Blakey does what he always does, add to that the piano work of Ray Bryant, drummer Jo Jones, Candido & Sabu on congas & bongos, Charles Wright with tympani, Oscar Pettiford on bass, and side one of the Drum Suite becomes one of the most exciting, percussive, and innovative jazz albums ever made.
Side Two features the more conventional jazz of the Jazz Messengers. Bill Hardman on trumpet, Jackie McClean on alto, Sam Dockery on piano, Spank deBrest on bass deliver the signature sound of The Jazz Messengers at their best, playing small combo '50s jazz with intensity, excellence and passion. This is a classic album which explores true African musical foundations, and stays true to the sound of Jazz. Just play some of the samples, and you'll hear what I mean.
1. The Sacrifice
2. Cubano Chant
3. Oscalypso
4. Nica's Tempo
5. D's Dilemma
6. Just for Marty
7. Lilt (AKA The Third)
8. The new Message (AkA Little T) Take 1
9. The new messege (AKA Little T ) Take 3
The music on this album is excellent. It incorporates true African drumming and Swahili chants, and this makes it a "Must Have" for students of percussion. Blakey does what he always does, add to that the piano work of Ray Bryant, drummer Jo Jones, Candido & Sabu on congas & bongos, Charles Wright with tympani, Oscar Pettiford on bass, and side one of the Drum Suite becomes one of the most exciting, percussive, and innovative jazz albums ever made.
Side Two features the more conventional jazz of the Jazz Messengers. Bill Hardman on trumpet, Jackie McClean on alto, Sam Dockery on piano, Spank deBrest on bass deliver the signature sound of The Jazz Messengers at their best, playing small combo '50s jazz with intensity, excellence and passion. This is a classic album which explores true African musical foundations, and stays true to the sound of Jazz. Just play some of the samples, and you'll hear what I mean.
1. The Sacrifice
2. Cubano Chant
3. Oscalypso
4. Nica's Tempo
5. D's Dilemma
6. Just for Marty
7. Lilt (AKA The Third)
8. The new Message (AkA Little T) Take 1
9. The new messege (AKA Little T ) Take 3
₪49.00
Avishai Cohen - As Is...live At The Blue Note (cd+ Dvd)
They play a beautiful mixture of modern and contemporary, eastern and western styles. With Avishai Cohen's sensitive and rhythmic bass playing, Sam Barsh's colourful cascading and elevating piano and Mark Guiliana's innovative approach to drumming which drives the music and compliments both the bass and piano so incredibly, they reach new heights in jazz. Each of them are outstanding musicians in their own right, and they fit together so well to produce such tight, sensitive and ground-breaking music.
Two guest musicians join them on stage for a number of tracks; Jimmy Greene on Saxophone and Diego Uricola on Trumpet who do an excellent job to add to the already-rich music.
Also, what cover or the description doesn't tell you is that you also get some bonus footage of them behind the scenes at blue note and an interview video with Avishai speaking about his music, the band, his albums and the performance.
The footage quality is very good for a live performance, the video is perfect, audio is clear and detailed, but stands out as a little dull and restrained on a top hifi system (as with 90% of live recordings), but isn't noticeable on any average system.
This is a must have for any Jazz fan, or anyone who has interest in jazz, or studies drums, bass or piano. (mr. f. beckett)
They play a beautiful mixture of modern and contemporary, eastern and western styles. With Avishai Cohen's sensitive and rhythmic bass playing, Sam Barsh's colourful cascading and elevating piano and Mark Guiliana's innovative approach to drumming which drives the music and compliments both the bass and piano so incredibly, they reach new heights in jazz. Each of them are outstanding musicians in their own right, and they fit together so well to produce such tight, sensitive and ground-breaking music.
Two guest musicians join them on stage for a number of tracks; Jimmy Greene on Saxophone and Diego Uricola on Trumpet who do an excellent job to add to the already-rich music.
Also, what cover or the description doesn't tell you is that you also get some bonus footage of them behind the scenes at blue note and an interview video with Avishai speaking about his music, the band, his albums and the performance.
The footage quality is very good for a live performance, the video is perfect, audio is clear and detailed, but stands out as a little dull and restrained on a top hifi system (as with 90% of live recordings), but isn't noticeable on any average system.
This is a must have for any Jazz fan, or anyone who has interest in jazz, or studies drums, bass or piano. (mr. f. beckett)
₪59.00
Ben Sidran - Feel Your Groove (1971 Remastered Album)
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This is a great Album. The first album released by this prolific musician, keybord player of the steve miller band, in the early 1970's stands the test of time.
From the opening piano song (Leo's My Name and Music's My business)which creates the feel of a late night in a crazy cool bar, to groove organ jazz (Feel Your Groove) to Such tunes as "Poor Girl" and "My Wife " this album does it up. Guest artists include Curley Cooke, Blue Mitchell, Peter Framton and Charley Watts
1. Leo's My Name
2. Poor Girl
3. Racine Bovine
4. About Love
5. Feel Your Groove
6. That Fine Day
7. Alexander's Rag Time Brand
8. Try
9. My Wife
10. The Blues in England
11. Spread Your Wings
This is a great Album. The first album released by this prolific musician, keybord player of the steve miller band, in the early 1970's stands the test of time.
From the opening piano song (Leo's My Name and Music's My business)which creates the feel of a late night in a crazy cool bar, to groove organ jazz (Feel Your Groove) to Such tunes as "Poor Girl" and "My Wife " this album does it up. Guest artists include Curley Cooke, Blue Mitchell, Peter Framton and Charley Watts
1. Leo's My Name
2. Poor Girl
3. Racine Bovine
4. About Love
5. Feel Your Groove
6. That Fine Day
7. Alexander's Rag Time Brand
8. Try
9. My Wife
10. The Blues in England
11. Spread Your Wings
₪69.00
Betty Carter - I Can't Help It (1958/1960 Sessions)
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This CD compiles two very different sessions from 1958 and 1960, presenting contrasting sides of the great bop vocalist Betty Carter. The first is with an outstanding 13-piece big band, with thoughtful arrangements by several band members including trombonist Melba Liston, altoist Gigi Gryce, tenorist Benny Golson, and trumpeter Ray Copeland. The setting suits the bop side of Carter perfectly; her approach challenges and matches the horn solos of Golson and trumpeter Kenny Dorham. The second session, with a string orchestra arranged and conducted by Richard Wess, emphasizes the gentler, ballad side of Carter's repertoire, but she hardly sounds repressed. The renditions of "My Reverie" and "Stormy Weather" show what Carter can do with a song in even the most formal settings. --Stuart Broomer
This CD compiles two very different sessions from 1958 and 1960, presenting contrasting sides of the great bop vocalist Betty Carter. The first is with an outstanding 13-piece big band, with thoughtful arrangements by several band members including trombonist Melba Liston, altoist Gigi Gryce, tenorist Benny Golson, and trumpeter Ray Copeland. The setting suits the bop side of Carter perfectly; her approach challenges and matches the horn solos of Golson and trumpeter Kenny Dorham. The second session, with a string orchestra arranged and conducted by Richard Wess, emphasizes the gentler, ballad side of Carter's repertoire, but she hardly sounds repressed. The renditions of "My Reverie" and "Stormy Weather" show what Carter can do with a song in even the most formal settings. --Stuart Broomer
₪55.00
Bill Evans - The Paris Concert, Edition Two (remastered)
Bill Evans' death in 1980 ended the career of the most influential (along with McCoy Tyner) acoustic pianist in jazz of the previous 20 years. This second of two LPs features Evans, bassist Marc Johnson, and drummer Joe La Barbera closely interacting on four of the pianist's originals, Gary McFarland's "Gary's Theme" and Miles Davis' "Nardis." The music is sensitive and subtly exciting. Until the release of some later live sessions from 1980, this could be considered Bill Evans' final recording and serves as evidence that, rather than declining, he was showing a renewed vitality and enthusiasm in his last year.
Bill Evans' death in 1980 ended the career of the most influential (along with McCoy Tyner) acoustic pianist in jazz of the previous 20 years. This second of two LPs features Evans, bassist Marc Johnson, and drummer Joe La Barbera closely interacting on four of the pianist's originals, Gary McFarland's "Gary's Theme" and Miles Davis' "Nardis." The music is sensitive and subtly exciting. Until the release of some later live sessions from 1980, this could be considered Bill Evans' final recording and serves as evidence that, rather than declining, he was showing a renewed vitality and enthusiasm in his last year.
₪39.00
Billie Holiday - Lady Sings The Blues
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Volume Four of Verve's complete Billy Holiday Story, this disc includes recordings from two sessions, some of which were issued on the album STAY WITH ME and others from the original release of the LADY
SINGS THE BLUES. Lady Day's voice, by 1956, was beginning to thicken and transform, but her stylings and embellishments are still superb, and the delicious timbre of her voice is still the quintessense of blues. Fromher treatment of Irving Berlin ("Say It Isn't So", and "Always"), to her own fine compositions, like the title track and "God Bless the Child", Holiday spins her spell, giving these familiar songs a new dimension, imbuing the lyrics with tenderness, pain and emotional intensity.
1. Say It Isn't So
2. I've Got My Love To Keep Me Warm
3. I Wished On The Moon
4. Always
5. Everything Happens To Me
6. Do Nothin' 'til You Hear From Me
7. Ain't Misbehavin'
8. Travellin' Light
9. I Must Have That Man
10. Some Other Spring
11. Lady Sings The Blues
12. Strange Fruit
13. God Bless The Child
14. Goodmorning Heartache
15. No Good Man
16. God Bless The Child
Volume Four of Verve's complete Billy Holiday Story, this disc includes recordings from two sessions, some of which were issued on the album STAY WITH ME and others from the original release of the LADY
SINGS THE BLUES. Lady Day's voice, by 1956, was beginning to thicken and transform, but her stylings and embellishments are still superb, and the delicious timbre of her voice is still the quintessense of blues. Fromher treatment of Irving Berlin ("Say It Isn't So", and "Always"), to her own fine compositions, like the title track and "God Bless the Child", Holiday spins her spell, giving these familiar songs a new dimension, imbuing the lyrics with tenderness, pain and emotional intensity.
1. Say It Isn't So
2. I've Got My Love To Keep Me Warm
3. I Wished On The Moon
4. Always
5. Everything Happens To Me
6. Do Nothin' 'til You Hear From Me
7. Ain't Misbehavin'
8. Travellin' Light
9. I Must Have That Man
10. Some Other Spring
11. Lady Sings The Blues
12. Strange Fruit
13. God Bless The Child
14. Goodmorning Heartache
15. No Good Man
16. God Bless The Child
₪69.00
Billy Cobham - Spectrum (remastered Digipack Of Classic 1973 Album)
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Personnel: Billy Cobham (percussion); Joe Farrell (soprano & alto saxophone, flute); Jimmy Owens (flugelhorn, trumpet); Jan Hammer (piano, electric piano, Moog synthesizer); John Tropea, Tommy Bolin (guitar); Ron Carter (acoustic bass); Lee Sklar (electric bass); Ray Barretto (congas). Recorded at Electric Lady Studios, New York on May 14-16, 1973.
1. Quadrant 4
2. Searching For The Right Door / Spectrum
3. Anxiety / Taurian Matador
4. Stratus
5. To The Women In My Life / Le Lis
6. Snoopy's Search / Red Baron
Personnel: Billy Cobham (percussion); Joe Farrell (soprano & alto saxophone, flute); Jimmy Owens (flugelhorn, trumpet); Jan Hammer (piano, electric piano, Moog synthesizer); John Tropea, Tommy Bolin (guitar); Ron Carter (acoustic bass); Lee Sklar (electric bass); Ray Barretto (congas). Recorded at Electric Lady Studios, New York on May 14-16, 1973.
1. Quadrant 4
2. Searching For The Right Door / Spectrum
3. Anxiety / Taurian Matador
4. Stratus
5. To The Women In My Life / Le Lis
6. Snoopy's Search / Red Baron
₪49.00
Bobby Mcferrin - Bobby Mcferrin
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This is the album that made me fall head over heels with Bobby McFerrin (the voice, that is; I've never met the man) and after decades of owning it on cassette, I finally got round to getting it on CD. This is one of the few albums that the one-man a cappella band recorded with musical instruments and as much as I love the wide range of sounds the man is able to produce using only his voice, I only wish he had done more stuff with musicians. His version of the Van Morrison classic "Moondance" was the first I ever heard and though I've heard a few good versions since, McFerrin's is still my firm favourite. No one has even come close yet.
Other personal highlights include "Feline", "Sightless Bird", a truly magnificent version of the Horace Silver tune "Peace" and the happy-go-lucky "Jubilee". But I love the whole set, really. McFerrin's baritone is warm, full of heart and very endearing. He writes five of the ten songs here, showing remarkable songwriting skills in addition to his now legendary vocal ones and while the musicians playing here are all very competent, I can't say I recognise any of the names.
Well, except for "American Idol" judge Randy Jackson of course, who plays bass on "Sightless Bird". How about that?
The album is produced by Linda Goldstein. A true classic, in my opinion.
Olukayode Balogun
This is the album that made me fall head over heels with Bobby McFerrin (the voice, that is; I've never met the man) and after decades of owning it on cassette, I finally got round to getting it on CD. This is one of the few albums that the one-man a cappella band recorded with musical instruments and as much as I love the wide range of sounds the man is able to produce using only his voice, I only wish he had done more stuff with musicians. His version of the Van Morrison classic "Moondance" was the first I ever heard and though I've heard a few good versions since, McFerrin's is still my firm favourite. No one has even come close yet.
Other personal highlights include "Feline", "Sightless Bird", a truly magnificent version of the Horace Silver tune "Peace" and the happy-go-lucky "Jubilee". But I love the whole set, really. McFerrin's baritone is warm, full of heart and very endearing. He writes five of the ten songs here, showing remarkable songwriting skills in addition to his now legendary vocal ones and while the musicians playing here are all very competent, I can't say I recognise any of the names.
Well, except for "American Idol" judge Randy Jackson of course, who plays bass on "Sightless Bird". How about that?
The album is produced by Linda Goldstein. A true classic, in my opinion.
Olukayode Balogun
₪39.00
Buddie Emmons - Steel Guitar Jazz (high-quality Sundazed Vinyl Lp)
The flying fingers of steel guitar virtuoso Buddy Emmons' unspooling blazing lines that nobody had ever heard before - made him an obvious choice for Grand Ole Opry's national spotlight and to tour in the bands of country icons Ernest Tubb, Ray Price, Little Jimmy Dickens and Roger Miller. But this one-time child prodigy from Mishawaka, Ind., who'd picked up the instrument at the age of 6, was always looking beyond the Nashville skyline to play in settings that would stretch his prodigious talent to the max. In 1963, Emmons conquered his musical Everest by hooking up with tenor sax man Jerome Richardson, pianist Bobby Scott, bassist Art Davis and drummer Charlie Persip to cut a landmark jazz album that opened a lot of eyes and added steel guitar to the jazzman's ever-expanding arsenal. In restoring this rare classic to vinyl, Steel Guitar Jazz has been cut from the original Mercury Records stereo masters - and it sounds positively devastating! One of our absolute all-time faves!
TRACK LIST:
1. Bluemmons
2. Any Time
3. Where or When
4. Indiana (Back Home Again In Indiana)
5. Gravy Waltz
6. Oleo
7. The Preacher
8. Cherokee (Indian Love Song)
9. Witchcraft
10. Gonna Build a Mountain
11. There Will Never Be Another You
The flying fingers of steel guitar virtuoso Buddy Emmons' unspooling blazing lines that nobody had ever heard before - made him an obvious choice for Grand Ole Opry's national spotlight and to tour in the bands of country icons Ernest Tubb, Ray Price, Little Jimmy Dickens and Roger Miller. But this one-time child prodigy from Mishawaka, Ind., who'd picked up the instrument at the age of 6, was always looking beyond the Nashville skyline to play in settings that would stretch his prodigious talent to the max. In 1963, Emmons conquered his musical Everest by hooking up with tenor sax man Jerome Richardson, pianist Bobby Scott, bassist Art Davis and drummer Charlie Persip to cut a landmark jazz album that opened a lot of eyes and added steel guitar to the jazzman's ever-expanding arsenal. In restoring this rare classic to vinyl, Steel Guitar Jazz has been cut from the original Mercury Records stereo masters - and it sounds positively devastating! One of our absolute all-time faves!
TRACK LIST:
1. Bluemmons
2. Any Time
3. Where or When
4. Indiana (Back Home Again In Indiana)
5. Gravy Waltz
6. Oleo
7. The Preacher
8. Cherokee (Indian Love Song)
9. Witchcraft
10. Gonna Build a Mountain
11. There Will Never Be Another You
₪99.00
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Cecil Taylor - Dark To Themselves
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This CD reissue has a continuous 61-plus-minute performance by pianist Cecil Taylor and his 1976 quintet (which also includes such fiery players as trumpeter Raphe Malik, his longtime altoist Jimmy Lyons, tenor saxophonist David S. Ware and drummer Marc Edwards). There is a quick theme along with brief transitions that form the composition "Streams and Chorus of Seed" but the bulk of the passionate performance is taken up by spontaneous and intense solos. Listeners with very open ears and longtime fans of Cecil Taylor can consider this explosive performance to be essential.
This CD reissue has a continuous 61-plus-minute performance by pianist Cecil Taylor and his 1976 quintet (which also includes such fiery players as trumpeter Raphe Malik, his longtime altoist Jimmy Lyons, tenor saxophonist David S. Ware and drummer Marc Edwards). There is a quick theme along with brief transitions that form the composition "Streams and Chorus of Seed" but the bulk of the passionate performance is taken up by spontaneous and intense solos. Listeners with very open ears and longtime fans of Cecil Taylor can consider this explosive performance to be essential.
₪65.00
Charles Lloyd - Forest Flower/ Soundtrack
About Forest flower:
When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable - though young - Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is "Forest Flower-Sunrise," the other "Sunset"), showcased the already fully developed imagination of Jarrett as a pianist. His interplay with DeJohnette - which has continued into the 21st century in a trio with Gary Peacock - is remarkable: whispering arpeggios surrounded by large chords that plank up the drumming as DeJohnette crosses hands and cuts the time in order to fluctuate the time. Lloyd's own solos are demonstrative of his massive melodic gift: his improvisation skirted the edges of what was happening with Coltrane (as everyone's did), but his own sense of the deep wellspring of song and the cross-pollination of various world musics that were happening at the time kept him busy and lyrical. Elsewhere, on Jarrett's own "Sorcery," his linking front-line harmonics with Lloyd is stellar - this isn't communication, it's telepathy! Jarrett's angular solo is buoyed up by Lloyd's gorgeous ostinato phrasing. By the time the band reaches its final number, a sky-scorching version of Brooks Bowman's "East of the Sun," they have touched upon virtually the entire history of jazz and still pushed it forward with seamless aplomb. Forest Flower is a great live record.
About Soundtrack:
Late in 1967, bassist Cecil McBee left Charles Lloyd's band and was replaced by Ron McClure. The jazz critics and public alike all held their breaths, since Lloyd's band had taken the entire world by storm on the festival circuit; playing Town Hall would surely be an acid test not only of McClure's ability to fill such a big space, but the band's as well - to see if the fire would continue to burn as it had previously. They needn't have worried. The gig, which is presented here as Soundtrack, stomps with all the fury of a live gospel choir trying to claim Saturday night for God instead of the other guy. McClure's particular strength is in his hard-driving blues style that adds a deep groove to any time signature or dynamic. And, judging by how deep Lloyd, Jarrett, and DeJohnette took their playbook, he was just what the doctor ordered. The band is in a heavy Latin mood, where the blues, samba, bossa, hard bop, modal, and even soul are drenched in the blues. With only four tunes presented, the Charles Lloyd Quartet, while a tad more dissonant than it had been in 1966 and 1967, swings much harder, rougher, and get-to-the-groove quicker than any band Lloyd had previously led. Most notable here are "Sombrero Sam" for its eerie yet funky flute solo (Hubert Laws stole more from this solo than he did from his flute teachers) and the revisited "Forest Flower," now entitled "Forest Flower '69." On the latter, the lovely swinging progressive jazz of the former is replaced with a poignant, torchy, bullish blues groove provided by Jarrett and DeJohnette, who trade time signatures all over the place as Lloyd tries to shove the mode along through no less than five key changes looking for the "right" harmony (they're all right). This band would split soon after, when Jarrett left to play with Miles Davis, but if this was a live swansong, they couldn't have picked a better gig to issue.
About Forest flower:
When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable - though young - Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is "Forest Flower-Sunrise," the other "Sunset"), showcased the already fully developed imagination of Jarrett as a pianist. His interplay with DeJohnette - which has continued into the 21st century in a trio with Gary Peacock - is remarkable: whispering arpeggios surrounded by large chords that plank up the drumming as DeJohnette crosses hands and cuts the time in order to fluctuate the time. Lloyd's own solos are demonstrative of his massive melodic gift: his improvisation skirted the edges of what was happening with Coltrane (as everyone's did), but his own sense of the deep wellspring of song and the cross-pollination of various world musics that were happening at the time kept him busy and lyrical. Elsewhere, on Jarrett's own "Sorcery," his linking front-line harmonics with Lloyd is stellar - this isn't communication, it's telepathy! Jarrett's angular solo is buoyed up by Lloyd's gorgeous ostinato phrasing. By the time the band reaches its final number, a sky-scorching version of Brooks Bowman's "East of the Sun," they have touched upon virtually the entire history of jazz and still pushed it forward with seamless aplomb. Forest Flower is a great live record.
About Soundtrack:
Late in 1967, bassist Cecil McBee left Charles Lloyd's band and was replaced by Ron McClure. The jazz critics and public alike all held their breaths, since Lloyd's band had taken the entire world by storm on the festival circuit; playing Town Hall would surely be an acid test not only of McClure's ability to fill such a big space, but the band's as well - to see if the fire would continue to burn as it had previously. They needn't have worried. The gig, which is presented here as Soundtrack, stomps with all the fury of a live gospel choir trying to claim Saturday night for God instead of the other guy. McClure's particular strength is in his hard-driving blues style that adds a deep groove to any time signature or dynamic. And, judging by how deep Lloyd, Jarrett, and DeJohnette took their playbook, he was just what the doctor ordered. The band is in a heavy Latin mood, where the blues, samba, bossa, hard bop, modal, and even soul are drenched in the blues. With only four tunes presented, the Charles Lloyd Quartet, while a tad more dissonant than it had been in 1966 and 1967, swings much harder, rougher, and get-to-the-groove quicker than any band Lloyd had previously led. Most notable here are "Sombrero Sam" for its eerie yet funky flute solo (Hubert Laws stole more from this solo than he did from his flute teachers) and the revisited "Forest Flower," now entitled "Forest Flower '69." On the latter, the lovely swinging progressive jazz of the former is replaced with a poignant, torchy, bullish blues groove provided by Jarrett and DeJohnette, who trade time signatures all over the place as Lloyd tries to shove the mode along through no less than five key changes looking for the "right" harmony (they're all right). This band would split soon after, when Jarrett left to play with Miles Davis, but if this was a live swansong, they couldn't have picked a better gig to issue.
₪49.00
Charles Mingus - Mingus Dynasty (remastered 1960 + Bonus Tracks)
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Like its companions in the button-bursting Complete Columbia Recordings three-CD set, Mingus Dynasty has some expanded pleasures. First, there's the band, which reaches to 10 members for half the tunes here. Second, there's the reissue's unique expansions, returning "Slop," "Song with Orange," "Gunslinging Bird," and "Things Ain't What They Used to Be" to their full, unedited length for the first time on CD. Columbia had a bad rep for some of the original edits on this and Mingus Ah Um, and the restorations give a far fleshier feel to these works, all of them balanced on a seesaw of flesh and brawn. There are downright lovely moments, as on "Diane," and moderately punching swingers, as on "Slop" and the undertow pull of "Gunslinging Bird." Jerome Richardson does wonders on the baritone sax, tugging the ear to the lower realms so Mingus can thumpily shine on his big axe. Of equal importance are John Handy, busy here training his alto sax to sound unlike anyone else's, and Booker Ervin, busy here giving the band a Texas tenor sound as wide open, unequivocal, and tonally economical as the dusty prairie. --Andrew Bartlett
1. Slop Charles Mingus;Jazz Groups 6:16
2. Diane Charles Mingus;Jazz Groups 7:30
3. Song With Orange Charles Mingus;Jazz Groups 6:50
4. Gunslinging Bird Charles Mingus;Jazz Groups 5:14
5. Things Ain't What They Used To Be Charles Mingus;Jazz Groups 7:38
6. Far Wells, Mill Valley Charles Mingus 6:11
7. New Now Know How Charles Mingus;Jazz Groups 4:15
8. Mood Indigo Charles Mingus 8:13
9. Put Me In That Dungeon Charles Mingus;Jazz Groups 2:52
10. Strollin' Charles Mingus 4:35
Like its companions in the button-bursting Complete Columbia Recordings three-CD set, Mingus Dynasty has some expanded pleasures. First, there's the band, which reaches to 10 members for half the tunes here. Second, there's the reissue's unique expansions, returning "Slop," "Song with Orange," "Gunslinging Bird," and "Things Ain't What They Used to Be" to their full, unedited length for the first time on CD. Columbia had a bad rep for some of the original edits on this and Mingus Ah Um, and the restorations give a far fleshier feel to these works, all of them balanced on a seesaw of flesh and brawn. There are downright lovely moments, as on "Diane," and moderately punching swingers, as on "Slop" and the undertow pull of "Gunslinging Bird." Jerome Richardson does wonders on the baritone sax, tugging the ear to the lower realms so Mingus can thumpily shine on his big axe. Of equal importance are John Handy, busy here training his alto sax to sound unlike anyone else's, and Booker Ervin, busy here giving the band a Texas tenor sound as wide open, unequivocal, and tonally economical as the dusty prairie. --Andrew Bartlett
1. Slop Charles Mingus;Jazz Groups 6:16
2. Diane Charles Mingus;Jazz Groups 7:30
3. Song With Orange Charles Mingus;Jazz Groups 6:50
4. Gunslinging Bird Charles Mingus;Jazz Groups 5:14
5. Things Ain't What They Used To Be Charles Mingus;Jazz Groups 7:38
6. Far Wells, Mill Valley Charles Mingus 6:11
7. New Now Know How Charles Mingus;Jazz Groups 4:15
8. Mood Indigo Charles Mingus 8:13
9. Put Me In That Dungeon Charles Mingus;Jazz Groups 2:52
10. Strollin' Charles Mingus 4:35
₪49.00
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