Джаз

Записан в сентябре 1957. В своих композициях Колтрейн глубоко осмысливает не только сущность Хард Бопа, невероятную мелодичность Блюзовых истоков Джаза, но также взаимодействие между ними. В этом ему помогают еще пятеро музыкантов. Неожиданный и невыразимо красивый альбом с двумя бонус треками альтернативных версий! Прилагается оцифрованная копия альбома на CD.

A comprehensive look at the under-researched Spanish jazz scene of the 60s and early 70s. Featuring tracks from highly collectable records by Spanish musicians such as Mantequilla, Juan Carlos Calderón, Ricard Roda and Vlady Bas, as well as by international jazzmen like Dusko Goykovich, Lou Bennett and Tino Contreras who recorded in Spain.Compiled and annotated by genre expert Javi Bayo. Includes a previously unissued track from the sessions of the album "Nits de jazz al Jamboree", recorded in 1968. When discussing the output of jazz recorded in Spain during the 1960s and 1970s, most conversations tend to simply list Tete Montoliu's discography and Pedro Iturralde's experiments in fusing jazz with flamenco. During these years, jazz didn't enjoy widespread popularity in Spain: local record labels didn't find the jazz market sufficiently attractive, and resources were largely directed towards the production of Spanish pop. Only this can explain the scarcity of releases during the period, especially when Spain is placed in comparison with countries like Italy or France, which were seemingly a lot more open to sounds originating from the other side of the Atlantic. This is even more pronounced if we bring the United Kingdom, Germany and certain Scandinavian nations into the equation. Along with Paris, these places became new homes for a great number of musicians who fled the United States in search of new opportunities.Nevertheless, a handful of albums and EPs exist that have remained unjustly ignored for decades, and which are in urgent need of rediscovery. They are recordings of high artistic value and historic significance, and their authors are deserving of greater recognition than they have thus far received. These musicians helped pave the way for jazz in Spain, and are responsible for some of its brightest musical moments."Fetén" brings together a selection of recordings made in Spain between 1961 and 1974. The tracks selected were originally released on records that have become impossible to find, and which, in most cases, have never been reissued. These are unique recordings spanning modal jazz, hard bop and even avant-garde jazz by Spanish musicians such as Mantequilla, Juan Carlos Calderón, Ricard Roda and Vlady Bas, as well as by international jazzmen like Dusko Goykovich, Lou Bennett and Tino Contreras. The selection is completed by the inclusion of a previously unissued track.It's a cover in a trio format of 'Solar', a Miles Davis composition, which has been rescued from the master tapes and sees the light now for the first time after being left out of the original edition of "Nits de jazz al Jamboree", released in 1968 by the Edigsa label.Years of searches in market stalls and record fairs, trades with other collectors, phone calls to second-hand dealers, countless hours of online research, and a lot of dust on my fingers have made it possible to bring together all the recordings presented here. My hope is that besides bringing self-proclaimed jazz fans closer to these historic recordings, this compilation also manages to inspire curiosity in other kinds of music lover. Most importantly, however, I hope that its music provides many hours of listening pleasure. Style: Jazz

180g / limited. re-release of classic from the brazilian legend. Record Label: Universal Sound Style: World / Jazz / Globa

180 gram LP. Screamin' The Blues was one of a handful of excellent albums that tenor saxophonist Oliver Nelson recorded in the early sixties before moving on to a highly successful career as a composer and arranger in Los Angeles. This brilliant 1960 Van Gelder session finds Nelson joined by Eric Dolphy on alto sax, Richard Williams on trumpet, Roy Haynes on drums and George Duvivier on bass-with Dolphy and Nelson trading some beautiful lines on numbers like Nelson's own "The Meetin'" and "Alto-itis". The following year Nelson and Dolphy would team up once again to record the classic "Stolen Moments", now a standard. Unfortunately, like so many other jazz musicians, neither Dolphy nor Nelson would live to see old age Style: Jazz

180 gram LP. Recorded in 1960 in the Rudy Van Gelder studio, this amazing session is a rare example of the legendary R&B saxophonist King Curtis playing in a jazz setting. Although Curtis is best known for his work on seminal early sides like the Coasters' "Yakety Yak", and as a backing musician for the likes of Aretha Franklin and Wilson Pickett, Curtis proves here that his immense talent was not limited by genre. Featuring Nat Adderley on trumpet, Wynton Kelly on piano, Paul Chambers on bass and Oliver Jackson on drums, Curtis plays four original compositions and the standard "Willow Weep For Me", and while this session is not necessarily groundbreaking, it still represents some of the best jazz of the era! Style: Jazz

180 gram LP + bonus CD of the album. Early recordings (1959-1961) of some of Nina Simone's most classic material from her years with the Colpix label. When Simone moved over to Colpix in 1959 she demanded (and got) full creative control over her music, makings these recordings the first where Simone was fully able to express herself as an artist. Her unique talent and personal strength as a black woman cast a long shadow over the last half of the 20th century, providing inspiration for the many artists who have followed her guiding light Style: Jazz

180 gram DMM LP (45rpm) audiophile HQ virgin vinyl. Recorded live at The Village Vanguard in New York on June 25, 1961, this was the fourth album by the Bill Evans Trio, composed of pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian. Scott Record Label: Doxy Goldnote Style: Jazz

On their fourth album, counting the limited vinyl only "Live At The BBC", Elephant9 join forces with Reine Fiske, the quite excellent Swedish guitarist from Dungen, The Amazing and Träd, Gräs och Stenar, for yet another heavy slice of mindblowing modern rock'n'jazz psychedelia. Reine Fiske makes his entrance on the title track, the long intro section almost sounding like it could have come off an early Terje Rypdal album. No coincident considering Fiske is a big Rypdal fan and Storlokken being Rypdal's keyboard player for well over a decade. His guest spot ends with the final thirteen minute tour de force and its heavy funk intro reminiscent of another guitar great and his Band of Gypsys. "Atlantis" is all originals, four from Storlokken and three from Eilertsen, recorded at Stockholm's legendary Atlantis studio under the masterful supervision of Janne Hansson and the band's regular engineer Christian Engfelt. Ståle Storlokken is widely considered to be the most inventive keyboard player from the fertile Norwegian jazz scene, his playing with bands like Supersilent, Humcrush, Motorpsycho, Terje Rypdal and countless others being firm testament to this. Nikolai Eilertsen was first known to the Norwegian public through his playing with popular rock group Big Bang and later chart topping pop group The National Bank Style: Jazz

180 gram DMM LP (45rpm) audiophile HQ virgin vinyl - ltd. ed.500 copies. For 1960's Sketches Of Spain Davis pairs up with composer Gil Evans and a 19-piece band to produce what has been called one of the most difficult scores in jazz music. But Davis makes even the most difficult of music sound absolutely effortless presenting some of the most dramatic and breathtakingly brooding solos of his career. Said one critic: "It is as if Miles had been born of Andalusian gypsies but, instead of picking up the guitar, had decided to make a trumpet the expression of his cante hondo (deep song)". Record Label: Doxy Goldnote Style: Jazz

Record Label: Dox Style: Jazz

Composer(s)	Aserud, Bent • Bohren, Geir
Artist(s)	Nordli, Asne Valland, contralto • Hoff Ensemble, Ensemble • Hoff, Jan Gunnar, piano • Lien, Annbjorg, vocals • Eidsvag, Bjorn, vocals • Muri, Bjorn Johan, vocals • Vennersten, Cecilia, vocals • Boksle, Helene, vocals • Bratland, Sondre, vocals • Harket, Tomine Malmquist, vocals • Wilhelmsen, Unni, vocals
Genre	Contemporary Jazz
Category	Contemporary Jazz
Label	2L
	Booklet / liner notes available

Sax player Timo Lassy's quintet releases their newest "In With Lassy" album on the highly acclaimed, Italian Schema Records label. The release is Lassy's third solo album and it's recorded in the traditional cooking session spirit, where the songs aspire from seizing the moment. Lassy and his fellow virtuosos prove on the album, that they stand the comparison with the classics and yet succeed in making a fresh approach to contemporary jazz. To Timo Lassy Band, the tradition is not a cage, it's a source of inspiration! Record Label: Schema Style: Jazz

180 gram gatefold LP with inside pocket and 2 extra track. During the 1950s, trumpeter Louis Smith was a rising star in the jazz world, appearing as sideman on LPs by Kenny Burrell and Max Roach, while recording two of his own excellent albums for Blue Note in 1958. Smith was headed for a promising career in jazz when he suddenly decided to leave the hectic world of touring and recording for the more stable life of teaching at the University of Michigan. Smithville, the second of those two outstanding 1958 LPs, featured Smith playing in a quintet setting backed by pianist Sonny Clark, tenor saxophonist Charlie Rouse, bassist Paul Chambers and drummer Art Taylor. Kicking off the album with two of his own compositions, Smith displays his versatility with the juxtaposition of "Smithville", the album's mellow opener, and "Wetu", a note heavy uptempo number that also shows Smith's virtuosity on his instrument. Bonus tracks include "Baking" and Charlie Parker's classic "Au Privave". Style: Jazz

180 gram LP. Recorded in November of 1956, Horace Silver's second album as leader for Blue Note marked an important turning point in the jazz pianist's career. After concentrating much of his efforts on co-leading the pioneering Jazz Messengers, with drummer Art Blakey, Silver-along with fellow Messengers Hank Mobley, Donald Byrd and Doug Watkins-left to form a new quintet, leaving Blakey to carry on the Messengers name. While the music heard here is still firmly rooted in the hard bop territory that Silver himself was responsible for creating, it was during this period that Silver really fine-tuned his craft-as can be heard on for stand-out numbers like "Señor Blues"-eventually making his style of piano playing one of the most emulated in jazz. With the exception of "For Heaven's Sake", this album is comprised solely of original compositions Style: Jazz

180 gram 2LP. Originally released as two separate 10" discs on Blue Note in 1951 and 1954, these sessions, all recorded at the WOR radio studios in New York City, represent the very finest recordings in Bud Powell's career. Called the Charlie Parker of the piano, Bud Powell was a giant of his instrument and one of the key inventors of the bebop style. However, after suffering a head injury due to police brutality, Powell was always "Un Poco Loco", to cite his greatest masterpiece. This double LP is comprised of three sessions, the first of which (recorded in 1949) found Bud playing in a quintet called 'Bud Powell's Modernists' with Fats Navarro on trumpet, Sonny Rollins on tenor sax, Tommy Potter on bass and Roy Haynes on drums. The following two dates (from 1951 and 1953) are two trio sessions, first with Curley Russell on bass and Max Roach on drums, and later with George Duvivier on bass and Arthur Taylor on drums. Also includes the previously unreleased "I've Got You Under My Skin" from the 1953 session. (Side A - recorded at WOR studios in New York City on August 8, 1949 with Fats Navarro, trumpet; Sonny Rollins, tenor sax; Tommy Potter, bass; Roy Haynes, drums ++ Side B recorded at WOR studios in New York City on May 1, 1951 with Curley Russell, bass; Max roach, drums ++ Sides C & D recorded at WOR studios in New York City on August 14, 1953 with George Duvivier, bass; Arthur Taylor, drums) Style: Jazz

180 gram (MONO) gatefold LP with inside pocket. On trumpeter Lee Morgan's third album for Blue Note, recorded on 24 March 1957, Morgan's sextet-comprised of Gigi Gryce on alto and flute, Benny Golson on tenor, Wynton Kelly on piano, Paul Chambers on bass and Charlie Persip on drums-showcases five compositions by sideman Benny Golson. The numbers include the fascinating "Hassan's Dream" as well as "I Remember Clifford", a tribute to the late trumpet player Clifford Brown. Tragically Morgan (a trumpet player like Brown) himself would also meet with an untimely demise, but in 1957, the nineteen year old Philadelphia native was one of the leading trumpeters on the New York jazz scene and remained so until his death at age 33. One of Morgan's most legendary performances, on John Coltrane's celebrated Blue Train album, would be recorded just a few months after this date Style: Jazz

180 gram LP. Recorded at the Van Gelder Studio on 13 January 1957 for Blue Note, for this session tenor saxophonist Hank Mobley played five of his own compositions in an all star quintet line-up featuring Milt Jackson, Horace Silver, Doug Watkins and Art Blakey. These musicians were all big men on the NY jazz scene at the time and at the very top of their game, and it certainly shows on this outstanding example of late fifties hard bop! Check out the smooth playing on "Mobley's Musings" to hear what Hank was made of! Style: Jazz

Style: Jazz