Джаз и Блюз на виниле

Vinyl, LP, Red Vinyl, LP, Blue All Media, Album, Limited Edition

A14 (ay-one-four) is a new 12" imprint from the Blackest Ever Black family dedicated to delinquent dancefloor gear - from serpentine breakbeat reductions to straight-up terminator trax. A14-01 presents two dispatches from the Parisian underworld, courtesy of December: the nightcrawling 'ardwave tekno of 'In Advance Of The Broken Arm', b/w with the khat-crazed small hours death-dub of 'Collapse'. Edition of 300. Record Label: A14 Style: Jazz

180GR./INSERT/1000 CPS ON GREEN, WHITE & BLACK MARBLED

Found in the archives of FMP! The very first - never released - recordings of the SCHLIPPENBACH TRIO Alexander von Schlippenbach - piano Evan Parker - tenor and soprano saxophone Paul Lovens - drums Recorded by an unknown engineer april 2nd 1972 during the Workshop Freie Musik at the Acadamy of the Arts, Berlin. All music by Parker/Von Schlippenbach/Lovens Mastering by Olaf Rupp & Martin Siewert. Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers. Record Label: Trost Style: Jazz

To this day, the typical sound colouring of the Dave Brubeck Quartet is quite distinctive and unmistakable thanks to Paul Desmond’s tenor saxophone. But Gerry Mulligan’s low-pitched horn and his restrained swing also offers enough appeal to make one want to listen to these somewhat less popular but – for all that – very worthwhile recording by the Quartet. The Quartet’s concert tour of Mexico’s major cities in 1968 was a great success and so Dave Brubeck’s recording company had no qualms in making live recordings of the group – complemented by bassist Jack Six and drummer Alan Dawson. Themes from indigenous folk music were skilfully coupled with new compositions with the result that the LP Compadres with its concert excerpts was in great demand and became a top hit. This carefully remastered new pressing will certainly contribute to the popularity of Dave Brubeck and Gerry Mulligan long after their demise. Vinyl, LP, Album

Artist: Tadd Dameron Label: Fantasy

Norah Jones took the world (and the Grammys) by storm with her debut album 'Come Away With Me'. Now, she’s back for one of the most-anticipated follow-ups in recent memory. On 'Feels Like Home', Jones again teams with producer Arif Mardin, engineer Jay Ne Record Label: Acoustic Sounds/AS AAPP 043 Style: Jazz/Pop

Vinyl, LP, Compilation

Interprète: John Coltrane; Artist: John Coltrane Label: Indelebyl

140GR AUDIOPHILE CLEAR VINYL – First edition of 500 numbered copies in a deluxe gold laminated jacket (...) It is common practice among discographers to list Prince Lasha as the leader of this session. This short extract of a Fred Lyman interview suggests that this may not be exactly the case (courtesy of Ben Young and Marc Chaloin) : ... mostly a jam-session [...] they were all in my studio, I don't know how they got these particular guys up there, it was probably Clifford Jordan got it together. And they just started to play and I started recording, and I played on it too, I played fluegelhorn on this track. And it turned out pretty good, [...] it was an example of what I liked to think music could be at that time. According to Lyman, they picked up Don Cherry in the street (...) All compositions written by the Band and recorded in New York City on May, 1963. Record Label: Doxy Style: Jazz

140GR Audiophile clear vinyl - First edition of 500 numbered copies Excellent early work from Roland Kirk. He plays alto, tenor, and soprano - and on all tracks, he plays them in his unique 3-in-1 style, in which he's actually blowing all horns at the same time! The result is an incredible sound, unlike anyone else we can think of - and it's an amazingly raw tone that still swings very hard. Players include Jimmy Madison on piano, Carl Pruitt on bass, and Hank Duncan on drums - a really rootsy quartet that helps Roland hit a really gutbuckety sound on the record. Titles include Triple Threat, Slow Groove, Roland's Theme, Easy Living, The Nearness Of You, and A La Carte. Record Label: Doxy Style: Jazz

Artist: Thelonious Monk Label: Waxtime (in-akustik)

Norwegian jazz is as vital as ever and one can but wonder where it all comes from. With Night Owl, their second album for Rune Grammofon, Eyolf Dale (29) and André Roligheten (29) are already five albums into their career and showing a maturity in writing and playing that is betraying their age considerably. Their previous album, Tree House with Trondheim Jazz Orchestra, also showed that they can write for a large ensemble, this being a commissioned work from Molde International Jazz Festival in 2013. Night Owl was recorded at Fattoria Musica in rural Osnabrück, Germany, a studio that has hosted many famous musicians and is known for its top quality equipment and ambiance. The music can be described as contemporary jazz with threads to both American and European traditions - highly original, structured compositions paired with improvisation; playful and melodic, modern and accessible. Eyolf and André met at school in the small town of Skien and have played together since the age of seventeen. The duo formally started in 2006, followed by rehearsals and concerts. They won the annual JazzIntro prize at Molde Int. Jazz Festival in 2008 and the best band category at the European Jazz Competition at the North Sea Jazz in 2009, with jury leader Maria Schneider commenting most original, great interplay and amazing improvisation, effective and colourful compositions. The same year also saw the release of their debut album Seagull Island followed by Mystery Orchestra with Grenager & Tafjord (2010), both receiving great reviews, the latter named best Norwegian jazz record of the year in national paper Dagsavisen. Grenager and Tafjord are both founder members of SPUNK, the all female impro quartet that has released eight albums on Rune Grammofon Record Label: Rune Grammofon Style: Jazz

Style: Jazz

Impresario Norman Granz had moved to Switzerland in 1959. He coordinated his JATP-tours from there, which at that time were only successful in Europe anymore. In the following year he even sent off two all-star casts under the slogan Norman Granz's Jazz at the Philharmonic Presents Jazz Winners of 1960. The first cast was made up by Ella Fitzgerald, Roy Eldridge, the Jimmy Giuffre Trio and the Shelly Manne Quintet. The second cast brought the Miles Davis Quintet, the Oscar Peterson Trio and the Stan Getz Quartet together. At that time the saxophonist was also residing in Europe. During a threemonth JATP-tour in 1958, on which he was accompanied by his Swedish wife Monica, he had made the decision to settle down in Scandinavia. The following three years he spent mostly in Copenhagen. A planed performance during the Essener Jazztage did not materialise. JATP 2 stopped over in Vienna, Zurich, Amsterdam, Stuttgart, Berlin, Hamburg, Frankfurt, Munich, Karlsruhe and Nuremberg. There were even two engagements in Dusseldorf: to begin with a recording at the Apollo Theatre, which was used as a television studio by WDR since the previous year. At that occasion an unenthusiastic Miles abandoned his commitment (probably due to the obviously increasing tension during the tour between him and John Coltrane) and let his tenor-saxophonist go first. Granz decided that Coltrane should perform together with the rhythm section of the Davis-Band (Wynton Kelly, Paul Chambers and Jimmy Cobb). Subsequently Getz joined them - the first and last time that both tenors played along (released on the CD John Coltrane. 1960 Düsseldorf/Jazzline N 77 002). Also Peterson briefly appeared to stand in for Kelly during one piece. Subsequently that evening at the Rheinhalle (today: Tonhalle) Stan Getz was on stage with "his own" quartet. The playbill announced the saxophonist's Scandinavian band; however, he had immediately prior to the tour decided to dismiss several of its members on short notice. The cast on the tour therefore reflected the USA, Getz's home country, as well as his adopted home Europe. Ray Brown and Ed Thigpen, two fellow Americans, who formed a somnambulistic swinging duo since 1959 as rhythm selection of Oscar Peters (and therefore had to perform twice at the Rheinhalle) performed alongside Getz. Several years later the percussionist should move to Getz's onetime exile Copenhagen, albeit forever. Jan Johansson, who died aged only 37, is hardly known outside Scandinavia. In northern Europe the situation is quite different: Hardly any jazz musician in that region is not referring to him and his artistic influence. The main reason for the this appreciation for and popularity of the pianist is Jazz pa Svenska, a recording which combined jazz with Swedish folk music and sold more than a quarter of a million copies and still is the biggestselling jazz production in Swedish music history. Hardly any Swedish household without this record can be found (nevertheless, also the rest of the world could enjoy his music - however, without knowing it was by him: Johansson did compose the theme music to the Pipi Longstocking movies). During his time at university the pianist got to know Stan Getz, who at first had emigrated to Sweden before moving to Copenhagen. The consequence was that Johansson discontinued his engineering studies, decided to become a full-time musician and worked with the famous saxophonist from the USA, among others. In 1960 he became the first European to participate in a JATP-tour. Jan Johansson was also present a few days prior to his appearance in Dusseldorf, when Getz, recorded Cool Velvet arranged by Russ Garcia at the Südwestfunk in Baden-Baden, his first but not last jaunt into the realm of strings; in 1961 - back in the USA - the way more advanced production Focus by the arranger Eddie Sauter followed. Also together with Johansson, Getz recorded two discs, which were entitled At Large and released in 1960. In May of 1960 Dieter Zimmerle, the editor of the magazine Jazz Podium, published a review entitled Plus and Minus of JATP 2: "Between the positive start (Peterson) and the negative finish (Davis) of this JATP-programme Stan Getz performed on the tenor saxophone. His performance varied from concert to concert as it is quite usual at such tours in general and at this ambivalent JATPpackage No. 2 in particular. More than others the sensitive Getz is not detached from outside influences. Partly he uses his technical abilities for minor jibes; partly he attends to expressive lyrical subjects. The Swedish pianist Jan Johansson, whose phrasing often showed a distinct closeness to the play of Getz, and the Peterson-colleagues Ray Brown and Ed Thigpen were able accompanists." In Dusseldorf Getz seemed to be inspired and in good spirits. His solo on "Out of Nowhere"(the origin of the second version is uncertain) is a hit on YouTube already for quite some time. "I am sick and tired of the competitive pressure in the USA. In Denmark I have more time for my family. And everything is less hectic. I enjoy the relaxed way of life in Europe. My intention was to regain my inner harmony. In the States this is hardly possible." (from: Ekkehard Jost "Jazzgeschichten aus Europa", p. 194) However, approximately nine months after the concert in Dusseldorf the expatriate made his comeback in the USA. Quick successes seemed to confirm his decision. Shortly afterwards Stan Getz became world renowned not only among jazz enthusiasts, thanks to the Bossa-Nova and Jazz-Samba boom. Nevertheless, he should never regain his inner harmony. - Karsten Mützelfeldt Record Label: Jazzline Style: Jazz

The first album by Nina Simone was recorded for the Bethlehem label in late 1957 and released in February 1959. It contains the biggest hit that Bethlehem Records had during its existence, the Gershwin ballad "I Loves You, Porgy". It also contains the song "My Baby Just Cares For Me", which became a hit in the mid 80's generated by an animated music video heavily played on MTV. Nina Simone was paid a one-time $3,000 for the royalties for the recording.

BRAND NEW ALBUM! - 180G AUDIOPHILE VINYL - INCL DOWNLOAD CARD Branford Marsalis is one of the most revered instrumentalists of his time. The three-time Grammy Awardr winner Branford Marsalis is one of the few illustrious Jazz artists who have performed at Grace Cathedral since Duke Ellington helped consecrate the cathedral in 1965 with his Concert of Sacred Music. Marsalis gave a performance of both composed and improvised music. He played a solo work written for oboe by C.P.E. Bach, solo saxophone pieces by Steve Lacy and Ryo Noda, and a beautiful version of Hoagy Carmichaels tardust'. All of these pieces are connected by improvisations from Branford, which keep the music of various genres flowing and hold the album together. Leader of one of the finest jazz Quartets today, and a frequent soloist with classical ensembles, Branford has become increasingly sought after as a featured soloist with orchestras around the world. Record Label: Music On Vinyl Style: Jazz

TRACKLISTING: 01. BILLIE'S BLUES 02. ALL OF ME (GERALD MARKS & SIMOUR B. SIMONS) 03. I COVER THE WATERFRONT (GERALD MARKS & SIMOUR B. SIMONS) 04. THEM THERE EYES (MACEO PINKARD). 05. MY MAN (MAURICE YVAIN & JACQUES M. CHARLES) 06. WHAT A LITTLE MOONLIGHT CAN DO (HARRY M. WOODS) 07. I'LL REMEMBER APRIL (GENE DE PAUL) 08. OVER THE RAINBOW (HAROLD ARLEN) 09. NOW'S THE TIME (CHARLIE PARKER) DISC #2: 01. BASS SOLO (GENE WRIGHT) 02. SWEET GEORGIA BROWN (MACEO PINKARD) 03. SKITTISH (JIM MCNEELY) 04. RIFFTIDE (STEVE GRAHAM & COLEMAN RANDOLPH HAWKINS) Record Label: Jazzline Style: Jazz

|

Artist: Abdullah Ibrahim Label: Intuition (CODAEX Deutschland)

Organ Orgasm