Although Leonard Feather, in the original liner notes that are reproduced for this reissue, says that it is an oversimplification to call the music on this 1958 session "hard bop," the performances are actually pretty definitive of the idiom. Baritonist Pepper Adams, freshly arrived in New York from Detroit, co-leads a quintet with the up-and-coming trombonist Jimmy Knepper that also includes such young notables as pianist Wynton Kelly, bassist Doug Watkins and drummer Elvin Jones. They perform an obscure Jon Hendricks song, a lyrical version of "All Too Soon," the straight-ahead bebop blues "Beaubien," a couple obscure originals, Duke Ellington's "I Didn't Know About You" (which has Kelly switching to a spooky-sounding organ) and Knepper's "Primrose Path"…

Songs of Experience is the second studio album by American composer and producer David Axelrod, released in October 1969 by Capitol Records. It was composed, arranged, and produced by Axelrod, who worked with session musicians such as guitarist Al Casey, drummer Earl Palmer, and conductor Don Randi. As with his 1968 debut album Song of Innocence, Axelrod composed musical interpretations of English poet William Blake's Songs of Innocence and of Experience, an 18th-century illustrated collection of poems. A jazz fusion album, Songs of Experience explores darker sounds than its predecessor, as the poems Axelrod drew on for inspiration dealt with the darker side of humanity. Its music was partly inspired by composer Gunther Schuller's Third Stream concept. Axelrod composed Baroque orchestrations with rock, R&B, pop, and folk music elements. Songs of Experience received retrospective acclaim from music critics, who found Axelrod's compositions musically varied and innovative. Contemporary musicians praised it as a source for sampling in hip hop production. Some of its songs have been sampled frequently by hip hop artists and producers. In 2000, the album was reissued by EMI.

Bassist Nenad Vasilic has made the themes and rhythms of his home region of Serbia, but also of the whole Balkans, an essential part of his musical concept. In conjunction with elements of contemporary jazz music, he developed over time an independent variety of European world jazz. "Bass Room" is a pure bass album, recorded and recorded in "real time" - only on the bass. With his "Cosmopolitan Balkan Jazz", Vasilic from Vienna, the musical and ethnic melting pot of European cultures, has meanwhile come to the forefront of European jazz.

Magnus Hördegård is a well-trained musician, pianist, songwriter, with some connection to Christian music. In the combination Hördegårds Fyra, together with three talented music colleagues, brother Gustav, Magnus Boqvist and singer Allis Brorsson-Stihl, have toured, not least in southern Sweden and released music for around a decade.

With electronic fusion on the wane and the "young lions" of the '80s reaching middle age, a new hybrid of jazz cropped up on albums and in jazz clubs. This combination of styles borrows its harmonic qualities from post-bop but melds it with the rock-solid foundations of funk and soul. Increasingly, we are hearing a kind of hopped-up mixture of James Brown meets John Coltrane. The result is a rather provocative and fresh reading of jazz in the 21st century. Lonnie Plaxico's MELANGE is just that: a cornucopia of musical styles woven together forming a new and colorful musical fabric.

Tatum spent most of his career as a solo pianist; in fact, it was often said that he was such an unpredictable virtuoso that it would be difficult for other musicians to play with him. Producer Norman Granz sought to prove that the theory was false, so between 1954 and 1956 he extensively recorded Tatum with a variety of other classic jazzmen, resulting originally in nine LPs of material that is now available separately as eight CDs and on this very full six-CD box set.

Saxophonist and composer George Braith released five recordings during the 1960s before going silent for a couple of decades. He is well known as an innovator, able to play two saxophones at once – he was inspired after seeing Roland Kirk in a Philly club – though he used that technique only when a tune warranted it. Braith's first four albums – Laughing Soul, Soul Stream, Two Souls in One, Extension (all cut for Blue Note except Laughing Soul) – wove hard bop and soul-jazz that was ubiquitous for both labels at the time. His final offering for Prestige, 1967's Musart, is a whole other thing.

Die Kompositionen und Texte des Albums sind inspiriert von dem isländischen Klassiker „Aðventa“ von Gunnar Gunnarssson, eine Saga, die von Freundschaft, Verbundenheit mit der Natur und Toleranz erzählt. Die Musik handelt von der Wanderung des Hirten Benedikt, der im Dezember, dem dunkelsten und grausamsten Monat des Jahres, allein im Hochland Islands nach verlorenen Schafen sucht. Durch die Klänge erlebt man herrliche Landschaften, Kälte, Stürme, Freundlichkeit, Wärme, Stille, Isolation, Hoffnung und gebrochene Träume. Mógil ist ein isländisch-belgisches Ensemble, dessen Musik zeitgenössische Klassik, Folk, Jazz, Minimal und Post-Rock zu einem ganz eigenen Universum verschmelzen lässt.

Limited Edition. The rare 1962 Copenhagen concert by the classic John Coltrane quartet in it's entirety (not to be confused with the 1961 and 1963 performances). Includes inside booklet. This performance by the Coltrane Quartet is one of the most blistering ever released. Even by the high performance standards this band had set, this concert is extraordinary. I expected great music but this..Coltrane literally tears into the music with both ferocity and grace, it's almost unbearable. I was listening to this in my car and almost had an accident! The Danish audience is very receptive and apppreciative. I would recommend this set with rabid urgency.

The difference between Blood, Sweat & Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was "merely" a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album - consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas - was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people…

On his latest album, OVER THE RAINBOW, Herb Alpert began the same way he has done for all of his albums over the years: searching for great melodies. That search has resulted in the prolific trumpeter’s latest offering, a collection of 11 classics and 1 brand new, original track. That original song, “Skinny Dip”, opens the album with a quirky, fun vibe before things move on to recognizable tunes from the great American songbook, which are included for various reasons close to Herb’s heart. He felt the danger in the tightrope walk of recording his own version of the iconic “Over The Rainbow”, which was cemented within pop culture by Judy Garland's performance and many other fantastic recordings.

It's well known that throughout the 20th century, fed up with poor working conditions and racism in their home country, many American jazz musicians chose to leave the US in order to live and work in Europe. What's less well known is how their music developed and evolved during their time on the continent, and how the experience of being a musician in Europe was to shape their lives.

Star musician Ronnie Foster began his recording career in 1972 after building a following for himself by performing on shows with George Benson, Grant Green and Stanley Turrentine. A multi-talented keyboardist whose focus became the organ (inspired by the legendary Jimmy Smith), the Buffalo, New York-native cut five critically-acclaimed albums for Blue Note between 1972-1975. In 1978, Ronnie signed with Columbia Records; his label debut LOVE SATELLITE was produced by Jerry Peters (renowned for his work with Earth, Wind & Fire, Deniece Williams, Phyllis Hyman and Norman Connors among others) and featured a bevy of top musicians including Harvey Mason on drums, Alphonso Johnson and Byron Miller on bass, Paulinho Da Costa and Ndugu Chancler on percussion and special guest Roy Ayers on vibes.

Enjoy this Compilation with the most successful Verve & Blue Note Today 2019 singers like Brian Newman, Philip Bailey, Jeff Goldblum & the Mildred Snitzer Orchestra and many more!

Here is an interesting and not paradoxical combination: Bennie Maupin on Cryptogramophone. Maupin hasn't been heard from as a leader since 1998 on his fine, funky, Driving While Black. That doesn't mean he hasn't been busy; he's played on records by Chick Corea, the Headhunters, George Cables, Victor Bailey, David Arnay, Mike Clark, and others. He was also part of DJ and producer Carl Craig's revolutionary Detroit Experiment. Penumbra is all his, however, and aside from Jewel in the Lotus, it may be the finest outing in his catalog as a leader. Maupin plays his usual array of instruments – tenor, soprano, flute, bass clarinet, and piano. He is joined by the excellent bassist Darek Oleszkiewicz (also known as "Oles"), drummer Michael Stephans, and Darryl "Munyungo" Jackson on percussion. Rhythm is the key here, as all of these 14 compositions are rhythmically propelled. Maupin's compositional frame has been informed by all of his teachers, most notably John Coltrane, Sonny Rollins, and Yusef Lateef. Modal motifs can be heard in most pieces, and Maupin's playing around and through the rhythm makes for infectious and quietly dramatic listening. Restraint is a key element of all the tracks on this set. Tunes don't "swing" per se, but they are excellent examples of the deep interplay of the ensemble.