The Whiplash soundtrack consists of 24 tracks sequenced in 3 distinct parts: Original jazz songs written for the film, original underscore written for the film, and classic jazz standards by Stan Getz, Duke Ellington and more. There are also choice snippets of dialog included on the soundtrack that sum up the narrative of the film and help to put the music in context (à la Pulp Fiction). The Original Score & Big Band Songs were created by Justin Hurwitz. The original jazz songs were created by Grammy nominated composer, Tim Simonec.

William John Evans was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continues to influence jazz pianists today.

法蘭西斯·艾伯特·辛納屈，暱稱法蘭克·辛納屈，綽號瘦皮猴，著名美國男歌手和奧斯卡獎得獎演員。常被公認為20世紀最優秀的美國流行男歌手之一。 法蘭克·辛納屈的音樂生涯始於搖擺樂時代，最初曾與哈利·詹姆士和湯米·多爾西一同合作，但在1940年代初便轉而成為獨唱歌手，並因此取得了極大的成就。

João Gilberto, was a Brazilian singer, songwriter, and guitarist, who was a pioneer of the musical genre of bossa nova in the late 1950s. Around the world he was often called "father of bossa nova"; in his native Brazil, he was referred to as "O Mito".

Full performer name: Art Blakey & The Jazz Messengers.
The Rudy Van Gelder Edition of MOANIN' includes an essay by Bob Blumenthal.
Art Blakey & The Jazz Messengers: Art Blakey (drums); Benny Golson (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass).
Producer: Alfred Lion.
Reissue producer: Michael Cuscuna.
Recorded at the Van Gelder Studio, Hackensack, New Jersey on October 30, 1958. Originally released on Blue Note (4003). Includes liner notes by Leonard Feather and Bob Blumenthal.
Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey).
This is part of the Blue Note Rudy Van Gelder Editions series.
If you simply can only have one Art Blakey and the Jazz Messengers disc (and why would you stop there?), it absolutely must be MOANIN'. This 1958 Blue Note date is the cream of the early Messengers' studio sessions. The group of this period featured the wailing Lee Morgan (trumpet), the swinging Benny Golson (sax) and the soulful Bobby Timmons (piano) with longtime bassist Jymie Merritt by Blakey's side. All of the pieces fell into place here to create one of the most hard-swinging, blues-inflected records in jazz history.
Timmons' classic title cut sets the pace as it's laid-back call-and-response chorus and swinging bridge will get in your soul and start your head bobbing. Golson's bouncing "Are You Real" and the subtle "Along Came Betty" feature that golden Messengers ensemble sound that can't be matched as Blakey drives his men mercilessly. The most dynamic tracks, of course, are the drum feature "The Drum Thunder Suite," a Blakey tour-de-force, and the powerful "Blues March" featuring Art's signature shuffle groove. A delightful reading of the standard "Come Rain Or Come Shine" caps it all off. This is the one to get first.

六十年代掘起了一批出色的爵土乐演奏家，Keith Jarrett就是其中最为重要的人物，一位有代表性的钢琴家。Keith Jarrett的音乐生涯经历了多个阶段。他获得巨大的国际荣誉则主要归功于他的系列独奏音乐会。在这些引入瞩目的音乐会上，他显示出杰出的即兴演奏才能。他在音乐会上的演奏完全是即兴的杰作，毫无事先的准备或者计划。在表演独奏的同时，他曾经不止一次地领导四重奏和五重奏乐队，演出古典音乐。
加雷特三岁时就开始演奏钢琴，在他只有七岁时他就举办了自己的独奏音乐会。毫无疑问他是一位早熟的音乐家，当他还是一位中学生的时候他就成为了—位职业音乐家，在1962年时，他在伯克利学习，其后他就开始和自己的三重奏组在波士顿地区演出；1965年他来到了纽约，当时著名的鼓手相乐队指挥Art Blakey的“爵士信使”乐队正在这里，他同这个分队合作了四个月，后来他加人了非常流行的查理·劳埃德四重奏组（1966年到1969年）并跟随这支乐队在世界各地巡回演出，这些演出为他增加了个人的荣誉。他开始偶尔在演奏钢琴之外，演奏高音萨克斯管，这种情况在整个七十年代一直持续着。
1969年到1971年期间，加雷特和Miles Davis的融合派爵士乐乐队在一起。他演奏管风琴和电子键盘，在第一年中Chick Corea也在乐队中。在离开戴维斯的乐队之后，加雷特宣告自己将永久性地告别键盘音乐。他在1967年到1969年期间为沃尔泰克唱片公司以及在1971年为亚特兰蒂克唱片公司作为指挥录制了唱片。但是从1971年11月起，他开始为ECM唱片公司广泛录音，除此之外他在1970年还曾经为ABC唱片公司和推动力唱片公司录制了一些曲子。这种合作一直持续到九十年代的今天。
七十年代，加雷特曾经领导过两支出色的乐队。从1972年开始，加雷特开始举办他著名的系列即兴演奏音乐会，结果出现了一大批流行的唱片如《独奏音乐会》，《科思音乐会》，《太阳熊音乐会》。八十年代，加雷持录制古典音乐的机会和录制爵士乐的机会同样多。但是从九十年代起，他似乎重新找到了爵士乐的灵感，他的录制的唱片中更多的是广泛录制的他的经典的标准三重奏爵土乐作品，这支著名的三重奏组合的成员包括加里·皮科克和Jack DeJohnette。
在最初的音乐经历中，加雷特受到Bill Evans的影响最大。从七十年代初开始，加雷特逐渐摆脱了前辈大师风格的束缚，形成了自己的原创风格。他在音乐中更多的增加了有自己特色的东西，以及更多个人感受，个人风格开始逐渐超过了传统风格，成为他音乐中的主流。进入九十年代后，加雷特仍然孜孜不倦，探索着音乐的真知。
活跃年份:1960_1990
主要音乐风格:ost-Bop or Mainstream Jazz
相关工作 :钢琴

Import only 2 CD 46 track retrospective featuring all of his hits from his stint with Reprise & Capital. Highlights include, 'My Way', 'Strangers In The Night', 'New York, New York', 'Somethin' Stupid', 'For Once In My Life', 'Girl From Ipanema', 'L.A. Is My Lady', 'In The Wee Small Hours Of The Morning' and many more, no hit is overlooked on the collection! 2 CD slimline jewel case. 1998 WEA Release.

为了纪念Nat King Cole过世40周年，隆重钜献Nat King Cole的精选大碟【The World Of Nat King Cole】，蒐藏了27首名曲，所有歌曲均透过全新母带录音科技重新混音制作，CD中同时附有女儿Natalie Cole追忆父亲的文字。精选大碟中的重量级歌单包含了在“2046”中作为梁朝伟之歌的圣诞名曲“The Christmas Song“、在“花样年华”中激荡谜样热情的“Quizas, Quizas, Quizas“、“爱在心里口难开”主题曲“(I Love You) For Sentimental Reasons“、“西雅图夜未眠”主题曲“When I Fall In Love“[UK亚军]、“红磨坊”插曲“NatureBoy“[US冠军]以及“Unforgettable“的1961年独唱版，还有“Mona Lisa“[US冠军]、“Ramblin＇ Rose“[US亚军]、“A Blossom Fell“[US亚军]、“Too Young“[UK#8]、“Smile“[UK亚军]、“Looking Back“[US#5]、“If I May“[US#8]、“Send For Me“[US#6]… 等多首TOP 10单曲。

2017-2018“相信未来”李志跨年音乐会现场专辑。在2017年12月31日的南京奥体中心，李志首次尝试在作品中加入爵士元素，对以往的原创歌曲进行重新编配，今年与不插电乐队的合作也令人印象深刻。选取了现场的爵士6首和不插电6首录音，制作成这张live合辑。

Japanese limited edition reissue of 1976 album featuring Dewey Redman, Charlie Haden & Paul Motian, 24 carat gold disc packaged in a miniature LP sleeve. ECM Records. 2002.

It is not just the timbre of Norah Jones's voice that is mature beyond her 22 years. Her assured phrasing and precise time are more often found in older singers as well. She is instantly recognizable, blending shades of Billie Holiday and Nina Simone without sounding like anyone but herself. Any way you slice it, she is a singer to be reckoned with. Her readings of the Hank Williams classic "Cold Cold Heart" and Hoagy Carmichael's "The Nearness of You" alone are worth the price of the CD. Jones's own material, while not bad, pales a bit next to such masterpieces. They might have fared better had she and producer Arif Mardin opted for some livelier arrangements, taking better advantage of brilliant sidemen such as Bill Frisell, Kevin Breit, and Brian Blade; or if the tunes had simply been given less laconic performances. Jones has all the tools; what will come with experience and some careful listening to artists like J.J. Cale and Shirley Horn is the knack of remaining low-key without sounding sleepy--sometimes less is not, in fact, more. --Michael Ross

这张爵士男声发烧碟让我们充份感受到了英格伦华盛顿(lngram Washington)的嗓音魅力，他的嗓子沉稳而厚重，没有丝毫炫技的颤音，但又带有一种丝绒般的光滑质感，令人觉得非常温暖。美国出生的英格伦，年幼时受爵士乐大师们Arthur Prysock、Nat King Cole和Billy Eckstine等人的影响，吸取了各大师们演绎和情感表达的技巧而融会贯通，创出了一派慢条斯理、从容不逼，但别具感染力的独特个人风格。这张"What a dlfference a day makes"专辑是荷兰发烧品牌STS Digital最新为他出版的一张个人专辑，配搭的乐手阵容鼎盛，如编曲和弹琴的Cajan Witmer、 bass的Peter Bjornild和吹奏色士风的Olaf Hoeks，全是荷兰爵士乐界顶尖人马，今次连袂为英格伦制作这张大碟，可说冠盖云集。英格伦的嗓子低沉而醇厚，非常有磁性。
第一首主打歌What a difference a day makes一开首，英格伦己发挥出他那令人无法抗拒的独特魅力，他随意的口白似的哼出旋律，像是千帆过尽後的从容不迫。听落有少许苦涩的甘味，却让人回味无穷。My Funny Valentine和You were always on my mind有些country music味道，英格伦演绎得更加甜蜜和浪漫，不经意的流露出无限的爱意和甜蜜，令人陶醉不已。一曲Unforgettable，英格伦低回浅唱，充满著甜蜜细腻的爱情蜜语更几乎可以跟Nat King Cole媲美。Louis Armstrong的名曲What a wonderful World，英格伦散发出一种浑然天成的爵士韵致，人声和乐队交相辉映，在音符的流转之间。浪漫温情直漾心怀，在情感的传达上更显酣畅淋漓，实在是爵士乐的最高境界。STS Digital录爵士男声是认了第二，没有人敢认第一的发烧品牌，这张CD的人声和平衡度使到很多SACD也面目无光，我是毫无保留的推荐。

Je dis oui! is the upcoming album by Pink Martini, scheduled to be released by Heinz Records on November 18, 2016. Guests vocalists include Ari Shapiro, Ikram Goldman, Kathleen Saadat, and Rufus Wainwright. The album was recorded at Kung Fu Bakery and B-Side Studios in Portland, Oregon. It was produced by Thomas Lauderdale and Kyle Mustain, and engineered by Dave Friedlander and Steve Sundholm.