瓊·拜亞，美國鄉村民謠女歌手，作曲家。她的很多作品都與時事和社會問題有關，並於1960年代活躍於反戰運動。

上世纪五十年代末，Dave Brubeck Quartet组合中的灵魂人物中音萨克斯手Paul Desmond写了这一首名叫Take Five的四重奏乐曲，最开始时这首爵士乐以单曲的形式发行，由于采用了极为罕见的5/4拍，这在当时的爵士音乐界引起了强烈震动，并受到广泛批评，但在符合大众口味的金曲排行榜上却可以和彼时如日中天的猫王的歌曲抗衡。
以后的时间证明了，这种复杂节奏改变了当时人们陈旧、萎靡和一成不变的听力习惯，同时在探索爵士节奏的可能性上作出了深远影响。21世纪福克斯公司也曾经将此曲用做电影题头。
由于Paul Desmond在爵士历史上的地位与名气都远远不如Dave Brubeck，《Take Five》的曲作者经常被误以为是Dave Brubeck。而实际上由Dave Brubeck、Paul Desmond、Joe Morello、Eugene Wright组成的四重奏组合在1959年发行的专辑《Time Out》里，Dave Brubeck的确是除《Take Five》之外的所有乐曲的作者，这张专辑中八分之九拍、四分之五拍、四分之六拍等诸多非常规爵士乐节拍也有出现，但《Take Five》在爵士乐史上石破天惊的意义显然非专辑中其他乐曲可以比拟，在后来发行的绝大多数关于Dave Brubeck Quartet的精选专辑中，几乎100%都会收录。昨日之音系列——《Time Out》这就是完美的爵士。

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny.
《The birth of the Cool(酷的诞生)》，酷派爵士(Cool Jazz)的正名之作。

Remastered reissue in a digipak. Originally released in 1959. Contains the songs 'Am I Blue', 'Tell Me You'll Wait For Me', 'Indeed I Do' & 'Come Rain Or Come Shine'. Warner. 2005.

莎拉·露意絲·沃恩，是美國爵士歌手，被Scott Yanow形容為具有「20世紀最美妙的聲音」。 沃恩是一個3次葛萊美獎得主。國家藝術基金會於1989年賦予她爵士樂的最高榮譽，爵士樂大師獎 。 沃恩被公認為20世紀最重要的爵士樂歌手之一，與艾拉·費茲潔拉和比莉·哈樂黛齊名。

Lady in Satin is an album by jazz singer Billie Holiday released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is the next to final album completed by the singer and released in her lifetime (Her final album, "Billie Holiday" being recorded in March 1959 and released just after her death). The original album was produced by Irving Townsend, and engineered by Fred Plaut.
The song material for Lady in Satin derived from the usual sources for Holiday in her three decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Songbooks series. The album consists of songs Holiday had never recorded before.
The arrangements were by bandleader Ray Ellis, Holiday familiar with his Ellis in Wonderland album. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J.J. Johnson. The song "The End of a Love Affair" did not appear on the stereo release, CS 8048, the final track of side two being "I'll Be Around."

Reissue of 1958 album from RCA Victor Gold Series, 24-bit digitally remastered in a digipak with original sleeve and booklet. Includes 3 bonus tracks 'El Cayuco' (alternate take), 'Estoy Siempre Junto A Ti' (alternate take-instrumental) & 'Estoy Siempre Junto A Ti' (alternate take). 2003.

搖滾音樂史上最具原創精神的藝人小理查（Little Richard），當他站上歌唱舞台，總是使出渾身解數，將一種凝聚了流行樂，搖滾樂，節奏藍調，靈魂樂與放克樂的彈唱風格來個狂放不羈的大爆發，讓每一個聽到他的歌的人百分之百的感受到他的熱情與活力。小理查的歌唱風格對貓王、詹姆斯布朗、披頭四、滾石樂團、麥可傑克森等不同世代的傳奇藝人影響至深。
小理查在1957年發行首張專輯【Here`s Little Richard】，專輯登上全美告示牌雜誌流行專輯榜第13名，此張專輯在「2012年版滾石雜誌史上最偉大500張專輯名單」中名列第50名，美國樂壇推崇這張專輯裡頭的每一首歌曲都是不可多得的經典唱作，絕對值得每一位搖滾樂狂熱份子珍藏，其中包含了在MOJO音樂雜誌的「100張改變世界的唱片名單」中排名總冠軍，專文中公開推舉為史上第一首搖滾樂作品，同時也在2012年獲得滾石雜誌讚揚為擁有史上最具啟發性的搖滾樂歌詞創作，入選「2011年版滾石雜誌史上最偉大500首歌曲名單」第43名的"Tutti Frutti"，蟬連全美告示牌雜誌黑人單曲榜6週冠軍，晉升熱門單曲榜第6名，入選「2011年版滾石雜誌史上最偉大500首歌曲名單」第55名的"Long Tall Sally"，晉升熱門單曲榜第10名的"Jenny Jenny"，勇奪節奏藍調單曲榜冠軍的"Rip It Up"，晉升節奏藍調單曲榜亞軍曲"Slippin` And Slidin`"，晉升節奏藍調單曲榜第6名的"Miss Ann"，晉升節奏藍調榜第8名的"Ready Teddy"，晉升節奏藍調榜第9名的"She`s Got It"。

Genre: World Music
Sub Genre: Mambo
Release Date: 07/02/2000
Original Release Year: 1958
Label / Distributor: Blue Note / EMI
Studio / Live: Studio
Stereo: Mono
Format: Performer

So dubbed because these three sessions -- two from early 1949, one from March 1950 -- are where the sound known as cool jazz essentially formed, The Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions -- arranged by Gil Evansand featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach-- is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result -- the very thing that came to define West Coast or "cool" jazz -- but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream

"SABU" L.MARTINEZ,conga,bongo and vocal
ARSENIO RODRIGUEZ,conga,guitar and vocal
RAUL "CAESAR" TRAVIESO,conga and vocal
ISRAEL MOISES "QUIQUE" TRAVIESO,conga
RAY "MOSQUITO" ROMERO,conga
EVARISTO BARO,bass
WILLIE CAPO,vocal
SARAH BARO,vocal
Recording engineer:RUDY VAN GELDER

Brilliant Corners is a studio album by American jazz musician Thelonious Monk. It was his third album for Riverside Records and the first, for this label, to include his own compositions. The complex title track required over a dozen takes in the studio, and is considered one of his most difficult compositions