《Bewitched》，由欧洲著名的埃迪·希金斯三重奏组（Eddie Higgins trio）担纲演奏。这张专辑是2001年11月Venus版。Eddie Higgins为这张专辑特意挑选了一些他所喜爱的古典音乐和巴西名曲。对于Eddie来说这些所选曲目曾为他的创作带来许多灵感，当然也是他所为之深深感动过的。专辑本身也从一个侧面反应了Eddie的音乐品位。
三重奏组这种类似古典室内乐演奏架构的形式并不复杂，再加上演奏者个个功力深湛，故而此片的艺术魅力和音效的含金量是很高的。
Eddie Higgins爱德华·海登·希金斯1932年2月21日在美国马萨诸塞州的剑桥降生。童年一直由他的母亲教育他。大学时，希金斯在芝加哥的夜总会裏演奏钢琴。有时他领导他自己的三重奏组合，但是他有时也和包括艾尔·格雷，科尔曼·霍金斯，弗雷迪·哈伯德等在内的知名艺术家合作演出。虽然他的曲目有折衷的感觉，但是希金斯的风格承载著跳舞乐队时代一些艺术家的明显痕迹。他善于独奏也善于伴奏，他常常与他的歌手妻子梅雷迪思·丹布罗西奥合作演出。
Eddie Higgins不是一个太出名的爵士钢琴演奏家，他没有Bill Evans的睿智与优雅，但是他的钢琴很流畅，很细腻，是温柔而沈静的，你不需要花费很多的心思去品尝，也不必忍受浮于表面的一些烟火气，在平易近人中隐约散发著自己独特的芳香，简约不张扬却使人受用。总之，在你厌倦苍白的Newage，又不想很认真地听一些有深度的爵士的话，作为一般的欣赏去聆听Eddie Higgins是不错的选择。
洁白无暇如月光的Eddie Higgins三重奏恰到好处的和弦，轻轻触碰沈睡已久的耳朵，叫醒沈寂已久的孤寂的灵魂......
A solid bob-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades.
After growing up in New England, he moved to Chicago, where he played in all types of situations before settling into a long stint as the
leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often
accompanying his wife, vocalist Meredith D’Ambrosio, and appearing at jazz parties.
Release Date December 18, 2001
Duration 01:03:39
Genre Jazz
Styles Hard Bop Post-Bop Jazz Instrument Piano Jazz Mainstream Jazz
Recording Date January 30, 2001 & January 31, 2001
Artist: Eddie Higgins Trio
Title Of Album: Bewitched
Year Of Release: Dec 18, 2001
Recording Date: Jan 30, 2001,Jan 31, 2001
Label: Venus Records / Catalog # TKCV-35093
Genre: Jazz / Hard Bop, Post-Bop, Mainstream Jazz
Total Time: 62:16:02

What's New is an album by jazz pianist Bill Evans with flautist Jeremy Steig which was released in 1969 on the Verve label. Actually this is a quartet set with guest flutist Jeremy Steig, whose playing recalls Herbie Mann's recording (Nirvana) with Evans back in the early '60s. Both flutists were always open to the influences of pop and rock although in both of their collaborations with Bill Evans, the music is very much on the pianist's turf. With the exception of Evans' "Time Out for Chris" and the "Spartacus Love Theme," the songs performed on this date would fit securely in the Miles Davis repertoire of the late '50s. Steig is in particularly fine form on the program which includes tunes such as "Straight No Chaser," "Autumn Leaves" and "So What."

Alfred Lion considered this his favorite production and well he should have. Without piano, Burrell, Stanley Turrentine and company get a clean open sound and a deep groove on such now classic compositions as the title tune and "Chitlins Con Carne", which has become a blues band staple.

This RVG Series compact disc also includes extra photographs and 2 bonus tracks.

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2006.

奇斯‧傑瑞特Keith Jarrett的音樂有多重面向：他的美國四重奏是前衛自由爵士的延伸，強悍而猛烈；歐洲四重奏則加入歐陸民樂的元素，為所謂的「World Fusion」奠下基礎，他在ECM的經典三重奏組合延續了前輩大師比爾‧伊文斯(Bill Evans)的爵士鋼琴三重奏傳統；廣受愛戴的個人鋼琴獨奏，更是新世紀音樂的首部曲，他的古典樂錄音，同樣獲得極高評價。
關於My song(我的歌)專輯—傑瑞特與他的「歐洲四重奏」的經典作品，薩克斯風手楊葛柏瑞克醇美無暇的演奏，為音樂增添一股歐洲民樂的色彩，閒適、喜樂中蘊含著強大的內在能量，音樂讓人極度放鬆卻又潛藏著深刻的感動。
Keith Jarrett (p)
Jan Garbarek (ts,ss)
Palle Danielsson (b)
Jon Christensen (ds)

American jazz bop composer and pianist.
Born 27 September 1924 in Harlem, New York City, New York, USA.
Died 31 July 1966 (of pneumonia) in New York City, New York, USA (aged 41).

Recorded：April 1, 1956
Gil Mellé - tenor saxophone, baritone saxophone
Eddie Bert - trombone (tracks 1-4)
Joe Cinderella - guitar
Oscar Pet tiford - bass
Ed Thigpen - drums

Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments.

The Allmusic review by Michael G. Nastos awarded the album 3½ stars stating "One Flight Up stands as a testament to Dexter Gordon's viability as a bandleader and teammate, while his individualism is somewhat sublimated. It's a good listen to digest all the way through, especially if you are as patient as the performers, who have a lot to say".

Recorded at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey on August 6, 1964 (tracks 1-4) and August 7, 1964 (tracks 5-9)
Milt Jackson – vibes
Jimmy Heath - tenor saxophone (tracks 1, 3-6, 8 & 9)
Howard Collins, Barry Galbraith – guitar (tracks 5-9)
Tommy Flanagan – piano (tracks 1-4)
Richard Davis – bass
Connie Kay – drums
Joe E. Ross (track 6), Lillian Clark (track 8) - vocals

Japanese remastered reissue of 1963 album, packaged in a miniature LP sleeve.

Stan Getz was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young.

专辑介绍:
Oscar Peterson 1925年生于加拿大Montreal，六岁开始学习钢琴，十四岁时就已担任当地电台节目的音乐班底，1949年他在美国卡内基音乐厅的初次登场，获得美国爵士乐爱好者的热烈回响，也开始了他的录音生涯。
他早期的钢琴作品受Nat King Cloe的启发，后来则受现代爵士乐钢琴风格的影响，基本上他并不限于任一种演奏风格，在体裁方面，凡民谣，蓝调，放克或Bebop等等，他一律接纳，无论任何情形下，他所创造出的音符，总是生动和富变化，就像他擅长的和声变化，极具剌激性，非常的摇摆。他所有作品本质，始终依附在轻松且节拍灵活自由的摇摆乐上，虽然有时常充斥着反复的乐节，或一再地弹着同一音符，却使得曲子更具节奏的张力，由旋律的观点而言，有时虽有点散乱，却无损音乐的完整性，流畅性，反而塑造出他的特殊风格，爵士乐界的钢琴手，表少有人能像他将现与传统爵士乐，作极精湛的结合，他可说是爵士乐界最佳的伴奏者之一。当代杰出的爵士人多曾经与他合作过，从Louis Armstrong, Ella Fitzgrald, Billie Holiday, 他早期与Ray Brown贝斯手组了二重奏，从来以Nat King Cole的规制，加入了吉他手形成著名的三重奏，1970年后，他的演奏规制，不固定二重奏或三重奏或独奏，他的合作对象也不固定，唯一不变的是他仍持续地灌录唱片，他仍活力十足地为爵士乐留下不析的资产，同时他也是爵士乐界灌录唱片最多的乐师之一。这是他与堪称单簧管之父的Buddy DeFranco合作的一张专辑.

This compilation assembles all of the Metronome All-Stars radio broadcasts and studio recording sessions in which Charlie Parker and Lennie Tristano both participated. As a thrilling bonus, the disc opens with two marvelously intimate recordings made on Parker's tape recorder at Lennie Tristano's house in New York sometime during August of 1951. Present on this pair of tracks, which add up to eight minutes of friendly cooperative improvisation, were Charlie Parker, Lennie Tristano and Kenny Clarke, who provided percussive accompaniment using brushes on a phone book. Here is the only known recording that Charlie Parker ever made of "I Can't Believe That You're in Love with Me," and what is said to be his only complete version of "All of Me." Note that these precious recordings were used by Clint Eastwood in Bird, his 1988 cinematic portrait of Charlie Parker, but with Parker's solo digitally isolated, Tristano's portion excised, and a new rhythm section added. It's good to have Tristano back in the mix, as it were. Tristano once remarked that Parker greatly enjoyed improvising with him because he used unusual chord combinations that never occurred to most other pianists. All of the music on this disc demonstrates exactly what Tristano was talking about. The radio recordings, culled from three different 1947 Mutual Network broadcasts, document Parker & Tristano's involvement in postwar United States bond drives as members of the Metronome All-Stars, an amazing core sample of early modern jazz talent assembled and presented by Metronome magazine editor Barry Ulanov. The collective balance of musicological genius on each of these broadcasts is dazzling, with Sarah Vaughan, Allen Eager, John LaPorta and Fats Navarro designated as soloists. During these "battle of the bands" shows, listeners were invited to call in and vote for their favorite players; a "traditionalist" group was pitted against the "beboppers," almost as if the two stylistic categories weren't descended from the same root system. Yet another version of the Metronome All-Stars met in New York's RCA studios on January 3, 1949, this time under the leadership of Pete Rugolo. Parker, despite a photographic memory and a musical intellect that was light years ahead of everybody else, deliberately pretended to have trouble with an untitled piece that Rugolo had composed especially for the occasion. He did this for everyone's benefit as the musicians were being paid by the hour. For this reason Rugolo's composition, heard here in two takes, was christened "Overtime." Three versions of Lennie Tristano's marvelously intricate "Victory Ball" conclude this tribute to the friendship and creative alliance that existed between Charlie Parker and Lennie Tristano.