Recorded - July 27, 1963
Venue - Festival Mondial, du Jazz Antibes, France
Miles Davis – trumpet
George Coleman – tenor saxophone
Herbie Hancock – piano
Ron Carter – bass
Tony Williams – drums

A1 taken from the album 'Topology' (Aketa's Disk AD 16), recorded at Aoyma Studio, 11 June 1983
A2 taken from the album 'Daguri' (Victor MJ-7145), recorded at Victor Studio, Tokyo, June 21/25, 1973
B1 taken from the album 'Leeward' (Union GU5007), recorded at Teichiku Studio, Tokyo, 20 & 27 January 1978
B2 taken from the album 'Stop Over' (Smile SML-001), recorded 15 August 1976
C1 taken from the album 'Animals Garden' (ALM AL-3007), recorded 26 July 1979
C2 taken from the album 'George And Sleepy' (Victor World Group SMJX-10073), recorded 30 September 1969
C3 taken from the album 'Megalopolis' (Victor World Group SMJX-10071), recorded 9 July 1969
D1 taken from the album 'Electro Keyboard Orchestra' (Columbia YX-7055-N), recorded 21, 22, 25 April & 20, 21 May 1975 at Columbia Studios, Tokyo
D2 taken from the album 'Let's Play Jazz Piano Vol.3' (Victor SJX-2146)
D3 taken from the album 'Straight Ahead' (Columbia KQ 7501), recorded 26 July & 2 August 1974 at Columbia Studio No. 1, Tokyo
E1 taken from the album 'Great Harvest' (Union GU-5014), recorded 3 June 1978 at West End Studio, NY
E2 taken from the album 'Soul Tomato' (Aketa's Disk AD 12), recorded 23 & 25 March 1982 at Take-1 Studio, Kichijoji
F1 taken from the album 'Little Giant' (Victor World Group SMJX-10082), recorded 1969 at Nippon Victor Studio, Tokyo
F2 taken from the album 'Bull Trout' (Victor World Group SMJX-10068), recorded 30. Juni & 14 July 1969 at Azabu Aoi Studio, Tokyo

Arranged By, Electric Piano – Hiromasa Suzuki
Drums – Hajime Ishimatsu
Electric Bass – Akira Okazawa
Guitar – Hiroshi Yasukawa
Tenor Saxophone, Alto Saxophone, Flute, Producer – Jiro Inagaki
Trombone – Takashi Imai (2)
Recorded on August, 1974.
Released on January, 1975.

Julius Hemphill
Abdul Wadud
Joe Phillips

Japanese Master Sound Jazz Series reissue featuring DSD remastering & the original artwork in a limited edition miniature LP sleeve.

Part of the 'Masters Of Jazz: The History Series 1949-1969'. 20 bit digitally remastered.

Coming October 7th, Day Breaks is Norah's sixth solo album and a kindred spirit to her breakout debut Come Away With Me. It finds her returning to the piano and her roots.The album features Blue Note luminaries including saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade on a 12-song set that presents 9 new originals alongside covers of songs by Horace Silver, Duke Ellington and Neil Young.

The Freedom Rider is an album by jazz drummer Art Blakey and his group the Jazz Messengers. Continuing Blakey's distinct brand of hard bop, this album features contributions from Wayne Shorter, Lee Morgan, Blakey himself, and Kenny Dorham, a former Jazz Messenger. This was the final album by this particular edition of the Jazz Messengers, who had been together for 18 months, as Lee Morgan left after this album to be replaced by a young Freddie Hubbard. The compositions themselves are varied, with Blakey contributing an energetic drum solo on "The Freedom Rider"; at least three of the compositions on the album are blues pieces. "El Toro" features a solo by Shorter incorporating the sheets of sound technique pioneered by John Coltrane.

Charlie Byrd, guitar
Hendrik Muerkens, harmonica
Ken Peplowski, clarinet
Allen Farnham, piano
Bill Douglass, bass
Chuck Redd, drums
Michael Spiro, percussion

The notes for this CD ask, "What issue is more topical than the Brazilian rain forest? So what reissue would be more topical than Walter Wanderley's Rain Forest?" Politically, this may be true, but musically, this collection is anything but topical. From the first tune -- the monster hit "Summer Samba," the listener is catapulted straight back to the '60s when bossa nova was new in the U.S. and everyone wanted a piece of it. Organist Wanderley made a big splash with this CD, which went platinum in two years -- and it does evoke strong water images, like "poolside" and "ice skating rink." The jazzmen are underutilized, since most of the tracks are less than three minutes long and leave little room to stretch out. One exception is the pretty Ferreira/Marconiballad "Rain," the only track where Wanderley plays piano rather than organ and which features a fine solo by Urbie Greenon trombone. On "Beach Samba," Greengets to noodle a bit, but Bucky Pizarelliis heard stating the melody and nothing else. Despite all the sadness implied in the song titles, this CD has a jaunty feel to it and will be best enjoyed by nostalgic fans of that bygone era.

听Aziza Mustafa Zadeh，即使是宁静沉思的旋律也掩盖不了内里蕴涵的激情。这个年轻美丽的女子，从小就是音乐天才儿童，出生于阿塞拜疆的首都Baku的一个音乐世家，父亲是阿塞拜疆著名的钢琴家和作曲家，以创作融合了爵士和传统的阿塞拜疆Mugam（一种复杂的传统音乐诗歌表现形式）的音乐作品而闻名，她的母亲Eliza Mustafa Zadeh是一个来自格鲁吉亚受过古典音乐训练的歌唱家，还是孩童的时候，Aziza就非常喜欢各种艺术形式：舞蹈、绘画和唱歌，3岁开始弹钢琴并与她父亲一起在公众面前演出，即兴演唱，最终她最出色的才能显现在她的钢琴演奏方面。
Aziza Mustafa Zadeh在14岁举办了她的第一场音乐会，17岁Aziza在华盛顿，以她个人特有的带着Mugam风格来演奏Monk的作品而获得了Thelonious Monk钢琴比赛大奖。1991年发行了以她的名字命名的首张专辑Aziza Mustafa Zadeh，混合了她的民族音乐根源以及古典和爵士元素，获得了德国Echo大奖以及德国Phono协会颁发的爵士大奖。被许多知名音乐人士誉为一个既是作曲家又是表演家的天才，她的音乐让人们感知到她的民族文化，听到了阿塞拜疆。（以上介绍转自驴友佟茉莉）