Bassist Takashi Mizuhashi made a stunning debut from the Three Blind Mice label with this live recording with the first regular group he formed as a leader. His quartet consisted of young and competent players who would late become giants in the Japanese jazz scene.
This incredibly well-recorded live album contains only three tunes, each exceeding 11 minutes in length. The opener is a huge R&B hit, "When A Man Loves A Woman," featuring the soulful alto saxophone of Yoshio Otomo. "So What" begins with more than three minutes of free improvisation before the band attacks the tune at a break-neck speed.
The third tune--covering the entire Side B of the original album at 18:26--is Stanley Turrentine's famous "Sugar," and for this tune the quartet is augmented by two powerful guests, Seiichi Nakamura on tenor sax and Shigeharu Mukai on trombone. This is an exciting live album recorded with stunning fidelity!
Takashi Mizuhashi - bass
Yoshio Otomo - alto saxophone
Fumio Karashima - piano
Hideo Sekine - drums
Seiichi Nakamura - tenor saxophone (#3)
Shigeharu Mukai - trombone (#3)

Sam Rivers – tenor saxophone
Jaki Byard – piano
Ron Carter – bass
Tony Williams – drums
Fuchsia Swing Song is the debut album by Americ an saxophonist Sam Rivers recorded in 1964 and released on the Blue Note label. The album was reissued on CD in 1995, and again in 2003 as part of the "Connoisseur Series" (limited edition series) including four alternate takes as bonus tracks.
The Allmusic review by Thom Jurek awarded the album 4½ stars and stated "By the time of his debut, Rivers had been deep under the influence of John Coltrane and Ornette Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition... This is a highly recommended date. Rivers never played quite like this again".

This record happened by accident.
I had a night booked at The Blue Whale—a killer jazz club in Los Angeles—but hadn’t yet selected a band. While touring with Snarky Puppy, I got talking with Mark and Sput about NAMM (a music convention held each January, south of Los Angeles). They were both going to be in town for it so I asked them to join me at the Whale. Then I asked Kaveh (bassist in Kneebody, among other bands). We'd performed together recently and I was looking for an excuse to play again. Then I found out Nir (who I'd been playing with for awhile) was going to be in town from New York. Perfect! This was my chance to experiment with a two-guitar band.
Ever since playing in John Mayer’s band, I’d wanted to lead a guitar-based group. John had three guitarists (including himself) in his touring band. This meant a lush cushion of guitar-y goodness enveloped every solo I played. Imagine the best mattress and pillow combination you’ve ever experienced. It feels like that. But of course, it’s not just the guitar. It’s the player.
Excited by the idea of this group, I decided to borrow a page from the Snarky Puppy playbook and film it. There was one catch: we had no time to rehearse, and barely a sound check. I’d played with each of these guys in different scenarios, but never as a unit. So we set up in a circle, surrounded by an audience and five cameras, and played these tunes together for the first time. No pressure! I thought we might get two or three good videos out of it. We got more. Alex Chaloff and his team captured not only gorgeous video but stunning audio. When I heard the result I realized this needed to be its own album. So here it is. Live. Raw. Filled with an energy that comes only from tight-rope walking in front of an audience. My younger self would hear only the “mistakes.” My current-age-self hears the magic. I hope you hear it, too.
Bob Reynolds
January 2017
credits

Peter Brötzmann: alto saxophone, tenor saxophone, tarogato, clarinet [Bflat clarinet]
Masahiko Satoh: piano
Takeo Moriyama: drums

Born in Tochigi, Japan. Fumio started playing jazz while studying at the prestigious Kunitachi College of Music. Made his professional debut as a member of the Sadao Watanabe Quintet in 1971 and then joined Terumasa Hino Quintet and Takeo Moriyama Quartet while his own trio released a number of albums during the 70s. Was a member of the Elvin Jones Jazz Machine World Tour from 1985 to 1987 including other international artists gaining him global fame. In 1991, Fumio joined the Ray Anderson's album "Wishbon" and made an appearance in the Village Vangard in New York before touring North America with them. Set up his own label [Mix Dynamite] and his own "Mix Dynamite Unit" in 1993 starting to play with artists from different genres of music. Made an appearance in the Knitting Factory's New York Jazz Festival in 1997 as the first Japanese artist. In 1999 Fumio joined Christopher Doyle's Hong Kong film "Away with words" as a music director/composer and released the sound track. With funding from the Japan Foundation Fumio toured in Brasil, Kenya, and the Seychelles with his trio and published the photo essay "Jambo! Obrigado!" along with 2 live albums from the tour in 2001. The "Giriyama Dance Troup" which played with the trio in Kenya was invited in Japan in 2003 to play along with the trio in the Japan's biggest Jazz Festival and sent an audience of over 1000 frantic.
~ itabashi.web.info
MP3 @ 320


pass: FIW64

Brian Culbertson的名字已经在爵士乐界活跃了十年多, 很早以前, 他已经出版第一张个人大碟, "Long Night Out", 是由他亲自监制的; 他不单止懂得玩多种的乐器, 更懂作曲, 他的才华令到他当年年纪轻轻已得到爵士乐权威杂志Down Beat的赞赏, 名气渐增!! 多年来, 在WEA旗下推出了数张受欢迎的唱片, 和不少出色的乐手合作, 例如有David Sanborn, Marcus Miller, Herb Alpert等合作, 之后在今年正式加盟GRP Records并推出首张大碟, 充满感性的精彩录音!!
此专辑共收录了十二首音乐, 在每首音乐内里, 都呈现了不同的情调, 感受到很轻快而温暖的味道!!他很懂得运用不同的乐器配搭去演绎这些音乐, 带出不同的神髓, 效果有点喜出望外, 可以很平淡温馨, 亦可以很瑰丽甜美!! 而他更找来不少乐手和歌手助阵, 增添更多不同色彩和火花, 包括靓声歌手Will Downing, Patti Austin, Ledisi; 乐手就有Chris Botti, Boney James, Kirk Whalum, Marcus Miller等等; 当然更有他的妻子, 负责Vocal和小提琴手演绎的Michelle Culbertson.
这是一张十分有Night Mood的Smooth Jazz唱片, 能成功营造一个优美的音乐意境的唱片, 音乐带了点R&B的味道, 有着一份独特的音乐格调!!

Tina Brooks的專輯長年為樂迷們視為稀有珍品，其演奏風格不同於當時其他的薩克斯風手，即興樂句聽來內斂不張狂，並喜歡在主流架構的邊緣上游移，開放式的手法則充滿驚喜，值得玩味。
薩克斯風手 Tina Brooks 的照片總是留著八字鬍，嘴裡叼著煙，手上抱著樂器。Man 的很，但怎樣有個女生的名字！？原來這是個美麗的小誤會。小時候 Brooks 身材矮小，朋友們替他取了個「矮子布魯克斯」＜Tiny Brooks＞的綽號，後來不知怎樣 Tiny 變成了 Tina，出道後索性就叫自己 " Tina " Brooks。Brooks 的演奏天份人人稱讚，當時幾張作品都讓大家抱著「新一代薩克斯風巨星」準備降臨的期待。但 Brooks 的音樂壽命卻很短，原因無他，就是「天底下爵士樂手都會犯的錯」。他讓毒品毀了他的身體，三十歲之後就因為健康因素不再演奏，真正活躍的時間不過短短三年＜1958 ~ 1961＞，留下了四張個人專輯，《True Blue》、《Back to the Tracks》與《The Waiting Game》，四十二歲就過世了。
而最讓當代爵士樂迷翻來覆去的是 : Tina Brooks的專輯非常難找。不過四張專輯卻全是以「鑑賞家系列」＜Blue Note Connoisseur Series＞的名義限量發行＜該系列簡單說就是絕版許久的錄音得以探頭的少數出口＞。而本專輯《True Blue》更是叫樂迷望穿秋水數十載，美國的數位發行直到西元 1994 年才出土，很快絕版後直到今天才終於以 RVG 系列的名義重新發行。在國外爵士討論區的朋友會發現，論壇裡常有一個叫做「您最希望哪張專輯被重新發行」的主題，而討論串裡的回應這張專輯十之八九列名其中，足可見大家對它的期待，同時也為裡面的音樂內容增添了不少神秘色彩。於是，現在是揭開專輯神秘面紗的時候了。
True Blue 專輯裡除了 Tina Brooks 的次中音薩克斯風外，還有當時相當年輕的小號手 Freddie Hubbard，以及由鋼琴手 Duke Jordan、貝斯手 Sam Jones 與鼓手 Art Taylor 所組成的節奏組共五人演奏，是最標準的硬式咆勃爵士編制。音樂部分也是最純粹的硬式咆勃風，以五首 Brooks 的個人創作為主軸，外加一首標準曲“Nothing Ever Changes My Love for You”構成了專輯的血與肉。Brooks 的演奏風格不同於當時其他的薩克斯風手，他的即興樂句聽來內斂不張狂，並喜歡在主流架構的邊緣上游移，而開放式的即興手法則讓聽者難以去預料他的下一步。或者可以換個角度看，Brooks 即興的不可預測性或許是因為他仍在摸索方向，然而方向尚未固定，人卻遠去。

录制于2014年10月22日，加列宁三重奏参加深圳华侨城创意文化园主办的第四届OCT-LOFT国际爵士音乐节。
Leo Records & 旧天堂书店联合出品
录音：曾君 罗绿野
混音&母带处理：刘英
编辑：Maxim Khaikin/Alexey Kruglov
木刻：刘 庆元
设计：魏籽
出品统筹：陈菲比

Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.

2001年新作"愛的容顏"籌備的時候，克瑞兒有天晚上在紐約的公寓裡聽著法蘭克．辛納屈、茱莉．倫敦、納京高以及麥可．布雷克與編曲家克勞斯．歐格曼合作的唱片。隨後她突發奇想跑去問湯米．利普瑪，是否能與克勞斯．歐格曼在下張專輯中合作，因為克勞斯．歐格曼和強尼．曼德爾一直是克瑞兒最喜歡的作曲搭檔兼編曲家。尤其歐格曼與辛納屈、芭芭拉．史翠珊、安東尼．卡洛．喬賓合作過多張精彩專輯，更讓人永遠聽不膩。雖然歐格曼已經不再為其他藝人編曲而專心於自己創作的鋼琴奏鳴曲和小提琴協奏曲的作品，但克瑞兒仍然抱持希望。就在克瑞兒前往慕尼黑表演時，利普瑪安排了他們的會面，最後歐格曼也欣然答應了這項合作計畫。利普瑪和歐格曼也超過十年未曾共事，"愛的容顏"再度將此兩位傳奇人物聚在一起，簡直是破天荒的組合。
"愛的容顏"除湯米．利普瑪負責製作，歐格曼擔任編曲、指揮外，倫敦交響樂團，知名吉他手羅素．馬龍都在伴奏的行列。內容上則包括多首爵士、流行經典，標題曲出自大名鼎鼎Burt Bacharach/Hal David之筆，這首歌原由女歌手Dusty Springfield與巴西樂手塞吉歐．曼德斯的合唱團兩度唱紅的流行曲。從茱莉．倫敦深情演唱的招牌作"Cry Me A River"、傷心小調"I Get Along Without You Very Well"，到西班牙文浪漫經典"Besame Mucho"(熱情擁吻)都是歌迷們期盼已久的克瑞兒式曲調。這張專輯製作時克瑞兒一口氣灌唱多首歌曲，據她自己的說法：「真希望能發行成一張雙片CD」，從這些歌曲中細心挑選成單張的"愛的容顏"絕對又會是戴安娜．克瑞兒新的里程碑。

1969年，Mal Waldron Trio这张Free At Last的发行象是大喊一声，“终于自由啦”，宣告了ECM这一传奇厂牌的开始。

Lady Day: The Best Of Billie Holiday is an ideal introduction to the Voice of Jazz in all its enduring glory. This incomparable collection draws on the 10-CD boxed set Lady Day: The Complete Billie Holiday on Columbia (1933-1944) (CXK 85470), representing not only her finest work, but American jazz and pop singing at its zenith. Accompanied sublimely by a Who's Who of the Swing Era (including her soulmate Lester Young, Benny Goodman, Artie Shaw, Buck Clayton, Roy Eldridge, Ben Webster, Johnny Hodges, Harry Carney, Jo Jones, and pianist-arranger Teddy Wilson, who was often at the helm when Holiday entered the studio), Billie Holiday masterfully renders a host of mostly-classic pop tunes. Fans are drawn to her musical triumphs and personal tragedies. She is a mysterious icon in the same vein as Miles Davis. Columbia possesses the first and finest recordings of her entire career! This material has never sounded clearer and more intimate!

Coleman Hawkins,tenor saxophone
Tommy Flanagan,piano
Major Holley,bass
Eddie Locke,drums
Recording Engineer:Rudy Van Gelder

Jack Johnson (also known as A Tribute to Jack Johnson on reissues) is a studio album and soundtrack by American jazz trumpeter, composer, and bandleader Miles Davis. It was released on February 24, 1971, by Columbia Records.