Melding the contemporary and the classic in ways only he can, Michael Buble has created his most complete studio effort yet. Ranging from "I've Got The World On a String" to "Me and Mrs. Jones," in addition to two new songs co-written by Michael, Call Me Irresponsible makes this album irresistible. Bonus Track Special Edition: LOVE

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.

*集結鋼琴巨匠奧斯卡‧彼德生生涯顛峰時期之兩張經典逸作，盡顯酣暢淋漓的舒適快意及渾然天成的舒緩妙韻
*奧斯卡‧彼德生領軍低音提琴手雷‧布朗及鼓手艾德‧提格潘聯演三重奏，技巧及情感兼備的精采典範
★ AMG 4星評價
1949年因獲名製作人諾曼‧葛蘭茲邀請參加「爵士走進愛樂廳」音樂會而一舉成名的加拿大籍奧斯卡‧彼德生，其演奏風格承襲自一代宗師亞特‧泰坦的瑰麗斑斕語彙，明快觸鍵裡總是充滿著勁道能量且始終閃耀著繽紛華麗光譜，而鋪陳之際如泉湧般的靈妙樂思盡是滿溢搖擺風情的典藏精粹，也因此由他領軍的三重奏作品始終是餘韻無窮的美饌佳釀，令人反覆聆聽、回味再三！本輯集結彼德生於五０年代末期至六０年代初期與長年合作夥伴低音提琴手雷‧布朗及鼓手艾德‧提格潘攜手聯演的「夜行列車」及「爵士精神」兩張作品，可謂他在彈奏技巧及即興創意上臻至顛峰的極致經典錄音，在早期藍調爵士經典曲的詮釋裡，無論是“Night Train”或“C Jam Blues”，其演奏宛若飛瀑傾瀉而下的滑順琴音，暢快而沁涼；在慢版抒情曲的演繹裡，無論是“Georgia On My Mind”或“My Heart Stood Still”，其所細膩勾勒撩動心弦的抒情感懷，泱然而典雅！

When you think of lyrical, romantic jazz piano playing, the first name that comes to mind, the one who influenced so many others, is Bill Evans. Miles Davis thought so much of him, he included him on the sessions for his immortal Kind Of Blue album. You Must Believe In Spring, a trio recording cut late in Evans' career, features gorgeous playing and stunning production. Its title track has become a standard for all manner of singer and instrumentalist. Includes new liner notes and three bonus tracks.

历时11年计划最终完成的第二张以个人名义发表的专辑《Experience（Victor Entertainment）》，发表于2000年7月，当年被ADLIB杂志评为当年最优秀专辑。青木智仁先生本人也曾经在ADLIB杂志连续9年12次占据乐迷投票“贝斯第一名”的位置。
这张专辑汇聚了日本几乎所有最有名的Jazz/Fusion音乐家，包括渡边贞夫、小林正弘、渡边香津美，老搭档角松敏生、本田雅人、艉原顺、以及在中国也有很高知名度的伊东毅、野吕一生等等，可为一大卖点。另一大卖点是专辑中重新编写/演奏了Charlie Parker的名曲《Donna Lee》以及Jaco Pastorius的名曲《Come on, Come over》，两首难度和艺术价值都很高的曲子，并带有浓厚的“青木风”，值得一听。
青木智仁先生于2006年6月12日不幸病逝，享年49岁。他是对我影响最大的贝斯演奏家之一。给大家介绍他的音乐，也是我一直以来非常想做的事情。
愿他在天国仍然可以开心的演奏。
Vanbird白
Aug.11.2009

Live solo performance in 1998 at Makaya temple, Hamamatsu, Shizuoka, Japan.
Tenor Saxophone – Mototeru Takagi
Liner Notes – 鈴木大五郎

Includes a 24-page full color booklet with liner notes. Limited edition of 1000 copies.

Jimmy Smith ruled the Hammond organ in the '50s and '60s. He revolutionized the instrument, showing it could be creatively used in a jazz context and popularized in the process. His Blue Note sessions from 1956 to 1963 were extremely influential and many, like 1960's Back at the Chicken Shack and 1958 's The Sermon, are classics. Smith turned the organ into almost an ensemble itself. He provided walking bass lines with his feet, left hand chordal accompaniment, solo lines in the right, and a booming, funky presence that punctuated every song, particularly the up-tempo cuts. Smith turned the fusion of R&B, blues, and gospel influences with bebop references and devices into a jubilant, attractive sound that many others immediately absorbed before following in his footsteps.

Recorded：February 23, 1961
Freddie Hubbard – trumpet
Eric Dolphy – alto saxophone (flute on "Stolen Moments")
Oliver Nelson – tenor saxophone (alto saxophone on "Teenie's Blues")
George Barrow – baritone saxophone
Bill Evans – piano
Paul Chambers – bass
Roy Haynes – drums