Norman Fucking Rockwell is the sixth studio album and fifth major-label record by American singer Lana Del Rey, set to be released in early 2019.[1][2] The lead single, titled "Mariners Apartment Complex", was released worldwide on September 12, 2018, and the album title was announced on September 18, 2018.

Recorded April 18, 1957
Studio Van Gelder Studio, Hackensack, NJ
Idrees Sulieman – trumpet
John Coltrane – tenor saxophone
Tommy Flanagan – piano
Kenny Burrell – guitar
Doug Watkins – bass
Louis Hayes – drums

西元一九五五年左右，靠待在老家打拳击而克服毒瘾，准备东山再起的小号手Miles Davis正在筹组五重奏乐团。他心目中萨克斯风手的第一志愿是当红的Sonny Rollins，无奈事与愿违，最後仅落到个第三志愿John Coltrane。这个一开始让Davis不甚满意的乐团变成了爵士史上最重要的五重奏组合，并在西元一九五六年留下了传世经典的「ING系列」。所以，在今天的《爵士挖挖挖》节目中，要为听众朋友挖出来的秘辛就是：「为什麽Miles Davis这麽喜欢Sonny Rollins，非把他放在组团时的第一志愿？」於是我们翻开了Miles Davis的作品年监，发现Davis与Sonny Rollins合作的录音实在少，不过在西元一九五一年十月五日有过一次重要邂逅，而这场录音当然就成了解密重点。这次录音的阵容一字排开，赫然是爵士乐的全明星会，除了Davis与Rollins之外，萨克斯风手Jackie McLean也是核心人物。这几个家伙在西元一九五一年时充其量仅能算是初出茅庐的小子，但是「大将之风」这具成语用在这里就恰当了，即使这份录音并不是他们个人的最佳表现，音乐中显现的无穷潜力还是值得一听再听的理由之一。理由之二则是Rollins与McLean初生之犊不畏虎的精采吹奏，不过二十岁与十九岁的二个小鬼能有这样的演出，也难怪Miles Davis一见就难忘。对了，这次录音还有二首曲子收录在另一张Conception专辑里，如果见着了也一并抱回家吧！ 台北爵士夜节目主持人 沈鸿元
Miles Davis - trumpet
Sonny Rollins - tenor sax
Jackie McLean - alto sax
Walter Bishop - piano
Tommy Potter - bass
Art Blakey - drums

Tenor saxophonist Joe McPhee has been a cult figure in the jazz world despite a string of releases on the visible Hat Art label and vocal support from the likes of Ken Vandermark. Nation Time is good evidence why. Its three tracks were recorded live in December 1970 and released the following year on the tiny independent CjR Records. "Nation Time" and "Scorpio's Dance" feature McPhee with a quintet that mixes electric and acoustic instruments with dual percussionists. In a way, this is familiar territory, working Coltrane-inspired repetitions and a nearly reckless group interplay against a variety of musical textures. Here some electric piano or full-speed drumming, there roughly wailed sax or a trumpet pushing notes to a near drone. But no matter how familiar the approach, the end result is inventive and captivating as these two pieces shift from nearly conventional extended improvisations to less structured sound without ever sounding forced. However, it's the 13-minute "Shakey Jake" that seems like the birth of a wonderful new style that unfortunately never went any further. With the quintet expanded by an alto sax, organist, and electric guitarist, McPhee gets busy marrying free jazz to James Brown funk or maybe creating a vision of what would have happened if early-'60s Coltrane had revisited his R&B youth. The band sets up a complex but danceable groove while the soloists surf along, twisting melodies and pushing the beat but never relying on repeated riffs. Despite their various ideas and overlapped solos, the effect is collaborative not competitive as if they realized what a rare experience this would be.