スリー・ブラインド・マイスの名盤の紙ジャケ&ハイブリッド 第2弾!
デビュー盤「ブロー・アップ」で全国のジャズ・ファンの琴線をとらえた鈴木勲の第2弾。日本中のジャズ喫茶で最も聴かれたアルバム。1970年にスタートし、数多くの名盤を誕生させ、日本のジャズ界に大きな足跡を残してきたジャズ・レーベル、スリー・ブラインド・マイスの名盤がソニー・ミュージックダイレクトから発売されます。このシリーズは初めてオリジナルLPジャケットをできるだけ復刻した紙ジャケ、録音のよさで定評あるこのレーベルのオリジナル・アナログ・マスターから最新リマスタリングした高音質のハイブリッド盤というジャズ・ファン待望の仕様で登場します!

叶丽仪1974年加入香港百代之初发行的国语专辑，唱片编号S-CPAX-387，其中的 昨夜泪痕 成为叶丽仪的国语代表作之一。

本专辑为日本宝丽多公司出版的邓丽君全集CD复刻版中的第一张

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)

山本刚的爵士钢琴

The Eagles might have covered his song "Ol' 55," but Tom Waits was cut from a different cloth than California's other singer-songwriters--he suggested a scruffy beat poet who'd walked out of a forgotten scene of Jack Kerouac's On the Road. Waits's beatnik schtick could get old, and he developed into a much more musically adventurous songwriter in later years, but his second album contains some of his best early work, including the sweet romantic blues of "New Coat of Paint" ("You wear a dress baby, I'll wear a tie"), and his best hipster recitation, "Diamonds on My Windshield." Two songs are enduring classics: the doleful, dirge-like "San Diego Serenade" ("Never saw the morning till I stayed up all night") and the touchingly sweet "(Looking for) The Heart of Saturday Night" ("Stoppin' on the red, goin' on the green, `cause tonight'll be like nothin' that you've ever seen"). --John Milward

by Bruce Eder
King Crimson falls apart once more, seemingly for the last time, as David Cross walks away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past -- Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together. The fact that it was put together by a band in its death throes makes it all the more impressive an achievement. Indeed, Red does improve in some respects on certain aspects of the previous album -- including "Starless," a cousin to the prior album's title track -- and only the lower quality of the vocal compositions keeps this from being as strongly recommended as its two predecessors. Red was reissued on CD in the summer of 2000 in a remastered edition that features killer sound and an excellent booklet, containing a good account of the circumstances surrounding the recording of this album.