Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

Although the RCA recordings featuring the Paul Desmond Quartet with Jim Hall were eventually reissued by the original label (also in a boxed set) after the last copy of this limited edition Mosaic box was sold, it is the Mosaic collection which will be remembered as a classic. Only that set includes the initial studio collaboration of Desmond & Hall for Warner Bros.; also present are reprints of Doug Ramsey's warm memorial tribute to the alto saxophonist, as well as Marian McPartland's brilliant portrait (written for Downbeat in 1960) and Desmond's own side-splitting article written for Punch about a Brubeck gig that went slightly haywire, all helping to unfold a portion of the mystery behind this man. The lyrical alto saxophonist found a kindred spirit and musical equal in the guitarist, and discovered that Hall was the perfect substitute for a pianist, a role left purposely unfilled on nearly all of Desmond's record dates as a leader. With Connie Kay on drums and a rotating cast of first call bassists, including Percy Heath, George Duvivier, Gene Cherico, and Gene Wright, Paul Desmond's cool toned alto sax explores a number of timeless standards, lesser known tunes, a few of the leader's originals (though none became remotely as well known as his hit "Take Five"), along with Hall's "All Across the City" and Wright's "Rude Old Man." There are no disappointing tracks within this collection, and the only minor flaw was the accidental omission of one track previously issued (and subsequently reissued) by RCA. If you haven't already acquired this now rare set, prepare to pay a fortune, but it is a very sound investment, which will likely provoke squabbles among any of any heirs who are jazz collectors. ~
Ken Dryden, All Music Guide

1992. Toots Thielemans - The Brasil Project

Theo Parrish is an American DJ and record producer based in Detroit, Michigan. He is an owner of the Sound Signature record label. He is a member of 3 Chairs, The Rotating Assembly, and T.O.M. Project.

三盲鼠 / 黑色奥菲欧 TBM XR0063
爵士钢琴名家山本刚深受乐迷和发烧友们推崇。山本刚在TBM留下的《Black Orpheus》（黑色俄耳甫斯）是在“发烧友”和爵士乐迷中炙手可热的名碟，他的号召力当然毋庸置疑
以山本刚领衔的爵士三重奏（包括钢琴、低音提琴和鼓）在演录中体现了超卓的艺术水准，特别是山本刚本人，经过漫长岁月的磨砺，情感更加真挚深沉，在演录这些乐曲中表现力入木三分，不由人不产生共鸣。简洁精致的编配以及娴熟用心的演奏中洋溢着一股感人的温暖情意，钢琴一弹一按，低音提琴一拨一挑，鼓声一起一落，能令人心弦为之颤动 本碟一开始那松香味十足的倍司拉奏，就告诉我们这是一张绝对发烧的爵士器乐天碟
日本爵士发烧名牌三盲鼠,一向以XRCD模式出品本土的JAZZ新曲.不同于DG的4D技
术,XRCD 据说是一种先进的模拟录音技术.其效果可以说非常惊人,对乐器的表现效果就像在眼前演 奏一样.
这张是由Isao Suzuki Trio演绎的新曲.JAZZ的组合其实和古典乐的室内乐有些 相似,Trio也是指3键乐器的合奏组合.Isao Suzuki负责大提琴或电BASS,其他2人负责钢 琴和鼓.Fushion这种形式其实就是JAZZ,只是融入了ROCK的节奏,比较猛烈一些,配合XRCD 的录制,钢琴声真可以用晶莹剔透来形容. （以上转自网络)
其实,仔细聆听这张专辑,Leader无疑是Bass和大提Isao Suzuki(铃木勋),其中的Angle Eyes,是无论听了多少张唱片,还是让我痴迷的版本:伤感、迷人、追思...

Delbert McClinton is a legend among Texas roots music aficionados, not only for his amazing longevity, but for his ability to combine country, blues, soul, and rock & roll as if there were no distinctions between them. A formidable harmonica player long before he recorded as a singer, McClinton performed with legends like Howlin' Wolf, Jimmy Reid, and more. McClinton's career began in the late '50s, yet it took him nearly two decades to evolve into a bona fide solo artist. In 1978, Emmylou Harris took his "Two More Bottles of Wine" all the way to the top of the country charts. Over the next years, McClinton placed material with stars like Wynonna, Vince Gill, Lee Roy Parnell, and Martina McBride among others. He has guest appearances with Tom Petty, Bonnie Raitt, Melissa Etheridge, BB King, Mavis Staples, and more.

Weather Report之於Fusion(融合爵士)，就幾乎相當於Miles Davis五重奏之於Cool School(酷派爵士)一般，這支樂團不但是Fusion的開路先鋒之一，他們在創作，演奏及概念呈現部份，為整個Fusion樂派的發展描繪出清晰創新的行進路線：此外，也和Miles Davis五重奏一樣，樂團中每一位樂手在單飛之後，都在爵士樂壇上各自佔有一席之地－尤其是鍵盤樂手Joe Zawinul，以及後來為Miles Davis 所重用的薩克斯風手Wayne Shorter。
氣象報告樂團(Weather Report)1970年代最具影響力的融合爵士樂團之一，與John Mclaughlin領軍的Mahavishnu Orchestra、Chick Corea帶領的Return To Forever堪稱融合爵士三大樂團，也是壽命最長、藝術成就最高的爵士樂團。氣象報告成立於1970年，樂團中兩位靈魂人物Wayne Shorter和Joe Zawinul原是邁爾斯戴維士(Miles Davis)陣中的大將，與Miroslav Vitous、Dom um Romao等人合作創立WR，和後來加入的Peter Erskine、Jaco Pastorius等樂手致力拓展爵士樂範疇，舉凡搖滾、放克、拉丁音樂等各樂種他們皆嘗試融入爵士即興演奏中，企圖在樂手的對話與編曲中創造出嶄新的音樂型態。
一九七六年，備受注目的天才型樂手傑可．帕斯瑞斯(Jaco Pastorius)加入，更將氣象報告樂團推向另外一個高峰，在藝術與商業上皆獲得巨大的成功，專輯連年贏得Down Beat年度「最佳專輯」的榮耀，也獲得葛萊美獎「最佳融合爵士演奏」獎項，直到1986年解散前，氣象報告在樂壇一直扮演舉足輕重的角色。

いきなり流れ出すぽわんとした曲と、ぶっきらぼうな歌声。詩はシュールで聞き手を呆気にとらせる。な、何じゃこりゃ。そして2曲目はとっても変な「イパネマの娘」。ボサノバのシンコペーションではなく、しっかり１拍めに強勢をおくリズム進行。本来ボサノバであったなんて誰が気づこう？醤油とたくわんで育った娘の如し。「和風」の娘さんがイパネマ海岸を歩いているのだ。８１年のデビューアルバムから、すでに天然のずれとぺったらぺたらこ感が強烈に現れている。こりゃ海外に注目されるのも当然だ。
このCDはWAXレーベルから出ているのだが、所属するアーティストが凄いのだ。フリクション、スタークラブ、P-MODEL、あぶらだこ、Phew、原マスミ、スターリン、グンジョーガクレヨン、INU（町田町蔵！）…その中に混じっているのだから、いかに当時の突段が注目されていたかが分かる。そういや時代は東京ロッカーズ。そういう、これから日本の音楽が別のステージに入ろうとしていた時期、時代が、CDからもよく香ってくる。

西岡恭蔵と岡島善文が86年に発表した作品で,軽快なR&Rの1で軽く意表を突いて,和製トロピカル・ソングの名曲2へとなだれ込む。こうなると完全に二人のペース。あれもこれもいろんな世界が登場しているのに,筋がビシッと通っているからすごい。

William James "Count" Basie was an American jazz pianist, organist, bandleader, and composer. In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording.

This unusual compilation from the Kool Jazz at Midem Festival combines parts of three separate sets. The Dave Brubeck Quartet with clarinetist Bill Smith, bassist Chris Brubeck and drummer Randy Jones, has the most interesting program, utilizing an electronic delay along with Smith's clarinet to add a new touch to "Lover Man," offering an energetic version of "Blue Rondo a la Turk" and introducing a recent work by Brubeck, the very swinging "Ol' Bill Basie" which showcases some fine playing by the leader and some choice bass trombone by son Chris. Guitarist Pat Metheny joins the Heath Brothers for "Move To The Groove; " Metheny's bluesy guitar and Jimmy Heath's soulful tenor sax work well together. B. B. King's set is at best average and an odd choice to include on what is predominantly a jazz record. ~ Ken Dryden, All Music Guide

細野といえばつねに日本のミュージック・シーンをリードしてきた音の求道者。

Credits
Bass – Neil Jason
Conductor – Warren Bernhardt
Drums – Steve Gadd
Engineer, Mixed By – Jim McCurdy
Guitar – Jeff Mironov, Ryo Kawasaki
Keyboards – Jorge Dalto, Naoya Matsuoka, Warren Bernhardt
Liner Notes – 松下佳男*
Percussion – Nana Vasconcellos*, Raphael Cruz
Synthesizer [Oberheim, Moog] – Ed Walsh
Trombone, Producer, Arranged By – Shigeharu Mukai
Notes
Recorded March 31 - April 8, 1980. ℗ 1980
Comes in mini LP replica with OBI & Japanese insert.

「LIGHT MELLOW 和モノ669 / SPECIAL」、「JAPANESE CITY POP」掲載。'80デビュー・アルバム！中村きんたろう、芳野藤丸、安倍恭弘等のCITY POP重要人物が参加。疾走するアーバンな和AORグルーヴ名曲"シティー・ドライブ"等を収録したCITY POP名盤。