Bitches Brew is a studio double album by jazz musician Miles Davis, released in June of 1970 on Columbia Records.[1] Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August of 1969. The album continued Davis' experimentation of electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.
Often cited as one of Davis' best-selling albums and masterpieces, Bitches Brew marked a turning point in modern jazz. Upon release, it received mixed criticism from fans and critics, alike, due to the album's unconventional style and revolutionary sound. Later on, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians.[2] In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc box set that included the original album as well as ensuing studio sessions through February 1970.

BILL EVANS - piano
SCOTT LAFARO - bass
PAUL MOTIAN - drums
Recorded live at the Village Vanguard New York; June 25, 1961.

Giant Steps（1959，Atlantic）：就當時的認知與製作概念而言，「Giant Steps」才是John Coltrane個人首張正式專輯（先前與John Coltrane有合約關係的唱片公司，都是在他成名之後，才紛紛以John Coltrane名義發行專輯）。就原創性與演奏難度而言，「Giant Steps」都是現代爵士樂的重要教材，對聽眾來說，急速變化的和弦進行，已經到了「耳花撩亂」的地度，這張專輯不但總結了John Coltrane之前的學習與努力，也是一個關鍵轉捩點：John Coltrane許新鮮的想法，需要另組新團來執行。特別注意抒情的「Naima」，簡單抒情的旋律，是每個人都聽得懂得雋永名曲，也是內向的Coltrane豐沛情感抒發的具體表現。

Saxophone Colossus is one of Sonny Rollins' most acclaimed albums. Recorded in June 1956 and released in April 1957, it has been awarded a rare Crown by The Penguin Guide to Jazz, and is widely considered the masterpiece of his mid-1950s series of recordings for Prestige Records and one of the greatest albums ever issued on that label.

Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate acccessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Jimmy Knepper and Willie Dennis, pianist Horace Parlan, and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune "Better Get Hit in Yo' Soul," taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. "Goodbye Pork Pie Hat" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting "Fables of Faubus" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated "Boogie Stop Shuffle" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' three most revered influences: "Open Letter to Duke" is a suite of three tunes; "Bird Calls" is inspired by Charlie Parker; and "Jelly Roll" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest.

*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！

此专辑被公认为爵士乐史上，最具影响力及最受欢迎的专辑之一.
Chick Corea三十年的音乐生涯是不同音乐经历的一种混合。1941年，他出生于马萨诸萨州的切尔西。四岁时开始学习钢琴，而且儿时家庭之中也是充满音乐的，整天能听到Charlie Parker、Dizzy Gillespie、Bud Powell、Lester Young和Horace Silver，另外Beethoven和Mozart的音乐也启发了他的创作天性。
Chick Corea早期的创作开始于和小号手Blue Mitchell（1964-1966年间）的第一次职业合作演出期间，这时他正式作为这支名为Tones For Jones Bones的乐队的领导者了。早期的合作对象还包括Willie Bobo、Cal Tjader、Herbie Mann以及Mongo Santamaria，使得Corea许多作品中的Latin音乐成分很浓厚。在帮Sara Vaughan伴奏一年之后，由于加入了Miles Davis乐队任电钢琴演奏，Chick Corea开始真正的成名。与Miles Davis合作的几年间，他参与了《Bitches Brew》和《In a Silent Way》两张划时代的Fusion经典作品的录音。也就是从那时开始，他组建了自己的先锋即兴演奏团体“Circle”，成员包括贝司手 Dave Holland、小号手Barry Altschul、萨克斯手Anthony Braxton。
1971年，在“Circle”成立三年之后，Corea改变了其音乐上的注意力。成立了早期版本的Return to Forever，乐队的风格很柔和、充满桑巴风味，这时Stanley Clark任贝司手，还有人声乐手Flora Purim，其丈夫Airto为鼓手，长笛手Joe Farrell。以这个班底制作了两张专辑和一部分独奏钢琴专辑以后，Chick Corea开始为乐队插上了电，走上Fusion的路线，这时还招募了两位充满火力的乐手鼓手Lenny White和吉他手Bill Connors。
在Chick Corea使用合成器形成其独一无二的风格的同时，Return to Forever（这时吉他手由Al DI Meola代替Bill Connors）以其开拓性的专辑《Where Have I Known You Before》、《No Mystery》和《Romantic Warrior》在七十年代的Fusion大潮中冲锋陷阵。当1975年Return to Forever解散，Corea又开始尝试录制不同风格的唱片，包括电子大乐队、独奏钢琴、古典音乐、强力二人组演奏（与Herbie Hancock或Gary Burton一起）。
八十年代中期，Chick Corea组一支电子乐队，制作了获格兰美奖的专辑《Leprechaun》、《My Spanish Heart》、《Musicmagic》，其他的一些作品还包括《Mad Hatter》、《Return to Forever Live》，以及与Joe Henderson、Freddie Hubbard、Hubert Laws、Chaka Khan和Nancy Wilson等人的一系列合作。
1996年，Chick Corea和Sony Classical唱片合作，与Bobby Mcferrin制作了一张Morzat系列作品的专辑，期间充满了Corea独特的爵士即兴演奏以及Mcferrin的人声录音，另外还包括两个Morzat的钢琴协奏曲、Morzat第二号钢琴奏鸣曲的即兴变奏。Chick Corea与Bobby Mcferrin因此成为好友，共同合作了六年，并制作了一张现场爵士的专辑。

雖然Albert Ayler的音樂生命只有短短十年的時間，但他卻是60年代最有影響力的音樂家之一。在生前，他的音樂是受到爭議的，因為他的音樂十分前衛，不是一般的弦律和節奏，大部分人的耳朵仍是保守的，直到後來才被越來越多人肯定他的創作。 由於服役的地方是法國，他也認識許多在法國的音樂家，像是同為薩克斯風手的Dexter Gordon。退伍之後仍留在歐洲，1962年時在哥本哈根錄製他的第一張唱片。在歐洲，Albert Ayler開啟了一扇爵士的大門，自由即興、實驗、前衛爵士在Albert Ayler身上找到更多的淵源。
這張錄制于1964年的自由即興、實驗大作，在現在聽起來會比當今很多自由作品順耳很多，但這僅僅是吵鬧度上，混亂的薩克斯，無調的旋律。Bass很無精打采的時不時來兩下。粗礪的薩克斯重頭到尾就在一種絕望的狀態下，用詭異的聲音在驅趕著自我的魂靈，在聽完Ghosts: Second Variation 之后，我就被這個來自地域的聲音嚇住了，但是在聽過第三首spirits之后，這樣的恐懼感比起狂醉后倍感的孤獨凄涼好受的多。這是一張令人絕望的作品，一張隨時會破壞你心情的專輯。當然很多人都是在自虐，Albert Ayler又何嘗不是。

Stan Getz was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young.

Page One is the debut release by American jazz tenor saxophonist Joe Henderson. It features some of Henderson's most well-known pieces such as "Recorda Me," later to become a jazz standard, and "Out of the Night", originally written in 1957. The front cover lists "Joe Henderson/Kenny Dorham/Butch Warren/Pete La Roca, etc.". Only McCoy Tyner's name is absent. Bob Blumenthal explains, in his 1999 liner notes, that Tyner had just signed with Impulse!, so this first Blue Note appearance was not very adherent to the contract.
AllMusic describes the album as a "particularly strong and historic effort".According to All About Jazz, Page One, which introduced the Jazz standard "Blue Bossa", is still one of Henderson's "most critically acclaimed albums".PopMatters, by contrast, prefers later works, indicating in one review that Page One "has the careful feel of a leader’s first session".The album was identified by Scott Yanow in his Allmusic essay "Hard Bop" as one of the 17 Essential Hard Bop Recordings.
The album was released on CD in 1988 by Blue Note and has been in print consistently since.

Jean Reinhardt, known to all by his Romani nickname Django, was a Belgian-born Romani-French jazz guitarist and composer. He was the first major jazz talent to emerge from Europe and remains the most significant.

A string section, spirited McCann vocals, bassist Leroy Vinnegar and drummer Donald Dean make up the elements on this album featuring the tunes Roberta, 'With These Hands' and Cole Porters 'Love For Sale'. 2002 reissue originally released in 1969.

阿曼多·安東尼·奇克·柯瑞亞 是美國的爵士鋼琴家、鍵盤手以及作曲家。 他作的許多曲子都被視為是爵士的標準曲目。在1960年是邁爾斯戴維斯樂隊的一份子，他同時參與了融合爵士的建立與茁壯。在1970年代他組成了回歸永恆樂團。

旧上海滩百乐门首席乐队Jimmy King原音重现

麥斯威爾·勒繆爾·「麥斯」·羅區是美國爵士樂鼓手以及作曲家。 羅區為比波普的開拓者之一，並吸收融合眾多不同音樂，並被公認為史上最重要的鼓手之一。他曾與許多偉大的樂手合作，如迪齊·吉萊斯皮、邁爾士·戴維斯、桑尼·羅林斯、查利·帕克、克里夫·布朗、查爾斯·明格斯等人。

Arthur Tatum Jr. was an American jazz pianist who is widely regarded as one of the greatest in his field. Tatum grew up in Toledo, Ohio, where he began playing piano professionally and had his own radio program, rebroadcast nationwide, while still in his teens.

Bass - Bill Folwell , Stafford James
Chanter, Saxophone [Tenor], Vocals - Albert Ayler
Drums - Muhammad Ali
Guitar - Henry Vestine
Piano - Bobby Few
Vocals - Mary Maria
Recorded at Plaza Sound Studios, New York City, August 26, 27, 28 and 29, 1969. (Throughout the album Bill Folwell's bass is heard on the left channel, Stafford James' on the right.)