Sun Ra的风格是前卫的爵士乐家，他的形式作风相当的独特与神秘，而他的音乐也和他的性格一样，虽然不是被多数的听众接受，但是他的价值在于奇特与超凡脱俗的感受。在外型上他也常有十足怪异的打扮，甚至于在演出时加入杂耍性的演出，转盘子和吞火之类的表演增加了音乐的特色。对于别人的批评，Sun Ra似乎不在意，他也不只一次声称自己出生在另外的一个行星，但是这个行星只能算是他的想象中的家园。
Sun Ra是他自己取的艺名，意思是源自古代埃及的一位太阳神的名字。
当人们将他的音乐之外的种种离奇古怪的噱头拋开之后，就会不由自主地惊叹他的才华横溢，他是一位不折不扣的音乐革新者。
他的音乐有是来自何种灵感，正是这种神秘使他成为了乐迷追逐的，崇拜的偶像，他的音乐上的探索与创新最终也受到了爵士乐界的重视。
他记录他的音乐的方式也是变化莫测的流行方式。他的唱片都是以海王星唱片公司标志的，在他的唱片中从来不列出录音的日期，而且不提供准确的个人信息。这种方式完全是一种探索性的音乐、一种真正前卫的试验性的音乐，对于传统的爵土乐迷和一般听众来说这都是难以接受的。
早在1934年Sun Ra就开始领导自己的首支乐队，在中西部，他曾经做过许多不同的工作，是一位自由音乐家。但人们很难会记得一位不知名且缺乏特色的乐手在爵士乐主流盛行的年代的表现。当时他确实是本本份份地演奏传统的爵士乐，然而喜欢时髦的爵士乐迷并未给他以特别的关注。
在战后最初的几年，1946年到1947年他曾经在Fletcher Henderson的乐队中担任过钢琴手和编曲。从1948年起，他就开始灌制唱片，然而这些唱片都是平庸之作，未能引起任何评论家的重视。很大程度上，这种可有可无的状态对于充满了抱负的音乐家来说无异于失败，他们精神的病苦远远超过了生活中的艰辛。
Sun Ra不在缺乏才气，他所缺乏的是与时代的流行趋势相一致的风格，缺乏的是机遇。这种机遇对于许多爵士乐音乐家来说来的很早，而对他却来的很迟。
长期的默默无闻磨炼了他的性格，更为他自己独特的音乐创作打下了坚实的基础。
大器晚成的Sun Ra直到1953年他才真正开始录制自己的音乐，此时他已经年近 40。最初时候，他在芝加哥领导了一支大乐队，并演奏高级的波普爵士乐，但是他的音乐从一开始就受到了其它的文化形式的影响，并且在早期的前卫派爵士乐确立之前，就将键盘和电声乐器运用到自己的音乐之中。
从196l年之后，他搬到了纽约，演奏了自己的最为高级的一些作品。
在1970年他将自己的乐队的基地又转移到费城，在他最后几年的隐喻中总是处于摆动不定的状况，有时演奏自由的即兴演奏，有时有演奏神秘乐队的合唱曲，其素材总是摇摆乐曲闹的古怪的版本，听起来很像从前的Fletcher Henderson的大乐队的演出的变化的形式，在他的演出个伴奏者也并不是经常固定的，他们总是出入他的乐队，从来不长期的合作。
然而，对于长期处于神秘的Sun Ra来说，他的传奇只是露出了一角的冰山，他内容广泛的作品仍是爵士乐迷乐于探寻的宝藏。

1995 debut album for Italian acid-jazz collective. Club Tools.

CBSソニー移籍第一作である。前作「森羅万象」ではヴォーカルまで担当し、マルチ・ミュージシャン的色彩が見られたが、今作は従来のスタイルに戻り、ギターの松本正嗣(亭主)と共にキーボード中心のライト・フュージョンを創り出している。

Herbert Jay Solomon, known professionally by his stage name Herbie Mann, was an American jazz flautist and important early practitioner of world music. Early in his career, he also played tenor saxophone and clarinet, but Mann was among the first jazz musicians to specialize on the flute.

Will Downing is an American singer, songwriter and producer who is famous for his rich, baritone vocals when he performs contemporary jazz and R&B music. Will Downing was born Wilfred Downing on 29 November, 1963 in Brooklyn, New York, USA.

Reissue of 1958 album from RCA Victor Gold Series, 24-bit digitally remastered in a digipak with original sleeve and booklet. Includes 3 bonus tracks 'El Cayuco' (alternate take), 'Estoy Siempre Junto A Ti' (alternate take-instrumental) & 'Estoy Siempre Junto A Ti' (alternate take). 2003.

Anouar Brahem's 1998 release Thimar, with John Surman on sax and bass clarinet and Dave Holland on double-bass, is the kind of masterpiece that trips flags in alternate media coverage but tends to elude the mainstream. It's exotic but not flashy, it's impossible to categorize - and thus a hard sell on the retail floor --, and precedents that would hint at what to expect are few. Jan Garbarek's neo-tribal, Jazz-inflected style comes to mind, or Thierry Robin's solo oud meditations on semi-nude women, but how visible or useful are those reference to most music lovers?

The oud, especially in Turkish music, enjoys special veneration, but is rarely heard outside traditional Middle-Eastern styles. Thimar places it within a readily accessible context of double-bass lines that, though not Jazz per se, create a comfortable semblance, and the ready familiarity with the saxophone's or bass clarinet's reedy timbre make for further connections to a Western audience. And so, in fact, does the dreamy melodic work between Surman and Brahem. It features just enough blue notes to suggest Jazz, and enough Middle-Eastern embellishments and harmonic progressions to blur the lines.

The end result is a spacious rather than tight trio setting that avoids getting locked into any grooves but rather celebrates the less gravitational mood of the East. A lot of room is dedicated to improvisational explorations for all three musicians, and while each track has its own peculiar flavor, the overall sense is one of ease, calm playfulness and a certain element of extrovert contemplation. Since I don't have any liner notes - a Canadian friend copied this for me on is laptop while visiting - I can't be sure, but one gets the impression that this album took time to gestate, rather than being the product of a tightly scheduled, two-day studio session. All the tunes here are pervaded by a sense of timelessness that's usually the result of the participating artists occupying a shared psychic space, something that tends to happen more than being available on command.

Thimar is really a sensational work, one of those "deep wells" that beckons to many return visits since there are so many subtleties awaiting appreciation. There's nothing flashy that impresses quickly and wears out equally rapidly. Consequently, it isn't a musical dish to be swallowed in a rush to elsewhere. It requires the kind of unfocussed focus -- the essence of all formal meditation -- to truly be appreciate for what it is: a musical Seshin between three master musicians captured, in time, on a little silver disc. Isn't technology magic? When you discover music such as this, it feels even more magical.

Arthur Blakey was an American jazz drummer and bandleader. He was briefly known as Abdullah Ibn Buhaina after he converted to Islam for a short time in the late 1940s. Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine.

Herbert Jay Solomon, known professionally by his stage name Herbie Mann, was an American jazz flautist and important early practitioner of world music. Early in his career, he also played tenor saxophone and clarinet, but Mann was among the first jazz musicians to specialize on the flute.

《頒獎的時候我要缺席》這張個人專輯由十個故事組成，我想像自己是一位如實記錄的攝像師，撿起鏡頭對準這九個毫不相干的角色、對準了自己，拍下了最尋常也最真實的定格。每首歌的背後都有一個獨屬於主人公的電影畫面，他們有著各自的人生軌跡和情感狀態，做著完全不同的選擇，但是從創作的那一刻起，我就和他們聯結在一起了。

Donald Eugene Cherry (November 18, 1936 – October 19, 1995) was an American jazz trumpeter. Cherry had a long association with free jazz saxophonist Ornette Coleman, which began in the late 1950s. Cherry was also a pioneer in world fusion music in the 1960s and 1970s

Jaimie Breezy Branch is an American jazz trumpeter and composer.

Enji begins her third album with a stark reminder of her own humanity. “I am Ulaan,” she utters plainly in her native language of Mongolian, referring to a nickname affectionately given to her by her family. “I have to remember who I am,” she says, explaining her choice of a spoken monologue. “It empowers me.”
Throughout Ulaan, Enji continues to find new ways to bring out those affirming expressions of herself. Drawing on the elegant blend of jazz and traditional Mongolian song on her previous album Ursgal, she leans into her strengths while breaking into bold new directions. With trusted collaborators Paul Brändle on guitar and Munguntovch Tsolmonbayar on bass at her side once again, she expands the band to include Mariá Portugal on drums and Joana Queiroz on clarinet—and her creative process expands along with it. “They have such deep feelings and such deep love of music,” Enji says of the group. As a result of these new partnerships, the compositions have opened up, bringing in lusher textures, more rhythm, and more interplay between musicians. Enji pushes her voice to new heights, too, effervescently fluttering over each track and moving in perfect lockstep with her band.
Songs bubble up from spontaneous moments of inspiration. With “Zuud,” the imagery came to Enji in a melancholic... dream. On “Uzegdel,” she evokes the feeling of a breathtaking view she saw from the window of an early Autumn flight on her way home to Mongolia. “Vogl” comes from her experience visiting the peaceful village of the same name, tracing the shape of the natural vista with her vocals. In some cases, she described these scenes to the band and worked out the feeling together. In others, the songs crystallized from reading out the lyrics. “I find my mother tongue in Mongolian is such a rhythmical language,” Enji explains. “So the melody just came out.”
As Enji continues her journey of self-discovery, she continues to grow and adapt into new roles. With Ulaan, she bares more of her heart than we’ve seen from her yet, but she’s still got more to give—as a vocalist, a bandleader, and most importantly, as a storyteller.
- shy thompson
Performed by
Enkhjargal Erkhembayar (vocals)
Joana Queiroz (clarinet, bassclarinet)
Paul Brändle (guitar)
Munguntovch Tsolmonbayar (bass)
Mariá Portugal (drums)
Trumpet on *Taivshral* by Matthias Lindermayr
Composed by
Enkhjargal Erkhembayar and Paul Brändle
*Encanto* by Joana Queiroz
*Temeen Deerees Naran Oirhon* by Adarsuren P., Sergelen H., Shagdar J.
Recorded by Jan Krause at Mastermix Studio.
Mixed by Martin Brugger.
Mastered and cut by Andreas *Lupo* Lubich.
Produced by Martin Brugger.
Creative Direction and Design by Maximilian Schachtner.
Video-/Photography by Lara Fritz and Hanne Kaunicnik.
Styling by Laura Fries and Carolin Tušl at FRECK.
Supported by Initiative Musik gGmbH with project funds from the Federal Government Commissioner for Culture and Media.

ジャズ・シーンに新風を吹き込むベーシスト&ヴォーカリスト。
名門ヴァーヴ・レーベルからメジャー・デビュー。
高校1年生の夏にウッドベースを始め、在学中に世界的ピアニストの小曽根真に見いだされ、小曽根が教鞭を執る国立音楽大学ジャズ専修に入学。卒業後は東京を中心に活動中。壷阪健登とのユニット「soraya」や、小曽根真と神野三鈴が主宰する次世代を担う若手音楽家のプロジェクト「From OZONE till Dawn」のメンバーとしても活動しています。
しなやかなセンスのベース・プレイに加え、ワン&オンリーの透き通る歌声が大きな魅力。丸の内コットンクラブに出演した際の「オフ・ザ・ウォール」(マイケル・ジャクソン)の弾き語り映像は、ジャズでは異例の155万回超再生を記録。海外からも絶賛のコメントが多数書き込まれています。
今回のデビュー・ミニ・アルバムでは、ベーシストとヴォーカリストだけでなく、作編曲家としての才能も伝えるため、オリジナル曲とカヴァー曲を3曲ずつ収録。カヴァー曲は、「オフ・ザ・ウォール」の弾き語りに加え、自身のルーツであるスティーヴィ―・ワンダーやチック・コリアを大胆なアレンジでカヴァー。
レコーディングには、作品のプロデュースも務めた小曽根真をはじめに、大林武司、苗代尚寛、小田桐寛、Kanという精鋭ミュージシャンが参加。