Herbert Jeffrey Hancock (born April 12 1940 in Chicago, Illinois) is an award winning American jazz pianist and composer. Hancock is one of jazz music's most important and influential pianists and composers. He embraced elements of rock, funk, and soul while adopting freer stylistic elements from jazz.

《迈尔斯戴维斯·泛蓝调调》是20世纪顶尖爵士乐手最完美的一次经典录音，透过重新数位制作呈献细腻感动的质素；也是认识史上最伟大爵士巨人Miles Davis的入门推荐，与爵士乐迷收藏的必备经典！

素有“黑暗王子”之称的小号巨擘 Miles Davis （1929-91）是一位奠定50年代酷派（Cool School）冷调风格，开创60年代末期Jazz-Rock 融合（Fusion）新乐风的先锋；受到波普（Bop）时期最具代表性萨克斯风大师Charlie Parker提携，Miles Davis由纽约52街的酒吧表演跨入大乐团，而后自组五重奏的历程，不仅绽放个人深刻色彩，更跨越肤色藩篱成就后起之秀。这张专辑除了获得企鹅爵士五星最高评价，也是各家乐评一致推荐的世纪不朽作品；自1959年发行至今届满四十周年，美国当地销售超越七十万张，全球销售高达两百万张。

“Kind Of Blue”谱写酷派爵士时期，调式爵士（modal）经典代表；由Miles Davis与作曲及钢琴家Bill Evans共同蕴织出主要行进线，以贯穿整张专辑的概念为主轴，藉着其他乐手的加入而渲染蔓延转化层次分明的无际空间。参与本专辑的乐手们在日后皆成为爵士乐界要角，而“Kind Of Blue”也是 Miles Davis五重奏巅峰时期的专辑，每一位乐手表现超高水准。中音萨克风手John Coltrane与Miles共有的灵巧思绪以纯熟的默契化作柔畅的旋律，在最具代表性曲目“So What”中，可以发现两人即兴演奏的精彩绝伦。而高音萨克斯风手“Connonball” Adderley、贝斯名将Paul Chambers和鼓手James Cobb在Miles穿针引线的前导带领，凝聚演绎技巧绝妙境界的最高张力。只出现在“Flamenco Sketches”一曲的钢琴大师Wynton Kelly，同样跟乐手们演出完美契合的对话，专辑还有未曾在黑胶唱片时收录的版本！

01 那又如何 So What
02 不速之客弗莱迪Freddie Freeloader
03 绿中蓝Blue in Green
04 绝对布鲁斯All Blues
05 弗拉门高素描Flamenco Sketches
06 弗拉门高素描（黑胶唱片未收录版本）

Originally released in 1975 as a double live album, recorded and initially released only in Japan. Flood admirably documents Hancock's Headhunters-period in a concert setting. The tunes are mostly culled from the recommended studio albums Headhunters, Thrust and Man-Child, with an excellent remodeling of 'Maiden Voyage' opening the program.

Favorite Recordings proudly presents Deux, second album of French Jazz-Funk quartet Aldorande. In this new chapter, the four explorers pursue their interstellar trip on the Aldorande planet, deploying their ever deeper love for the 70's Jazz-Funk & Fusion scene. Extending their first visions of this new world, the bigger-than-life arrangements of this second album reflect again their high attention to dramatic narrative schemes, breezy Brazilian vibes, tempestuous funky grooves and strong cosmic melodies from outer space. Classic and contemporary at the same time, Deux is built for the like-minded souls still looking for the perfect beat.
Twisting time and space but never forcing the groove, the band dives more profoundly into the Cortex influence of their compositions, with intense female back vocals fitting perfectly into their cinematographic vision. Like a cry in space, could these esoteric incantations be heard by Aldorande's divinities? Or will they be more impressed by the super-tight rhythm section with its bangin' basslines or an irresistible blend of drums and percussion? In the end, they probably would have to surrender after hearing the infinite echoes of the synthesizers and horns reflecting in the atmosphere. Deep and thoughtful, the travel has only begun but it seems that so much has already been experienced. Breaking the code, they opened the gates to a rebirth. One that could be only accomplished by finding the “Pierre des Mondes”, deeply buried somewhere on Aldorande - the only key to solve the riddle of the groove. Mission accepted.
You'll find in Aldorande some of the best French jazzmen including bandleader and founder Virgile Raffaëlli on bass (Setenta & Joe Bataan, Camarão Orkestra), Florian Pellissier on keys (Iggy Pop, Setenta, Cotonete & Di Melo, …), Mathieu Edouard on drums (Chassol, De La Soul) and Erwan Loeffel on percussion (Camarão Orkestra, 10LEC6). On this album, they took the initiative to invite two guests on some tracks: AOR singer Al Sunny and killer guitarist Laurent Guillet (Le Soldat Rose, Setenta).
credits
releases November 19, 2021
Mathieu Edouard - drums
Erwan Loeffel - atabaques, timbales, octobans, cuica, claves, triangles, karignan, bells, woodblocks, shakers, caxixis, shekere, tambourine, cowbells
Virgile Raffaëlli - bass, Mellotron on "Arcane 17"
Florian Pellissier - Fender Rhodes, E7 Hohner Clavinet, Yamaha CP-70B, Fazioli Grand Piano, Moog Minimoog, Sequential Prophet 6, ARP Solina String Ensemble
Laurent Guillet - guitars on "Vortex des Possibles" & "Prometheus Asylum"
Paul Bouclier - trumpet
Benoit Giffard - trombone
Frank Chatona - tenor sax
Akemi Fujimori - back vocals
Cléo Pénet - back vocals
Lea Moreau - back vocals
Al Sunny - lead & back vocals on "La Promesse au Soleil"
All compositions by V. Raffaëlli, F. Pellissier, M. Edouard, E. Loeffel
All lyrics except "La Promesse Au Soleil" by F. Pellissier & A. Tricard
Horns compositions & arrangements by F. Pellissier & F. Chatona
Vocal compositions & arrangements by F. Pellissier & F. Chatona except "La Promesse Au Soleil" by F. Pellissier, F. Chatona & Pascal Rioux
Vocal & Horns recorded by Viktor Grouarier & Pierre Dachery at Prado Studio (Paris - FR)
Recorded & Mixed by Jordan Kouby at Question de Son Studio (Paris - FR)
Mastered by Frank Merritt at The Carvery (London - UK)
Published by Favorite Recordings
Manufactured & Distributed by The Pusher Distribution
A&R and Executive Producer: Pascal Rioux @ Favorite Recordings
Artwork by Virgile Raffaëlli
(P) & (C) 2021 Favorite Recordings

Gene Harris never veered closer to mainstream jazz-funk than Tone Tantrum -- a slick, propulsive record recalling Donald Byrd's classic sessions with the Mizell brothers (not surprising, given that Byrd turns up on a few tracks here). It's very much a product of its time, channeling influences from underground disco to Stevie Wonder, and remains arguably the most blatantly commercial release in the entire Blue Note catalog. Paired with singer/keyboardist Jerry Peters, bassist Chuck Rainey, and drummer Harvey Mason, Harris' smooth, slinky Fender Rhodes grooves are couched in lush strings and shimmering backing vocals. Still, while the sound is radio-friendly, the quality and complexity of the performances serve as a potent reminder that Tone Tantrum is first and foremost a jazz record, and a solid (if unconventional) one at that, purists be damned.

The third in STRUT's Inspiration Information studio collaboration series brings together an intriguing pairing between one of Africa's greatest and most innovative bandleaders, MULATU ASTATKE, with the next level musicianship of THE HELIOCENTRICS collective from the mighty roster of STONES THROW / NOW AGAIN.Known primarily through the successful 'Ethiopiques' album series and the film soundtrack to JIM JARMUSCH's 'Broken Flowers', Mulatu Astatke is one of Ethiopia's foremost musical ambassadors. His selfstyled Ethio-jazz sound flourished during the "Swinging Addis" era of the late '60s as he successfully fused Western jazz and funk with traditional Ethiopian folk melodies. The Heliocentrics have become known as one of the UK's foremost free-thinking collectives of musicians, inspired by a wide palette covering SUN RA, JAMES BROWN, DAVID AXELROD and all manner of psych, Afro and Eastern sounds. The collective have featured on records by MADLIB and DJ SHADOW and are now a fixture within the Stones Throw / Now Again roster, they forged their own genre-breaking directions in the astral analogue groove on their 2007 debut album, 'Out There'.

Arranged By, Keyboards – Marc Moulin
Bass – Nick Kletchkovsky
Drums, Percussion – Freddie Rottier*
Producer – Jean Huysmans
Saxophone [Baritone], Clarinet [Bass], Flute, Percussion – Johnny Dover
Saxophone [Soprano, Tenor], Flute – Alex Scorier
Trumpet – Nicolas Fissette
Trumpet, Flugelhorn – Richard Rousselet

板橋文夫、川崎遼等のグループで活躍していた名古屋市出身のジャズトロンボーン奏者「向井滋春」の'80リーダー・アルバム。

A band as kinetic as L’Eclair cannot stay idle. So when the pandemic hit, they stayed true to form and began recording a new album. With their former records usually recorded in a few days, live to tape, they took a decidedly different approach with this LP. Recorded in four sessions spread out over nine months, the group and their trusted engineer (and manager) Benoit Erard were able to spend more time, energy, and consideration on the production. This new approach gave them the ability to reflect and revise, allowing them to focus more on composition, arrangements and structures. The result is their fourth album Confusions: a sprawling hour-long, 12 track record- their most diverse, concise, and focused effort to date.
Confusions finds L’Eclair finding themselves, having distilled their mastery of groove and rhythm down to a science. Club vibes, psych grooves, rhythmic trances, and ambient comedowns are all present in equal measure, while maintaining a cohesive and consistent flavor throughout. Confusions is both expertly crafted and joyfully spontaneous, danceable yet ethereal, emotive yet cerebral. The shifting moods and melodies imbue the album with a depth that demands repeat listens.
Their influences are on full display here, with nods to CAN, Piero Umiliani, and Tangerine Dream- seamlessly blended with the unique sound L’Eclair has established over the years. New influences are also apparent, such as the house grooves of 80’s Madchester and Aphex twin, as well as the textures and ambience of Boards of Canada. As with past L’Eclair releases, Confusions is sure to attract some fans of hip-hop, recalling the likes of producers Madlib, MF doom, and Dilla. The ever-present dub and house influences bubble up here and there but despite the many inspirations behind Confusions, the sound is pure L’Eclair.
credits
Recorded between August 2020 and April 2021 at le Gatillon.
Mixed by Benoit Erard in June 2021 at Ritmo Studio in Leysin.

A landmark anthology originally released in 2001 documents how James “Plunky Nkabinde” Branch and his groups connected jazz, R&B, and funk through Afrocentric rhythms and spirituality.

Howie Lee is one of the most important names in Chinese contemporary electronic music.

The next one on my you-must-hear-now list is from L’Eclair. These guys are out of Geneva, Switzerland and recently on the Beyond Beyond Is Beyond label who seem to have the magic touch when plucking these kinds of finds out of thin air (or parts of Europe). The thing is, the BBIB team usually has some deep, out-there, mind-bending psychedelia to offer up. But with L’Eclair’s Polymood, we’ve got something a little bit different, something delectably groovy. The instrumental band’s music is anything but Swiss neutral, but a decidedly funky and totally singular sound. This is can’t-put-it-down, smiling-for-days good, I think you’ll dig.