Dear Sugi 专辑文案
世上有很多东西，我们不曾见过
有很多我们见过的东西，但无法理解
像是落泪，像是骄傲
世上也有很多东西，Sugi也不曾见过
有很多它见过的东西，却无力明白
像是饥饿，像是自私
这些东西到底归属于谁，没人知道
Sugi到底怎么想这个世界，没人知道
我们窥探它的一举一动
把我们眼中的Sugi，Dear Sugi的一切记忆
分享给你们每一个，人
我是Sugi，今年一岁

ALLMUSIC.COM
Anyone who remembers trumpeter Toshinori Kondo's work with such thorny avant-gardists as John Zorn, Derek Bailey, Fred Frith, and Peter Brotzmann's Die Like a Dog Quartet may be a bit taken aback by the extreme accessibility of his collaboration with pioneering turntablist DJ Krush. Much of the music on Ki-Oku flirts with smooth-groove jazz — Kondo's muted trumpet line on "Mu-Getsu" sounds an awful lot like something Chris Botti would play, while the duo's instrumental take on the Bob Marley classic "Sun Is Shining" comes off just a little bit muzak-y. On the other hand, "Ki-Gen" and "Ko-Ku" both find Kondo using synthesized treatments in a way that evokes Jon Hassell's work with Brian Eno, while on the latter DJ Krush layers slightly menacing keyboard washes beneath Kondo's unassuming trumpet lines. This is one of those albums that reveals more with repeated listens; if it sounds too easy at first, listen again — there's lots of interesting stuff going on beneath what sometimes sounds like a merely pleasant surface.
Amazon.com
Pairing DJ Krush, known throughout the beat underground for his subdued, trippy soundscapes, with Japanese avant trumpeter Toshinori Kondo may seem an odd pairing. This record, however, is instantly knowable and intuitively easy to grasp. Krush's beats, while certainly up-front, don't come at the price of the composition, nor do they blast Kondo's trumpet out of the tune. DJ Krush is not only able to drive the direction and tempo, but he's also quite adept at creating mood--often mixing up somber, downtempo collages that glide with an underwater grace. His uptempo work is direct, solidly propelled by someone who knows how to handle bass and breaks. Thankfully, the canvasses Krush mixes up are large enough to include Kondo's color work. The trumpeter (who's worked with the likes of Herbie Hancock and John Zorn) takes full advantage of the opportunity. Kondo is a breathy, richly toned player, and his meshings add to the dreamy, psychedelic feel of the recording. He's effective whether he's drifting beside Krush's swirling dub coiled in a haze of effects or punctuating beats with pure blasts of horn fire. A hip-bop classic. --S. Duda
From Jazziz
Willfully dry and barely funky, this album runs the risk of embracing the double-edged racist stereotype that haunts Japanese musicians working in heavily African American-based styles: polite Asians too intellectual for gritty black music. Thankfully, enough contrary evidence exists on Kondo and Krush's other recordings to dispel this myth elsewhere (and anyone dim enough to think black music isn't cerebral needs a lot more help than a CD review can give). Krush often gets labeled jazzy by critics out of laziness as much as for his easy tempos and willingness to float the occasional horn sample through his atmospheric mixes. Really, he specializes in manipulating thick swashes of sculpted ambient sound over loping, deliberate beats. On his well-conceived hip-hop albums, instrumentals alternate with appearances by guest rappers and vocalists to excellent and varied effect. Kondo, a veteran of collaborations with Peter Brötzmann, Derek Bailey, and Herbie Hancock, deploys none of the expected avant-garde pyrotechnics here, beyond an occasional slight sharpness in tone. Clichéd, smooth-jazz trumpet musings, smothered in echo, are the disappointing fare instead - when someone says an unimaginative trumpet player has a Miles-like sense of phrasing, this is the sort of effort to which they're referring. Still, it's hardly an unpleasant album. A few bright points are the use of Middle Eastern melody and Krush's innovative, spare turntable work. Because it seems interested in little beyond simple mood-setting, ultimately it remains ineffectual and inconsequential.
--- Patrick Hughes, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

Digitally remastered edition of one of the most ambitious and costly records to come out of '70s library music, the legendary Rythmes Contemporains from the brilliant Janko Nilovic. This complex and protean work shines out particularly from the rich discography of this Yugoslavian composer, and according to his many fans across the world, is one of his greatest achievements. The year is 1972 and Janko Nilovic is in his most creative period. The label Montparnasse 2000, trusting him entirely, give him the means to make his ambitions a reality, allowing him to put together a gigantic big band comprising 45 musicians, including the gifted drummer Andr‚ Ceccarelli, percussionist Jean Schultheis and Catherine Laura on lead violin. And so everything is in place to make these recordings an exceptional moment that embodies elegance. The result is beyond the wildest expectations and the 6 tracks pressed into the heart of this rare vinyl resound music of incredible strength and coherence. A whirlwind of notes and epic rhythms which go crazy, calm down then stir once more at the command of Nilovic who truly gives his all.

This is another classic LP by flautist Bobbi Humphrey from 1972 on Blue Note Records, the album was produced by George Butler and arranged by Wade Marcus, Horace Ott and Alphonse Mouzon. Personnel is Harry Whitaker, Warren Smith Jr., William Fontaine, David Spinozza, Alphonse Mouzon, Ron Carter, Wilbur Bascomb Jr., Paul Griffin and George Marge, plus a string section.

George Washington Benson is an American guitarist, singer, and songwriter. He began his professional career at the age of 19 as a jazz guitarist. A former child prodigy, Benson first came to prominence in the 1960s, playing soul jazz with Jack McDuff and others.

A frequent drummer on some of the most visible Kudu sessions, Idris Muhammad was finally signed to the label as a recording artist, and marked his album debut with the sensational POWER OF SOUL. With Bob James writing the charts, and Grover Washington, Jr. providing some exquisite contributions on the saxophone, the album made quite a splash at the time, and quickly established Idris as a force to contend with on the music scene. This is the first time this seminal album is available on CD.

Spectrum is an instrumental jazz fusion release from the great drummer Billy Cobham, who wrote all the tunes on the record, which many critics and fans consider to be his best. Fresh from his success with the Mahavishnu Orchestra, Cobham delivers high-quality compositions (which include 'Quadrant 4' and 'Red Baron) make this fusion set a standout, a strong mixture of rock-based rhythms and jazz improvisation. Of special interest to guitar fans, Spectrum also features the legendary Tommy Bolin on guitar and Jan Hammer playing his guitar-like licks on Moog synthesizer, electric piano and acoustic piano. WSM. 2005.

Toshiki Kadomatsu is a Japanese rock/R&B singer-songwriter, musician, and producer. He has released many studio albums, as well as several instrumental and live albums. He has been active since at least 1981 and is still active, having released his most recent album in April 2018.

Gilbert Scott-Heron was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s.

GoGo Penguin are a band from Manchester, UK, featuring pianist Chris Illingworth, bassist Nick Blacka, and drummer Rob Turner.

Recently, GoGo Penguin has been touring the world performing a live soundtrack for Godfrey Reggio's 1982 cult documentary Koyaanisqatsi, and now the group has announced a forthcoming EP Ocean in a Drop: Music for Film that draws inspiration from the performances. In preparation for the EP, which is set for release on October 4 via Blue Note Records, they have released the project's first single "Time-Lapse City."