Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on December 24, 1965
Cornet, Composed By – Don Cherry
Bass – Henry Grimes
Drums – Edward Blackwell*
Engineer [Recording] – Rudy Van Gelder
Liner Notes [Original] – Nat Hentoff
Mastered By [Transferred Using 24-bit Resolution] – Ron McMaster
Photography By [Cover And Liner Photographs] – Francis Wolff
Producer [Original Session Produced By] – Alfred Lion
Reissue Producer [Reissue Produced By] – Michael Cuscuna
Tenor Saxophone – Leandro "Gato" Barbieri*

Artwork By – Baldhard Falk
Bass – Jackie Jackson (3)
Congas – Noel Seale
Drums – Sparrow Martin
Electric Piano – Monty Alexander
Engineer – Graeme Goodall
Guitar – "Trini" Clarence Wears*, Ernest Ranglin
Mixed By – Hans-Georg Brunner-Schwer*
Percussion – Denzil "Pops" Laing*
Photography – Baldhard Falk

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.

Companies, etc.
Copyright (c) – Lyman Woodard Productions
Recorded At – Cobb's Corner, Detroit
Recorded By – C.G. Productions (2)
Mixed At – The Sound Suite Detroit
Mastered At – GRT Records
Mastered At – Nashville Road
Published By – Ly-Ly Publishing Co.
Published By – San-Lowe Publishing Co.
Credits
Design [Graphic] – Eric Keller (4)
Design [Label] – Strata Assoc.
Drums – Leonard King
Engineer [Recording] – Joe Gruszka
Engineer [Recording], Mixed By, Coordinator [Production] – Mark Calice
Executive-Producer – Lymann Woodard*
Featuring, Trumpet – Marcus Belgrave
Guitar, Vocals – Robert Lowe
Liner Notes – Jim Dulzo
Organ – Lyman Woodard
Percussion, Vocals – Lorenzo Brown
Photography By, Art Direction – David Franklin (9)
Soprano Saxophone – Kerry Campbell
Sound Designer – Brad Decker
Tenor Saxophone – Allan Barnes
Trumpet – Ron Jackson
Vocals – Leroy Emmanuel

Fela Aníkúlápó Kuti also known as Abami Eda was a Nigerian multi-instrumentalist, bandleader, composer, political activist, and Pan-Africanist. He is regarded as the pioneer of Afrobeat, an African music genre that combines traditional Yoruba percussion and vocal styles with American funk and jazz.

Credits▼
Alto Saxophone – Sonny Fortune (tracks: B3)
Arranged By – Ed Bogas (tracks: A1 to B1)
Art Direction – Tony Lane (2)
Bass – George Duvivier (tracks: A1 to B1)
Congas – Buddy Caldwell (tracks: B3)
Drums – Grady Tate (tracks: A1 to B1, B2), Idris Muhammed* (tracks: B3)
Electric Piano – Ernest Hayes* (tracks: A1 to B1)
Engineer – Rudy Van Gelder
Flute – Hubert Laws (tracks: B3)
Flute, Baritone Saxophone, Conductor – Frank Wess (tracks: A1 to B1)
Flute, Tenor Saxophone – Seldon Powell (tracks: A1 to B1)
Guitar – Joe Beck (tracks: A1 to B1, B2), Melvin Sparks (tracks: B3)
Organ – Leon Spencer* (tracks: A1 to B1, B2, B3)
Photography – Lee Friedlander
Producer – Ozzie Cadena
Tenor Saxophone – Dave Hubbard (tracks: B3)
Trumpet – Jon Faddis (tracks: A1 to B1), Victor Paz (tracks: A1 to B1), Virgil Jones (tracks: B3)
Notes▼
Tracks B1 to B2 recorded at Van Gelder Studios, Englewood Cliffs, NJ on January 26, 1973.
Track B3 recorded Feb. 22, 197

One of the two early Earth Wind & Fire LPs recorded for Warner, and the one that shows their amazing roots in the avant garde jazz scene in Chicago. At the forefront, the record's a righteous soul album with an ensemble funk sound, but deeper in, there's a lot of jazz-based playing, and a number of moments that almost get "out" in the solos! Surely this one couldn't have been made without the spiritual advancements in jazz made by the AACM, and EWF couldn't have helped rubbing shoulders with those players, considering that they all often gigged together in the Chicago studio scene, and that they'd also shared some time together in groups like The Pharoahs and Phil Cohran's Artistic Heritage Ensemble.

"..플루트/소프라노 섹소폰 연주자 Harold Alexander는 North Carolina에서 태어나 유년시절을 보냈다. 그리고 70년대 초 Flying Dutchman 레이블에서 두장의 앨범을 녹음하게 된다. 그는 평소 존경하던 훌륭한 뮤지션들 가운데서도 특히 Eric Dolphy, Benny Golson 그리고 Elvin Jones로 부터 많은 영향을 받았다. 그의 친구 Dolphy는 플루트를 연주하는 방법과 음악의 가치, 방향을 이해하도록 도왔고 Golson은 그가 갖고있는 작곡 능력을 한층 더 발전시키는데 힘을 쏟았다. Jones는 아티스트로서 그가 지닌 깊이있는 창의력을 인지하도록 늘 옆에서 용기를 북돋아 주었다. Harold는 Flying Dutchman 레이블과의 계약이전 60년대 말 Elvin's Trio의 맴버이기도 했다. Sunshine Man 앨범에 수록된 곡 'Tite Rope' 는 뉴욕에서의 삶을 통해 한명의 창작인으로서 인생을 살아가기로 결심한 그가 마땅히 치뤄야 할 것들에 대해 이야기하고 있다. 앨범에 수록된 6곡 모두 본인이 직접 작곡했다. 'The Rope'는 bootleg으로 만들어진 컴필레이션 앨범에서도 종종 등장 할 만큼 반응이 아주 좋았다. 72년 라이브 앨범 'Are You ready' (live at Montreux) 발매 이후 Harold는 레이블과의 계약이 끝났고 곧이어 Atlantic 레이블에서 'Raw Root' in '74를 발매하게 된다.."

Acclaimed Grammy-nominated singer, songwriter, producer, and multi-instrumentalist Georgia Anne Muldrow returns with her 3rd studio album as part of her one-woman jazz ensemble Jyoti. The album follows the critically acclaimed ‘Ocotea’ and ‘Denderah’ released via her independent label SomeOthaShip Connect. Unlike the previous two records, this album contains tracks with vocals from Georgia including the lead single ‘This Walk.’ The album’s only guest musician includes Georgia’s long-time friend and acclaimed saxophonist Lakeica Benjamin on the track ‘Ra’s Noise.’ The album also features two Charlie Mingus compositions that Georgia remixed for the album ‘Bemoanable Lady Geemix’ and ‘Fabus Foo Geemix.’ The album is being released in partnership with eOne Music globally and currently scheduled for release on August 28, 2020

位於北非的撒哈拉沙漠，是世界上除了南极之外的最大沙漠，「撒哈拉」在阿拉伯语就是「沙漠」的意思，而突尼西亚正是位於这块北非大漠上最小的国家，曾经被腓尼基人、罗马人、拜占庭人、阿拉伯人、土耳其人、法国人殖民统治过，是个风情混杂的国度。
1957年生於北非的突尼西亚的阿瑙尔‧伯拉罕（Anouar Brahem），擅长弹奏突尼西亚曼陀林（OUD），他率领钢琴手法兰西斯‧考图里尔（François Couturier），以及手风琴手尚‧路易斯‧马丁尼尔（Jean Louis Matinier）组成三重奏，推出这张《流浪到撒哈拉》（Le Voyage de Sahar）！揉合欧风爵士与阿拉伯的跨界乐风，打破音乐类型的边界藩篱，诱发浓浓的低限虚无的存在情绪，让你彷彿置身海市蜃楼般迷迷濛濛，又像沙漠的气候般令人躁热难挡！
《Acoustic Guitar》杂誌称这三人的组合，是当今演奏阿拉伯音乐最奇怪的三重奏，他们的音乐中除了阿拉伯传统外，还能听到萨替、巴黎左岸咖啡馆、西班牙佛朗明哥、以及巴尔乾半岛等特殊乐风。伦敦的《Time Out》杂誌也表示，本辑呈现罕见、绝美的抒情性，音乐如此纯净、简单、细腻，几乎不可能办到地揉合了阿拉伯与欧洲音乐。
的确，突尼西亚曼陀林、手风琴、钢琴的组合不仅特殊，而且演奏中持续地交换角色，节奏、旋律、以及细腻装饰奏不断轮动，让人明显感觉到音色质感的层次交融。此辑於2005年2月录音，里头所有曲子都是阿瑙尔‧伯拉罕所写，除了新作之外，也重新詮释他自己的三首重要旧作：「Vague」、「E la nave va」、「Halfaouine」。三位乐手2006年将带着这张专辑，从三月开始到葡萄牙、法国、爱尔兰、比利时、瑞士、德国等地「流浪」巡迴。
阿瑙尔‧伯拉罕是突尼西亚最具创意的传统乐器演奏者，也是突尼西亚曼陀林大师Ali Sriti的徒弟，他长期浸淫在阿拉伯传统音乐的细腻中，在现代华丽迷人的演奏技法里，有着古典深邃的内在灵魂。1980年代早期他来到巴黎，爵士风浪让他接触到ECM，也认识了製作人Manfred Eicher，1990年代他与ECM发展出一系列专辑，《Barzakh》、《Conte de l’Incroyable Amour》、与Jan Garbarek合作的《Madar》、《Khomsa》、与John Surman以及Dave Holland合作的《Thimar》、《Astrakan café》、《Le pas du chat noir》以及《Vague》等。
钢琴手法兰西斯‧考图里尔则於1980年，在法国赢得Django Reinhardt奖而引起国际注意，之后他又与吉他手John McLaughlin巡迴世界。1985年他首度与阿瑙尔‧伯拉罕合作，搭配土耳其音乐家Barbaros Erköse以及Kudsi Erguner，之后也曾在《Khomsa》专辑中出现过。1997年他与小提琴手Dominique Pifarély灌录《Poros》双专辑，也与Robin Kenyatta、Eddy Louis、Jean-Marc Larché、Didier Levallet等人合作。2005年12月，他与尚‧路易斯‧马丁尼尔、萨克斯风手Jean-Marc Larché、以及大提琴手Anja Lechner，一同为ECM灌录一张没有标题的专辑。
手风琴手尚‧路易斯‧马丁尼尔与阿瑙尔‧伯拉罕在ECM的首度合作，便是《Le pas du chat noir》专辑，他也曾与Gianluigi Trovesi、Enrico Rava、Louis Sclavis等乐手有过合作。--

于中国爵士乐坛而言，这并非一张常见的专辑——视觉性封面、科幻色调，似乎难以想象其背后的爵士器乐属性。
肖骏，或许你对这个名字还少有耳闻，从上音毕业，至纽约进修、旅居，他将多年所学所思所感融汇于这张原创专辑《三棱镜》（Triangular Prism）中。听专辑里的曲目， 不论是独*无二的标志性吉他音色，还是层次丰富的和弦色彩，抑或营造于旋律下的空间感和线条感，在展露其出众纯熟的音乐把控能力的同时，又处处别出心裁，句句暗藏想象。专辑科幻视觉风格与音乐所传达的主题相得益彰，不拘于传统规则。关于取名《三棱镜》，用肖骏的话来概括——一束白光透过三棱镜可以折射出多种光线色彩，而爵士乐正是这一玄妙的载体。
专辑内11首作品皆为原创，于2017年6月在纽约布鲁克林录制完成，联合的乐手是纽约爵士圈*活跃的明星音乐家：爵士钢琴演奏家Kevin Hays、贝司演奏家Rick Rosato、萨克斯手Alex Lore以及鼓手Jerad Lippi，并由3次格莱美获得者Dave Darlington完成后期混音工作。JZ Music出品，索尼音乐发行。
◎制作团队：
吉他：肖骏
中音萨克斯：Alex Lore
钢琴：Kevin Hays
贝司：Rick Rosato
鼓：Jerad Lippi
录音：Chris Benham/袁祥赫
混音：David Darlington/袁祥赫
母带处理：David Darlington
专辑封面设计/制作：王曦哲
摄影：徐欣悦
<Thanks letter>
感谢我伟大的母亲，没有你的支持就不会有这张专辑也不会有今天的我
Thanks my mom, without you without me
感谢这么多年在音乐道路上给予过我帮助的良师益友们
Thanks all of my Mentor also friends 廖季文,John Abercrombie, Vic Juris, Kevin Hays, Rafal Sarnecki
感谢在专辑里用心演奏的每一个音符的乐队成员
Thanks all of great musician on this Album，thanks every great moment you guys made Alex Lore ，Kevin Hays, Rick Rosato Jerad Lippi
感谢任宇清对中国爵士音乐家的支持
感谢在专辑制作中给予极大帮助的朋友们 袁祥赫 王曦哲 徐欣悦 李赢达
Thanks my good friends give me a lot of help
感谢在众筹中给予支持的朋友们 根儿 钱宇颖 黄毅 杨丹 兰晓飞 田欣 王曦
Thanks for money support on this album
这里是一个开始, 我开始试图用爵士的语言来自我表达。
——肖骏

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.

First time on CD. Japanese remastered reissue of 1965 album packaged in a miniature LP sleeve. Philips. 2004.

《独驾蓝色列车曲风试航号》
如果一定要在John Coltrane浩如烟海的录音中，选出一张可以和他经典地位休戚与共的唱片，那么《Blue Train》当选的概率应该超过90%。虽然这种强人所难的选择题，总是会感觉到其趋向变态的实质，但是往好处想，人类也正是有了这种对唯一性的特殊变态追求，才会用一次又一次去芜存精的实际行动，以大浪淘沙的手法去触摸理想化的艺术极限。
回到1957年，这一年对于John Coltrane来说可谓是喜忧参半，喜是大喜、忧是大忧，虽然经过岁月的沉淀之后，后者更像是对前者历练过程中所必须的铺垫，但无论如何，因为毒瘾太重而被Miles Davis开除出五重奏，在当时对于John Coltrane来讲，毕竟不是一件值得举杯相庆的光彩事，况且大器晚成的他，两年前才因为老迈的慧眼才闯出了一些小小的名堂。不过，这次除名事件看起来却并非只是往坏的方面一意孤行，因为紧随其后，John Coltrane却又得遇了另一位贵人Thelonious Monk，并在四月份与这位爵士史上出名的钢琴怪杰，于爵士名厂Riverside录制了《Thelonious Monk With John Coltrane》和《Thelonious Monk&John Coltrane》两张经典的唱片，从而不仅加速了John Coltrane吹奏技艺的更进一步，更在与名家大师开放形地接触中，逐步确立起自己独特和与众不同的演奏手法。而这一点绝对是一个只局限于一个乐团的某君御用乐手在短时间很难再进一步的关键所在，哪怕这个某君是爵士史上鼎鼎大名的Miles Davis也不例外。
而在John Coltrane演奏生涯中，最具划时代意义的当然还是1957年的9月15日，当时与Prestige尚有合约的他，因为受到了Blue Note老板Alfred Lion的亲睐，而由两家公司协商后，以外借身份来到了眼科医生兼录音师的Rudy Van Gelder父母家的客厅（即Blue Note鼎鼎有名的RVG录音室），并在与Blue Note一班名师的合作中，开启了他真正意义上自力更生、特立独行的第一篇章。虽然此前短短的一年多时间，他也以个人名义发行了超过两位数的唱片，但《Blue Train》却是他第一张摆脱Miles Davis阴影并开始勾勒自己风格线条的专辑。
当然，《Blue Train》能够在爵士史上书写如此经典的地位，除了它恰恰处于John Coltrane演绎上升期的一个重要交汇点外，专辑乐手整体的扶持同样功不可莫，这不仅仅是因为录制唱片的其他五位乐手的知名度比较高，毕竟这样的说法太过形而上。其实一个重要的原因还是乐手中有些依然还是Miles Davis旗下的老臣子，这在音乐的磨合上，多少给了John Coltrane心有灵犀的一种前提保障。像与John Coltrane同年出生同年加入老迈五重奏的鼓手Philly Joe Jones，和另一位迈大叔五重奏的御用贝司手Paul Chambers，以及在上世纪五十年代初就曾经和Miles Davis打过江山的钢琴手Kenny Drew。有了这些乐手的配合再加上John Coltrane正值盛年期的创作能力，他想不卖力都不成！小号手则是Lee Morgan这位继承Dizzy Gillespie和Clifford Brown风范的乐手，虽然他统领爵士乐坛的能力难及帅才Miles Davis之项背，但其在吹奏的速度和精准上，却比老迈有过之而无不及。其实，从这张专辑的演绎来看，时年才十九岁的他的确让人眼睛为之一亮，其风芒不仅盖过了该专辑三根管子之一的长号手Curtis Fuller，甚至在与John Coltrane的对手戏中也抢下不少的镜头。
《Blue Train》可以说是John Coltrane探索中形成自我风格的第一张唱片，也是他Bop生涯里最为强势的第一重击。五首曲子有四首出自他的创作，不过在编曲安排上倒是遵循了Blue Note一贯的口味，因此，其不够尽兴也成了部分乐迷对这张经典唱片哧之以鼻的重要理由，但这对正处于风格探索期的John Coltrane做到曲风凝聚倒是无疑中起到了保障作用。主题曲《Blue Train》用三根管子同时吹奏来模拟这列蓝色列车起航时的“号角”声可谓独具匠心，而John Coltrane天马行空、任想像力驰骋的演奏，配合着紧密却平稳的节奏，也让Bop曲风在更简易、更流畅的韵律中，加速了听觉的畅快淋漓之感觉。唯一一首非Johh Coltrane的作品《I’m Old Fashioned》，也是专辑中最为慵懒的一首音乐，却充分显示出John Coltrane演绎风格中尖锐而具有穿透力的特性，尤其是用长乐句造气氛的能力，先是如同溪水流动时清辙的音符和刀锋般的触觉，继而又是灵魂飘离身体的幻觉升起，逐渐将音乐由可触引向了不可触的神秘世界，这想必也正是John Coltrane日后开拓Avant-Garde Jazz的一种先期探索。而专辑中最为叫绝的还是John Coltrane和长号手Curtis Fuller用双主音Blow By Blow演绎醇正Hard Bop的《Locomotion》，AABA的结构，十二小节Blues加属七和弦半音的循序下行，节奏超频、即兴乱眼，堪为这张专辑中对Bop曲风演绎最为成功的一首传统作品。
当然，让这张专辑更显经曲中之独特地位的，是这张专辑居然为John Coltrane唯一一张以个人挂名的形式出现在Blue Note曲库中的专辑。(写的太好,不得不转)
JOHN COLTRANE,tenor saxophone
LEE MORGAN,trumpet
CURTIS FULLER,trombone
KENNY DREW,piano
PAUL CHAMBERS,bass
PHILLY JOE JONES,drums

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.