It's no bulletin that improvisation is perhaps the central component of jazz, or that Keith Jarrett, a master jazz pianist, is also a gifted improviser. Yet what Jarrett plays in the course of Tokyo Solo, a 2002 performance that was his 150th concert in Japan, could hardly be called jazz, at least not according to most accepted criteria; the music heard here is, as Duke Ellington once said, "beyond category." What's more, "improvisation" seems inadequate for the process Jarrett has been perfecting since he began making solo recordings in the early 1970s. "Spontaneous composition" is more like it, for while most jazz players extemporize over a known melody or set of changes, Jarrett begins with a tabula rasa, creating music from nothing other than what's in his head and hands at a given moment. It's a fascinating process to witness, and if Tokyo Solo is not his finest work, it's nonetheless filled with extraordinary moments. It's easy to see why Jarrett, a notorious perfectionist, has performed so often in Japan: the venues are acoustically superb, the audiences are quiet and reverent, and the resulting recordings, including this one, feature impeccable aural and visual production values. Some of the material here appeared previously on the ECM CD Radiance (2005). In the course of two lengthy pieces ("Part 1" has three sections; "Part 2" has five), Jarrett's music is sometimes dissonant and challenging, filled with furious chording and dense clusters of sound ("Part 1(a)"), sometimes classical ("Part 1(b)" brings to mind a Beethoven sonata), sometimes gorgeous and almost impressionistic ("Part 2(a)" suggests a Ravel etude, while "Part 2(d)," perhaps the most sublime portion of the concert, leans a bit more toward Debussy). The setting (a darkened stage with nothing but the pianist and his Steinway) is simple, as is Kaname Kawachi's direction; there are plenty of close-ups of Jarrett's face, hands, and feet, as well as a few shots inside the piano, but nothing in the way of effects or trickery. Three more standard encores, including "Danny Boy" and "Old Man River," complete a concert sure to be treasured by Jarrett devotees. --Sam Graham
日本，尤其是東京，對許多西方音樂家來說那是個夢幻演出場地，一來那裡徹底的崇洋，能給演奏者極大的鼓舞與虛榮；二來那裡聽眾素質高，台上台下的共鳴交流更為強烈。環境與觀眾對演出者的重要性甚高，面對著對的地方、對的人，演奏者在台上往往能被激發前所未見的潛能，如果能留下現場錄音， 肯定經典傳世。
KJ音樂路上走來的用心，樂迷有目共睹。不過這張錄音推出前的這段時間，像是長大的休止符，休止時間幾乎長達十年，令不少人擔心，他是不是不玩現場鋼琴獨奏了？期間在1999年秋天，他也曾嘗試在日本錄兩場獨奏，但他本人對結果並不滿意，直到CD/ Radiance以及 DVD TOKYO SOLO問世，死忠樂迷才放下了心中擔子，似乎盼到了黎明。
從影像裡的感受的表現，再度證明KJ無疑是當代即興藝術的代名詞！
感覺他每一個紮實的觸鍵，就像一顆顆沉重的铆釘，把整個人掛在鋼筋上動彈不得，就像耶穌基督被釘在十字架上一樣，思路是清晰的、感官是敏銳的，但是行動卻是受限的。
感覺像人被他的音樂「點穴、定住」了，就算一開始有種混亂、爆炸的感覺，令人有逃走的念頭，但你就是走不了，有種想逃卻有想繼續聽下去內在矛盾。然後，慢慢慢慢你的感官被KJ的音樂理順了，可能是聽覺被馴服了，也可能是他的滔滔雄辯的琴音理路佔了上風。
整個人完全被KJ的即興牽著走，束縛我的不是有形的繩子，也不是他的大名氣，而是發自內心的需求，一種與他的琴音產生共振的動力。

又是一张ECM的唱片,但是所有听过这张CD的人可能会觉得这还是我们熟悉的ECM之声吗?
挪威人尼尔斯.皮特.穆尔瓦代表了欧洲爵士的最新潮流,在这些新兴的音乐势力看来,爵士乐和其他音乐之间的界限应该再一次被打破或模糊,就像当年的融合爵士,只有和新的其他的音乐的结合,才是爵士乐的未来之路.穆尔瓦的这张专辑,是爵士乐和JUNGLE,DRUM' N 'BASS,BREAKBEAT,HOUSE等等正方兴未艾的当代电子的组合,前一分钟还是纯正的冷爵士SOLO,后一分钟,则出现了凶悍强劲的DRUM' N ' BASS节拍或迷幻的JUNGLE节奏,如此的实验在年轻人那里得到了更多的赞赏.
这是一张20世纪的人写给21世纪的人群听的爵士乐.AMG:四星

1969年，Mal Waldron Trio这张Free At Last的发行象是大喊一声，“终于自由啦”，宣告了ECM这一传奇厂牌的开始。

久候多时，2manysound 第二发作品终于完整公开：旅居纽约的台湾爵士灵魂乐人、9m88 的首张七吋唱片单曲「九头身日奈」，并于背面翻唱日本 city-pop 经典「Plastic Love」。「九头身日奈」用上爵士嘻哈大将 DJ MITSU THE BEATS 单曲「Playin’ again」的 instrumental 版，由 9m88 谱曲填词演绎，为其个人的第一首话题单曲。背面挑战日文唱功的「Plastic Love」，重新编曲成舞池化的 poppin’ 风味，并由台湾 DJ / 制作人陈颍 （Chen Yinn） 操刀混音后制。封面设计为台湾设计师 Thoiid Chen 绘制，唱片本身使用以浅绿色原料压制的绿胶唱片。

"Libella Swing", "Homesick" & "Hotel Axos" written and produced by Parov Stelar.
"Blind Alley" written and produced by Parov Stelar, Marcus E. and Eva Klampfer.
Published by Etage Noir Publishing.

Cannonball Adderley1928年出生于美国佛罗里达州，于1975年逝世。Adderley是一位卓越的中音萨克斯演奏家，他的演奏粗纩豪放，热情洋溢，具有一种原始美。Adderley不仅是硬波普爵士乐中的重要人物，他还是同一时期另一个重要流派——Soul Jazz中举足轻重的人物。仅仅活了47岁的Adderley在爵士音乐史上，始终只受到少数有识之士的敬重，对大部分爵士乐迷而言，或许他只是一位流行乐匠，而很少体会到他大师级地位与影响力的一面。他的音乐风格带有蓝调的影响，虽然有时会因老式作风引起人们的批评，但在展露锋芒之时，却总让人惊讶于他对于爵士乐艺术的奉献和执着之深。Cannonball Adderley最大的贡献应该是他运用特别的节奏组合，赋予60年代Soul Jazz风格的本质确立。虽然有些人认为那只是商业手段的推波助澜，但仔细聆听同时期其它人作品，仍以Cannonball Adderley的最为精纯。
在服役前后，Cannonball曾担任高中音乐老师，并组团表演。后来受到萨克斯风手Eddie Vinson的鼓励，于1955年，在纽约录制他的第一张作品，与Paul Chambers与Kenny Clarke合奏。这时正巧Charlie Parker才过世不久，纽约之行Cannonball适时接替了这个空缺，并造成当地的震撼。接着，他和弟弟Nat Adderley合组一支五重奏，以节奏变换特性广受欢迎。即兴的独奏明显的受到Charlie Parker的影响，但却没有Charlie那种刻意引人注目的声调。在节奏方面，亦呈现同时期Eddie Vinson和Louis Jordan的特有韵味，毫无拘泥之意。在综合这些特点之后， Cannonball经常在经营旋律时长篇大作的冠以装饰音，让听者喘息难当。然而，这个偏好至今尚无人出其右。
Somethin' Else是张极具意义的唱片，由Miles Davis、Cannonball Adderley两人组成的铜管二人组搭配Art Blakey创意十足的爵士鼓敲击，当然还有Hank Jones优异的钢琴演奏。除了阵容之外，唱片中的编曲创意才是欣赏的重点，超越了硬咆哮的视野而扎实的展现出爵士乐之美，堪称是Adderley生平最优秀的一张专辑——很多评论家和爵士乐迷认为这是爵士音乐史上最伟大的专辑之一。(Many critics and jazz fans consider Somethin' Else to be among the greatest jazz albums of all time)
本专辑获得了《企鹅爵士指南》四星带花的满分评价（本来企鹅是三星为最高，2006后改为四星为最高），原始发行于1958年，此为1999年RVG Remastered版本。如果是音响器材的发烧友，可能就听过此专辑，因为这张专辑经常作为发烧碟出现在各种音响试听会上。
解释下：企鹅指南（也有翻译为企鹅评鉴）的三星评价体系，很多爱乐者都比较熟悉了。在企鹅的评价体系中，三星就表示在各个方面都很优秀的演绎和录音，也就是最高的评价。在少数CD前加上的Rosette，即俗称的“花”（Rosette原义为玫瑰形的装饰），实际上表示的是企鹅指南编者个人对某个录音的特殊喜爱，带有更加强烈的主观色彩。2006年开始出现了第一张四星带花的专辑《Spem in Alium》，之后一发不可收拾，现在四星带花成为企鹅指南的最高评价。

Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.

Out There is a 1960 jazz album by Eric Dolphy. It was Dolphy's second album released as band leader, following his time with Charles Mingus. The album features four original compositions by Dolphy, one of which is a collaborative effort with Mingus. The album also features three covers, "Eclipse" by Mingus, "Sketch of Melba" by Randy Weston and "Feathers" by Hale Smith.[3]

Seeping to the surface two years since his cherished and widely acclaimed 'Persistent Repetition Of Phrases' LP, 'An Empty Bliss Beyond The World' returns our doddering protagonist to the deserted ballroom, wandering its waxed floor and dilapidated grandeur in an attempt to capture an era which has long since disappeared but still haunts the atmosphere. In the meantime he's accessed an alternate set of memory banks with his derivés into Leyland Kirby land, but back in The Caretaker role, James Leyland Kirby conjures a quieter, more introspective spirit, lost in his own mind amidst a low-lit labyrinth of ever-decaying and antediluvian shellac phrases. Sourced from his mysterious collection of 78s, these vague snippets of archaic sonics reflect the ability of Alzheimers patients to recall the songs of their past, and with them recollections of places, people, moods and sensations. The effect is subtly amplified by the chronic vinyl cut at Berlin's D&M, allowing each memory to segue seamlessly and unpredictably into the next for an otherworldly and disorienting experience. Coupled with another deeply enigmatic artwork commission from Ivan Seal, 'An Empty Bliss Beyond The World', is a highly potent transmission from one of the most singular characters operating in music today.

THE CARETAKER IS RELEASING SIX NEW WORKS.
'Everywhere at the end of time' is a new and finite series exploring dementia, its advance and its totality. Featuring the sounds from the journey The Caretaker will make after being diagnosed as having early onset dementia. Each stage will reveal new points of progression, loss and disintegration. Progressively falling further and further towards the abyss of complete memory loss and nothingness. Viewing dementia as a series of stages can be a useful way to understand the illness, but it is important to realise that this only provides a rough guide to the progress of the condition. Drawing on a recorded history of 20 years of recollected memories this is one final journey and study into recreating the progression of dementia through sound.

Jamiroquai are an English funk and acid jazz band from London. Formed in 1992, they are fronted by vocalist Jay Kay, and were prominent in the London-based funk/jazz movement of the 1990s.

Albert Greene (born April 13, 1946), better known as Al Green, is an American gospel and soul music singer. He reached the peak of his popularity in the 1970s, with hit singles such as "You Oughta Be With Me," "I'm Still In Love With You," "Love and Happiness", and "Let's Stay Together". In 2005, Rolling Stone named him #65 in their list of the '100 Greatest Artists of All Time'. The nomination, written by Justin Timberlake, stated that "people are born to do certain things, and Al was born to make us smile." The Rock and Roll Hall of Fame inducted Green in 1995, referring to him as "one of the most gifted purveyors of soul music." Green has sold more than 20 million records.

Extremely low-price for this great collection featuring 75 tracks including 'Unforgettable', 'Nature Boy', 'Too Young' & 'It's A Paper Moon'. Standard double jewel case. 2001.

Melody Gardot美乐蒂佳朵，一位乐风根植于流行音乐、爵士、乡村、摇滚、蓝调之间，能透过多元风格的徘徊穿梭而唱出兴味盎然的当代新韵，并以动人声线的低吟浅唱掳获听众的跟随，堪称是后现代酷酷新声的第一人。
年仅23芳华，2008年以一张《Worrisome Heart》令乐坛惊为天人的全方位创作才女，亚马逊音乐网站Amazon.com全美畅销音乐专辑总排行No. 1之新时代女声奇迹缔造者，2009年全新自创作专辑，弹唱间(吉它&钢琴)呈现出无比生命力的悸动乐语。
19岁时的佳朵除了持续演出外，平日则于社区大学主修服装设计，原本该尽情享受青春时光的她，却不幸地于骑自行车返家途中遭吉普车追撞，头部、脊髓及神经系统均受损，因而严重影响其记忆及行动功能。为了帮助佳朵能尽快走出晦暗生活及即早恢复记忆，在医师建议下进行音乐治疗，她开始在医院病床上尝试词曲创作并自弹自唱以期对复健有所助益，2005年所发行的EP"卧床记实"（Some Lessons - The Bedroom Sessions）即收录她当时的作品。因车祸而意外地为佳朵年轻的生命里划下一道不完美刻痕，但她始终不气馁退缩，藉音乐以抒发情感及愈疗身心，其于国家公共广播电台的访谈使其在乐坛上崭露头角，而她优异的表现亦深受当代音乐巨擘Herbie Hancock极力赞许，邀请她共同参与音乐会的演出。
意外的一场车祸，彷佛上天为时值青春妙龄的女伶美乐蒂佳朵关闭了一扇窗，但她如勇者般地不畏艰困逆境，积极重返舞台替自己开启了另一扇窗，不仅呈现出源源不绝的音乐巧思，更于表演时以悠游于不同乐风所酿造之多元特色而展显出楚楚不凡的音乐魅力，弹唱出最富生命力的动人乐章！