BILL EVANS - piano
SCOTT LAFARO - bass
PAUL MOTIAN - drums
Recorded live at the Village Vanguard New York; June 25, 1961.

João Gilberto, was a Brazilian singer, songwriter, and guitarist, who was a pioneer of the musical genre of bossa nova in the late 1950s. Around the world he was often called "father of bossa nova"; in his native Brazil, he was referred to as "O Mito".

Recorded：December 9, 1964
Studio：Van Gelder Studio, Englewood Cliffs
The John Coltrane Quartet[edit]
John Coltrane – bandleader, liner notes, vocals, tenor saxophone, soprano saxophone[40]
Jimmy Garrison – double bass
Elvin Jones – drums, gong, timpani
McCoy Tyner – piano
Additional personnel[edit]
Archie Shepp – tenor saxophone on alternate takes of "Acknowledgement"
Art Davis – double bass on alternate takes of "Acknowledgement"
Rudy Van Gelder – engineering and mastering
Bob Thiele – production and cover photo[41]
George Gray/Viceroy – cover design
Victor Kalin – illustration
Joe Lebow – liner design

尽管AMG的乐评人史蒂芬•托马斯（Stepen Thomas）将巴迪•盖伊（Buddy Guy）在2003年发行的这张《Blues Singer》（蓝调歌手）说成是一张失望至极的专辑，并只给了两颗星的评价，但是在2004年第46届“格莱美”颁奖上，这张专辑还是夺得了“最佳传统蓝调专辑”（Best Traditional Blues Album）的奖项，也许在这R&B越来越泛滥、却越来越没R&B味道的年代，还是有很多人和我一样喜欢追根溯源地听那些最原始、最纯净的原声布鲁斯音乐，并在那些孤独的歌声中洗净乐声中最后一粒杂质。
开首的《Hard Time Killing Floor》是一支值得特别推荐的曲子，巴迪•盖伊的声线被无穷的突出，置于音乐的最前方，而吉它又恰到好处地只在布鲁斯特有的颤音和转折时才突然提升一下音色，颇有醒神的感觉，最为特殊的要数在主吉它的衬托下，另一把弹着类似“飘乎”音效的吉它，这样的琴声在此处传来就更让人感到一种迷幻般的魔力，而这一切又是源于原声吉它，就更让体会了仙境的现实性。还有一首《Anna Lee》同样非常出色，散慢的节奏中，巴迪•盖伊颓废的声音就像是在酒巴里给你道出一个平凡却真实的故事，说得什么谁会关心、谁会在意，还是在那些变调的揉音弹奏里静静闭上眼吧！享受一下灵魂与器乐的对话和交融，我想传说中的瑜珈功效也正是这么一回事。
除了老搭档吉它手金宝•马德斯（Jimbo Mathus）外，这张专辑里，巴迪•盖伊还邀请到了B.B.金（B.B.King）和埃里克•克莱普顿（Eric Clapton）这两位布鲁斯音乐界数一数二的吉它大师进行合作，《Crawlin’ Kingsnake》和《Lucy Mac Blues》就是这样能靠招牌就能砸晕人的作品，当然无论是前者的三人合作还是后者的二人合作，都不是那种通常意义上眩技式的作品，你问我听到了什么？那我可以告诉你，我听到更多的是从容与平和，在一种叫岁月的音乐里，在忧郁真得被手指轻挑着升起降落时，我可以清晰感受到布鲁斯音乐在茶余饭后可以给人精神抚慰的特质。
再回到托马斯的那篇乐评文章上，有一点可以说是非常有道理的，就是他认为巴迪•盖伊做为一位出色的“现代电声布鲁斯”（Modern Electric Blues）艺人所推出的这张完全是“现代原声布鲁斯”（Modern Acoustic Blues）风格的专辑并非是他的长处，对于这一点，我们可以从专辑吉它音色里的生涩里找到一些事实，别小看这两种风格在字面上仅仅只有一个单词的差异，可是在实际的演奏过程中可就是南辕北辙的两回事了，前者可以交于放大器来表现音色的圆润和连贯，而后者的每一次发声则都要靠手指的力度和速度来掌握，因此弹惯电琴的大师们更多的也只能是靠技术的功底和各自的领悟力来完成这种形式上的改变，至于说到味道，当然比不上罗伯特•约翰松（Robert Johnson）这样的根源布鲁斯大师，甚至是无数叫不出名来的街头艺人来得纯粹了。
不过，重要的还是专辑的主题——《蓝调歌手》，没错！巴迪•盖伊在专辑更多地还是要表现他做为歌手的部分，那些“蓝调歌手”永不厌倦的主题和生活，那些古旧却依稀峥嵘的岁月，而音乐在形式上的回归，也可以看成是这种追忆行进前所必须的一种态度吧！

Jamesetta Hawkins, known professionally as Etta James, was an American singer who performed in various genres, including blues, R&B, soul, rock and roll, jazz and gospel.

FREDDIE HUBBARD,trumpet
GEORGE COLEMAN,tenor sax
HERBIE HANCOCK,piano
RON CARTER,bass
TONY WILLIAMS,drums

The four CDs in this Rhino Handmade set -- available only over the Internet unfortunately -- contains the complete concerts of Aretha Franklin and King Curtis'stand at the Fillmore West in March of 1971 (not February as identified on the original LPs). Franklin's performances at the Fillmore were her first, and producer Jerry Wexler came up with the idea of using studio players in lieu of her regular band. Franklin had worked with Curtis previously in the studio and the players he brought to the table included Cornell Dupree, drummer Bernard Purdie, Pancho Morales on congas, bassist Jerry Jemmont, and electric pianist Truman Thomas. In addition, the band enlisted Billy Preston to play organ and also enlisted the aid of the Memphis Horns. In other words, this was a group that could actually push the Queen of Soul out onto a ledge and was a match for her vocal power. The Mermphis Horns introduced the shows each night and then brought Curtis and his band out for an opening set. And from night one, as compiled and heard on his Live at Fillmore West album, these sets were smoking, in the pocket, and greasy, with highlights like "Whole Lotta Love," "Them Changes," "Whiter Shade of Pale," and a burning cover of "Signed, Sealed, Delivered (I'm Yours)."When Franklin does walk onto the stage, she struts and goes into high gear with"Respect."Her performance on that opening night includes amazing renditions of"Spirit in the Dark"(with Ray Charles guesting),"Bridge Over Troubled Water,""Love the One You're With"(also with Charles), and"Dr. Feelgood."The original album is augmented with tunes that didn't make the cut, including the oft-bootlegged "Call Me." In listening to these shows, what is striking is realizing that the majority of the Live at Fillmore West LP was taken from the last night of performances. The previous two evenings here then are startling in contrast, often in intensity and sometimes in sheer grit. The opening night's read of"Bridge Over Troubled Water"is superior to either of the others, though sonically it's a bit thinner. Another gem is the version of Bobby Bland's"Share Your Love With Me."That was left off the original album. In all there are 42 unreleased performances! In addition to wonderful between-song banter and inside jokes, the true flow of the shows, the enthusiasm of the audiences, and raw, in-your-face performances put this set in a league of its own. There are also a few decent photographs and an authoritative yet friendly liner essay by British critic David Nathan. This is a limited edition and most likely won't be on the Rhino Handmade shelves long. Aural history can be dry at times and of interest to those who have a penchant for such things. Aretha Franklin and King Curtis'Don't Fight the Feeling is as saucy as it gets.

Allen Toussaint was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures".

Coming October 7th, Day Breaks is Norah's sixth solo album and a kindred spirit to her breakout debut Come Away With Me. It finds her returning to the piano and her roots.The album features Blue Note luminaries including saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade on a 12-song set that presents 9 new originals alongside covers of songs by Horace Silver, Duke Ellington and Neil Young.

来自"老皮"的一段评论 --
我从来不是ECM的真正中坚“拾荒者”（这么说是因为我们的音乐收集经历就像在荒杂种寻找宝藏）。因此我不多的ECM收集让我断定这家“欧洲创新音乐公司”是不屑于出版发行人声唱片的。从唱片店里看到这张不起眼的唱片时，我顺眼留了一下，好像背面的Credit里面没有例如Paul Bley或者 Jan Garbarek这样的大牌ECM老将。所以我断定可能是一张ECM新古典系列什么的。一眼看到"Round Midnight“我的好奇心来了。不知道会是什么样的一种情绪演唱呢？ECM—VOCAL--ROUND MIDNIGHT终于决定把它买下来，去听听。
首先跳到"Round Midnight”，首先听到的是脚踏式风琴徐徐而来的丝丝有缘，突然清亮的人声唱起。没有Thelonious Monk原作中的烟雾缭绕，没有Billie Holiday吟唱中的迷离，但是那时一种午夜难眠之后的清冷，薄雾，凝霜和孑然一身的清醒。虽然曲调中还游离着monk音乐中的蓝调，但是淡化、淡化的已经不是那么深沉。下面一首"Maggie and Milly and Molly and May“，四个女孩子的名字，四个短暂的小故事。让我想起匆匆行路过程中，看到的那些姣好的面孔，身边的异性，忧伤或者天真，愉悦抑或茫然的个体中流淌着的一个个故事。人声剔透者人生的渺小，但是同样是丰满
瑞士出生的Susanne Abbuehl，从Paul Bley, Jimmy Giuffreh和Annette Peacock的音乐中寻找出浪漫主义的情愫，录制出一张充满棘荆之感的激情之作。同样在歌曲中还能够找到她的师从者Jeanne Lee（曾经同Archie Shepp合作过）的印记，Carla Bley的明晰、简单音乐元素。伴奏音乐中，能够让人想起的是Jimmy Guiffre六十年代三重奏是的风格。当然其中不可能缺少的是咏唱者自身的山腰之处。"skies may be blue, yes"中能够听到些许印度歌曲演唱技巧，但是绝对不是追求新意的做作。"Mane Na"作为结束曲，是一首印度斯坦曲调的作品，虽然不能媲美前面的曲目，但是明晰的可以看到一个充满丰富感情的乐手，自然的拥有一种自然，明晰的对音乐思索和历求。-- 我想这些，已经够了。已经让我真正的面对真诚的音乐，赤裸的反思。

超越外表的缺陷、挑戰體能的極限，法國之子、米榭‧派卓契亞尼(Michel Petrucciani)每次的現場演出總是光芒四射、璀璨耀眼讓人讚嘆不已！熱愛德布西及拉威爾兩位法國印象派古典大師的音樂，米榭‧派卓契亞尼的樂聲充滿了誠摯的情感與如詩般的敘事風格，然而後咆勃爵士出神入化的彈奏技法，讓他的音樂時而行雲流水、時而快速猛烈，曲目風格轉換之間自然超越毫不費力！

Highly anticipated debut album from the six-man DJ/producer collective known as Jazzanova. In Between features Philly neo-soul artist Vikter Duplaix, poet Ursula Rucker, MC 900 Ft. Jesus rapper Hawkeye Fanatic, Detroit jazz legend Doug Hammond and a host of others. Digipak. 2002.

Recorded on January 2, 1970

The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life.
Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved.
But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared.
This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in May of 2015, in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus who has featured Washington on his albums Cosmogramma and You’re Dead!.
The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble.
The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands.
“Nothing compares to these guys,” says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it… Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.”
And the story The Epic tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as The Epic’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning.
“He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It’s hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don’t want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.”