瑞典二人组Koop有着甚优越的爵士乐底蕴，令其Jazz Downtempo音乐听来是那么妙不可言。Koop Island是他们五年来的全新专辑，柔扬的爵士乐韵、热情的加纳比节奏，仍是那么的美好雅致，更何况又有Earl Zinger(即前Galliano主将Rob Gallagher)献声呢。近日弄晚饭时的配乐。
以一支有12年资历的乐队来计算，这支瑞典乐队－Koop，算是产量少的一群。成于1995年，Magnus Zingmark及Oscar Simonsson为重心成员，这是支同时带Acid Jazz，Downtemple及Trip－Hop基因的乐队。他们上一张专辑（亦是首张专辑）－《Waltz for Koop》中，加纳比节奏，甜美的男声演唱，迷幻绚丽的Acid Jazz，就好比一场令人亢奋的仲夏派对，叫人印象深刻。
与《Waltz for Koop》比较起来，新专辑《Koop Island》来得爵士化，除了Magnus Zingmark及Oscar Simonsson创作之外，他们亦找来了许多不同的音乐人合作，《Come To Me》、《I See A Different You》及《Whenever There Is You》就有Yukimi Nagano这位由上张专辑已参与过演唱部分的女主音献声。另外，Koop更找来了前Galliano成员Rob Gallagher（Earl Zinger），参与创作及演唱，令专辑的阵容更加壮盛

Pink Martini’s fourth studio album — Splendor In The Grass — encapsulates the band’s history and spirit of global collaboration and inclusivity. Comprised of nine original songs and four covers (with songs in English, Neapolitan, Italian, French and Spanish), Splendor In The Grass was recorded in the band’s hometown of Portland, Oregon and produced by bandleader/pianist Thomas Lauderdale and longtime collaborator and muse Alex Marashian—a college cohort of Lauderdale and vocalist China Forbes.
Pink Martini Personnel :
China Forbes, vocals
Gavin Bondy, trumpet
Robert Taylor, trombone
Nicholas Crosa, violin
Pansy Chang, cello
Dan Faehnle, guitar
Phil Baker, upright bass
Maureen Love, harp
Timothy Nishimoto, vocals & percussion
Brian Davis, congas & percussion
Derek Rieth, congas & percussion
Martin Zarzar, drums & percussion
Thomas M. Lauderdale, piano
Featuring the Harvey Rosencrantz Orchestra
Produced by Thomas M. Lauderdale & Alex Marashian
Recorded by Dave Friedlander at Kung Fu Bakery in Portland, Oregon, September 2008 �— July 2009.
Mixed by Dave Friedlander with Guillaume Lejault (2nd engineer) at Studio de la Grande Armée in Paris, France, July 2009.
Mastered by Bernie Grundman with Joe Bozzi (2nd engineer) at Bernie Grundman Mastering in Los Angeles, August 2009.
Design & layout by Mike King at Crash Design in Portland, Oregon.
Booklet cover photo by João Canziani.
Photographs by Thomas M. Lauderdale & Peter Murray.

大橋トリオ的首张翻唱专辑

“酷” 派爵士的传奇人物Paul Desmond以中音萨克斯风闻名於世，他的吹奏理念源自早期的Benny Carter及Pete Brown。Desmond避免使用中音萨克斯风的人声效果，亦甚少引用蓝调字汇，以吹奏谱出美丽的旋律为主，而这正是“酷”派的原则。Desmond於 1951年自组四重奏，其间推出的一张“Take Five”更被誉为爵士国度中的一首“国歌”。50年代末期，这支组合完美的结束，亦将Desmond带入了Fantasy公司，在此，Desmond与吉他手Jim Hall组成四重奏，成为爵士史上最富旋律感的配搭。Desmond与Gerry Mulligan的双萨克斯风组合，在此时期亦大放光芒，虽然Desmond并非可以成功地於不同的阵型中表现特出，但重要的是适当的组合却有效使得 Desmond的萨克斯风发挥出有史以来最美妙的声音之一。
这张从名称可以看出是基于桑巴和波萨诺瓦风格。阵容：Paul Desmond - alto saxophone, Jim Hall - guitar, Eugene Wright - bass, Gene Cherico - bass (仅曲目9), Connie Kay - drums
为当年美国最大的唱片公司，RCA除了在古典音乐方面有着伟大的业绩，在爵士乐方面亦是猛将云集，见证了乐坛最辉煌的一段历史。最近，BMG重新以CD形式发行了 RCA的一系列爵士名盘，除了曲目原封不动，连唱片封面也彻底照搬，唯一不同的是录音经新科技处理；既保存 了原版 LP的'音乐味"，更给予现代音响发烧友更强的Hi- Fi感，实在值得收藏。
Paul Desmond（ 1924-1977）这个名字老一辈爵士迷肯定都认识，这位大师级的Alto Saxophone乐手，更是一位天才的作曲高手，早在40年代，他便和 Dave Brubeck等人在爵士音乐界占有重要的位置。60年代初，美国爵士乐坛发生了巨大的变化，南美的音乐元素--Bossa Nova慢慢渗入了传统爵士乐，个中佼佼者当首推 Stan Getz；由于潮流所趋， Pan l-Desmond亦积极创作了不少带有森巴节奏的作品，这张 1964年出版的唱片便是非常具有代表性的录音。
碟中除有 Desrnond精彩绝伦的Sax吹奏，还有Jim Hall的吉他， Eugene Wright的低音大提琴及 Connie Kay的鼓击；每一位都是赫赫有名的爵士乐顶尖高手，音乐之动人无需多洒口水，您都能想像。
原版唱片属 RCA 60年代的Dynagroove"动态音槽"系列，当时的制版技术已相当出色，而大师级录音师Bob Simpson的妙手炮制，更令该录音最现出一流的活生感。如此本质优异的母版再经过最新数码重新混音处理，令失真更低，效果更出跳。您可听见早期立体声录音典型的"左、中、右"三点式定位在这张唱片中大显神威，乐器的质感和量感堪称无敌，音色自然，胆味盎然，每一粒弹跳出来的音符都证明当年的录音技术经得起时间考验，实属发烧玩家的必藏珍品！

Lady in Satin is an album by jazz singer Billie Holiday released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is the next to final album completed by the singer and released in her lifetime (Her final album, "Billie Holiday" being recorded in March 1959 and released just after her death). The original album was produced by Irving Townsend, and engineered by Fred Plaut.
The song material for Lady in Satin derived from the usual sources for Holiday in her three decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Songbooks series. The album consists of songs Holiday had never recorded before.
The arrangements were by bandleader Ray Ellis, Holiday familiar with his Ellis in Wonderland album. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J.J. Johnson. The song "The End of a Love Affair" did not appear on the stereo release, CS 8048, the final track of side two being "I'll Be Around."

40年代查理·帕克与迪吉·葛拉斯彼两人共同开创Bebop风潮之后就分手各自组团，直到1950年才又合作。这时两人早已是意气风发的乐坛巨匠，再度碰头仍旧活力四射。本辑《Bird And Diz 大鸟和迪兹》的五位乐手都是Bebop时期的重要人物，以实力坚强的组合，重新奏出经典之声。
Charlie Parker(as)
Dizzy Gillespie(t)
Thelonious Monk(p)
Curly Russell(b)
Buddy Rich(d)
Recorded june 1950 in New York City

Part Two of Two. Second single pulled from the Mercury Prize-nominated British Pop/Jazz/R&B singer's 2006 sophomore album, Back To Black. Features two versions of 'You Know I'm No Good' (Main Version and 'Skeewiff Mix) plus the non-album 'Monkey Man. Island. 2007.

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。

Lioness: Hidden Treasures artwork
Today it’s been announced that on the 5th December, “Lioness: Hidden Treasures“, the third album from Amy Winehouse, without question one of the most talented, original, and best loved artists to emerge in popular music for decades, will be released through Island Records.
Following her tragic passing in July, some of the producers and musicians who worked closely with Amy Winehouse, among them Mark Ronson and Salaam Remi, spent time listening over the many recordings that Amy had made, before, during, and after the release of “Frank” and “Back To Black”. It was said by all who worked with Amy that she never sang or played a song the same way twice. It quickly became apparent to Salaam and Mark that they had a collection of songs that deserved to be heard, a collection of songs that were a fitting testament to Amy the artist and, as importantly, Amy their friend.
The 12 track collection features previously unreleased tracks, alternate versions of existing classics as well as a couple of brand new Amy compositions, and has been compiled by long-time musical partners Salaam Remi and Mark Ronson in close association with Amy’s family, management and record label Island Records. “Lioness : Hidden Treasures” proves a fitting tribute to the artist, the talent and the woman and serves as a reminder of Amy’s extraordinary powers as a songwriter, a singer and an interpreter of classics.
From:

Aretha Louise Franklin was an American singer, songwriter, actress, pianist, and civil rights activist. Franklin began her career as a child singing gospel at New Bethel Baptist Church in Detroit, Michigan, where her father C. L. Franklin was a minister.

六十年代掘起了一批出色的爵土乐演奏家，Keith Jarrett就是其中最为重要的人物，一位有代表性的钢琴家。Keith Jarrett的音乐生涯经历了多个阶段。他获得巨大的国际荣誉则主要归功于他的系列独奏音乐会。在这些引入瞩目的音乐会上，他显示出杰出的即兴演奏才能。他在音乐会上的演奏完全是即兴的杰作，毫无事先的准备或者计划。在表演独奏的同时，他曾经不止一次地领导四重奏和五重奏乐队，演出古典音乐。
加雷特三岁时就开始演奏钢琴，在他只有七岁时他就举办了自己的独奏音乐会。毫无疑问他是一位早熟的音乐家，当他还是一位中学生的时候他就成为了—位职业音乐家，在1962年时，他在伯克利学习，其后他就开始和自己的三重奏组在波士顿地区演出；1965年他来到了纽约，当时著名的鼓手相乐队指挥Art Blakey的“爵士信使”乐队正在这里，他同这个分队合作了四个月，后来他加人了非常流行的查理·劳埃德四重奏组（1966年到1969年）并跟随这支乐队在世界各地巡回演出，这些演出为他增加了个人的荣誉。他开始偶尔在演奏钢琴之外，演奏高音萨克斯管，这种情况在整个七十年代一直持续着。
1969年到1971年期间，加雷特和Miles Davis的融合派爵士乐乐队在一起。他演奏管风琴和电子键盘，在第一年中Chick Corea也在乐队中。在离开戴维斯的乐队之后，加雷特宣告自己将永久性地告别键盘音乐。他在1967年到1969年期间为沃尔泰克唱片公司以及在1971年为亚特兰蒂克唱片公司作为指挥录制了唱片。但是从1971年11月起，他开始为ECM唱片公司广泛录音，除此之外他在1970年还曾经为ABC唱片公司和推动力唱片公司录制了一些曲子。这种合作一直持续到九十年代的今天。
七十年代，加雷特曾经领导过两支出色的乐队。从1972年开始，加雷特开始举办他著名的系列即兴演奏音乐会，结果出现了一大批流行的唱片如《独奏音乐会》，《科思音乐会》，《太阳熊音乐会》。八十年代，加雷持录制古典音乐的机会和录制爵士乐的机会同样多。但是从九十年代起，他似乎重新找到了爵士乐的灵感，他的录制的唱片中更多的是广泛录制的他的经典的标准三重奏爵土乐作品，这支著名的三重奏组合的成员包括加里·皮科克和Jack DeJohnette。
在最初的音乐经历中，加雷特受到Bill Evans的影响最大。从七十年代初开始，加雷特逐渐摆脱了前辈大师风格的束缚，形成了自己的原创风格。他在音乐中更多的增加了有自己特色的东西，以及更多个人感受，个人风格开始逐渐超过了传统风格，成为他音乐中的主流。进入九十年代后，加雷特仍然孜孜不倦，探索着音乐的真知。
活跃年份:1960_1990
主要音乐风格:ost-Bop or Mainstream Jazz
相关工作 :钢琴

Nat King Cole的这首When I Fall In Love是情人节的必选歌，令人百听不厌，磁厚的嗓音，充满魔力的吸引着听者。此碟是“Nat”情歌精选集，这些歌曲都是连续高居当时热门流行榜的靓歌。

Space Is The Place opens with its title track, a twenty-minute freeform freak-jazz-psychedelic-soul-funk meltdown, a thundering acid-bop meltdown full of squirming melodies, dramatically repurposed instruments, head-splittingly chaotic vocals, solos that seem to spin off in multiple directions at once, and layers of percussion that'll make you dance and have a seizure at the same time. It sounds primitive and futuristic and progressive and playful and high-minded and juvenile and logical and psychotic all at once, and it's a masterpiece. And that's just the first song on the album.
Flip the record over, and you've got four more gems. "Images" is the sound of post-bop teetering on the edge of free jazz. Led by Sun Ra's oceanic piano, the song swerves from a gorgeous theme into regions of near atonality before spiraling back into beauty again, with the kind of high-minded grace reserved for geniuses. "Discipline" is a rolling, apocalyptic drone, and "Sea Of Sounds" is sheer scorched earth freeform noise. "Rocket Number Nine" is willfully cheesy, utterly irresistible space-age jazz pop.

Lady Day: The Best Of Billie Holiday is an ideal introduction to the Voice of Jazz in all its enduring glory. This incomparable collection draws on the 10-CD boxed set Lady Day: The Complete Billie Holiday on Columbia (1933-1944) (CXK 85470), representing not only her finest work, but American jazz and pop singing at its zenith. Accompanied sublimely by a Who's Who of the Swing Era (including her soulmate Lester Young, Benny Goodman, Artie Shaw, Buck Clayton, Roy Eldridge, Ben Webster, Johnny Hodges, Harry Carney, Jo Jones, and pianist-arranger Teddy Wilson, who was often at the helm when Holiday entered the studio), Billie Holiday masterfully renders a host of mostly-classic pop tunes. Fans are drawn to her musical triumphs and personal tragedies. She is a mysterious icon in the same vein as Miles Davis. Columbia possesses the first and finest recordings of her entire career! This material has never sounded clearer and more intimate!

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