B-STOCK: Creasing to corner of outer sleeve with minor surface marks/scratches on record, but otherwise in excellent condition
Autumn Leaves (10:58)
Love For Sale (7:06)
Somethin' Else (8:14)
One For Daddy-O (8:26)
Dancing In The Dark (4:06)
Review: ***B-STOCK: Creasing to corner of outer sleeve with minor surface marks/scratches on record, but otherwise in excellent condition***
Cannonball Adderley Somethin' Else gets the Tone Poet audiophile treatment now on this latest reissue from Blue Note. With the help of standout additional artists Miles Davis, Art Blakey, Hank Jones and Sam Jones, this is a record with a deep musical heritage and plenty of fine moments. The include the stunning performance of 'Autumn Leaves' and a fine title track along with the more romantic, slow shuffling and late night cuddliness of 'Dancing In The Dark.' Mastered by Kevin Gray from original master tapes and pressed to 180g vinyl, this is a must buy for jazz fans.
Review: Cannonball Adderley Somethin' Else gets the Tone Poet audiophile treatment now on this latest reissue from Blue Note. With the help of standout additional artists Miles Davis, Art Blakey, Hank Jones and Sam Jones, this is a record with a deep musical heritage and plenty of fine moments. The include the stunning performance of 'Autumn Leaves' and a fine title track along with the more romantic, slow shuffling and late night cuddliness of 'Dancing In The Dark.' Mastered by Kevin Gray from original master tapes and pressed to 180g vinyl, this is a must buy for jazz fans.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Autumn Leaves (10:58)
Love For Sale (7:06)
Somethin' Else (8:14)
One For Daddy-O (8:26)
Dancing In The Dark (4:06)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Cannonball Adderley Somethin' Else gets the Tone Poet audiophile treatment now on this latest reissue from Blue Note. With the help of standout additional artists Miles Davis, Art Blakey, Hank Jones and Sam Jones, this is a record with a deep musical heritage and plenty of fine moments. The include the stunning performance of 'Autumn Leaves' and a fine title track along with the more romantic, slow shuffling and late night cuddliness of 'Dancing In The Dark.' Mastered by Kevin Gray from original master tapes and pressed to 180g vinyl, this is a must buy for jazz fans.
Review: Tony Allen is on record as saying that The Source, his first album on iconic jazz label Blue Note, is the best recording he's made. Given his length of service and vast discography, that's a bold claim. Certainly, it's a fine album, with the legendary drummer and his selected musicians - mostly jazz players from Paris, plus a Cameroonian guitarist and previous Allen collaborator Damon Albarn on one cut - effortlessly blur the boundaries between Afrobeat and the kind of jazz pioneered by Allen's percussion heroes Art Blakey and Max Roach. It's a brilliant hybrid that fits Allen's unique style of drumming like a glove, and there's no doubt that the former Fela Kuti sticks-man is the real star of the show.
Gang On Holiday (Em I Go We?) (feat Jeremiah Jae) (3:03)
Mau Mau (feat Nah Eeto) (3:09)
Tres Magnifique (feat Tsunami) (3:23)
Hurt Your Soul (feat Nate Bone) (2:59)
Cosmosis (feat Okri & Skepta) (4:45)
My Own (feat Marlowe) (3:47)
Review: Review: Even after his death, Tony Allen is still delivering ground-breaking and genre-bending releases. There is No End, a posthumous album largely recorded in 2019 but finished (with Allen's blessing) following his death by co-producers Vincent Taeger and Vincent Taurelle, veers away from the Nigerian drummer's Afro-beat, Afro-jazz and Afro-disco roots, instead combing his brilliant polyrhythms with elements of grime, dubstep, hip-hop, soul and funk, plus vocals from a veritable who's who of MCs, spoken word artists and singers. The results are hugely impressive and forward-thinking, offering a fittingly on-point post-script to Allen's exceptional career.
B-STOCK: the records have slight surface marks/scratches, but otherwise in excellent working condition
Moody Boy
Bad Roads
Cruising
On Fire
Woro Dance
Tony's Blues
Wolf Eats Wolf
Cool Cats
Push & Pull
Ewajo
Life Is Beautiful
Review: ***B-STOCK: the record has light surface marks/scratches, but otherwise in excellent working condition***
Tony Allen is on record as saying that The Source, his first album on iconic jazz label Blue Note, is the best recording he's made. Given his length of service and vast discography, that's a bold claim. Certainly, it's a fine album, with the legendary drummer and his selected musicians - mostly jazz players from Paris, plus a Cameroonian guitarist and previous Allen collaborator Damon Albarn on one cut - effortlessly blur the boundaries between Afrobeat and the kind of jazz pioneered by Allen's percussion heroes Art Blakey and Max Roach. It's a brilliant hybrid that fits Allen's unique style of drumming like a glove, and there's no doubt that the former Fela Kuti sticks-man is the real star of the show.
Gang On Holiday (Em I Go We?) (feat Jeremiah Jae) (3:03)
Mau Mau (feat Nah Eeto) (3:09)
Tres Magnifique (feat Tsunami) (3:23)
Hurt Your Soul (feat Nate Bone) (2:59)
Cosmosis (feat Okri & Skepta) (4:45)
My Own (feat Marlowe) (3:47)
Review: Review: Even after his death, Tony Allen is still delivering ground-breaking and genre-bending releases. There is No End, a posthumous album largely recorded in 2019 but finished (with Allen's blessing) following his death by co-producers Vincent Taeger and Vincent Taurelle, veers away from the Nigerian drummer's Afro-beat, Afro-jazz and Afro-disco roots, instead combing his brilliant polyrhythms with elements of grime, dubstep, hip-hop, soul and funk, plus vocals from a veritable who's who of MCs, spoken word artists and singers. The results are hugely impressive and forward-thinking, offering a fittingly on-point post-script to Allen's exceptional career.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
There Is No End (0:26)
Rich Black (feat Koreatown Oddity) (4:17)
Coonta Kinte (feat Zelooperz) (3:09)
One Inna Million (feat Lava La Rue) (3:21)
Stumbling Down (feat Sampa The Great) (3:55)
Crushed Grapes (feat Lord Jah-Monte Ogbon) (1:49)
Gang On Holiday (Em I Go We?) (feat Jeremiah Jae) (3:03)
Mau Mau (feat Nah Eeto) (3:09)
Tres Magnifique (feat Tsunami) (3:23)
Hurt Your Soul (feat Nate Bone) (2:59)
Cosmosis (feat Okri & Skepta) (4:45)
My Own (feat Marlowe) (3:47)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Review: Even after his death, Tony Allen is still delivering ground-breaking and genre-bending releases. There is No End, a posthumous album largely recorded in 2019 but finished (with Allen's blessing) following his death by co-producers Vincent Taeger and Vincent Taurelle, veers away from the Nigerian drummer's Afro-beat, Afro-jazz and Afro-disco roots, instead combing his brilliant polyrhythms with elements of grime, dubstep, hip-hop, soul and funk, plus vocals from a veritable who's who of MCs, spoken word artists and singers. The results are hugely impressive and forward-thinking, offering a fittingly on-point post-script to Allen's exceptional career.
Review: Human novae of the 1950s jazz circuit in Hollywood, Curtis Amy and Frank Butler imploded the local scene at the turn of the swinging decade when they began to record for local label Pacific Jazz. Laid down in a single session at the PJ studio, Groovin' Blue is a timeless and idiosyncratic experiment in jazz, its specialty being tss-tss rhythms, unhindered lead instrumental melisma, sax counterpoint, and smackout drum fills and solos from Butler, which more than transcended the strictures of the swing form of the time. Also hearing vibraphonist Bobby Hutcherson, who was just 19 years old at the time of this recording, this excellent six-song set is perfect for those audiophiles keen on the interesting intersection of blues and jazz.
Review: Fresh off their second consecutive win as "Jazz Group of the Year" in the DownBeat Readers Poll, Artemis returns with their third Blue Note album. Featuring a quintet lineup helmed by pianist and musical director Renee Rosnes, this all-female supergroup unites some of the most pre-eminent voices in modern jazz. Trumpeter Ingrid Jensen, saxophonist Nicole Glover, bassist Noriko Ueda and drummer Allison Miller bring their individual brilliance to a vibrant set of original compositions and inspired arrangements. 'The Smile Of The Snake' slithers with a captivating energy, while 'Komorebi' shimmers with delicate beauty. 'Footprints', a Wayne Shorter classic, receives a fresh and invigorating interpretation, while Burt Bacharach's 'What The World Needs Now Is Love' is transformed into a poignant ballad. From the intricate interplay of Jensen's trumpet and Glover's saxophone to the driving rhythms of Ueda and Miller, this album showcases a remarkable synergy between five exceptional musicians at the top of their game.
Review: Jazz could bait controversy with a sense of mischief even back in the 50s, as Chet Baker and Art Pepper demonstrated when they released the pin-up sporting Playboys in 1957 with tracks like 'For Minors Only'. Of course, Hugh Hefner had something to say about that and so the album was reissued as Picture Of Heath in 1961, and it remains a marvellous entry in the discographies of these two jazz masters. As such, Blue Note turned back to this record for their Tone Poet series, as Baker's trumpet and Pepper's alto sax interact with Phil Urso's tenor sax, Curtis Counce's bass, Carl Perkins' piano and Lawrence Marable's drums. It's an all-time great sounding better than ever on this edition.
B-STOCK: Record has light surface marks/scratches, otherwise in excellent working condition
Picture Of Heath
CTA
For Minors Only
Tynan Time
For Miles & Miles
Resonant Emotions
Minor Yours
Review: ***B-STOCK: Record has light surface marks/scratches, otherwise in excellent working condition***
Jazz could bait controversy with a sense of mischief even back in the 50s, as Chet Baker and Art Pepper demonstrated when they released the pin-up sporting Playboys in 1957 with tracks like 'For Minors Only'. Of course, Hugh Hefner had something to say about that and so the album was reissued as Picture Of Heath in 1961, and it remains a marvellous entry in the discographies of these two jazz masters. As such, Blue Note turned back to this record for their Tone Poet series, as Baker's trumpet and Pepper's alto sax interact with Phil Urso's tenor sax, Curtis Counce's bass, Carl Perkins' piano and Lawrence Marable's drums. It's an all-time great sounding better than ever on this edition.
(I Don't Stand) A Ghost Of A Chance With You (5:16)
Review: After nearly three decades and almost 20 albums, Bill Charlap remains a paragon of jazz piano, with his trio - bassist Peter Washington and drummer Kenny Washington - standing as one of today's premier jazz groups. Their latest Blue Note release, And Then Again, recorded live at the Village Vanguard, harnesses the trio's extraordinary synergy and intuitive communication. The trio's has an unparalleled cohesion with sharp decision-making, and dynamic improvisations. The album highlights a blend of songbook classics and compositions by jazz greats, including the vibrant lead track, 'And Then Again' by Kenny Barron. Each performance moves from a calculated vision to a more spontaneous and intuitive approach. Years of critical acclaim and regular performances at the Vanguard have solidified their status, with Charlap's early experiences at the famed club fueling his passion. A thrilling and heartfelt live recording.
I Should Care (live At Town Hall, New York City 1966) (5:30)
Spring Is Here (live At Town Hall, New York City 1966) (4:59)
Who Can I Turn To (live At Town Hall, New York City 1966) (6:19)
Make Someone Happy (live At Town Hall, New York City 1966) (7:21)
Solo - In Memory Of His Father, Harry L Evans/Prologue/Improvisation On Two Themes/Story Line/Turn Out The Stars/Epilogue (live At Town Hall, New York City 1966) (11:06)
Review: Bill Evans' 'At Town Hall Vol. 1' is considered among the jazz painists' most sensitive live albums. After his father's death just three days earlier, Evans was compelled to make something by and large lamentatory - a piece to channel his own grief personally and effectively. With Chuck Israels on bass and Arnold Wide on drums, this is one of Evans' finest works.
I Should Care (live At Town Hall, New York City 1966) (5:30)
Spring Is Here (live At Town Hall, New York City 1966) (4:59)
Who Can I Turn To (live At Town Hall, New York City 1966) (6:19)
Make Someone Happy (live At Town Hall, New York City 1966) (7:21)
Solo - In Memory Of His Father, Harry L Evans/Prologue/Improvisation On Two Themes/Story Line/Turn Out The Stars/Epilogue (live At Town Hall, New York City 1966) (11:06)
Review: ***B-STOCK: Corner slightly damaged in transit***
Bill Evans' 'At Town Hall Vol. 1' is considered among the jazz painists' most sensitive live albums. After his father's death just three days earlier, Evans was compelled to make something by and large lamentatory - a piece to channel his own grief personally and effectively. With Chuck Israels on bass and Arnold Wide on drums, this is one of Evans' finest works.
Review: Jazz fans are in for a real treat here as Blue Note unleash a never before heard studio album by Art Blakey & The Jazz Messengers. It was recorded back in 1959 at the legendary Rudy Van Gelder's Hackensack studio and has Lee Morgan, tenor saxophonist Hank Mobley, pianist Bobby Timmons, and bassist Jymie Merritt all playing as part of the recording. As the title suggests, it's a breezy, super cool record with seductive trumpets and icy drums all next to neat keys that encourage you to gently bop. After months of waiting, it proves more than worth all the anticipation.
Review: First Flight to Tokyo: The Lost 1961 Recordings is sure to be a real thrill for fans of Art Blakey and his Jazz Messengers. It is a never before rebased or heard recording of a show they played at Hibiya Public Hall in Tokyo on January 14, 1961. The group was one of the first to tour the country and enthralled caudices everywhere they played. At the time, the band was made up of Lee Morgan on trumpet, Wayne Shorter on tenor sax, Bobby Timmons on piano and Jymie Merritt on bass and for this set they performed plenty of classics such as Charlie Parker's 'Now's the Time' and Thelonious Monk's 'Round About Midnight.'
Review: Recorded during the same intense August 1960 sessions that produced another iconic album, this release showcases the brilliance of a hard-bop quintet, combining fiery improvisation with introspective ballads. The album opens with a standard tune that became a regular feature in the group's live sets, setting the stage for a collection of original compositions. Lee Morgan's 'Johnny Blue' stands out with its infectious blues line, while Wayne Shorter's compositionsiparticularly 'Sleeping Dancer Sleep On'ireveal his growing mastery of melody and complex chord changes. The track is a highlight, with lush, gospel-funky piano and a slow, stunning waltz rhythm. Shorter's 'Noise in the Attic' is a powerful drum showcase, allowing for blistering solos from the horns but placing special emphasis on the piano work. 'Giants', another Shorter composition, closes the album with a hard-bop anthem that keeps the energy high and steady throughout. While Blakey typically dominates with his high-energy drumming, here he takes a more restrained role, allowing the melodies to breathe. The synergy of the quintet is palpable, with Bobby Timmons' percussive piano providing a dynamic counterpoint to the horn lines.
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