By 1970, pianist Ahmad Jamal's style had changed a bit since the 1950s,
becoming denser and more adventurous while still retaining his musical
identity and signature elegance. Jamal's trio - bassist Jamil Nasser
(whose double-timing lines are sometimes furious) and drummer Frank Gant
- delivers intriguing performances, showing that Jamal was continuing
to evolve. Verve By Request Series features transfers from the analog
tapes remastered on 180-gram vinyl.
Sharhabil was born
in 1935 and he is the founding father of the Sudanese Jazz scene. His
aim was to modernize Sudanese music by bringing it together with western
influences and instrumentation like he summarized it himself in a 2004
interview for "Al Ahram Weekly": "[...]Haqiba music, you know, was
traditional vocal music with little accompaniment beyond a tambourine.
When our generation came in the 1960s, we came with a new style. It was a
time of worldwide revolution in music. In Europe, the rhythms of swing
and tango were being replaced by jazz, samba, rock- and-roll. We were
influenced by this rejuvenation in Sudan, too. I started out by learning
to play the oud and traditional Sudanese music, and got a diploma from
the music institute of Khartoum University. But my ambition was to
develop something new. For this, the guitar seemed like the best
instrument. Western instruments can approximate the scales of Sudanese
music very well. After all, a lot of Western music is originally from
Africa. I have absorbed different influences, from traditional Sudanese
rhythms to calypso and jazz, and I hold them together in my music with
no difficulty." Referring to it's sonic apperance, Sudanese Jazz hasn't
too much in common with the western idea of Jazz. Sharhabil's sound
feels more like a unique combination of surf, rock n roll, funk,
Congolese music and East African harmonies a.o. So it kind of made sense
to me, while visiting him in Sudan, to see the records he kept over the
years: 2 of his own and 2 by Mulatu Astatke signed to him, further
proving the influence of Ethiopian and other neighboring countries. In
fact, Sharhabil was not just one of many Sudanese Jazz artist. He is the
king of Jazz, literally, since in he won a competion over other artists
for that title. The release comes with a booklet including liner notes,
interview and unseen photos (12 pages vinyl). Fully licensed from the
artist.
When
Alfa Mist was a teenager, he was dabbling in hip-hop and grime. By the
time he got to college, he was teaching himself the piano and getting
deeply into jazz."A huge part of hip-hop is sampling, so I just used to
dig around and learned about so many different genres," he explains. "I
discovered jazz and started to listen to that." As well as falling head
over heels for the visionary work of Miles Davis, he became obsessed
with the atmospheric film scores of German composer Hans Zimmer. Alfa
Mist's own work is similarly soundtrack-worthy, creating a soulful vibe
packed with heady emotion. "I'm pretty dark as a person I guess, so
everything ends up sounding melancholy and reflective," says Mist. "I
want to make people feel something."
Download card included.
Ten years after our initial survey of Afro-Latin accented rhythm &
blues from the mid-century, Jazzman proudly presents a fourth
installment, packed with as many musical surprises as the first. With
music plucked from an era spanning the late 1940s into the early 60s,
Jukebox Mambo IV highlights yet again the unparalleled musical
creativity of the post war era, and shows how the infusion of afro-latin
rhythms was key to these revolutions.
Lovingly and painstakingly researched and curated, the album boasts 23
tracks, many previously uncompiled, touching on jazz, blues, doo wop,
calypso, rock & roll, gospel and more. Featuring individual track
notes for every song along with some never seen before photographs of
the artists, Jukebox Mambo Vol IV maintains the same high production
values of each previous volume, and indeed the wider Jazzman catalogue.
Best known for his work with Charles Mingus, pianist Horace Parlan began
recording for Blue Note in 1960 with an excellent run of hard bop
classics including? Speakin' My Piece, a quintet date featuring a
frontline of Stanley Turrentine (saxophone) and Tommy Turrentine
(trumpet) with the rhythm team of George Tucker (bass) and Al Harewood
(drums). Blue Note Classic Vinyl Series is all-analog, mastered by Kevin
Gray from the original master tapes, and pressed on 180-gram vinyl at
Optimal.
Alto saxophonist Jackie McLean had the blues on his mind when he went
into the Van Gelder Studio in 1961 to record his hard bop masterpiece
Bluesnik?with a blazing quintet featuring Freddie Hubbard (trumpet),
Kenny Drew (piano), Doug Watkins (bass), and Pete La Roca (drums). The
6-song set of bluesy originals brims with immediacy and vibrancy. Blue
Note Classic Vinyl Series is all-analog, mastered by Kevin Gray from the
original master tapes, and pressed on 180-gram vinyl at Optimal.
Gitarrist Mel Browns Impulse!-Debüt von 1967 ist das möglicherweise
funkigste als auch ungewöhnlichste Album, das je auf dem Label
veröffentlicht wurde. Browns flüssiger Blues-Picking-Stil – den er sich
zulegte, als er in den Bands von John Lee Hooker und T-Bone Walker
spielte – garniert mit der swingenden Soul-Jazz-Orgel von Gerald
Wiggins. Besondere Highlights sind der Titeltrack, „Greasy Spoon“ und
das blues-getränkte „I’m Goin’ to Jackson“.
“Im Herzen bin ich ein Jazz-Mann“ gesteht der der Godfather of Soul in
den Linernotes zu diesem groovenden Album von 1969, mit einer Big Band
unter der Leitung von Drummer Louis Bellson und arrangiert von
Impulse!-Star Oliver Nelson. Browns Partner in Crime, der Saxophonist
Maceo Parker, ist ebenfalls daran beteiligt, es zu einer swingenden,
temperamentvollen Sammlung von Standards und James-Brown-Hits zu machen.
Mit „Trios: Chapel“ eröffnet Saxophonist Charles Lloyd,
seit mehr als sechs Jahrzehnten Unikum der internationalen Musikszene
und mit 84 Jahren noch immer im Vollbesitz seiner kreativen Kräfte, ein
ungewöhnliches Trio-Projekt, das insgesamt drei thematisch
zusammenhängende Alben umfasst, die ihn jeweils in einer anderen
Trio-Besetzung präsentieren – ein „Trio of Trios“. Das erste Album nahm
er mit Gitarrist Bill Frisell und Bassist Thomas Morgan
auf, es folgen im Laufe des Jahres als zweite Trio-Platte „Ocean“ mit
Gitarrist Anthony Wilson und Pianist Gerald Clayton, und schließlich
„Sacred Thread“ mit Gitarrist Julian Lage und Schlagzeuger Zakir
Hussain.
Mit seinem »Trios«-Albumprojekt erfüllt sich Saxophonist
Charles Lloyd einen ungewöhnlichen Traum: drei thematisch
zusammenhängende Alben in jeweils unterschiedlichen Trio-Besetzungen,
ein »Trio Of Trios«.
Das erste Album »Chapel« nahm er mit Gitarrist Bill Frisell und Bassist
Thomas Morgan auf, es folgte »Ocean« mit Gitarrist Anthony Wilson und
Pianist Gerald Clayton. »Sacred Thread« mit Gitarrist Julian Lage und
Schlagzeuger Zakir Hussain bildet jetzt den krönenden Abschluss.
Zwei Jahre nach seinem hochgelobten Trio-Album „Valentine“ kehrt der
GRAMMY-ausgezeichnete Gitarrist Bill Frisell mit „Four“ zurück, einer
intensiven Meditation über Verlust, Erneuerung und Freundschaft. Sein
drittes Album für Blue Note besteht aus Neuinterpretationen von zuvor
aufgenommenen Originalen sowie neun neuen Kompositionen aus seiner
Feder. Die Session bringt ihn mit den Blue Note-Kollegen Gerald Clayton
am Klavier und Johnathan Blake am Schlagzeug, sowie seinem langjährigen
musikalischen Partner Greg Tardy an Saxophon, Klarinette und
Bassklarinette zusammen.
Der Tenorsaxophonist Stanley Turrentine verlieh jeder Note, die er
spielte, Gefühl und Seele. Auf seinem weniger bekannten Klassiker
"Common Touch" aus dem Jahr 1968 spielte Shirley Scott an der Orgel
zusammen mit Jimmy Ponder an der Gitarre, Bob Cranshaw am Bass und Leo
Morris (alias Idris Muhammad) am Schlagzeug. Zu den Höhepunkten gehören
das groovige "Buster Brown" und das langsam brennende "Lonely Avenue".
Der für sein souliges Spiel geschätzte, in Louisiana geborene
Tenorsaxophonist Don Wilkerson gab 1962 sein Blue-Note-Debüt mit „Preach
Brother!“, einem mitreißenden aber bislang zu wenig beachteten
Soul-Jazz-Klassiker des Blue Note-Kataloges. Mit dabei waren ehemalige
Ray-Charles-Mitstreiter wie Grant Green an der Gitarre, Sonny Clark am
Klavier, Butch Warren am Bass und Billy Higgins am Schlagzeug.
28,90 €*
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