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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.

- Record Store Day - Limited Edition - Reissue - 180 Gram- Includes Digital Abum Download

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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.

  180g Vinyl

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.