Mozart: Le Nozze Di Figaro / Barenboim, Tomlinson, Rodgers, Composer: Wolfgang Amadeus Mozart, Performer: John Tomlinson, Phyllis Pancella, Joan Rodgers, Richard Brünner, Conductor: Daniel Barenboim, Orchestra/Ensemble: Berlin Philharmonic Orchestra, Berlin RIAS Chamber Chorus, "Barenboim continues to favors a forceful, big-scale reading with often deliberate speeds for the slower numbers, a musically accomplished, thought-through account of the crucial finales to Acts 2 and 4, lively treatment of the recitative, finely-honed playing of the wind, alert rhythms and an avoidance for the most part of appoggiaturas... John Tomlinson is much better suited by Figaro than he was by Alfonso, but still wants in tonal focus... but he does at all times create a lively personality, a force to be reckoned with... Sir Geraint Evans is even more individual in his characterization - listen to the recitative before his Act 4 aria - and has the more agile voice, helped by the fact that it tends more towards the baritonal." - Gramophone
Limited 180gm vinyl LP pressing in gatefold jacket. The soulful, elegant pianist Sonny Clark brings his A-game to My Conception, a program of originals recorded in 1959, but not released until 1979. Joining the pianist are a cast of hard bop masters including Hank Mobley, Donald Byrd, Paul Chambers, and Art Blakey. Highlights include "Junka," "Minor Meeting," and Hank Mobley's solo on "Royal Flush." Blue Note Tone Poet Series features all-analog, remastered recordings. Produced by Joe Harley. Mastered by Kevin Gray.
Limited vinyl LP repressing of this essential jazz album, Leapin' And Lopin' is part of the Blue Note 75 anniversary LP reissue campaign. Recorded in 1961 and released in 1962, this was pianist Sonny Clark's last album as a leader. Michael Nastos writes that "Top to bottom Leapin' and Lopin' is a definitive recording for Clark, and really for all time in the mainstream jazz idiom." All About Jazz stated "Although pianist Sonny Clark had documented much fine music up to this point, one of his final recordings before an untimely death, everything seemed to solidify with this 1961 ringer."
On February 21, jazz legend Clark Terry passed on at the age of 94. In honor of this world renowned Ellingtonian trumpet and flugelhornist, we present to you, for the first time, a rare performance from a 1986 live at the Carnegie Recital Hall. Terry teams up with Basie Alumnus Frank Foster on tenor and soprano saxophone, with additional support from alto saxophonist Joey "G-Clef" Cavaseno (Illinois Jacquet Big Band), and trombonist Clifford Adams, (Kool and the Gang), also recently departed (as of this writing) who are supported by Terry's working rhythm section at the time. What you will hear in this outing is a warm and loving tribute to Terry's mentor, the great Duke Ellington, transforming Carnegie Recital Hall into a private Jazz party in your own living room.
Color Changes is considered by many to be one of the finest albums by trumpeter and pioneer of the flugelhorn in jazz, Clark Terry. Rather than have the usual jam session with the stellar sidemen he'd assembled, Terry utilized specific arrangements by Yusef Lateef, Budd Johnson, and Al Cohn for the date. At the time of this recording, he had recently finished a stint with Charles Mingus' group and one can hear the subtle influence that association had on these sessions. The result is an album which ranges through many moods and many textures, which is why the album was titled, Color Changes.
A follow-up to Sommers' critically acclaimed 2020 release Peninsula, Intertwine captures Sommers' dynamic compositional style in a new light. The album features guitar as the primary harmonic instrument, and draws inspiration from rock and soul musicians such as Jimi Hendrix, Donny Hathaway, Aretha Franklin, and the Beatles. With a stellar frontline of horn players and a rocksteady rhythm section, Sommers is in great company on this adventurous outing. Alongside Sommers, Intertwine features Chris Madsen on tenor saxophone, Geof Bradfield on bass clarinet, soprano and tenor saxophone, Matt Gold on guitar, and Dana Hall on drums and cymbals. Met with widespread acclaim, 2020's Peninsula was recognized by JazzTimes as an album which "resonates with hardcore jazz fans and non-jazz listeners alike." Intertwine features a fuller instrumentation, filling out the trio of artists present on Peninsula - Sommers, Geof Bradfield and Dana Hall, with an ever-present sonic backdrop provided by guitarist Matt Gold, and the addition of celebrated tenor saxophonist Chris Madsen. Sommers uses this instrumentation to capture a celebration of tight-saxophone harmonies
Outstanding Drummer Mike Clark unites with Blue Note trumpeter Eddie Henderson, fellow Headhunter Bill Summers, Skerik, Wayne Horvitz and Blackjazz Records legendary bassist Henry Franklin for an amazing new release on Wide Hive Records. Kosen Rufu is 10 well crafted compositions that are drawn together by awesome musicianship and a classic version of Erik Dolphy's Hat and Beard. Mike Clark is one of the most sampled drummers in history. Here he reunites with Bill Summers; both were in many bands together and most notably Herbie Hancock's Thrust and Man Child. Joining the rhythm section is Henry Franklin on stand up Bass; known for his work with Hugh Masekela, Stevie Wonder and his eponymous release on Blackjazz Records. Also is the band are Skerik on saxophone (Galactic) and virtuoso pianist Wayne Horvitz.
Color Changes is considered by many to be one of the finest albums by trumpeter and pioneer of the flugelhorn in jazz, Clark Terry. Rather than have the usual jam session with the stellar sidemen he'd assembled, Terry utilized specific arrangements by Yusef Lateef, Budd Johnson, and Al Cohn for the date. At the time of this recording, he had recently finished a stint with Charles Mingus' group and one can hear the subtle influence that association had on these sessions. The result is an album which ranges through many moods and many textures, which is why the album was titled, Color Changes.
Sonny Clark is one of the long list of fine jazz musicians who died too young. He died at age 31. This album from 1957 excellently captures what was the definition of jazz at that time, and this became one of the best jazz albums of all time. Sonny Clark's playing on this album has the sound of beautiful perfection, and (along with the great work of Paul Chambers on bass and 'Philly' Joe Jones on drums) the playing really swings. Sonny shines on "Tadd's Delight" and "I Didn't Know What Time It Was" with the crisp support from Chambers and 'Philly' Joe. He takes on the challenge of 'Be-bop', a very difficult tune, and pulls it off with his typical Sonny Clark touch.
One of jazz music's most heralded traditions is breathing new life into older material. Reimagining standards and well-known songs provides impetus and backbone for ensemble connection and creative improvisation. Saxophonist Michael Zilber and drummer Mike Clark utilize their understanding and mastery of the jazz canon and popular songs on their new recording, Standard Deviation, a recording seemingly familiar yet new. Clark has provided pulse to innumerable influential rhythm sections over his long and varied career. The drummer's association with Zilber has blossomed over the last decade, focusing mainly on their love for New York City's hard swinging jazz tradition. Though both originally hail from the West Coast, Clark from the Bay Area and Zilber from Vancouver, Canada, the musicians found their musical home with the driving sounds of New York hard bop via groups like those of Miles Davis and John Coltrane. The musicians are separated by a continent, as Zilber lives in Los Angeles and Clark in New York City. But when they get together, they make their reunions count. The two recorded their first album, Mike Drop (Sunnyside, 2021), after their quartet's first West Coast tour in 2018. In the Fall of 2022, Clark and Zilber performed a very successful concert of new material at the Monterey Jazz Festival, where they were joined by up-and-coming New York bassist Alexander Claffy. Shortly thereafter, Zilber headed to New York City, where he and Clark rehearsed and recorded Zilber's fresh, new arrangements. Recording Standard Deviation with a New York band was important to Zilber and Clark, as they wanted musicians who understood that distinctive approach, namely, to remain loose, swing hard, and be in the moment. For the recording, the duo brought in the aforementioned Claffy along with stalwart pianist Jon Davis, a seasoned veteran of the New York scene who had already played some of the material with Zilber and Clark. A fair portion of the material Zilber and Clark have performed together have been standards. For their Monterey appearance and new recording, Zilber and Clark wanted to feature Zilber's arrangements that present a fresh spin on familiar material, reimagining the original songs. For that, Zilber used melodies from well-known tunes while completely overhauling the song structures, from changes in harmonies, meters, form, and feel. These changes make the songs exciting and challenging vehicles for the quartet and listeners alike. For jazz musicians, sometimes the best way to express something new is by reimagining something old. Mike Clark and Michael Zilber take pieces with recognizable themes and uniquely reimagine them on Standard Deviations. The results provide their quartet with fantastic pieces to highlight the group's commitment to listening, interplay, and, most important, swing.
Sonny Clark - "Sonny's Crib (Blue Note Classic Vinyl Edition)". One of the finest pianists of the hard bop era, Sonny Clark followed up his 1957 Blue Note debut, Dial "S" for Sonny, with the stellar sextet session, Sonny's Crib, a swinging set of standards and Clark originals - featuring John Coltrane on tenor saxophone, Donald Byrd on trumpet, Curtis Fuller on trombone, Paul Chambers on bass, and Art Taylor on drums. This Blue Note Classic Vinyl Edition is stereo, all analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
Released in 1989 by the noted audiophile label Chesky Records, Portraits is a testament to the prodigious talent of the legendary trumpeter, flugelhornist, and jazz educator Clark Terry. The first of four albums for the Chesky label, Portraits was recorded when the St. Louis-born hornblower, then 68 years old, was a much-venerated jazz elder. By then, he had 35 albums under his belt and boasted a resume that included stellar collaborations with Duke Ellington, Charles Mingus, Quincy Jones, and Dizzy Gillespie. For Portraits, produced by David Chesky, Terry assembled a quartet comprising pianist Don Friedman, bassist Victor Gaskin, and drummer Lewis Nash. With Terry alternating between flugelhorn and muted trumpet while also showing off his chops as an occasional vocalist, the quartet breezes through a blend of familiar jazz standards, like 'Pennies From Heaven,' and Terry's hard-driving original tune, 'Finger Filibuster,' where he shows off his athletic scat singing. Other highlights include the Louis Armstrong favorite 'When It's Sleepy Time Down South' and 'Sugar Blues,' a nostalgic nod to New Orleans jazz. The album is reissued on 180g One Step Pressing Vinyl LP in 2025.
Released in 1989 by the noted audiophile label Chesky Records, Portraits is a testament to the prodigious talent of the legendary trumpeter, flugelhornist, and jazz educator Clark Terry. The first of four albums for the Chesky label, Portraits was recorded when the St. Louis-born hornblower, then 68 years old, was a much-venerated jazz elder. By then, he had 35 albums under his belt and boasted a resume that included stellar collaborations with Duke Ellington, Charles Mingus, Quincy Jones, and Dizzy Gillespie. For Portraits, produced by David Chesky, Terry assembled a quartet comprising pianist Don Friedman, bassist Victor Gaskin, and drummer Lewis Nash. With Terry alternating between flugelhorn and muted trumpet while also showing off his chops as an occasional vocalist, the quartet breezes through a blend of familiar jazz standards, like 'Pennies From Heaven,' and Terry's hard-driving original tune, 'Finger Filibuster,' where he shows off his athletic scat singing. Other highlights include the Louis Armstrong favorite 'When It's Sleepy Time Down South' and 'Sugar Blues,' a nostalgic nod to New Orleans jazz. The album is reissued on SACD Hybrid Stereo in 2025.
