2010 two CD release from the Jazz saxophonist. Kirk Whalum elevates his award winning Gospel According to Jazz series to a new level with a live-recorded double CD set featuring the best in Contemporary Jazz, Gospel and Urban music. This effort, both visually and audibly, demonstrates the deep connections between Gospel and Jazz. It's revised renditions of commonly known tunes socially connect with the listener on a horizontal level that seeks to usher in a vertical spiritual relationship. Features guest appearances from George Duke, Lalah Hathaway, Doc Powell and others.
GOSPEL ACCORDING TO JAZZ - CHAPTER 3
$21.49
CD
RENDEZVOUS
Mar 16, 2010
RNZ5142.2
DEFINITIVE COLLECTION
HIP-O RECORDS
Available as
CD
$14.99
Jan 24, 2006
This package features stunningly remastered sound (even the earliest cuts from 1938 are hiss free, full-bodied and remarkably clear), along with a classy 16-page booklet with rare photos and detailed session liner notes. It's not the final word on the prolific and multi-talented musician who some consider the most influential jazzman ever, but is an excellent overall portrait of Satchmo, covering numerous highlights in the career of this legendary American artist. Hip-O. 2006.
DEFINITIVE COLLECTION
$14.99
CD
HIP-O RECORDS
Jan 24, 2006
HIPPB000489302.2
ROUNDTRIP
RENDEZVOUS
Available as
CD
$18.99
Aug 28, 2007
Legendary saxophonist Kirk Whalum's new studio album, ROUNDTRIP, is a journey through the past, present, and future of his music - featuring new jazz compositions, Fresh re-imaginings of his career-defining hits, and a glimpse at his next innovative musical destination.
ROUNDTRIP
$18.99
CD
RENDEZVOUS
Aug 28, 2007
RNZ51322.2
MINGUS AT ANTIBES
ATLANTIC
Available as
CD
$16.49
Oct 25, 1990
MINGUS AT ANTIBES
MINGUS AT ANTIBES
$16.49
CD
ATLANTIC
Oct 25, 1990
ATL90532.2
LOVE SUPREME
IMPULSE RECORDS
Available as
CD
$14.99
Aug 19, 2003
John Coltrane saw the album-legenth suite a Love Supreme as his gift to God. The world has come to see it as a classic, not only Coltrane's best know n work, but one of the most important and influent ial jazz records ever made.
LOVE SUPREME
$14.99
CD
IMPULSE RECORDS
Aug 19, 2003
IMPB000061002.2
BABYFACE SONGBOOK
RENDEZVOUS
Available as
CD
$18.99
Oct 04, 2005
Kirk Whalum, one of the greatest living saxophonists of our time, decorated with 7 Grammy nominations and world-wide acclaim, pays tribute to the amazing legacy of Kenny Edmonds, known to the world as the groundbreaking R&B artist, Babyface. The songbook includes many of the greatest modern R&B songs of the last decade, including #1 hits 'I'll Make Love to You', 'Exhale', 'Can We Talk', 'Breathe Again', and 'When Can I See You'. This event album is destined to be the breakout instrumental of 2005-2006. Rendezvous. 2005.
BABYFACE SONGBOOK
$18.99
CD
RENDEZVOUS
Oct 04, 2005
RNZ5112.2
GIRL IN THE OTHER ROOM
VERVE
Available as
CD
$17.99
Apr 27, 2004
This is Diana Krall's first studio recording since 2001's THE LOOK OF LOVE. THE GIRL IN THE OTHER ROOM is a set of intimate reflections on the resilence of the human spirit. This album also features 6 original songs co-written with Elvis Costello, and brilliant interpretations of tunes Mose Allison, Elvis Costello, Joni Mitchell, and Tom Waits.
GIRL IN THE OTHER ROOM
$17.99
CD
VERVE
Apr 27, 2004
VRVB000182612.2
Still: Symphonies 2 & 3, Wood Notes / Jeter, Fort Smith Symphony
Naxos
Available as
CD
$19.99
$13.99
Dec 13, 2011
Committed recordings of works by a “golden age” American finally coming into his own on disc.
3553320.az_STILL_Symphony_2.html
STILL Symphony No. 2, “Song of a New Race.” Symphony No. 3, “Sunday Symphony.” Wood Notes • John Jeter, cond; Fort Smith S • NAXOS 8.559676 (61:39)
With this disc, Naxos and the present performers conclude their three-CD series of William Grant Still’s symphonies, plus other orchestral works. I reviewed the second volume (Symphonies 4 and 5, and the Poem for Orchestra—Naxos 8.559603) for another publication, and was quite beguiled. I feel the same way this time around. This music is impossible not to like, and conductor John Jeter and his orchestra from Arkansas, the state in which the young composer spent part of his childhood, are effective advocates.
Wood Notes, a work from 1947 that is receiving its first recording here, is a suite of four movements: “Singing River,” “Autumn Night,” “Moon Dusk,” and “Whippoorwill’s Shoes.” The titles suggest that the music will be picturesque, and, in the best sense of the word, simple, and indeed it is. If there is such a thing as an American Pastoral school of composers, Still would be its dean. The Currier and Ives prints that have adorned the booklet covers in this series have been very appropriate, as they project an innocence that is also one of the strongest characteristics of Still’s music. Imagine Delius at his least Impressionistic, Dvo?ák at his least academic, and Jerome Kern at his most classical, and that might give you an idea of what Still’s music sounds like. (Nevertheless, Varèse was one of his teachers!)
The Second Symphony, premiered with great success by Stokowski and the Philadelphia Orchestra in 1937, is “a vision of an integrated society.” In terms of form, this is a bit more ambitious than Wood Notes, but Still’s writing is so unpretentious, tuneful, and relaxed that one can’t help asking what makes this work more symphonic than the other. The mood is sometimes wistful and often hopeful, and Still, when he is not embracing the listener outright, is at least holding his hand, or throwing his arm around his shoulder. Not surprisingly, African-American elements, both traditional and more popular (jazzy), are prominent in this work.
The “Sunday Symphony” dates from 1958. Again, naming its movements will give the reader an idea of what the music sounds like: “Awakening,” “Prayer,” “Relaxation,” and “Day’s End and a New Beginning.” Only 18 minutes long, this symphony is as suitelike as its predecessor, every bit as ingratiating, and even more uncomplicated. Appropriately, “Prayer” is the longest movement, and it builds to a soulful climax. “Awakening” and “Relaxation” both chatter away companionably, and the last movement brings the symphony to its resolute and affirmative conclusion.
I don’t get the feeling that this music makes exorbitant demands on an orchestra. The Fort Smith Symphony, a lean-sounding ensemble in the manner of Howard Hanson’s Eastman-Rochester group, puts Still’s music across capably and with sympathy. (I would have liked to have heard Stokowski and the Philadelphians play the Second Symphony, though!)
It is tempting to call this music naive, but I think to do so would say more about our lack of innocence as listeners, than about any lack of sophistication on the part of William Grant Still.
FANFARE: Raymond Tuttle
------
For much of his life William Grant Still was invariably referred an army going into battle with a lovely central section describing t to as the “Dean of African-American Composers”. Though his music partakes of many African-American elements, it also demonstrates his varied training under Chadwick and Varese and the many years he spent writing music for jazz bands, radio, music and television. Today Still can be seen simply as one of that number of American nationalist composers who came to maturity between the wars.
In the late 1920s Still began a musical trilogy that would portray the African-American experience in the U.S.: Africa, a tone poem describing the original homeland; the Symphony No. 1 ( African-American) describing the years leading to the Emancipation Proclamation; and the Symphony No. 2 ( Song of a New Race) describing a future where African-Americans would take equal part in the destiny of their country.
The Symphony No. 2 is a major work, blending jazz, blues and gospel elements with a nationalist feeling akin to that of the Eastman School. All of the movements are relatively slow (cf. Vaughan Williams’ Symphony No. 3). The slow movement proper is the most beautiful and expressive, while the “moderately slow” finale shows Still’s great technical skill as he joins thematic elements of all four movements into an emotionally satisfying conclusion.
Wood Notes is a suite evocative of nature in the American South. Each of the four pieces begins with simple, almost trivial material, which Still then transforms into something far more poignant than one would have expected.
While numbered as the third, The Sunday Symphony was the last of Still’s five symphonies to be written. It describes the typical Sunday of a churchgoer (Still was quite devout) and while not as profound as the Symphony No. 2 it is equally sincere and more compact in expression. The opening movement is full of energy, somewhat reminiscent of Gershwin, but with modal elements and scoring reminiscent of the Big Bands. In the Prayer movement Still develops the main melody for English horn to a poetic coda in his best style. Relaxation is very simple, while the last movement alternates resolution worthy of wilight and the thoughts of the worshipper as he prepares for th e coming day.
The key to performing Still’s music is to concentrate on his obvious sincerity and technical ability, while not letting his tendency towards sentimentality to overwhelm all else. John Jeter realizes this and wisely brings out the positive elements, demonstrating complete control of his players (especially regarding rhythm) and deriving enthusiastic performances. The Fort Smith (Arkansas) Symphony has some troubles with ensemble, but the overall sound is lush, as much of the music requires. This disc completes the Naxos series of the Still symphonies. While there are other impressive recordings of the first two symphonies, Jeter faces no real competition with the last three, and the entire set can be recommended to all fans of American music.
-- William Kreindler , MusicWeb International
On Sale
Still: Symphonies 2 & 3, Wood Notes / Jeter, Fort Smith Symphony
$19.99
$13.99
CD
Naxos
Dec 13, 2011
8559676
SUMMER HOUSE SESSIONS
BLANK FORMS
Available as
Vinyl
$32.49
Nov 12, 2021
Vinyl LP pressing. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.
SUMMER HOUSE SESSIONS
$32.49
Vinyl
BLANK FORMS
Nov 12, 2021
BKFO24.1
COLTRANE JAZZ
ATLANTIC
Available as
CD
$16.49
Oct 25, 1990
COLTRANE JAZZ
COLTRANE JAZZ
$16.49
CD
ATLANTIC
Oct 25, 1990
ATL781344.2
BIG BEAT
BLUE NOTE RECORDS
Available as
Vinyl
$32.99
Nov 19, 2021
Limited 180gm vinyl LP pressing. Art Blakey's 1960 hard bop classic, The Big Beat, introduced one of the greatest line-ups of the Jazz Messengers with the legendary drummer joined by Lee Morgan, Wayne Shorter, Bobby Timmons, and Jymie Merritt. 3 of the 6 tunes were composed by Shorter, but the album is best-known for an unforgettable version of Timmons' enduring hit "Dat Dere." 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.
BIG BEAT
$32.99
Vinyl
BLUE NOTE RECORDS
Nov 19, 2021
BLUN3817611.1
JONATHAN
RENDEZVOUS
Available as
CD
$18.99
May 17, 2005
Two-time Grammy nominee Johnathan Butler is one of the most unique tlaents in music. His guitar playing is distinctive and brilliant. His voice is rich and thrilling. His live performance are joyous and moving. Features guest stars Gerald Albright, Rick Braun, Dave Koz and blues artist Johnny Lang.
JONATHAN
$18.99
CD
RENDEZVOUS
May 17, 2005
RNZ5108.2
CLASSIC PACIFIC JAZZ ALBUMS
ENLIGHTENMENT
Available as
CD
$14.99
Oct 05, 2018
Formed in 1956 by Joe Sample (piano), Stix Hooper (drums), Wilton Felder (saxophone), and Wayne Henderson (trombone) - buddies from an early age out of Houston, Texas - The Jazz Crusaders had all been schooled in local centres of prayer. They first performed together at one of the city's Creole churches, where they began to define their sound. The blend of Jazz, Blues and Soul which the young quartet developed throughout this formative period remained their default style during their early career. Having tried a number of short-lived names such as The Swingsters and The Nite Hawks, the founding members relocated to Los Angeles. On arrival, they stayed with family and friends, often sharing one room between them with a couple of mattresses on the floor. After changing their name to The Jazz Crusaders in 1961 (a nod to jazz great Art Blakey's Jazz Messengers), the group signed with Pacific Jazz Records, a label with whom they would remain throughout the 1960s. Fronted by a two man horn section featuring trombone and tenor sax, the group's sound was by now rooted in hard bop, with a nod still to R&B and soul. As The Jazz Crusaders, they released over a dozen albums before re-christening themselves The Crusaders in 1971, under which moniker they released a string of further albums in the jazz-fusion style, popular during the 1970s. This four disc boxset brings together the first eight albums by the Jazz Crusaders; all recorded for Pacific Jazz Records during the first half of the 1960s. Still held in huge esteem by Jazz critics and enthusiasts alike, this 4 CD collection, featuring over 5 hours of superb jazz, serves as both an ideal introduction to the Jazz Crusaders music, and as a welcome reminder of the group's majesty, musicianship and style for those already well versed.
This newly discovered live-recording of a performance of the Love Supreme suite is a revelation. Recorded at The Penthouse in Seattle on October 2, 1965, this recording transports the listener to a prime seat for piece of musical history. While not studio-quality audio, the power of the performance shines through. This version is also of the full suite and features an expanded band that includes the same Classic Quartet and Pharoah Sanders in his first official gig as part of Coltrane’s group.
A Love Supreme - Live In Seattle [Vinyl]
$41.99
Vinyl
IMPULSE RECORDS
Oct 22, 2021
IMPB003429101.1
ORGANIC MUSIC THEATRE FESTIVAL CHATEAUVALLON 1972
BLANK FORMS
Available as
Vinyl
$40.49
Nov 12, 2021
Vinyl LP pressing. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tag�rp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.
ORGANIC MUSIC THEATRE FESTIVAL CHATEAUVALLON 1972
$40.49
Vinyl
BLANK FORMS
Nov 12, 2021
BKFO23.1
AVANT-GARDE
ATLANTIC
Available as
CD
$16.49
Feb 22, 1990
AVANT-GARDE
AVANT-GARDE
$16.49
CD
ATLANTIC
Feb 22, 1990
ATL90041.2
GROVER LIVE
LIGHTYEAR (LTY)
Available as
CD
$17.49
May 18, 2010
No one watching this dazzling 1997 show at the Paramount Center in Peekskill, NY could have guessed that it's star would be gone two years later. You'll hear how much the soul-jazz pioneer liked to stretch out on stage as he plays Inner City Blues; Wine light; Soulful Strut; Mr. Magic; Let It Flow (For Dr. J); Inside Moves; Sassy Stew, and more. Previously unreleased!
GROVER LIVE
$17.49
CD
LIGHTYEAR (LTY)
May 18, 2010
LTY54875C.2
DECIPHERING THE MESSAGE
BLUE NOTE RECORDS
Available as
Vinyl
$32.99
Nov 19, 2021
Drummer, producer & beat scientist Makaya McCraven digs through the Blue Note vaults with this new remix project that puts a modern bounce on jazz classics by Art Blakey, Horace Silver, & more. McCraven's mastery of the loop is akin to hip-hop's most celebrated beatmakers like J Dilla & Madlib, both of whom have also remixed Blue Note tracks, but McCraven's unique approach also incorporates new recorded elements including his own drums, Joel Ross' vibraphone, Jeff Parker's guitar, & more.
DECIPHERING THE MESSAGE
$32.99
Vinyl
BLUE NOTE RECORDS
Nov 19, 2021
BLUNB003384001.1
John Williams and "The President's Own", Vol. 1 & 2
Naxos
Available as
CD
$29.99
$20.99
Jun 19, 2026
In 2002, anticipating the 205th anniversary year of "The President's Own" Marine Band, the then-Directors of this beloved ensemble invited John Williams to conduct a gala concert at the John F. Kennedy Center for the Performing Arts. The legendary American composer graciously accepted, noting that his own father, a percussionist, had taught his son to love and respect the Marine Band from a young age. Williams first appeared with the band on July 12, 2003, one day after the band's official 205th birthday, thus inaugurating a long collaboration sustained by mutual respect and admiration. Williams would return to the Kennedy Center for another concert, this time in celebration of the band's 210th anniversary, in 2008. Several of his most enduring works were prepared especially for the Marine Band for these concerts, from film soundtrack highlights to original concert works. These full-length gala concerts from 2003 and 2008 are, taken together, a tour de force of some of Williams' most popular and creative scores, and serve as the primary source for this unique new recording collection. "Performing with 'The President's Own, '" writes Williams, "has been one of the highest honors of my working life in music. My great hope is that listeners of this special recording will experience some of the exhilaration and fun that I enjoyed conducting these two memorable performances... this ensemble truly is a national treasure of which all Americans should be justly proud."
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John Williams and "The President's Own", Vol. 1 & 2
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