Original interpretations and impressions of David Bowie s best music, written and performed by Mike Garson. For over three decades, Garson was associated with rock legend David Bowie as his keyboardist and creative collaborator. He also worked with Free Flight, Stan Getz, Mel Tormé, Thad Jones, and others. The computer graphics used on the cover and in the booklet are more examples of Garson s creativity. This Prof. Johnson HDCD recording was made in a fine concert hall, and has RR s signature Grammy-winning sonics.

Jutta Hipp, with her incredible talent and striking looks, made a name for herself during the 1950s. After her brief rise to fame, she fell out of music until her death in 2003, and much of her volume of work is erratic and sporatic. This release includes German recordings from the early 1950s, before she moved to New York City.

This album is a collection of classic melodies from the repertoire of Ben Webster’s famous employer of many years, Duke Ellington. The album is comprised of three live radio sessions with the Danish Radio Big Band in 1969 and 1971, plus live concert sessions with two different backing trios (Finland in 1967 and Denmark in 1969). Aside from one tune, all the performances with the Danish Radio Big Band are based on Ellington’s original scores. The quartet sessions are also great - one with Ben’s boss from the early 1930’s, Teddy Wilson, and the other with Kenny Drew. That Ben Webster was one of the undisputed jazz greats on the tenor saxophone - both in a big band and small group context - is amply illustrated on this fine album.

Classical Music

Jubilant

Emerging from the Strasbourg scene and the Omezis collective, which includes about twenty artists, musicians, DJs, and videographers, Emile Londonien soaks up the English jazz scene of the last fifteen years and offers up a personal version. Trained at the Strasbourg Conservatory, the three musicians met during thematic evenings organized by the Omezis collective, co-founded by drummer Matthieu Drago. A studio session paying tribute to the English scene followed in 2020. The moniker Emile Londonien, a double nod to their UK influences and to a famous French saxophonist, sprang up spontaneously. The Covid-19 pandemic put the project on hold until their recordings fell into the hands of Dope Tone, the historical Strasbourg broken beat label, and then things started to accelerate. Influential DJs like Lefto immediately shared the tracks from this first session. Thus, emblematic of a generation that grew up in club culture, the band was launched, blending that very culture with the jazz trio tradition. Regularly playlisted on the BBC, their first productions found an enthusiastic echo, and the praise poured in, starting with that of the influential DJ and producer Gilles Peterson himself, who sees them as heirs: "I saw these guys recently live. They are a sort of celebration of the last 10-15 years of the UK jazz scene... It's a crossroads place." Unknown until a few months prior, the band played S�te's Worldwide Festival, the Montreux Jazz Festival in the summer of 2021, and Nancy Jazz Pulsations, confirming on stage all the good that was already clear from listening to their recordings. Influenced by Yussef Kamaal, The Comet Is Coming, Atjazz, SunRa, and also Ornette Coleman or Thelonious Monk and by the Broken Beat, Jazz, House, and Hip Hop scenes, Emile Londonien perfectly incarnates this "next gen" French jazz alongside L�on Phal, whose sound is close to theirs. Beyond labels, they mix tradition and contemporary music with ease, as measured on the dancefloor.

Since its inception in 1964, the Berlin Jazz Fest had been thought of as a festival that, if not avant-garde, welcomed the most progressive and experimental forms of music of a period rich in all types of modernistic trends, from radical free jazz to a multitude of fusions of pop, rock, soul and jazz. But in 1969, as if swimming against the tide of the revolutions that swept the West, the organizers took an audacious stand: it was Duke Ellington’s 70th birthday and not only did they welcome him at the head of his big band for the first time, but part of the program focused on his heritage; as a bonus and birthday gift, Ellington was featured on the publicity poster of the festival’s sixth edition.

The Berlin concert of 8 November 1969 is magnificent testimony to the extraordinary freshness of tone that Ellington’s big band still displayed on stage, when the sheer pleasure of playing took over from the routine of performance. The concert of 2 November 1973, on the stage of the Philharmonie, turned out to be Ellington’s last concert at the Berlin Jazztage.

Listening to this album takes you back to the atmosphere and sound of Jazzhus Montmartre on a random night in the 1960s, engulfing you in Dexter Gordons enormous aura. Dexters arrival in Copenhagen had a tremendous impact that left a lasting impression on the Danish jazz scene. He was handsome and well-dressed. His playing was superb, with a giant sound; his introductions and showmanship were unique and captivating. In addition, Dexter felt the Danish mentality was well-suited for playing and enjoying jazz. It was always there, Alex Riel remembers It wasnt a case of going to work, even though we played every, single night in June, July and August during the summer of 1964. Dexter and Tete were there solely for the music, and so were Niels-Henning and I. It is so obvious when I hear the music today. Dexter loved being in Montmartre. He often stayed and jammed with the night shift when it took over, playing on till early morning And Dexter ended up owning Copenhagen!

Peter Beets' latest recording announces itself with unbridled authority: a vivid, hard-swinging statement, powered by a first-rate horn section anchored by three standout American voices of the new jazz vanguard, and propelled by a rhythm section of luminaries including Reuben Rogers and Willie Jones III-artists whose resumes include collaborations with legends such as Herbie Hancock, Dianne Reeves, and Roy Hargrove. Under Beets' assured direction, his New York Sextet shapes each work with commanding finesse. In reimagining a canon of Spanish compositions, Beets refracts Spain's musical heritage through a fresh and strikingly modern jazz lens. The album surges with vitality, it's swing taut and irresistible. While echoes of the flamenco idiom surface throughout, they are situated within a broader, architecturally ambitious musical landscape built upon works by Spain's most esteemed composers-Albeniz, de Falla, and Granados. These enduring and powerfully expressive pieces hold their own beside the legacies of Chopin, Gershwin, Rachmaninoff, and Tchaikovsky-composers whose works Beets has similarly reimagined in his inimitable style-yet remain unmistakably and proudly Spanish. Beets and his ensemble weave these traditions into a seamless dialogue with uncompromising, straight-ahead jazz, executed at the highest artistic level. The result is a singular fusion of virtuosity, cultural depth, and ensemble brilliance.� Once again, pure Peter Beets.

 Ámbar, the fifth studio album from Chilean-born talent Camila Meza, showcases the multitalented vocalist, guitarist and composer's ever-evolving artistic sensibility. Accompanied by the Nectar Orchestra, frequent collaborator Noam Wiesenberg, pianist/keyboardist Eden Ladin, drummer/percussionist Keita Ogawa, violinists Tomoko Omura and Fung Chern Hwei, violist Benjamin von Gutzeit and cellist Brian Sanders, Meza reaches new virtuosic and expressive heights as a singer, a stirring guitar soloist, an ambitious songwriter and a producer. Distinguished by it's extraordinarily close attention to sonic detail, Ámbar is Meza's boldest artistic statement to date. Steeped in metaphor, romance and complex emotion, Ámbar is a breakthrough, rooted in the incredible agility and interplay of Meza's state-of-the-art jazz group.

Saxophonist Ruth Sabadino's new album celebrates life in all it's colors and nuances. Funky jazz with depth and drive - dynamic, energetic, sparkling with improvisation and an organic band sound. In catchy songs and a healthy dose of jazz, funk, and soul, she and her band tell stories of highs and lows, joie de vivre, and authentic moments. A sound that touches and moves with it's deep bass clarinet, crisp tenor sax, and fine vocals - full of warmth, depth, and drive. Close at her side is a top-class band: Werner Acker, Kurt Holzkamper, and Christoph Sabadino.

Yuko Mabuchi Trio thrills audiences with every concert. Her January performance opening for Branford Marsalis in the 1,800 seat Renée and Henry Segerstrom Concert Hall whet international jazz appetites. She next headlined the Arlington Jazz Festival in Texas, and Yuko Mabuchi Trio performed in Blues Alley in April as part of the Cherry Blossom Festival in Washington D. C. European and Asian stages beckon. Yuko s debut recording on Yarlung, "Yuko Mabuchi Trio," was a top seller in the Yarlung catalog last year, in all formats. Yuko deserves this success. "The Absolute Sound" published a rave review of her Segerstrom concert. Elaborating further, Rick Brown writes in Yarlung News Yuko Mabuchi combines sexy athleticism at the piano with serious musical poetry. The young fans in the house responded to both with great enthusiasm. So did audience members in their 70s and 80s. This was a fast up tempo set resulting in thunderous applause with audience members yelling and stamping their feet for the standing ovation at the end.... I recognized some audience members who had driven from San Francisco or flown in from Hong Kong and different parts of the country for the event....

“...a serious meditation in the Parker universe: Shepp accompanied only by the extraordinary bass of intuitive Niels-Henning Ørsted Pedersen... The two musicians here in this Parker revisited, however, do not get lost in the immense shadow of the idol...” (Télérama)

Caprice presents the luxurious double vinyl re-release of Jazz Furniture's classic debut album from 1994. Jazz Furniture was the name of a jazz group that spoke for themselves. They did this by, among other means, winning the 1994 Jazz i Sverige (Jazz in Sweden) award, which included a recording on Caprice Records. Jazz Furniture included: Magnus Broo, trumpet; Per ”Texas” Johansson and Fredrik Ljungkvist, saxophones; Esbjörn Svensson, piano; Dan Berglund bass; and Magnus Öström drums. Originating with the ambitious project, ”Swedish Jazz Future,” the group took the playful name, Jazz Furniture. The cover art shows what it is all about – Jazz Furniture crushes the old jazz furnishings, with great respect and finesse. With roots in the 1950s and 1960s, they set their very personal stamp on the music through their expressive playing style – reminiscent of the feeling one finds in rock music. Using rock’s terminology, it can be said that Jazz Furniture played a kind of ”trash jazz.”

This compilation of early jazz and ragtime dates from a very early recording (Eli Green’s Cakewalk from 1898) to the 1920s. The sources are from pianola rolls, 78 rpm records and phonograph cylinders. The rolls on this recording were played on an Orchestrelle player attachment 65/88 note made around 1905. The first known player is thought to be the 1863 Furneaux ‘Pianista.’ As with the Orchestrelle this operated by striking the keys of an ordinary piano. The main difference was that it was operated by a handle in the manner of a street piano, while the later instrument is worked pneumatically by foot operated bellows. Early rolls were 58 and later 65 note. 88 notes became standard in the 1900s although the earlier sizes continued to be made. It was some years before manufacturers got together and standardized roll size and fitting so that any player could play any roll.

This live recording of Quincy Jones and his Orchestra was taken in Ludwigshafen in 1961. The orchestra had an all-star roster, including Freddie Hubbard, Benny Bailey, and Sahib Shihab. The program includes classics such as Summertime and Stolen Moments.

Classical Music

This new b�records album sees the unclassifiable Jocelyn Mienniel (composer) and Fiona Monbet (musical director) collaborate on a resolutely hybrid reinterpretation of Gustav Mahler's Das Lied von der Erde, created during a residency at the Royaumont Foundation. Based on an original text by Olivier Cadiot, the creation combines a chamber orchestra, a jazz ensemble, traditional Chinese instruments, electronic music, a children's choir, and vocals, drawing on improvisation and literary cut-up techniques. This transfiguration reveals Das Lied von der Erde as a resolutely modern work, whose humanism unfolds with renewed intensity.

This is the extraordinary recording debut of jazz phenomenon Anaïs Reno, who made it in 2020 at the age of 16. Reno has already won accolades for her dedication to the Great American Songbook. She recently received the Julie Wilson Award, and in 2019 won the Mabel Mercer Foundation competition for high school students. For this album she has chosen 12 tunes by two master writers: Duke Ellington (1899-1974) and Billy Strayhorn 1915-67), creators of some of the most challenging and sophisticated material in the Great American Songbook. Reno combines beloved hits such as "Mood Indigo," "Take the 'A' Train," "Lush Life" and "Caravan" with lesser-known but equally memorable tunes like "A Flower Is a Lovesome Thing" and "It's Kind of Lonesome Out Tonight," all backed by a stellar group of jazz musicians led by pianist Emmet Cohen, who also did the arrangements with Reno. "I have a very personal relationship with these songs," says Reno. "Somehow I believe that the music of Ellington & Strayhorn understands me. This is why I want to honor it." Acclaimed jazz historian Will Friedwald, who has written the liner notes for the 12-page booklet, comments that "At 16, Anaïs achieved what precious few adults ever accomplish: namely, to actually enhance our appreciation and enjoyment of the Ellington-Strayhorn canon. Whether working together or separately, the two of them were always on the same page, both metaphorically and literally. And now, so is Anaïs Reno."

Classical Music

Clark Terry is one of the greatest and most important trumpeters in jazz history. Now, Storyville Records presents a live recording with his fantastic orchestra, Clark Terry’s Big Bad Band – Live in Holland 1979. The whole band is in great form, and besides Clark Terry himself, this recording showcases many of the very best musicians from the heyday of big bands. The band is SWINGING, that also goes for CT’s introductions of the music and the band. The live setting of this performance, containing 13 tracks, clearly inspires both CT and his 16-piece orchestra to even greater heights than in the studio. The performance culminates with the hit “Mumbles”, a track made famous during the many years CT was one of the leading members of “The Tonight Show Band”. The repertoire presented here makes way for the entire band with arrangements by Phil Woods, Billy Strayhorn and Duke Ellington among others. CT is not just a brilliant soloist, but also a charming entertainer, engaging in friendly banter with both the musicians and the audience.

CT’s original style and technique has had a major influence on many great jazz musicians, including Wynton Marsalis, Art Farmer, Miles Davis and not least Quincy Jones, who has written a very personal piece for the liner notes, praising the lifelong mentorship of CT for many of the greatest American jazz musicians. CT has played with both Count Basie’s and Duke Ellington’s orchestras. He made his mark on both orchestras with his great swing and as a soloist, both on the trumpet and the flugelhorn. CT continued from his stints with the forementioned big bands to become one of the most beloved and sought-after soloists in the history of jazz. Both with his own orchestras and as a soloist with big bands globally.

New Orleans is a musical melting pot that has been cooking up music royalty for nearly over a century. The New Orleans Jazz Orchestra, now in it's seventeenth year, is dedicated to preserving the tradition of New Orleans music and culture while exploring the works of artists that might be considered slightly outside the realm of jazz.

"Songs: The Music of Allen Toussaint" is the fourth studio recording by the Orchestra and the first under new music director Adonis Rose. Toussaint, one of New Orleans' most well-known composers, wrote the classic tunes "Java", "Electricity", "Southern Nights" and "Working In A Coal Mine" which all get fresh large ensemble interpretations on this new disc. Other tunes associated with Toussaint, but not necessarily written by him, such as the classic "Tequila", are also on the playlist. A raucous and swinging tribute to a true American music original performed by his home town ensemble.

REVIEW:

Allen Toussaint (1938-2015), a composer / producer who made his mark in the broad spheres of R&B, rock and roll, funk, country and pop music, may seem at first glance an unusual choice for a big-band jazz tribute. On the other hand, the New Orleans native never strayed far from the pivotal music of his home city, embracing and supporting jazz even as he found other musical worlds to conquer. So when vocalist Dee Dee Bridgewater remarked to Adonis Rose, artistic director of the New Orleans Jazz Orchestra, that she’d never heard a big-band treatment of Toussaint’s music, Rose took her comment to heart and decided to make it happen.

The result is the buoyant and earthy Songs, on which NOJO, recording for the first time under Rose’s baton, explores half a dozen songs written by Toussaint, one more associated with him (“Tequila”), and colorful tribute numbers by Gerald French (“Gert Town”) and Leonard Brown (“Zimple Street”). Bridgewater is the orchestra’s guest vocalist on “It’s Raining” and (alongside Philip Manuel) “With You in Mind.” Percussionist French sings on the rhythmic “Gert Town” (named for the neighborhood in which Toussaint grew up), overdubbing himself on vocal and various percussion instruments, accompanied only by Rose on bass drum and NOJO percussionist Alexey Marti on congas. Brown sings and plays trumpet on “Zimple Street,” a bluesy cooker on which he fashions one of the album’s brightest solos (preceding another strong statement by either Khari Allen Lee or Jeronne Ansari on alto sax).

“Tequila,” introduced by The Champs in 1958 and later covered by Toussaint on his album We the People, sounds even better sans voices here, thanks to steadfast blowing by NOJO and crisp solos by (unnamed) tenor sax and trombone. The orchestra does well by Toussaint’s themes too, opening in an old-line New Orleans groove on “Southern Nights” (nice vocal by an unbilled Michael Watson who is at least cited in Rose’s liner notes) before proceeding to the handsome ballad “It’s Raining,” on which Bridgewater is in full seductive mode. Edward Petersen’s impressive arrangement of “Working in the Coal Mine” showcases alto Ansari with male chorus, the funky, second-line “Ruler of My Heart” the orchestra’s splendid resident vocalist, Nayo Jones. The lively, staccato “Java,” which earned trumpeter Al Hirt a Grammy Award in 1964, doesn’t suffer much from his absence, thanks to unflagging work by the ensemble and Ashlin Parker’s nimble trumpet solo.

Even though more or less divorced from his normal realm of influence, Songs is a tribute that Toussaint surely would have loved, as it is New Orleans to the max, astutely designed and adeptly performed by Rose and the rejuvenated New Orleans Jazz Orchestra.

-- AllAboutJazz.com (Jack Bowers)

“Love Grows Deep” reunites vibraphonist Dick Sisto and pianist Fred Hersch in a luminous duo setting, drawing from their long musical friendship and the acclaimed 2001 concert at the Kentucky Center for the Arts. Sisto — a deeply melodic player shaped by Chicago’s golden age jazz scene and decades of artistic life in Louisville — finds an ideal partner in Hersch, whose lyricism and harmonic imagination have made him one of modern jazz’s most celebrated pianists. This hybrid release combines newly selected performances from the original Duo Live album with additional, previously unreleased material from the same concert. Originals by both artists sit alongside works by Wayne Shorter, Thelonious Monk, and Benny Carter, revealing a rapport marked by clarity, warmth, and effortless interplay. A quarter century after its recording, “Love Grows Deep” stands as a testament to two master musicians whose shared sensibility turns every piece into an intimate conversation.

When the album by this unlikely duet of Shepp and Parlan playing hymns and spirituals came out in 1978 for the first time, it was an instant success and has become a classic since then. It is a success of unique theme (by the producer Nils Winther) and of sheer strength of musical material and of performance executed with grace and sensitivity. “...an overwhelming and emotional listening experience.” (Atlanta Journal Weekend) 180g Audiophile Vinyl