Jazz CDs
Jazz CDs
5529 products
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
- Charles Strouse, Lee Adams: A Lot of Livin' to Do
- Lennon & McCartney: And I Love Him
- Bacharach: Alfie
- Burton Lane, Alan Jay Lerner: On a Clear Day
- Mel Mitchell, Stanley Applebaum, Rita Mann: Passing Strangers
- Erroll Garner, Johnny Burke: Misty
- Gus Arnheim, Abe Lyman, Arthur Freed: I Cried for You
- Rodgers, R: Babes in Arms: My Funny Valentine
- Gerald Marks, Seymour Simons: All of Me
- Walter Gross, Jack Lawrence: Tenderly
- Howard, B: Fly Me to the Moon
- Sammy Cahn, Jule Styne: Time After Time
- Martin, Hugh: The Trolley Song (from Meet Me in St Louis)
- Webb, Jimmy: By The Time I Get To Phoenix
- Rodgers, R: No Strings: The Sweetest Sounds
- Jimmy van Heusen, / Johnny Burke: Polka Dots and Moonbeams
- Rube Bloom, Johnny Mercer: Day in, Day Out
- Gilbert Bécaud, Pierre Delanoë, Carl Sigman: What Now, My Love
- Jack Lawrence, Stan Freeman: I Had a Ball
- Webb, Jimmy: Didn't We?
-
-
-
-
-
-
-
-
Just This
Lars Jansson is a jazz pianist, composer, arranger and educator. He was born in 1951, and grew up in Örebro, Sweden, where he was bored by his lessons at the community music school. In his early teens, a relative lent him records with Miles Davis, Ben Webster, and Mose Allison, creating a solid foundation for his musical education. Jansson's career has been in full flourish since 1970, and he has for the main part been focusing on the trio format. Lars Jansson Trio has long been one of the most renowned jazz groups in his native Sweden and the rest of Scandinavia as well. In 1998, he was nominated for the Danish Jazzpar Prize and he became the first jazz professor in Aarhus, Denmark. He was honored in Denmark with a Grammy in 2001 for "Best International Album," with the album Hope. Lars Jansson Trio are now ready to release their new album Just This. Assisted by Thomas Fonnesbæk on bass and Paul Svanberg on drums, Jansson has created a body of work that deals with various themes of life, and pays tribute to some of Jansson's heroes. Fonnesbæk is a well-respected bassist in his own right, playing with the likes of Justin Kauflin and Alex Riel, and Svanberg, who is Jansson's son, is a widely used drummer on the Danish jazz scene. The album, 13 tracks in total, comes by as a beautiful and diverse collection of tunes that display the collective talents of three very gifted and experienced musicians.
DIASPORA KID
BRAZILIAN WHISPERS
Uppsala 1971 / Duke Ellington and His Orchestra
In Duke Ellington’s tape collection (”The Stockpile”) were several tapes with concert recordings of the band’s performances on tour. One can only guess whether these tapes were required by Duke for some purpose, or were given to him (or his son Mercer) on the initiative of the concert arrangers. At any rate it was a great delight to find a tape box marked ”Ellington – Uppsala 9-11-71” in the collection, containing a tape with a concert at the university town of Uppsala, Sweden on Nov. 9th 1971, the second of two concerts in this very old and very beautiful town founded in the 13th century.
The concert in Uppsala, the second on this Tuesday evening, started with the C-Jam Blues as was usual at that time. The tune had sort of replaced Take The A Train as the band’s signature. Norris Turney is heard on the clarinet over the band at the beginning, and Cootie Williams, Paul Gonsalves, Booty Wood, and Russell Procope follow. The centerpiece of the concert was the band’s performance of A Tone Parallel to Harlem or HARLEM as it was also called.
To end the evening properly and bring the audience in a more relaxed mood before leaving the concert hall, Ellington chose to finish the concert alone at the piano, just accompanied by Joe Benjamin on the bass, playing his own arrangement of Billy Strayhorn’s lovely tune Lotus Blossom. As evident from the performance at the Uppsala concert, the band could live up to the challenges, and it was received everywhere with enthusiasm and – love.
REVIEW:
This album, recorded at a concert in the great hall of Uppsala University on November 9, 1971, was found in what Ellington called "The Stockpile," his private tape collection.
It starts with "C-Jam Blues" which at the time had largely replaced "Take the A-Train" as the band's opening number. One of the more interesting numbers is the little known "Fife," written as a vehicle for Norris Turney on flute and there is also a version "A Tone Parallel to Harlem," the title of which Ellington simply abbreviated to "Harlem."
"Chinoiserie" is another rarity, the title referring to an artistic passion for things Oriental, which in his erudite introduction Duke links to a statement by the Canadian philosopher, Marshall McLuhan.
At the other end of the scale, trumpeter Money Johnson comes on like Louis Armstrong for "Hello Dolly." Nell Brookshire lends a hand on vocals, and Ellington shows his age somewhat by referring to her as a "torch singer."
Those "good old good ones" are there aplenty, with longer versions of "It Don't Mean A Thing If It Ain't Got That Swing" and "Satin Doll." Nell Brookshire vies with Money Johnson for slapstick vocal honors on "I Got It Bad and That Ain't Good."
Of course Billy Strayhorn's "Take the A-train" couldn't be omitted altogether. It comes in fourth in this particular race for royalties, before "Fife." And the same composer's "Lotus Blossom" is treated to a fine reflective arrangement by Ellington, accompanied only by bassist Joe Benjamin. Ellington said this was the tune Strayhorn most liked to hear him to play.
-- AllAboutJazz.com (Chris Mosey)
DIZZY ATMOPSHERE
A WOMAN LIKE ME
Clean Spring
Whirlwind
Pietro Lazazzara: My Art of Gypsy Jazz / Lazazzara, Solazzo
Pietro Lazazzara writes: "The work My Art of Gypsy Jazz consists of 14 compositions. 11 pieces are originals that have never been published, while 3 pieces were created by [Romani] music composers. The title of the album fully expresses my vision of traditional "Gipsy Jazz" and it's possible projection into the future. My academic career as a classical guitarist, my Jazz Music and Flamenco studies have contributed to the creation of my compositions. "
He began studying classical guitar at the age of twelve and then he graduated brilliantly at "Tito Schipa" Conservatory in Lecce. In 2008 he obtained, with the highest grades and honors, the Academic Diploma of Specialist level II in Musical Disciplines, classical guitar, at the Conservatory "E. R. Duni" of Matera where he studied under the guidance of Master Clemente Giusto. Also at the Conservatory "E. R. Duni" in Matera he received his degree in Jazz Music in 2009. With the highest marks, he obtained the advanced course in classical guitar at the "Roman Guitar Academy" under the guidance of Maestro Domenico Ascione, an experience that led him to perform in several Recitals in the Capital city.
SOUTH BEACH
Brahms, Leopoldi, Becaud: Bruckner Orbit / Wilfer
| On the occasion of a concert at the Brucknertage festival St. Florian the great Austrian jazz pianist Rudi Wilfer took on his journey to Anton Bruckner and his IV. Symphony, which would widely circumpass the written music. Wilfer who has found his very own combination of meditation and swing perceived in Bruckner’s music a fascinating modernity, even agelessness. Surely, the pieces were recorded several times, yet no version turned out alike, even though the musical material remained the same. The listener could literally observe how Wilfer’s playing in every instant led to new paths – new harmonies, articulations, voicings. The album consists of two parts, the live recording and the studio recordings which at times shine a different light onto the same pieces, besides the homage to Bruckner also jazz standards like “You Must Believe in Spring” and “What Now My Love”, Viennese pieces like “Liebesleid” by Fritz Kreisler or “In einem kleinen Café in Hernals” by Hermann Leopoldi as well as “Wiegenlied” by Brahms. |
MESSAGE TO OUR FOLKS
TRAD. ARR
GREAT WOMEN OF SONG: BLOSSOM DEARIE
2 PORTRAITS OF CHET BAKER
Dunas - Live in Copenhagen
Live in Paris: 18 Mars 1961
With Johnny Hodges, the alto saxophone found itself in the hands of a goldsmith. As a member honoris causa of the Duke Ellington Orchestra from 1928 to 1970, Hodges’ delicate phrasing and incomparable talents as an improviser made him one of the most remarkable musicians in jazz history. In this previously unreleased live recording dating from 1961 he plays the great classics in Ellington’s material, titles he always incarnated with an incandescent grace. The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet modern standards while preserving the original colors of the period.
Inner Tide
After Anette von Eichel opened a small window for the audience in 2001 with her debut release "Welcome To My World" to let people discover a previously unknown vocal talent, the spectacular and official start of her career was in 2004 with the release of "Get Out Now" in the beginnings of Jazz thing Next Generation. She has been teaching at the Academy of Music and Dance in Cologne as a professor of jazz singing since 2010. Nevertheless, she realigns her musical parameters and surprises with releases that stand out from the enormous sea of sound recording media in a pleasantly unpretentious way. After "Golightly" (Double Moon DMCHR 71106) from 2012, a duo album in 2017 and a Mingus project in 2019, "Inner Tide" is now her next work. The album unites a top-class instrumental combo with pianist Sebastian Sternal, bassist Henning Sieverts, drummer Jonas Burgwinkel and saxophonist Jonas Blom, in which the names alone prove that they cannot be reduced to mere accompanists. "This is exactly where I am now," Anettevon Eichel described the core statement of the nine titles of "Inner Tide". For her, it is a sign of the way, as always, when the singer, after a supposedly quieter public phase, comes out into the open again, deeply authentic, prominently, the field staked out with the "Eichel" brand. Or as she puts it laughingly: "Pure Me." Her older albums always featured pieces by others that fit her well. "Now, for the first time everything comes from me, not only the lyrics, but also the entire music. This is a big and important step for me, almost a new phase of my identity. And the result really makes me very, very happy!"
Live at the Berlin Philharmonie 1969 / Sarah Vaughan
Never before entirely released concert recorded on 9 November 1969 at the Berlin Philharmonie. These emotionally intense concerts are all the more remarkable because of the artists high wire act, a balance constantly maintained throughout between her professional savoir faire (a vocal technique at the apex of her art and her interpretive skills) and her emotional abandonment to the moment as she gives her all. The entire performance, with Vaughan pouring out her heart, seems in hindsight at once perfectly timeless in terms of its formal classicism yet thoroughly in the fleeting moment. At the end of the day, these recordings are invaluable. As Vaughan explores the most lyrical, emotional aspects of her art, she overwhelms her listeners as she bares her soul. Her virtuosity in using her imagination to deploy all her technical skills and the extraordinary range of her tessitura are restrained rather than ostentatious. She literally reaches the stars and gives us a unique lesson in music as a form of the art of living.
CONTENTS:
La vie en rose
Satie
Rudi Berger Featuring Tonino Horta
The combination of violin and guitar as well as classical playing styles and jazz has been on everyone's lips since the inimitable duo Stephane Grappelli and Django Reinhard. An equally deep musical friendship exists between the Viennese violinist Rudi Berger and the Brazilian guitarist Toninho Horta, whose new album Belo Horizonte received the Latin Grammy Award for "Best Brazilian Album of the Year" in 2020. Their first collaborations started in 1988 in the United States, since then the two extraordinary musicians have played over 500 joint appearances to date. This album by the title "Rudi Berger featuring Toninho Horta" presents a cross-section of these years of musical life together, with recordings from Austria, New York City and Rio de Janeiro, from duo to 9-member formation. The compositions by Berger and Horta always transcend genre boundaries and incorporate influences from bossa nova, jazz, but also classical and folk music.
IMPERFECTO
The Duke Ellington Orchestra in Stuttgart 1967
My Choice
Noël Akchoté, composer/guitarist from Paris, unites supposedly incompatible material on the album "My Choice": Zarah Leander's Nazi-era hit "Der Wind hat mir ein Lied erzählt", Serge Gainsbourg's irony about Nazi refuge in South America "SS in Uruguay", Ornette Coleman's groundbreaking "Street Woman", Kylie Minoque's "Red Blooded Woman" and Paolo Conte's "Via Con Me" and one is amazed, because his choice is genius. It's wonderful, it's wonderful, it's wonderful! Everything comes together to form a new whole. "The strand always grows from it's middle, both sides - I don't believe in styles, nor genres. All proves that the original musical gesture remains the exact same since it first happened. I got hit by Jazz at earliest age because they had all to invent, another Blank Page. As many white pages as individuals, eternally. Because you can't, because it's too high, you will perpetually - Dare, fear, burn & adore. Reproduce. All arts are timing, so are lives. All arts are at present when coming near by. A frame is a length, a text a tone, a sound a height. The biggest lesson one can achieve is to really integrate the fact that by playing, writing, directing, performing, it will always be you and only doing so. Therefore only You can beat yourself at your own games."
