PORGY & BESS MILES DAVIS - VINYL LP - Porgy and Bess is a studio album by jazz musician Miles Davis, released in March 1959 on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's opera Porgy and Bess. The album was recorded in four sessions on July 22, July 29, August 4, and August 18, 1958 at Columbia's 30th Street Studio in New York City. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since it's release, being acknowledged by music critics as the best of their collaborations. Jazz critics have regarded the album as historic.. 180 gram vinyl in MONO, orig tracks, numbered.

On Rosenhill is a tribute to the neighborhood where Jakob Buchanan grew up, revisiting the area many years later on. Initially a Danish housing project, characterized by high-rise concrete apartments built in the 1960s, today's Rosenhøj (Rosenhill) is a fascinating cultural melting pot that offers previously undreamt-of possibilities to the locals. The album is Buchanan's first for Dacapo Records, introducing a wonderful new group of close musical associates in music of flowing lyricism, delicate texture and inspired interplay in settings of poems by best-selling writer, Iain S. Thomas. Buchanans previous albums have been heralded by critics as An eminently impressive contribution to new Danish music and an obvious candidate for the Nordic Council Music Prize (Politiken) and without a doubt, one of this decades most important jazz releases, a true masterpiece! (Gaffa)

The year was 1961, the venue the Concertgebouw, Amsterdam. After a memorable performance in Berlin a year earlier, Fitzgerald was once again singing to a packed concert hall. This release has captured that performance, and has been remastered for crystal-clear sound quality. It’s the closest thing to being right there in the audience those five decades ago. (Fondamenta)

In view of the work of new musicians of the same period, such as Miles Davis, Frank Zappa and the Art Ensemble of Chicago (to name only three representatives of the exceptional creative effervescence of this enchanted fleeting period in musical history), at this specific moment in his career Dizzy Gillespie might conceivably have given his peers the impression that he was resting on his laurels. However, the passing of time and there discovery of unpublished recordings such as the one of this 1973 concert in Laren give a fresh, dispassionate perspective on the music that the artist was making then, and help put peremptory judgements into context. With hindsight, there appears to have been a schism within the Gillespie of the 1970s: he readily agreed to go on high-profile tours in line with legends of bebop (such as the Giants of Jazz in 1971) where, following tradition, he would give performances “of himself”, while he could call himself into question, return to the framework of his usual small bands that were familiar yet experimental, rediscovering there, as if by magic, his style – cutting-edge, inventive, virtuoso and exuberant – and his ever-intact joy in performing.

What best example could one have of the art of Abdullah Ibrahim than this Autobiography " The pianist regarded at the time as his more beautiful concert solo? As the title of the disc indicates it, it is all the history, the culture, the meetings and the interrogations of the musician which ravel in this extraordinary voyage. Ibrahim jumps of a topic, an air, a melody to another like one dodges the water puddle pools, without any rupture in the continuity and the logic of his musical thought. One has the impression that, inside himself, he reconstituted, reorganized, recomposed by preserving all his culture and his evolution since his childhood: musics and popular songs. South-African, entertaining (dance, festival) like functional (anthems, steps) which rythm life, American black jazz, European classical music... All that produced a perfectly built and coherent musical mixture. Never, in spite of the abundance of parts which are followed, there is the impression of a juxtaposition, a joining. No piece " is retracted " to pass to the following, all have their place, their function, their role and their significance in the architecture of this large fresco. They are sand-gravel mix surges which thunder, powerful waves which roll, coloured sparks which burst, aggregates of notes touffus, or time of calm meditations, tender and deep melodies, the nostalgic calls followed by abrupt resolutions, of the dreams of hope, the songs repeated... One collects oneself then, after some steps, one is carried by the dance... almost frighten before peace does settle and the harmony finally reigns. Let us follow while reading them the titles of the pieces while they are played, notice as all are connected and intersected naturally, listen how an harmonic and rhythmic expansion very marked announces a typical anthem which itself is transformed into standard of jazz! Let us discover how Ellington and Monk are completely absorbed and returned with a different breathing.

In a concert given in Zurich in 1991, when it was then rare for Shepp to adopt the alto saxophone of his debuting years, this album offers a fine example of their repertory : a series of perfectly formed pieces, played with both the depth of experience and lucid distance. Going to the heart of the matter, the two musicians enable us to discover the very essence of jazz and Afro-American music in it's full glory.

(2-CD set) Lester Young, on exile from a future wich would have never happened. - TRACK LISTING: THEM THERE EYES. CHEROKEE, part 1&2. I AIN'T GOT NOBODY. (LET ME) LIVE AND LOVE TONIGHT. LOVE ME OR LEAVE ME. TWELVTH STREET RAG. MISS THING, part 1&2. SONG OF THE ISLANDS. I NEVER KNEW. SOMETIMES I'm HAPPY. SIX CATS AND A PRINCE. DESTINATION KC. JO-JO. FOUR O'CLOCK DRAG. POOR LITTLE PLAYTHING. KANSAS CITY STRIDE. BASIE STRIDES AGAIN (ALONG AVENUE C). THE MIDNIGHT SYMPHONY. ON THE SUNNY SIDE OF THE STREET (1). D.B. BLUES. THESE FOOLISH THINGS. I CAN'T GET STARTED. I'VE FOUND A NEW BABY. MEAN TO ME. SLOW DRAG. YOU'RE DRIVING ME CRAZY. LESTER'S BE BOP BOOGIE. SHE'S FUNNY THAT WAY. S.M. BLUES. JUMPIN' WITH SYMPHONY SID (1). NO EYES BLUES. ON THE SUNNY SIDE OF THE STREET (2). EASY DOES IT. JUMPIN' WITH SYMPHONY SID (2)

(2-CD set) The pianist who loaded high voltage into every line. Includes a 32 page booklet with both French and English notes.

This CD contains 12 compositions by Claude Bolling dedicated to 12 jazz pianists. Tracks include: An Oscar For Oscar (Oscar Peterson), Count On Him (Count Basie), Bis-Scott Rag (Scott Joplin), Dear George (George Shearing), Dave The Brave (Dave Brubeck), Midnight On Thelonius (Thelonius Monk), Duke On My Mind (Duke Ellington), Fatty Fats (Fats Waller), Ramsey The Pharaon (Ramsey Lewis), With Art and Fun (Art Tatum), Roll Jerry Roll (Jerry Roll Morton), Erroll in Blue (Erroll Garner).

At Footprint Records, we are very proud to present Naoko Sakata's first solo album, Inner Planets. Over the last years, she has appeared in many different improv constellations on the Swedish jazz scene, but during her ten years in Sweden, Ms. Sakata has also evolved into an amazing solo improviser on the piano. These recordings were made with Ms. Sakata and a Fazioli Grand Piano at Studio Epidemin, in February 2019. On Inner Planets, you will hear six selected and un-edited takes from this recording session. Per Sjösten made this DXD recording and Naoko played straight from her heart - no compositions. We love it and we hope you will too. Naoko Sakata can also be heard on the albums Dreaming Tree (Naoko Sakata Trio, FR 084) and Thomas Markusson's Open (FR 107) from Footprint Records.

“In the early fifties Ernest Leardee, with his West Indian orchestra, played a major role in the popularization of tropical music in France. He enables us to discover singer Andre Salvador, Henri Salvador’s elder brother, in unissued and extremely rare recordings.” J.-P. Meunier & P. Fremeaux

This historical recording session captured on DVD is the successful outcome of the mutual admiration of two great jazz artists: Claude Bolling and Stephane Grappelli. Here, the combination of the talents of Bolling's swinging 17-piece big band and the virtuosity of Grappelli's violin make a stunning visual document. Color, 53 minutes, in French and English.

Santos Chillemi is travels between three musical roads: Argentina, jazz and classical. On this CD he pays homage to the traditional South-American repertoire. Features la cumparsita today / Arraigado / Chacarera / Malambo / Milonga de los recuerdos / Besame mucho / La flor de la canela / Tomo y obligo / El dia que me quieras / El choclo burlon / La quimera o Balderrama / Alfonsina / La pome-�a / La cumparsita today (radio version) and others.

Didier and Francis Lockwood have been fixtures of the French jazz scene for thirty years, but their Brothers album, originally recorded for the Ames label in 2008, featured them together for the first time. Francis Lockwood's piano and the violin of his brother Didier function together in perfect alchemy here, the only instruments present on the recording. The result is an intimate, delicate dive into a universe of their own design where their talents, complicity and connivance are shaped by the closeness of their relation as brothers.

(2-CD set) The wildest of them all. Includes a 32 page booklet with both French and English notes.

“Bird was like the sun, giving off the energy we drew from him… In any musical situation, his ideas just bounded out, and his inspired anyone who was around.” Max ROACH The aim of 'The Complete Charlie Parker', compiled for Fremeaux & Associes by Alain Tercinet, is to present (as far as possible) every studio-recording by Parker, together with titles featured in radio-broadcasts. Private recordings have been deliberately omitted from this selection to preserve a consistency of sound and aesthetic quality equal to the genius of this artist.

Stan Laferriere’s Big One brings everything in jazz history back to life, from the fi rst signs of ragtime to contemporary fusion in a tasty record you can qualify as one half tribute, one half stylistic exercise. Because while each title on the album is a Laferriere composition, they have that familiar sound which could turn them into standards as great the music they recall. Educational value, yes, but apart from any questions of period or style, this is a jazz orchestra combining power with nuance, and its precision makes it stand out thanks to Stan Laferriere’s unique feel for arrangements and his skill in instrumentation.

There is no way around true jazz legend Alain Jean-Marie. A pianist gifted with a rare sensitivity and a sincere virtuosity, he is held in high esteem by jazz fans and jazz musicians alike. Biguine reflections is the works of a lifetime. It was produced by great French-Caribbean producers Arthur Apatout in turn with Erick Siar and stands as a 21-year long adventure (1992 to 2013), issued on five sides and gathered here in a complete, 4-disc set for the first time. In this tremendous, polyptich work the pianist bridges biguine and jazz, two creole musics which emerged out of the same cultural sphere: The Caribbean Sea. He strived to pursue and update the works of wabap biguine founders Al Lirvat and Robert Mavounzy. In bringing his own reinterpretation to it, Alain Jean-Marie takes Caribbean jazz to new heights. A monument.

Jean Aldegon, Claude Tissendier, Andre Villeger, Marcel Canillard, Pierre Schirrer (Saxophones, Flutes); Maurice Thomas, Jean-Pierre Ramirez, Jean-Claude Verstraete, Michel Delakian, Fernand Verstraete (Trumpets); Charles Verstraete, Benny Vasseur, Francois Guin, Emile Vilain (Trombones); Jean-Paul Charlap (Guitar); Jean-Francois Rouge (Bass); Jean-Luc Dayan (Drums); Claude Bolling (Piano).

« Charlie Parker did all the things I would like to do and more – he really had a genius, see. He could do things and he could do them melodiously so that anybody, the man in the street, could hear – that’s what I haven’t reached, that’s what I’d like to reach. » John COLTRANE

The Romantic touch and emotion of Russian Music united with Django Reinhardt's amazing technique.

"He was the alchemist who transformed the dark, brooding sentiment of keen, living death into ecstasy. And also the one who, in the depths of ecstasy, collected a precipitate of bitterness." Fremeaux & Associes’ « Quintessence » products have undergone an analogical and digital restoration process which is recognized throughout the world. Each 2 CD set edition includes liner notes in English as well as a guarantee. This 2 CD set present a selection of the best recordings by Art Pepper between 1950 and 1960.

“Jazz is our contribution to the world and us Afro-Americans, even if this world prefers to ignore it and always tries to make it the product of something else.” Art BLAKEY Fremeaux & Associes’ « Quintessence » products have undergone an analogical and digital restoration process which is recognized throughout the world. Each 2 CD set edition includes liner notes in English as well as a guarantee. This 2 CD set present a selection of the best recordings by Art Blakey & the Jazz Messengers between 1947 and 1959.

“Hootie, would you like it if I came to the bandstand looking like a doctor, and played like a doctor?” Charlie Parker to Jay McShann The aim of 'The Complete Charlie Parker', compiled for Fremeaux & Associes by Alain Tercinet, is to present (as far as possible) every studio-recording by Parker, together with titles featured in radio-broadcasts. Private recordings have been deliberately omitted from this selection to preserve a consistency of sound and aesthetic quality equal to the genius of this artist.

This 2-CD set presents 36 standards selected lovingly and illustrated with concupiscence in a booklet of 48 colors pages by Sine.