Storyville Records
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Late Night Ballads
$19.99CDStoryville Records
Apr 17, 2026SVL1014370 -
Copenhagen 1964
$19.99CDStoryville Records
Apr 17, 2026SVL1018545 -
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The Treasury Shows, Vol. 6
INCOMPARABLE FIDDLER
Strength - Energy - Imagination
The Duke at Fargo 1940 (60th Anniversary Edition)
Born on a Bad Sign [Vinyl]
Equilibrium
My People
To celebrate the 100th anniversary of the Emancipation Proclamation, which freed the slaves during the Civil War, jazz giant Duke Ellington began work on a special suite of music commemorating the struggles, triumphs and ongoing battle for the civil rights of blacks in America. This jazz masterpiece debuted in Chicago in the summer of 1963. Legends such as pianist and composer Billy Strayhorn and drummer Louie Bellson were a big part of the performance. And while portions of this master suite have been available for years, this is the very first time the complete piece has been available in it's entirety.
Jazzcraft, Vol. 1
Green Moss Black Sand
Take One
To begin a CD with an unaccompanied intro to a ballad indicates some confidence from the main soloist on this excellent double CD with the young talented American pianist Christian Sands in the company of the two Danes bass player Thomas Fonnesbæk who is said to be the next NHØP and a Montmartre legend the drummer Alex Riel. The music is recorded live in Jazzhus Montmartre, Copenhagen in October 2014. The three musicians had never met before, but already on the first evening they found their common beat and developed it through the next two concerts, which naturally led to the best takes being collected for this double CD.
Late Night Ballads
Copenhagen 1964
Between Then and Now
Subcurrents
Live in Helsingborg 1990
Into the Storm
John Tchicai
Duke Ellington - Rotterdam 1969
NEW YORK CONTEMPORARY 5
Over the Rainbow (Remastered 2021)
The history of the JAZZPAR AWARDS constitutes, in retrospect, a significant development in the recognition of jazz by international arbiters of taste, and by distributors of monetary recognition. Between 1990 and 2004, the award was made to several American performers but also, reflecting the history of the music itself, to six Europeans (Tony Coe, Django Bates, Martial Solal, Marilyn Mazur, Enrico Rava and Aldo Romano). It's worth remembering too that, as well as celebrating jazz per se, the fundamental idea was to draw attention to the world-class ability of Denmark's own musicians. Each annual winner was required to perform in a situation of their own choosing, but one which would involve several local players, as seen in the present series of reissues. In addition, it shouldn't be forgotten that each year a smaller prize was given to a Danish musician who was given the opportunity to invite a foreign player of their choice, often but not always an American, to appear and record with them. The international winners tended to be distinguished figures who, up to that point, had not received the amount of wider recognition that they deserved, and who found the award to be an honor that also increased their reputation. Such was the case with the initial recipients of the award, namely Muhal Richard Abrams (1990), David Murray (1991) and Lee Konitz (1992). This 1992 set showcases the work of the Danish pianist/composer Jørgen Emborg with a quintet including his specially invited guest, the American bass-guitarist Steve Swallow.
Solo Piano / Tommy Flanagan
Tommy Flanagan was always known for his tasteful, flawless and swinging piano playing. The American jazz pianist and composer grew up in Detroit and was initially influenced by artists Art Tatum, Teddy Wilson, and Nat King Cole. Within months of moving to New York in 1956 he was recording with Miles Davis and Sonny Rollins. His recordings under various leaders, including the historic Giant Steps of John Coltrane, continued well into 1962 when he became vocalist Ella Fitzgerald’s full time accompanist. He added class to every session that he was involved in and fortunately he was well documented during the latter part of his career.
Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first record date as a leader in 13 years and, most importantly, because it is very good music.
REVIEW:
What strikes me most on this solo album is the clarity Flanagan brings to each of the tunes. The more "cerebral" jazz artists often begin an account of a tune with a "variation" resulting from thick embellishment of the melody itself and/or the rhythm of that melody. Flanagan consistently begins by honoring his "source material," after which he unfolds no shortage of embellishments involving the tune, its rhythms, and the underlying chord progressions. This was the "bread-and-butter" approach to jazz improvisation during the second half of the twentieth century; and, as such, the album is not only an account of bravura solo piano work but also a first-rate introduction to cultivating the skills of listening to jazz.
-- The Rehearsal Studio (Steven Smoliar)
