Just over two years after releasing their debut trio album,​These Human Beings (AlfaMusic), Pericopes 1 return with an inventive and compelling sophomore release,​ Legacy​.Throughout 2015-16,​These Human Beings ​earned Pericopes 1 attention from jazz greats and international media alike. Dave Liebman described the album as “wonderful music with a very diverse repertoire, played flawlessly,” and Downbeat Magazine praised them as “exhibiting power and intention, a good indication for this young group.” The album opened doors to new international stages ​​and ​​resulted ​​in ​​five ​​tours ​​throughout​​ Europe,​​ the​​ UK​​ and​​ USA. Legacy ​finds Pericopes 1 embracing a new musical palette inspired by alternative and popular culture of the past several decades: dynamic grooves, rhythmic focus, Rhodes and electronic effects enhance clever compositional devices without distorting Pericopes 1’s acoustic sensibilities.

Good Gracious may be Lou Donaldson's record, but guitarist Grant Green and organist John Patton steal the show. Working with a tight, soulful groove laid down by drummer Ben Dixon, the guitarist and organist trade hot lines that often steal the thunder from Donaldson, who nevertheless turns in a robust, tuneful performance. Donaldson's tone is richer and fuller than it is on many of his early-'60s records, and he really connects with the laid-back R&B grooves and soul-jazz vamps on Good Gracious, turning in melodic, memorable solos.

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.
Louis Armstrong, Kenny Burrell, Blossom Dearie, Shirley Horn, Count Basie, Anita O'Day, Oscar Peterson, Dinah Washington and more.

"Each time span has its own music", the motto of the production "Time for Time". This contains five of the brand new songs from the concert program of the same name. "Time for Time" are stories from life for life. They invite you to dream, question and let go, as well as to enjoy and have fun. The arrangements are jazzy pop, high-ranking live musicians enrich the CD.

Reissue. Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. Bethlehem released The Charlie Mariano Quartet in 1954 when altoist Charlie Mariano was at the prime of his bebop period. Mariano, whose alto tone mixes together Benny Carter and Charlie Parker, is accompanied by a quiet and supportive rhythm section comprised of pianist John Williams, bassist Max Bennett, and drummer Mel Lewis. Switching to tenor on four of the dozen selections, Mariano sounds in excellent form on ten standards, a blues, and his own "Floormat." A swinging cool bop date.

A star in her native Denmark, jazz singer Sinne Eeg has been weaving her spell in performances throughout Europe, the United States and Asia, where audiences and critics alike have responded enthusiastically to her dark, alluring voice, rich timbre, impeccable intonation, inherent sense of swing and remarkably natural scatting ability that recalls her own vocal jazz heroes, Ella Fitzgerald, Sarah Vaughan and Anita O'Day. On We've Just Begun, her winning collaboration with the 19-piece Danish Radio Big Band and 9th album overall, Eeg sings with signature soulfulness, sassy spirit and jazzy abandon on a program of three well-chosen standards, a swinging adaptation of a tune from a vintage Danish film, and five affecting originals with Eeg as composer and/or lyricist.

Within a five day period in 1973, altoist Jackie McLean, who had only made one album (a live set) between 1968-72, cut enough material for five records. This worthy set features his intense style in a quartet with pianist Kenny Drew, bassist Niels Pedersen and drummer Alex Riel, recorded live at Montmartre in Copenhagen. Although the material – Drew's "Callin'," athe ballad "Where Is Love," a pair of William Gault songs and McLean's "Jack's Tune" – is not all that memorable, the altoist's passionate solos and very distinctive sound uplift the music and make this an advanced hard bop set worth acquiring.

It's admirable within which accuracy and simultaneous emotional intensity Schmid (saxophone and clarinet) is able to conduct his instruments. Sometimes melancholic-quiet, sometimes explosive and hectic (including all shapes in between) he acts focused and strong.

John Coltrane was frequently recorded without authorization as he toured Europe during the 1960s; this two-CD set seems to come from a fairly decent audience tape of a 1962 concert in Graz, Austria; all songs are complete, unlike many earlier LP and CD issues, although the volume of the bass causes some distortion, and the piano is not as well recorded as one would like. Coltrane is, of course, accompanied by his classic quartet consisting of McCoy Tyner, Jimmy Garrison, and Elvin Jones.

Only 38-minutes long, Canta Vinicius De Moraes e Paolo Cesar Pinheiro is one of the truly great Baden Powell recordings. Long before alcoholism took its toll on the great guitarist and composer, he recorded this set in 1977 for the Festival label at the behest (read: strongarm tactics) of Jacques Lubin, his A&R man at Barclay, as a tribute to the two great lyricists and collaborations in his life. Powell is supported on this program buy a small group of truly sympathetic studio musicians who held him in awe. His small, tender, but deeply moving voice on such classics as "Labaréda," and "Samba de Bênção" - both of which are based on the chants, rhythms, and melodies of the Afro-Brazilian Candoble religion - that holds the magic…

Rock & roll music scholars debate when the genre really began and which artist produced its first recording. But critics can agree that the music which defined a generation had its roots in the blues and rhythm & blues artists of the 1940s. Many of those early artists were African Americans who saw their songs recorded by young white musicians who liked their music so well they thought they wrote it. Setting aside the important issues of copyright piracy and musical equities, the kaleidoscope of contributors to the rock & roll idiom makes for interesting listening. This CD is part of a series that goes back to those days in the 1940s before rock & roll had a name and started a cultural revolution. This volume focuses on the year 1948, when an avalanche of great music was released, all bearing the throbbing beat that was to characterize the music later called rock & roll…

An incredible album – and a landmark session that showed that the bossa nova was still alive and well in the 1970s! The album pairs the breathy jazz vocals of Elis Regina with the booze-soaked warmth of Antonio Carlos Jobim – in a set of spare arrangements that feature a lot of touches from Cesar Carmargo Mariano, whose work on Elis Regina's 70s sessions is still the stuff of legend! Elis' vocals dominate, but when Tom comes in, the result is even more spectacular – especially given the generally light instrumentation used on most tracks – which means that the vocals carry the bulk of the sound on the set!

Awesome mixture of exotic acoustic and electric elements, rhythms and tonalities. Ginger Baker is a world traveler and this has heavy leanings to African themes but Bill Laswell's production brings it out of the village into the studio, but just barely. The drumming and percussion throughout the album goes beyond the boundries of both rock and world music. Bass duties are handled by Laswell and Jah Wobble, often both on the same track. Exotic guitars played by tonemaster Nicky Skopeltis. No vocals, no need for them here.In fact I've played this recording since it first came out (circa 1989) but not until writing this review now did the abscence of vocals even dawn on me.

Exhaustive 30 CD collection from the Jazz legend's short-lived label. Contains 44 original albums (421 tracks) plus booklet. Every record-collector has run across an album with the little sax-playing bird in it's label-logo, right next to the brand name Charlie Parker Records or CP Parker Records. Turning the sleeve over, especially if it was one of the non-Parker releases, and seeing a '60s release date under the header Stereo-pact! Was as exciting an experience as it was confusing. Was the claim Bird Lives meant more literally than previously thought?

We're not often the biggest fans of poetry in the work of Steve Lacy – but somehow, this set seems to come off especially right – thanks, no doubt, to the fact that beat legend Brion Gysin composed all of the words! Gysin himself only speaks on 2 titles – but his presence there is especially strong – grounding the other vocals by Irene Aebi with a gruff and gritty sensibility that she seems to carry back to her own interpretations of his words on the other titles. Members of the group here are usual Lacy conspirators – Aebi on voice and violin, Bobby Few on piano, Steve Potts on alto and soprano saxes, Jean-Jacques Avenel on bass, and Oliver Johnson on drums.