This well-rounded set (released posthumously) features the highly influential pianist Bill Evans in a set of typically sensitive trio performances. With his longtime bassist Eddie Gomez and his drummer of the period, Eliot Zigmund, Evans explores such songs as "We Will Meet Again," Jimmy Rowles's classic "The Peacocks" and the "Theme from M*A*S*H." It's a solid example of the great pianist's artistry.
Henri Renaud was a Parisian jazz pianist in the 1940s and '50s who never lost his French touch. Outgoing, charming and a delightful composer, he was a natural point person for American musicians on tour in Paris in need of local sidemen, venues and recording opportunities. In addition to recording in the early 1950s in Paris with Bobby Jaspar, the Belgian saxophonist and flutist, Renaud recorded with Sandy Mosse, Nat Peck, Lee Konitz, Gigi Gryce, Tony Ortega, Art Farmer, Clifford Brown and many others American jazz greats. In early 1954, Renaud was in New York briefly to record with American jazz musicians for the French Swing label, a subsidiary of France's Vogue Records. For the balance of the 1950s, Renaud recorded steadily as the leader of a trio or small orchestra, writing a wide range of beautifully composed songs rich in melody and mood. In 1964, he began a long second career as head of CBS France. Renaud died in 2002.
Progressive rock bands stumbled into the '80s, some with the crutch of commercial concessions under one arm, which makes the Moody Blues' elegant entrance via Long Distance Voyager all the more impressive. Ironically enough, this was also the only album that the group ever got to record at their custom-designed Threshold Studio, given to them by Decca Records head Sir Edward Lewis in the early '70s and built to their specifications, but completed while they were on hiatus and never used by the band until Long Distance Voyager (the preceding album, Octave, having been recorded in California to accommodate Mike Pinder), before it was destroyed in the wake of Decca's sale to Polygram…
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Tribute album that focuses more on songs played by Parker, as opposed to focusing primarily on songs composed by Parker. Rein de Graaff - Pianist. Dutch self-taught pianist who's made himself one of Europe's best session players. De Graaff led a trio from 1959 to 1962, then joined The Jazzopters for a year. He then headed his own quartet until 1964, at the same time playing with Erwin Some and Gijs Hendriks. De Graaff formed a new group in 1964 that stayed together until the '80s.
The all-girl trio Arabesque was created by two Frankfurt-based German producers at the height of the disco era in 1977. After one album and a few singles that had found surprising success in Japan, the producers changed the lineup, keeping Michaela Rose and replacing the two other girls with Jasmin Vetter and Sandra Lauer. Vetter, a former gymnast, also became the trio's choreographer and Lauer, soon to be billed simply as Sandra, assumed the position of a lead vocalist. The first single of the updated Arabesque, "Hello, Mr. Monkey" went to number one in Japan. The Far East remained the band's biggest market, with numerous albums and compilations released over the years. However, Arabesque's success in their homeland was very modest, with only one single, "Marigot Bay," entering the German charts at number eight in 1981. In 1984, they disbanded and Sandra embarked on a successful solo career with the songs written by her future husband Michael Cretu (of Enigma fame.) Jasmin Vetter and Michaela Rose formed a new duet, Rouge, but after a few obscure singles it ceased to exist.
The great Swedish trio of Bobo Stenson takes a stand against indecision in a decisively beautiful new album. As ever, the trio draws upon a wide range of source materials. A yearning title song by Cuban singer-songwriter Silvio Rodríguez, Bartók’s adaptation of a Slovak folk song, a piece from Mompou’s Cançons I Danses collection, and Erik Satie’s Elégie are integrated into the programme, alongside original compositions by Stenson and Anders Jormin and group improvising. So strong is the group’s character and the musical identity of each of its members that the integration of this material always feels organic and logical. Stenson’s lyrical touch, Jormin’s folk-flavoured arco bass and Jon Fält’s flickering, textural drumming are all well-displayed on Contra la indecision, the trio’s first new recording in six years. Produced by Manfred Eicher, the album was recorded at Lugano’s Auditorio Stelio Molo RSI studio in May 2017.
A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades…