In the '40s, Getz played with Goodman, Herman and Kenton. In the '60s, he helped spark the bossa-nova explosion. In between, he became one of the top sax stars in jazz, and this 154-track set captures him in that '50s prime. You'll hear scads of studio sessions plus live stuff including gems taped at the Shrine Auditorium in '57; includes And the Angels Swing; Stardust; What's New; My Old Flame; The Lady in Red; Imagination; Prelude to a Kiss, and more!
60s Summer of Love is a stunning collection of 60 tracks that capture the sometimes groovy, psychedelic and populist feel as well as laid back and chilled-out mood of the mid to late 60s through to the early 70s. This was the time when teenagers were discovering and listening to "pseudo-psychedelic" anthems, a groovy collection of mind expanding folk-rock hits from the hip artists of that time and genre, wearing colourful and way-out fashions with flowers in their hair.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Duke Pearson returned to a big band setting for Now Hear This!, once again proving his agility and inventiveness as an arranger and leader. Working with a larger band than before – the total number of musicians weighs in at 17 – Pearson nevertheless keeps things clean and uncluttered. His compositions, as well as the songs he covers, cover a broad range of emotions, styles, and tonal colors, with lush ballads taking the center stage. Even if much of this music is beautiful, Pearson's arrangements take chances and are unconventional, which means it rewards close listening as well.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest DSD / HR Cutting remastering. Comes with a description. Features the original LP designs. After gaining initial fame with Woody Herman's band, Stan Getz went solo in the late '40s, hitting his zenith during the bossa nova craze of the early '60s. Before scoring with "Girl From Ipanema," though, Getz established himself with a slew of fine dates for Prestige and Verve, including this one from 1950. At the time, Getz's cool, Lester Young-inspired sound was becoming more distinct and harmonically varied, featuring the beautifully mellifluous tone he would soon turn into his trademark.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. "New York is Now" – a pretty bold statement from saxophonist Ornette Coleman, but one that definitely shows his shift in role – from a major force on the LA underground of the early 60s, to an artist who was helping pave the way for a huge wave of growth on the New York downtown scene in years to come! Ornette's at his most late 60s unbridled here – freer than before, and working with a lineup that includes Jimmy Garrison on bass and Elvin Jones on drums – still no piano at all – plus great work from Dewey Redman on tenor, who really burst into new prominence with this album. Ornette plays a bit of violin alongside alto sax – and tracks include "Toy Dance", "Round Trip", "Broad Way Blues", and "We Now Interrupt For A Commercial".
Led by Colin Cooper, the former frontman of the R&B unit the Hipster Image, the Stafford, England-based Climax Chicago Blues Band were one of the leading lights of the late-'60s blues boom. A sextet also comprised of guitarists Derek Holt and Peter Haycock, keyboardist Arthur Wood, bassist Richard Jones, and drummer George Newsome, the group debuted in 1969 with a self-titled effort recalling the work of John Mayall. Prior to the release of 1969's Plays On, Jones left the group, prompting Holt to move to bass. In 1970 the Climax Chicago Blues Band moved to the Harvest label, at the same time shifting toward a more rock-oriented sound on the LP A Lot of Bottle…
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. One of our favorite albums ever from Art Blakey and the Jazz Messengers – but a set that was unreleased by Blue Note for quite a few years! The set's one of two gems the group recorded in 1961, but which were held back until the end of the 60s – and it features a stellar version of the group with Wayne Shorter on tenor, Lee Morgan on trumpet, and Bobby Timmons on piano – all wonderful players who were really coming into their own at the time, and starting to bring a richness to the Messengers sound that would leave its mark in jazz for many years to come!
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Genius work from trumpeter Blue Mitchell – one of his most solid sides as a leader from the 60s, and a well-deserved treasure in the Blue Note catalog! The album's quite different than the straight soul jazz of Blue's early days on Riverside – or the more arranged dates of the late 60s – and it features him moving in a soulful, lyrical, modal style – quite similar to Horace Silver in conception, but with a fresh execution that's mighty nice – and which marks Mitchell as one of the fresher trumpet voices of his generation!
RIP Mr. Cecil. In Memoriam. Recorded live in Berlin at the Total Music Meeting in early November 1996, and released by FMP in 2005, the nearly 77-minute performance ritual Almeda easily stands among Cecil Taylor's finest large ensemble realizations, including Unit Structures (1966), Winged Serpent/Sliding Quadrants (1986), and The Owner of the River Bank, a collaboration with the Italian Instabile Orchestra which occurred in 2004. Almeda's forces are expansive and colorfully unfurled. Here the pianist, poet, and composer was anchored by his regular working unit of bassist Dominic Duval and drummer Jackson Krall, with guest cellist Tristan Honsinger.