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Jazz - Verschijnt op 1 januari 2050 | Blue Note Records

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Jazz - Verschijnt op 11 juni 2021 | Blue Note Records

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Jazz - Verschijnt op 21 mei 2021 | Blue Note Records

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Jazz - Verschenen op 7 mei 2021 | Blue Note Records

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Jazz - Verschenen op 7 mei 2021 | Blue Note Records

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Pop - Verschenen op 16 april 2021 | Blue Note Records

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Over the course of her 20-year career, Norah Jones may have performed thousands of concerts, but she has never delivered a live album. For ...’Til We Meet Again, released almost two decades after her hit first album Come Away With Me, she opts for the trio and quartet setups, undoubtedly the configurations that best suit her voice and piano. The setlist includes songs recorded between May 2017 and December 2019 in the United States, France, Italy, Brazil and Argentina, with organist Pete Remm, bassists Christopher Thomas and Jesse Murphy, drummers and percussionists Brian Blade and Marcelo Costa, guitarist Jesse Harris and flautist Jorge Continentino.In order to show she’s a major-league performer capable of fully owning everything she sings, Jones shifts seamlessly from the legendary country of Cold Cold Heart by Hank Williams to Black Hole Sun by grunge group Soundgarden (a posthumous tribute to singer Chris Cornell recorded a few days after his death), not to mention her own songs… With false nonchalance but genuine melancholy, Jones picks through her albums Come Away With Me (Don’t Know Why, I’ve Got To See You Again, Cold, Cold Heart), Feels Like Home (Sunrise, Those Sweet Words), Little Broken Hearts (After The Fall) and Day Breaks (Flipside, Tragedy), as well as her most recent series of singles (It Was You, Begin Again, Just A Little Bit). Everything is fluid and coherent. Her piano playing is nicely matured and the chemistry with the exceptional Blade (what a drummer!) reaches real heights here. You’ve got to surrender yourself to this smoky bar jazz (even if you can't smoke in bars anymore…), to the silky velvet blues, deeper and richer than a casual listening might indicate. Then there’s that magical voice with its instantly recognisable timbre, capable of being moving without being weepy, as in the tribute to Cornell that closes this beautiful live set. © Marc Zisman/Qobuz
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Pop - Verschenen op 16 april 2021 | Blue Note Records

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Jazz - Verschenen op 9 april 2021 | Blue Note Records

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Pop - Verschenen op 1 april 2021 | Blue Note Records

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Pop - Verschenen op 1 april 2021 | Blue Note Records

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Jazz - Verschenen op 26 maart 2021 | Blue Note Records

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With 2016's Evolution, Dr. Lonnie Smith had put out a pretty flamboyant comeback. The last time the name of this unusual doctor graced the cover of a Blue Note album was forty-five years ago... It was on this famous label, first as a sideman to Lou Donaldson and then as a leader, that this master of the Hammond B-3 organ made a name for himself in the late 1960s. In 2018, he followed up with All in My Mind, a live album recorded at the Jazz Standard in New York with guitarist Jonathan Kreisberg and drummer Johnathan Blake. It's the same team and the same concert hall for this release, Breathe. In addition to his two faithful accomplices, this time the good old Doc develops his unique groove in a septet, with saxophonists John Ellis and Jason Marshall, trumpeter Sean Jones and trombonist Robin Eubanks. As the cherry on this groovy cake, he even hands the microphone to singer Alicia Olatuja and unexpectedly and most notably, to Iggy Pop! The Iguana, who is more and more fond of playing the crooner as he ages, launches into in a suave version of Timmy Thomas's Why Can't We Live Together, and an equally inspired cover of Donovan's psychedelic Sunshine Superman. Delicious. © Max Dembo / Qobuz
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Jazz - Verschenen op 26 maart 2021 | Blue Note Records

With 2016's Evolution, Dr. Lonnie Smith had put out a pretty flamboyant comeback. The last time the name of this unusual doctor graced the cover of a Blue Note album was forty-five years ago... It was on this famous label, first as a sideman to Lou Donaldson and then as a leader, that this master of the Hammond B-3 organ made a name for himself in the late 1960s. In 2018, he followed up with All in My Mind, a live album recorded at the Jazz Standard in New York with guitarist Jonathan Kreisberg and drummer Johnathan Blake. It's the same team and the same concert hall for this release, Breathe. In addition to his two faithful accomplices, this time the good old Doc develops his unique groove in a septet, with saxophonists John Ellis and Jason Marshall, trumpeter Sean Jones and trombonist Robin Eubanks. As the cherry on this groovy cake, he even hands the microphone to singer Alicia Olatuja and unexpectedly and most notably, to Iggy Pop! The Iguana, who is more and more fond of playing the crooner as he ages, launches into in a suave version of Timmy Thomas's Why Can't We Live Together, and an equally inspired cover of Donovan's psychedelic Sunshine Superman. Delicious. © Max Dembo / Qobuz
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Jazz - Verschenen op 12 maart 2021 | Blue Note Records

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Jazz is often the mastery of the art of conversation and at 82, the always spiritual Charles Lloyd can speak in many different languages, on a nearly endless array of musical topics. Skilled at rock, world, mainstream jazz and Manfred Eicher's ECM, Lloyd has found his conversational equals in his group, the Marvels. Based in an elastic rhythm section of drummer Eric Harland and bassist Reuben Rogers, this Lloyd-led colloquy where everyone is a leader and also a follower is completed by the powerhouse electric guitar duo of Bill Frisell and Greg Leisz, both of whom speak in their own highly idiomatic, extremely articulate string patois. Tone Poem is a beautiful example of Lloyd's always expansive musical vision, what he calls his "elixir." It's jazz with elements of Americana, rock and even country—a classic example of his easy, graceful melding of sounds and styles. Filled with Lloyd originals and covers of tunes by Ornette Coleman, Leonard Cohen and Thelonious Monk, Tone Poem evokes two other seminal spiritual/musical concepts: "soul," not as in soul music exactly but as in the mood, the wisdom and grace that imbues everything here and "groove," as in the Second Line rhythm flavor that energizes Coleman's "Ramblin'" before morphing into a train-like chug over which the guitars talk around each other. Lloyd eventually eases in, adding his voice and some squawky tenor mangling that is a natural fit. Leonard Cohen's ethereal "Anthem," perfectly outlined by Frisell's single note lines given resonance through reverb, are supported by Leisz's legato background on pedal steel before Lloyd enters with his warm, searching tone and innate finesse. This is a bravado performance that shows the Marvels at their very best. As lovely as "Anthem," is, it's topped by a ten-minute cover of Ignacio Jacinto Villa Fernández's "Ay Amor," an enchanting triste melody that speaks of soul and hope and is here carried by elegance from Lloyd and both guitarists; it oozes romance tinged with the heartache inherent in the tune. Lloyd switches to alto flute for a bright, groovy, '60s-influenced performance of his "Dismal Swamp," where an insistent tempo provides a steady background around which Leisz wraps an impressionistic pedal steel solo. Produced by Lloyd and his wife, Dorothy Darr, and recorded by a trio of engineers in Spain and California, the sound here is peerless, capturing the instrumental interplay with detail and artistry. Tone Poem is the work of a creator, who as he says in the liner notes, remains inspired by the "fierceness of exploration." © Robert Baird/Qobuz
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Jazz - Verschenen op 12 maart 2021 | Blue Note Records

Jazz is often the mastery of the art of conversation and at 82, the always spiritual Charles Lloyd can speak in many different languages, on a nearly endless array of musical topics. Skilled at rock, world, mainstream jazz and Manfred Eicher's ECM, Lloyd has found his conversational equals in his group, the Marvels. Based in an elastic rhythm section of drummer Eric Harland and bassist Reuben Rogers, this Lloyd-led colloquy where everyone is a leader and also a follower is completed by the powerhouse electric guitar duo of Bill Frisell and Greg Leisz, both of whom speak in their own highly idiomatic, extremely articulate string patois.Tone Poem is a beautiful example of Lloyd's always expansive musical vision, what he calls his "elixir." It's jazz with elements of Americana, rock and even country—a classic example of his easy, graceful melding of sounds and styles. Filled with Lloyd originals and covers of tunes by Ornette Coleman, Leonard Cohen and Thelonious Monk, Tone Poem evokes two other seminal spiritual/musical concepts: "soul," not as in soul music exactly but as in the mood, the wisdom and grace that imbues everything here and "groove," as in the Second Line rhythm flavor that energizes Coleman's "Ramblin'" before morphing into a train-like chug over which the guitars talk around each other. Lloyd eventually eases in, adding his voice and some squawky tenor mangling that is a natural fit. Leonard Cohen's ethereal "Anthem," perfectly outlined by Frisell's single note lines given resonance through reverb, are supported by Leisz's legato background on pedal steel before Lloyd enters with his warm, searching tone and innate finesse. This is a bravado performance that shows the Marvels at their very best. As lovely as "Anthem," is, it's topped by a ten-minute cover of Ignacio Jacinto Villa Fernández's "Ay Amor," an enchanting triste melody that speaks of soul and hope and is here carried by elegance from Lloyd and both guitarists; it oozes romance tinged with the heartache inherent in the tune. Lloyd switches to alto flute for a bright, groovy, '60s-influenced performance of his "Dismal Swamp," where an insistent tempo provides a steady background around which Leisz wraps an impressionistic pedal steel solo. Produced by Lloyd and his wife, Dorothy Darr, and recorded by a trio of engineers in Spain and California, the sound here is peerless, capturing the instrumental interplay with detail and artistry. Tone Poem is the work of a creator, who as he says in the liner notes, remains inspired by the "fierceness of exploration." © Robert Baird/Qobuz
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Jazz - Verschenen op 3 maart 2021 | Blue Note Records

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Jazz - Verschenen op 26 februari 2021 | Blue Note Records

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Jazz - Verschenen op 26 februari 2021 | Blue Note Records

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Moderne jazz - Verschenen op 12 februari 2021 | Blue Note Records

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Behind the cryptic name R+R=Now there stands a group that was launched in 2018 by Robert Glasper, made up of Terrace Martin, Christian Scott, Derrick Hodge, Taylor McFerrin and Justin Tyson. A cast of virtuosos of the current jazz scene(s) with their ears and eyes wide open. They are a generation that grew up to the sounds of a thousand influences. But R+R=Now is also an idea. A philosophy that Glasper elucidates by explaining the origin of the two Rs: Reflect and Respond. He says that he was inspired by a reaction by Nina Simone to people who scolded her for being politically engaged. Some even shouted at her to "shut up and sing"! Her response was as simple as it was scathing: “an artist’s duty, as far as I’m concerned, is to reflect the times”. Collagically Speaking was recorded in the studio in 2018. This live recording was made in October of the same year in New York's Blue Note club, where the band had spent several weeks in residence. It documents its times anew, mixing neo-soul, futurist funk, West Coast jazz, electro, instrumental hip-hop and avant-garde music. It is an orgy of improvisation and mixing in the spirit of seventies-era Herbie Hancock, boosted by the sense of risk in a live performance. This is what lends such interest to these rich exchanges and delirious improvisations: the chance to hear them without the artifice of the studio. The spirited cover of Kendrick Lamar's How Much a Dollar Cost is a guaranteed knock-out (Terrace Martin also played on the original). This instrumental version is as soulful as they come. © Marc Zisman/Qobuz
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Moderne jazz - Verschenen op 12 februari 2021 | Blue Note Records

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Franse chansons - Verschenen op 29 januari 2021 | Blue Note Records

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