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12 Stars

Melissa Aldana

Jazz - Prossima uscita il 04 marzo 2022 | Blue Note Records

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Motherland Journey

Blue Lab Beats

Soul/Funk/R&B - Uscito il 25 febbraio 2002 | Blue Note Records

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Every Note Is True

Ethan Iverson

Jazz - Prossima uscita il 11 febbraio 2022 | Blue Note Records

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The 7th Hand

Immanuel Wilkins

Jazz contemporaneo - Prossima uscita il 28 gennaio 2022 | Blue Note Records

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First Flight To Tokyo: The Lost 1961 Recordings

Art Blakey & The Jazz Messengers

Jazz - Uscito il 10 dicembre 2021 | Blue Note Records

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I Jazz Messengers - un incomparabile vivaio di talenti ventenni - nel 1961 erano così composti: il sassofonista Wayne Shorter, il trombettista Lee Morgan, il pianista Bobby Timmons e il contrabbassista Jymie Merritt. Per la prima volta nella sua carriera, Art Blakey andò in tour in Giappone, in particolare a Tokyo il 14 gennaio. Una prima volta che ha caricato più che mai il batterista 42enne, assieme ai suoi giovani colleghi, carichi di energia e mai a corto di idee nei loro assoli e scambi. In quel periodo, il Bop stava attraversando una evoluzione, ben documentata in questo concerto rimasto finora inedito. Come la versione extra-large (oltre 22 minuti!) di Now's the Time di Charlie Parker che apre l'album, pubblicato da Blue Note, First Flight To Tokyo: The Lost 1961 Recordings, con un grande assolo del boss... I Jazz Messengers, fondati nel 1953, sono sempre stati considerati dei maestri degli standard dell'hard-bop. E questo corroborante set dal vivo non fa altro che confermarlo con le sue hit, come l'inno Blues March di Benny Golson, qui consegnato in un'incredibile versione swing. Incredibile, come lo sono gli gli scambi tra Shorter e Morgan... Nonostante si tratti di una registrazione degli anni '60, First Flight To Tokyo: The Lost 1961 Recordings beneficia di un ottimo sound che documenta perfettamente l'atmosfera alla Hibiya Public Hall di Tokyo, in quella sera di gennaio di 60 anni fa... © Marc Zisman/Qobuz
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CD13,99 €

First Flight To Tokyo: The Lost 1961 Recordings

Art Blakey & The Jazz Messengers

Jazz - Uscito il 10 dicembre 2021 | Blue Note Records

I Jazz Messengers - un incomparabile vivaio di talenti ventenni - nel 1961 erano così composti: il sassofonista Wayne Shorter, il trombettista Lee Morgan, il pianista Bobby Timmons e il contrabbassista Jymie Merritt. Per la prima volta nella sua carriera, Art Blakey andò in tour in Giappone, in particolare a Tokyo il 14 gennaio. Una prima volta che ha caricato più che mai il batterista 42enne, assieme ai suoi giovani colleghi, carichi di energia e mai a corto di idee nei loro assoli e scambi. In quel periodo, il Bop stava attraversando una evoluzione, ben documentata in questo concerto rimasto finora inedito. Come la versione extra-large (oltre 22 minuti!) di Now's the Time di Charlie Parker che apre l'album, pubblicato da Blue Note, First Flight To Tokyo: The Lost 1961 Recordings, con un grande assolo del boss... I Jazz Messengers, fondati nel 1953, sono sempre stati considerati dei maestri degli standard dell'hard-bop. E questo corroborante set dal vivo non fa altro che confermarlo con le sue hit, come l'inno Blues March di Benny Golson, qui consegnato in un'incredibile versione swing. Incredibile, come lo sono gli gli scambi tra Shorter e Morgan... Nonostante si tratti di una registrazione degli anni '60, First Flight To Tokyo: The Lost 1961 Recordings beneficia di un ottimo sound che documenta perfettamente l'atmosfera alla Hibiya Public Hall di Tokyo, in quella sera di gennaio di 60 anni fa... © Marc Zisman/Qobuz
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CD14,99 €

I Dream Of Christmas

Norah Jones

Canzoni di Natale - Uscito il 03 dicembre 2021 | Blue Note Records

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Christmas music, which first became a common move for singers back in the 1950s, continues to exert a mystical pull on musicians from punk rockers to pop/jazz luminaries like Norah Jones. There are two paths to making a Christmas record: cover the classics or write your own tunes. Given that Christmas music is built on impossibly catchy one-hit wonders, and the list of successful songwriters includes such talents as Irving Berlin ("White Christmas"), Leroy Anderson ("Sleigh Ride") and Johnny Marks ("Rudolph, the Red-Nosed Reindeer"), the bar is high if you're banging out originals. On the other hand, presenting your version of the classics is equally daunting considering that you're following heavyweights like Frank Sinatra, Judy Garland, and Elvis Presley. Norah Jones decided to split the risk by molding classics into her style while also writing half an album of new Christmas originals. Twenty years past her early but still resonant hits like "Don't Know Why," and "Turn Me On" (both from blockbuster debut Come Away with Me) Jones makes her mark on the genre with the five tunes she penned, sometimes in collaboration with album producer Leon Michels. The single, a Jones original called "Christmas Calling (Jolly Jones)," is an enjoyably melodic holiday number. Her gospel-inflected "You're Not Alone" unfurls like a classic '60s country tune with an assembly of overdubs providing angelic vocals on the choruses and a pedal steel guitar ringing in the background. Pedal steel returns on "Winter Wonderland" where a synth sounds like timbales. The champ among the classics attempted, however, is "Christmas Don't Be Late" which gets a wonderfully slow, torchy arrangement. Memorable details include the oozy horns of Raymond Mason, Dave Guy and Leon Michels, the snare drum reverb, and Jones—singing her own harmonies—leaning into the "hula hoop" line. Vince Guaraldi's "Christmas Time Is Here," famous from the Peanuts cartoon, is a natural fit for Jones' piano-and-voice prowess. Berlin's "White Christmas'' gets a straight mid tempo cocktail jazz reading with Jones keeping up a brisk pace. On the other hand, the Elvis chestnut, "Blue Christmas'' gets an ultra-slow reading with Jones on piano and vocals, letting her impeccably tight vibrato stretch over this holiday lament. The other favorite that Jones makes her own is "Run Rudolph Run," best known as Chuck Berry's Christmas hit, which here benefits from a deep rhumba beat and reverb on her doubled vocals. Ever the mercurial talent, Jones' holiday dream is a worthy addition to the Christmas lexicon that's merry and bright and yet innovative where it counts. © Robert Baird/Qobuz
A partire da:
CD14,99 €

I Dream Of Christmas

Norah Jones

Canzoni di Natale - Uscito il 03 dicembre 2021 | Blue Note Records

Christmas music, which first became a common move for singers back in the 1950s, continues to exert a mystical pull on musicians from punk rockers to pop/jazz luminaries like Norah Jones. There are two paths to making a Christmas record: cover the classics or write your own tunes. Given that Christmas music is built on impossibly catchy one-hit wonders, and the list of successful songwriters includes such talents as Irving Berlin ("White Christmas"), Leroy Anderson ("Sleigh Ride") and Johnny Marks ("Rudolph, the Red-Nosed Reindeer"), the bar is high if you're banging out originals. On the other hand, presenting your version of the classics is equally daunting considering that you're following heavyweights like Frank Sinatra, Judy Garland, and Elvis Presley. Norah Jones decided to split the risk by molding classics into her style while also writing half an album of new Christmas originals. Twenty years past her early but still resonant hits like "Don't Know Why," and "Turn Me On" (both from blockbuster debut Come Away with Me) Jones makes her mark on the genre with the five tunes she penned, sometimes in collaboration with album producer Leon Michels. The single, a Jones original called "Christmas Calling (Jolly Jones)," is an enjoyably melodic holiday number. Her gospel-inflected "You're Not Alone" unfurls like a classic '60s country tune with an assembly of overdubs providing angelic vocals on the choruses and a pedal steel guitar ringing in the background. Pedal steel returns on "Winter Wonderland" where a synth sounds like timbales. The champ among the classics attempted, however, is "Christmas Don't Be Late" which gets a wonderfully slow, torchy arrangement. Memorable details include the oozy horns of Raymond Mason, Dave Guy and Leon Michels, the snare drum reverb, and Jones—singing her own harmonies—leaning into the "hula hoop" line. Vince Guaraldi's "Christmas Time Is Here," famous from the Peanuts cartoon, is a natural fit for Jones' piano-and-voice prowess. Berlin's "White Christmas'' gets a straight mid tempo cocktail jazz reading with Jones keeping up a brisk pace. On the other hand, the Elvis chestnut, "Blue Christmas'' gets an ultra-slow reading with Jones on piano and vocals, letting her impeccably tight vibrato stretch over this holiday lament. The other favorite that Jones makes her own is "Run Rudolph Run," best known as Chuck Berry's Christmas hit, which here benefits from a deep rhumba beat and reverb on her doubled vocals. Ever the mercurial talent, Jones' holiday dream is a worthy addition to the Christmas lexicon that's merry and bright and yet innovative where it counts. © Robert Baird/Qobuz
A partire da:
HI-RES19,49 €
CD13,99 €

Emanation

Immanuel Wilkins

Jazz - Uscito il 01 dicembre 2021 | Blue Note Records

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Emanation

Immanuel Wilkins

Jazz - Uscito il 01 dicembre 2021 | Blue Note Records

A partire da:
HI-RES19,49 €
CD13,99 €

Deciphering The Message

Makaya McCraven

Jazz - Uscito il 19 novembre 2021 | Blue Note Records

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Bebop jazz remix albums are nothing new. In fact when it comes to the revered Blue Note catalog, it's been plumbed by remixers a number of times in recent years since Don Was took over as label president. As trendy an idea as it is, remixing or more accurately making new albums out of the raw materials provided by a catalog as illustrious as Blue Note's is a delicate dance. To succeed you must stay respectful of the sources while adding to their legacy and making music that, as drummer/remixer Makaya McCraven puts it, "people can vibe to." There's even an underlying educational element to these remixes. If the beat scientist generation hears a track with Lee Morgan's trumpet or Hank Mobley's tenor sax, perhaps this will pique enough curiosity to explore the original records. An edge that McCraven has over straight remixers who may only be manipulating laptops is that he can add live instrumental tracks to samples of the original recordings. With the octet he's assembled—vibraphonist Joel Ross, trumpeter Marquis Hill, alto saxophonist Greg Ward, guitarists Matt Gold and Jeff Parker, bassist Junius Paul, and De'Sean Jones on tenor saxophone and flute—McCraven can control, accentuate and reshape the core rhythms of the older recordings, guiding the remix with live drums and percussion. His method is intricate and controversial, often working best when just he and a few extra instrumentalists contribute. A track like "Wail Bait," written by Quincy Jones and originally played by an all-star group of boppers including trumpeter Clifford Brown, pianist John Lewis and drummer Art Blakey, now has Brown's horn and Blakey's drums opening before McCraven's drums enter and then Jones' flute, Ross' vibraphone and McCraven on guitar take over the tune. In Kenny Burrell's version of "Autumn in New York," here called "Spring in Chicago," his original guitar part meshes beautifully with the added flute and vibes. The massed female voices present in the original of Eddie Gale's "Black Rhythm Happening" are seamlessly joined by drummer McCraven and Jones on tenor sax and flute on a remix of the same name. While Jack Wilson's "Frank's Tune," now called "De'Jeff's Tune," 'ventures a long way from the original with added keyboards and flute, it does have one of McCraven's wisest touches—spoken introductions from original Blue Note records, in this case by Blakey. Adding fresh grooves to classic jazz has uncovered new messages in venerated vessels. © Robert Baird/Qobuz
A partire da:
CD13,99 €

Deciphering The Message

Makaya McCraven

Jazz - Uscito il 19 novembre 2021 | Blue Note Records

Bebop jazz remix albums are nothing new. In fact when it comes to the revered Blue Note catalog, it's been plumbed by remixers a number of times in recent years since Don Was took over as label president. As trendy an idea as it is, remixing or more accurately making new albums out of the raw materials provided by a catalog as illustrious as Blue Note's is a delicate dance. To succeed you must stay respectful of the sources while adding to their legacy and making music that, as drummer/remixer Makaya McCraven puts it, "people can vibe to." There's even an underlying educational element to these remixes. If the beat scientist generation hears a track with Lee Morgan's trumpet or Hank Mobley's tenor sax, perhaps this will pique enough curiosity to explore the original records. An edge that McCraven has over straight remixers who may only be manipulating laptops is that he can add live instrumental tracks to samples of the original recordings. With the octet he's assembled—vibraphonist Joel Ross, trumpeter Marquis Hill, alto saxophonist Greg Ward, guitarists Matt Gold and Jeff Parker, bassist Junius Paul, and De'Sean Jones on tenor saxophone and flute—McCraven can control, accentuate and reshape the core rhythms of the older recordings, guiding the remix with live drums and percussion. His method is intricate and controversial, often working best when just he and a few extra instrumentalists contribute. A track like "Wail Bait," written by Quincy Jones and originally played by an all-star group of boppers including trumpeter Clifford Brown, pianist John Lewis and drummer Art Blakey, now has Brown's horn and Blakey's drums opening before McCraven's drums enter and then Jones' flute, Ross' vibraphone and McCraven on guitar take over the tune. In Kenny Burrell's version of "Autumn in New York," here called "Spring in Chicago," his original guitar part meshes beautifully with the added flute and vibes. The massed female voices present in the original of Eddie Gale's "Black Rhythm Happening" are seamlessly joined by drummer McCraven and Jones on tenor sax and flute on a remix of the same name. While Jack Wilson's "Frank's Tune," now called "De'Jeff's Tune," 'ventures a long way from the original with added keyboards and flute, it does have one of McCraven's wisest touches—spoken introductions from original Blue Note records, in this case by Blakey. Adding fresh grooves to classic jazz has uncovered new messages in venerated vessels. © Robert Baird/Qobuz
A partire da:
HI-RES13,49 €
CD9,99 €

Street Of Dreams

Bill Charlap Trio

Jazz - Uscito il 12 novembre 2021 | Blue Note Records

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A 55 anni, Bill Charlap non farà mai notizia nei gazzettini jazz. Questo pianista non appartiene del tutto a quella categoria, perché è più occupato a diffondere e a celebrare un tipo di jazz senza tempo. Charlap è uno di quei maestri del suo strumento che può prendere un brano classico registrato migliaia di volte e trasformarlo in una miniatura raffinata e ricercata. Un interludio di swing incantato ed incessante, punteggiato di improvvisazioni che non si perdono in chiacchiere. Come Day Dream di Billy Strayhorn, What Are You Doing the Rest of Your Life? di Michel Legrand o The Duke di Dave Brubeck: brani che rendono il suo nuovo album Street of Dreams, appena uscito su Blue Note, confortante come (concedete il cliché...) un bicchiere di single malt sorseggiato accanto al fuoco a fine serata... Con la sua fidata sezione ritmica composta dal bassista californiano Peter Washington e dal batterista newyorkese Kenny Washington, anche lui di una precisione incredibile, Charlap persevera soprattutto nell'arte del trio piano-basso-batteria che suonano come un unico elemento. Elegante, sofisticato e magico, il suo gruppo, nato nel 1997, non vuole lanciare nessuna rivoluzione o abbattere nessun muro. È nella loro economia di note, nella grana della ritmica e in questo modo di affrontare le melodie come un dipinto ad acquerello che Bill Charlap e i due Washington si distinguono dalla folla, con questo Street of Dreams, un album che sa volare alto. © Marc Zisman/Qobuz
A partire da:
CD9,99 €

Street Of Dreams

Bill Charlap Trio

Jazz - Uscito il 12 novembre 2021 | Blue Note Records

A 55 anni, Bill Charlap non farà mai notizia nei gazzettini jazz. Questo pianista non appartiene del tutto a quella categoria, perché è più occupato a diffondere e a celebrare un tipo di jazz senza tempo. Charlap è uno di quei maestri del suo strumento che può prendere un brano classico registrato migliaia di volte e trasformarlo in una miniatura raffinata e ricercata. Un interludio di swing incantato ed incessante, punteggiato di improvvisazioni che non si perdono in chiacchiere. Come Day Dream di Billy Strayhorn, What Are You Doing the Rest of Your Life? di Michel Legrand o The Duke di Dave Brubeck: brani che rendono il suo nuovo album Street of Dreams, appena uscito su Blue Note, confortante come (concedete il cliché...) un bicchiere di single malt sorseggiato accanto al fuoco a fine serata... Con la sua fidata sezione ritmica composta dal bassista californiano Peter Washington e dal batterista newyorkese Kenny Washington, anche lui di una precisione incredibile, Charlap persevera soprattutto nell'arte del trio piano-basso-batteria che suonano come un unico elemento. Elegante, sofisticato e magico, il suo gruppo, nato nel 1997, non vuole lanciare nessuna rivoluzione o abbattere nessun muro. È nella loro economia di note, nella grana della ritmica e in questo modo di affrontare le melodie come un dipinto ad acquerello che Bill Charlap e i due Washington si distinguono dalla folla, con questo Street of Dreams, un album che sa volare alto. © Marc Zisman/Qobuz
A partire da:
HI-RES19,49 €
CD13,99 €

Quiet Like A Fuse

Julian Lage

Jazz - Uscito il 05 novembre 2021 | Blue Note Records

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CD13,99 €

Quiet Like A Fuse

Julian Lage

Jazz - Uscito il 05 novembre 2021 | Blue Note Records

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HI-RES15,49 €
CD10,99 €

Homeward Bound

Johnathan Blake

Jazz - Uscito il 29 ottobre 2021 | Blue Note Records

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CD10,99 €

Homeward Bound

Johnathan Blake

Jazz - Uscito il 29 ottobre 2021 | Blue Note Records

A partire da:
HI-RES19,49 €
CD13,99 €

A Night In Tunisia

Art Blakey & The Jazz Messengers

Jazz - Uscito il 22 ottobre 2021 | Blue Note Records

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A Night In Tunisia

Art Blakey & The Jazz Messengers

Jazz - Uscito il 22 ottobre 2021 | Blue Note Records