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Gospel - Verschenen op 24 juli 2020 | Craft Recordings

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Gospel - Verschenen op 27 maart 2020 | Craft Recordings

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Jazz - Verschenen op 1 november 2019 | Concord Jazz

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In 2013, Chick Corea teamed up with a couple of gold-standard rhythmists - Christian McBride on the double bass and Brian Blade on drums - with whom he recorded Trilogy, a brilliant live album which saw him blend his own repertoire with classic standards by Thelonious Monk, Jerome Kern, Oscar Hammerstein, Kurt Weil, Irving Berlin & co. Just as the title indicates, Trilogy 2 repeats the exercise: same cast, same idea, same great result. Of course, the relationship between the three of them has been consolidated over the years. And while Corea’s piano remains one of the best of his generation, it’s the McBride/Blade tandem that really shines as a creative stroke of genius. The accuracy of their interventions and punctuations are staggering, never off-kilter and never over the top. Finally, the repertoire is a touch more original than on the previous Trilogy, with Steve Swallow’s Eiderdown, Monk’s Crepuscule with Nellie, 500 Miles High by Return to Forever, Lotus Blossom by Billy Strayhorn as well as Pastime Paradise by Stevie Wonder. © Max Dembo/Qobuz
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Jazz - Verschenen op 25 oktober 2019 | Harry Connick Jr

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Jazz - Verschenen op 27 september 2019 | Impulse!

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A little more than a year after the release of Both Directions At Once: The Lost Album (a studio session from March 1963), the label Impulse! has released a new unpublished recording by John Coltrane. Recorded on June 24, 1964 (between the Crescent and A Love Supreme sessions) with his faithful colleagues Jimmy Garrison (double bass), Elvin Jones (drums) and McCoy Tyner (piano), Blue World is not an album like his others. In fact, it is music for film. Canadian director Gilles Groulx, a friend of Garrison, commissioned Trane’s Quartet to illustrate his next feature film, The Cat in the Bag. And the saxophonist obliged without warning his label. At the end of the short session, Groulx left for Quebec with the record under his arm but only used a few minutes in the final cut.55 years later, the whole session has resurfaced and we discover a truly inspired Coltrane, intertwining highly spiritual sequences with dazzling punctuations. The saxophonist was in a period of letting go of complex, superimposed harmonies. Later on in his career he even abandoned Western harmonies. Here, Coltrane is in the midst of a transition and the cohesion between the four musicians is stunning throughout. Blue World offers new takes of pieces that were recorded for his 1960 albums: his hit Naima which carried the album Giant Steps, as well as Village Blues and Like Sonny, two pieces found on his record Coltrane Jazz. Despite not being as essential as Crescent and A Love Supreme, Blue World remains a superb document concocted by a quartet unfortunately unable to provide anecdotal information. © Marc Zisman/Qobuz
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Jazz - Verschenen op 26 juli 2019 | Alma Records HD

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Jazz - Verschenen op 3 mei 2019 | Verve Reissues

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Verve Records have released a live album, recorded on November 26th 1961 at New York’s famous jazz club, Village Gate. On stage are Stan Getz and his new quartet comprising of pianist Steve Kuhn, double bass player John Neves and drummer Roy Haynes. Although the recordings were set aside after that night and had ended up in the record company’s archives, 58 years later, they have now re-emerged with flawless sound. Getz at the Gate understandably arouses much interest as the saxophonist’s artistic direction throughout the entirety of the 2 hours 20-minute concert is one that he did not pursue thereafter.Getz formed this new group having just returned from Europe and its more modern and aggressive sound was most likely influenced by John Coltrane’s quartet in which Kuhn played. But in 1962, his album with guitarist Charlie Byrd was a hit, sparking the trend for bossa nova-infused jazz and propelling Getz not only down other stylistic paths but also to the top of the charts with numerous albums with Luiz Bonfá, João Gilberto, Antonio Carlos Jobim and Astrud Gilberto. Getz at the Gate is quite clearly light years away from this exoticism but is still far from the Getz bop, cool or West Coast jazz from his early days. Here, in a highly effective post-bop style, he revisits tracks played during the 1950s such as When The Sun Comes Out, Like Someone in Love and even Spring Can Really Hang You Up The Most and Roy Haynes’ drumming ties everything together brilliantly, as always. Of course, the four men also show their admiration for Coltrane by taking on his legendary Impressions. In short - a previously unreleased and utterly thrilling concert. © Marc Zisman/Qobuz
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Jazz - Verschenen op 13 juli 2018 | Craft Recordings

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Jazz - Verschenen op 29 juni 2018 | Impulse!

Hi-Res Booklet Onderscheidingen Pitchfork: Best New Reissue - 5 Sterne Fono Forum Jazz - 5 étoiles de Classica
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Jazz - Verschenen op 29 juni 2018 | Impulse!

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Jazz - Verschenen op 15 december 2017 | Prestige

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It’s surprising to hear that since the dawn of the ‘50s, Thelonious Monk already wasn’t a pianist like the others. Or even a musician like the others… With The Complete Prestige 10-Inch LP Collection, we find five 10-Inches made for the label Prestige which have been reunited, restored and remastered from original tapes by Joe Tarantino: Thelonious Monk Trio: Thelonious (1952), Thelonious Monk Quintet Blows For LP, Featuring Sonny Rollins (1953), Thelonious Monk Quintet (1954), Thelonious Monk Plays (1954) and Sonny Rollins and Thelonious Monk (1954). Artistically, Monk was already in his honeymoon period even though this perhaps wasn’t the most joyous time in the musician’s life. The law had confiscated his professional card, forbidding him from playing in clubs in New York. But the contract that Bob Weinstock made him sign with Prestige allowed him to shine during this time in the recording studios. So here we find a musician who’s hungrier than ever before. He’s adventurous too. Not to mention being ahead of the jazz of his time. Already, on a few recordings for Blue Note carried out between the end of the 40s and 1952, Monk went down jazz paths less trodden without ever straying off the route. Here, the whole affair is even more striking. Most of all in the pieces where he is joined by another genius, Sonny Rollins, who also devoted himself to shaking up the rules of a thriving musical genre that was at its most intense and revolutionising age. © MD/Qobuz
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Vocale jazz - Verschenen op 1 december 2017 | Verve Reissues

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True fans of Ella Fitzgerald must be having a hard time trying to find storage space for the live albums of their idol, since there are so many of them. And yet, this one, completely new, is rather special as it proposes a concert offered in Hollywood’s Zardi’s Jazzland on 2nd February, 1956 - a few days before she recorded her first disc for Verve. Originally recorded by Norman Granz to celebrate this signature on his label, these two sets will in the end remain in the archives to the detriment of Ella Fitzgerald Sings The Cole Porter Song Book, a studio disc that would launch her series of albums devoted to the songbooks of the great American authors… In this year 1956, Ella Fitzgerald is almost 40 already and is far from being unknown. But her transition from Decca to Verve would finally propel her into a completely new level of fame. We hear her here full of exuberance, joy and energy. Her voice is astoundingly fluid, and her sense of rhythm is difficult to surpass. And even when she forgets part of the text, the great entertainer that she is takes over and the adoration from the audience doesn’t waiver one bit. As for her repertoire, she makes the masterpieces her own, penned by Duke Ellington (In A Mellow Tone), Cole Porter (My Heart Belongs To Daddy), Jerome Kern (A Fine Romance) and the Gershwin brothers (S'Wonderful, I've Got a Crush On You). As for the disciples to this voice, we find the pianist Don Abney, bass player Vernon Alley and drummer Frank Capp - all impeccable bodyguards, even if later, musicians of a completely different level will assist the singer. It’s very touching to hear, in the first seconds of the disc, Norman Granz tell the Californian audience: “For me she’s the greatest there is: Miss Ella Fitzgerald!” © MZ/Qobuz
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Vocale jazz - Verschenen op 20 november 2017 | Blue Coast Records

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Jazz - Verschenen op 6 oktober 2017 | Telarc

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Vocale jazz - Verschenen op 5 mei 2017 | Verve

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Jazz - Verschenen op 1 april 2017 | Blue Coast Records

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Jazz - Verschenen op 1 december 2016 | Blue Coast Records

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Jazz - Verschenen op 13 juli 2016 | UNIVERSAL MUSIC LLC

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Gospel - Verschenen op 29 april 2016 | Riverside

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Gospel - Verschenen op 29 april 2016 | Riverside

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Jazz in het magazine