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Jazz - Released May 4, 2018 | Blue Note

Following his sublime Book Of Intuition released in 2016 with bass player Kiyoshi Kitagawa and drummer Johnathan Blake, Kenny Barron is expanding his trio with tenor saxophonist Dayna Stephens and trumpeter Mike Rodriguez. The elegance, intelligence, refinement and perfect swing of the pianist are well-known, and for his first entry with the label Blue Note, the artist from Philadelphia now based in New York finds additional inspiration in the ardour of his accomplices. For these Concentric Circles, Barron opted for a repertoire mainly centred around his own compositions, complemented by Caetano Veloso’s Aquele frevo axe, drummer Lenny White’s L's Bop, and Thelonious Monk’s Reflections. His quintet firmly bites into a hard-bop style, at times punctuated with Latino rhythms. More than anything, it’s the spontaneity of interventions and the fluidity of exchanges between the five men that make this album so enjoyable. None of them tried to reinvent the wheel, just make high-level jazz, without grandstanding or using frills. © Marc Zisman/Qobuz
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Jazz - Released June 1, 2016 | Blue Note

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Jazz - Released June 1, 2016 | Blue Note

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Jazz - Released June 1, 2016 | Blue Note

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Jazz - Released June 1, 2016 | Blue Note

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Jazz - Released June 1, 2016 | Blue Note

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Jazz - Released June 1, 2016 | Blue Note

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Vocal Jazz - Released January 1, 2014 | Blue Note

Cassandra Wilson has steadfastly refused to be pigeonholed or confined to any stylistic formula. Her highly anticipated Blue Note debut may stir renewed controversy, as she is once again all over the place. She begins the set with her intriguing version of "You Don't Know What Love Is." Then she moves from two Robert Johnson covers ("Come on in My Kitchen" and "Hellhound on My Trail") through rock compositions from Van Morrison and Joni Mitchell, her own title track, blues cut "Redbone," and a piercing version of "I Can't Stand the Rain" that can hold up to comparisons with Ann Peebles' classic. She doesn't have Johnson's menacing quality (who does?), but does invoke an equally compelling air. Wilson has great timing, pacing, and delivery, and certainly has blues sensibility in her sound. © Ron Wynn /TiVo
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Jazz - Released January 1, 2014 | Blue Note

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Vocal Jazz - Released January 1, 2013 | Blue Note

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What does a shrug sound like? On "Don't Know Why,” the opening track of her debut effort, Norah Jones suggests a few possibilities. The first time she sings the title phrase, she gives it a touch of indifference, the classic tossed-off movie-star shrug. Her tone shifts slightly when she hits the chorus, to convey twinges of sadness; here the casual phrasing could be an attempt to shake off a sharp memory. Later, she shrugs in a way that conveys resignation, possibly regret—she's replaying a scene, trying to understand what happened. Those shrugs and shadings, tools deployed by every jazz vocalist of the 1950s, are inescapable throughout Come Away With Me—in part because everything surrounding Jones' voice is so chill. There's room for her to emote, and room for gently cresting piano and organ chords. Unlike so many of her contemporaries, Jones knows instinctively how much (or how little!) singer the song needs. The secret of this record, which came out when Jones was 22, is its almost defiant approachability: It is calm, and open, and gentle, music for a lazy afternoon in a porch swing. As transfixing covers of Hank Williams' "Cold Cold Heart” and Hoagy Carmichael's "The Nearness of You” make clear, Jones thinks about contours and shadows when she sings; her storytelling depends as much on the scene and the atmosphere as the narrative. And Jones applies the same understatement to the original songs here, which weave together elements of country, pop, jazz and torch balladry in inventive ways. It's one thing to render an old tune with modern cleverness, a skill Jones had honed as a solo pianist/singer before she was discovered. It's quite another to transform an original tune, like Jesse Harris' "Don't Know Why,” into something that sounds ageless and eternal, like a standard. Jones does that, over and over, using just shrugs and implications, rarely raising her voice much above a whisper. © Tom Moon/Qobuz
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Vocal Jazz - Released January 1, 2013 | Blue Note

Hi-Res Distinctions The Qobuz Ideal Discography - Exceptional Sound Recording - Hi-Res Audio
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Jazz - Released June 24, 2003 | Blue Note

Madlib received a rare opportunity with unfettered access to the storied Blue Note archives and permission to use them as he wished for a remix/interpretation album released on Blue Note itself. The result, Shades of Blue, is really more of a Yesterdays New Quintet album, but Madlib's name is far more recognizable then his alter ego and faux-supergroup, YNQ. So, Shades of Blue features Madlib interpreting and remixing Blue Note classics such as Wayne Shorter's "Footprints" and Gene Harris' "The Look of Slim" (remixed here as "Slim's Return"). Overall, a good time is had by all, as he doesn't just sample the tracks as much as fit them into his own sound. That's why the record would be better compared to the Yesterdays New Quintet debut, Angles Without Edges, where Madlib takes on the personas of numerous instrumentalists (going so far as to credit them individually in the liner notes) and make laid-back break-heavy jams that serve great as background party stuff -- and that's really where Shades of Blue works the best. Intent listening doesn't really give much up, but for smooth subconscious grooves, it's perfect. © Sam Samuelson /TiVo
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Jazz - Released January 1, 1985 | Blue Note

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Soul - Released January 1, 1973 | Blue Note

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Jazz - Released January 1, 1966 | Blue Note

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Jazz - Released January 1, 1961 | Blue Note

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