| | Late Nights & Cool Jazz CD - Import
Feature artists include Dinah Washington, Billie Holiday, Charlie Parker, and John Coltrane. Late Nights & Cool Jazz Music Late Nights & Cool Jazz Review
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Purchase Late Nights & Cool Jazz CD To buy, Click on price to add to cart | Return To Forever Returns - Live At Montreux 2008 DVD (2008) DTS Sound
Late Nights & Cool Jazz album
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After a quarter century apart, the core line-up of the jazz quartet Return to Forever--Chick Corea, Lenny White, Stanley Clark, and Al Di Meola--reunited for a world tour in 2008. This remarkable concert film captures the foursome on stage at Montreux, playing bewitching renditions of "Vulcan Worlds," "Sorceress," "Romantic Warrior," ...
| | Frank Sinatra Nothing But The Best CD (2008) Remastered
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"The Chairman of the Board" died in May of 1998, yet his music sounds as vital and relevant today as ever. Released on the 10th anniversary of his death--in coordination with a slew of DVD releases commemorating the singer's acting career as well as an official U.S. Postal Service stamp--NOTHING BUT THE BEST provides an excellent look at Sinatra's tenure at the Reprise label. Among the album's 22 vintage cuts are classics such as "The Way You Look Tonight," "Luck Be a Lady," "Strangers in the Night," and "My ...
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On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most ...
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Late Nights & Cool Jazz album
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| | Herb Alpert S.R.O. CD (1966) Remastered; Special Edition
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By late 1966, it seemed as if every TV commercial and every pop arranger had latched onto the Herb Alpert "Ameriachi" sound -- at which point the resourceful originator of that sound began to pare it down and loosen it up a bit. S.R.O. (Standing Room Only), referring to the Tijuana Brass' string of sold-out concerts, is an accurate title, for this LP is about a seven-piece band loaded with experienced jazzers who groove and swing together to a greater degree than on their previous albums. Sure, the arrangements are very tightly knit and don't allow much room for spontaneity, but they still sound fresh and uninhibited, and Alpert often allows the flavor of jazz to come through more clearly. Indeed, two of the album's three hit singles, "The Work Song" and "Flamingo," are jazz tunes -- the former nervous and driving, the latter joyously kicking -- and the third, "Mame," gets a nifty Dixieland treatment a la Louis Armstrong, with Alpert singing one verse. The sleeping gem of the record is guitarist John Pisano's "Freight Train Joe," a wistfully evocative tune that won't quit the memory, and the mournful Alpert/Pisano/Nick Ceroli tune "For Carlos" later became Wes Montgomery's "Wind Song." Though S.R.O. only went to number two on the LP charts, Alpert's creativity and popularity were still peaking. ~ Richard S. Ginell
By late 1966, it seemed as if every ...
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$17.69 | | Mon Amant De Saint Jean CD (2007) (Import)
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| | Maynard Ferguson Chameleon CD (1974) Remastered
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Although trumpeter Maynard Ferguson's mid- to late-'70s catalog was commercially viable, it also reflected the overindulgence that, in essence, defined the decade. By 1974, Ferguson had already become one of the most established figures in contemporary jazz. After performing with Stan Kenton & His Orchestra in 1950, he became a prolific recording artist. Unlike many jazz players, Ferguson maintained his chops, arguably gaining incremental momentum for his trademark high-range blasting, which is evident throughout this LP. Stylistically, Chameleon (1974) is all over the place. The supporting combo -- which includes future Frank Zappa keyboardist Allan Zavod -- provide tastefully executed backing arrangements. Unfortunately, in many cases they are sonically voided by Ferguson's over the top wailing, the most flagrant example being the reworking of "The Way We Were," which features the trumpeter barreling through with the same gusto and attack that he brings to the hard-hitting cover of Stevie Wonder's ...
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