Limited edition Deluxe 8CD set featuring the best female voices in jazz history. This is no ordinary compilation, but an anthology of 15 complete original albums by some of the best loved jazz vocalists: Billie Holiday, Carmen McRae, Anita O day, Abbey Lincoln, Peggy Lee, Sarah Vaughan, Ella Fitzgerald etc.
The product of over two years of research, ‘Haiti Direct’ is the first compilation to bring together rarities from the heyday of Haiti’s compas and twoubadou scenes during 1960-1978. Compiled by Sofrito’s Hugo Mendez, the album features tracks by Ibo Combo, Les Loups Noirs, Ti Paris and more.
In 1964 John Coltrane recorded A Love Supreme with McCoy Tyner, Jimmy Garrison, and Elvin Jones. It's one of most influential and imposing jazz suites ever written, and on this debut CD for the Palmetto label, The Lincoln Center Jazz Orchestra, featuring Wynton Marsalis, adapts Coltrane's immortal composition to the big band. Not to be outdone by his brother Branford's quartet version of this material recorded live on DVD, Wynton and company skillfully extend and elaborate on the Coltrane's work, and preserve the soul-searching spirit of the four-part suite, which deals with the blues, 4/4 swing, Afro-Latin rhythms, and ballads. Pulsed by Carlos Henriquez's sure-footed basslines, Herlin Riley's spiritual syncopations and Earl Lewis's profound pianisms, saxophonist Wess "Warmdaddy" Anderson's Tranish cries, and the leader's triumphant trumpet tones are as fluent and fierce as ever. Collectively, this brilliant orchestra goes where no large ensemble has gone before.
Bekkas is a leading Gnawa musician who sings and plays the oud, as well as acoustic guitar and guembri, the three-stringed bass-like instrument that provides the trance-inducing pulse of Gnawa music. The Gnawa, in turn, are spiritual brotherhoods formed in Morocco among slaves brought there from sub-Saharan Africa over the centuries. Bekkas has collaborated with a number of jazz players, including saxophonist Archie Shepp, pianist Joachim Kuhn and drummer Hamid Drake, concentrating on the more adventurous end of the jazz continuum.
For her entry into the increasingly popular Great American Songbook subgenre, Diane Schuur de-emphasizes the vocal histrionics that in the past have come close to spoiling some of her recordings and maintains a steady, clear, exuberant tone. Good move: one of Schuur's gifts is her multi-octave range, but she has often over-relied on it at the expense of whatever song she was singing. Here, she takes to the classic compositions of George and Ira Gershwin, Rodgers & Hammerstein, Irving Berlin, and the like with a respectfulness and glee that allow her to frame and expose these culturally embedded lyrics and melodies without beating on them.
We all have a Walt Disney cartoon tune or melody in mind, reminding us of magic afternoons spent with our parents when we were kids or with our own children now that we are grown-ups. It is a bit of this special feeling and pleasure that artists such as Gregory Porter, Melody Gardot, Stacey Kent, Jamie Cullum and other leading music stars share with us on the new project produced by Jay Newland and arranged and directed by Rob Mounsey, as they perform big band jazz covers of songs that are part of every kids heritage. Whether they come from Scandinavia, Andalusia, North Americas big cities or the Balkan plains, 21st century kids have the Disney magic in common, an imaginary world where both soft and wild tunes are closely linked to cult scenes from Uncle Walts animation classics.
The biggest volume so far in the Spiritual Jazz series from Jazzman Records – and maybe the best as well! This fantastic collection looks at the huge legacy of spiritual jazz that flowed from the Japanese scene in the postwar years – sounds that had their initial expression around the same time that the modal jazz of Miles and Coltrane was bursting forth in the US, but which also too so many twists and turns of its own – with some very strong influences along the way from Japanese folk and culture! Much of this music was initially restricted only to release on Japanese labels – and even later, as some of the artists attained fame, the global circulation of their music only happened with more commercial recordings.