Mastered By – Kobayashi Yoshio
Producer – Shibusa Shirazu
Recorded By, Mixed By – Tanaka Atsushi (Realtime Sound)
Written-By – Fuwa Daisuke

An interesting set of music originally recorded as the soundtrack for the French film Les Liaisons Dangereuses, the majority of these tracks feature Art Blakey's Jazz Messengers of mid-1959 with trumpeter Lee Morgan, tenorman Barney Wilen, pianist Boby Timmons and bassist Jymie Merritt joining the explosive drummer/leader. In general, the music manages to stand on its own with the ensemble getting to stretch out a bit on the rare material. ~ Scott Yanow
Digitally remastered pressing of Art and his Messengers' soundtrack to the 1960 film Les Liaisons Danereuses. Blakey's Messengers on this album include Lee Morgan, Barney Wilen, Bobby Timmons and Duke Jordan. 10 tracks. Universal.
All songs written by Art Blakey and The Jazz Messengers.
Recorded at Nola Studios in New York, July 28-29, 1959. Includes liner notes by Marcel Romano.
Personnel: Art Blakey (drums); Charlie Rouse (vocals); Barney Wilen (soprano saxophone, tenor saxophone); Lee Morgan , Sonny Cohn (trumpet); Duke Jordan, Bobby Timmons (piano); Art Taylor (drums); William Rodriguez, Tommy Lopez (congas).
Recording information: Nola Studio, New York, NY (07/28/1959/07/29/1959).
Director: Aubrey Mayhew.
Personnel: Art Blakey (drums), Barney Wilen (soprano, tenor saxophone), Lee Morgan (trumpet), Bobby Timmons, Duke Jordan (piano), Jimmy Merritt (bass), John Rodriguez, Tommy Lopez, William Rodriguez (percussion).

Master drummer and percussionist Kahil El'Zabar leads a very strong modern jazz band through a set of jazz standards and originals indebted to the spirit of John Coltrane. On this album he is supported by Kevin Nabors on tenor saxophone, Justin Dillard on organ and piano and Junius Paul on bass. The group is well integrated, and El'Zabar brings a great deal of experience to the music from his relationship with the AACM through his leadership of the the Ethnic Heritage Ensemble. The El'Zabar original ""The Nature Of" leads off the album with thick bass and drums and Nabors' saxophone entering with an emotional cry. Swirling organ develops a deep meditative vibe, wrapping around Paul's bass to develop a potent groove. Everybody comes together with Nabors digging deep to a powerful conclusion. John Coltrane's "Impressions" gets a terrific reading developing a strong and muscular state. Powerful drums and saxophone lead the way with Nabors solo growing into a passionate storm, egged on by El'Zabar's splashy cymbals. After a deep piano and bass interlude, the saxophone and drums return, culminating in a thrilling cacophony of intense improvisation. The group slowly develops another John Coltrane composition, "Central Park West" with a great rhythm pattern for bass and drums, giving Paul a lot of space, and allowing Nabors to step off the throttle a bit and develop his improvisation in a more melodic fashion. The set ending original "Kari" delves deep into the Coltrane legacy with deep, dark piano accompaniment driving Nabors to bold or dramatic flights of improvisational fancy. This album will definitely appeal to fans that enjoy the music of the classic John Coltrane Quartet. They develop the tradition of the music of the past and bring it into the present with respect and dignity.

戏班2018《玩皮》新专
京戏是戏 戏里面有演，有唱
演的是故事，唱的是情感
即有深度，又有高度
可惜 懂她的人越来越少
爱她的人没剩几个
都知道她好，又有几个知道她 好在哪儿? 深在哪儿? 高在哪儿?
我们（戏班乐团） 想知道答案 想弄明白究竟
所以靠着老磁带 老唱片，老录像
胡乱的学 自由的学
没挨打，也没挨骂的学
只学了些皮毛 却恍然大悟。
原来 戏中的音乐叫皮黄 唱的也是皮黄腔
来来回回的八个音
创造了一个独立的世界
产生了一种独特的韵味
这叫一个好 这叫一个深 这叫一个高
虽说这不是全部 却万变不离其宗。
那我们就可以
用合声和她玩
用节奏和她玩
就可以 用吉他边弹边唱
贝司，鼓 一起玩也没问题
加上管乐，弦乐 也没问题
加上外国人 也没问题
用摇滚乐的方式玩没问题
用爵士乐的方式玩没问题
用电子乐的方式玩没问题
我可以学着唱
你可以学着唱
他可以学着唱
四年前 报着这样一个美好的愿望
我们开始瞎折腾
上个月
我们在上海余山 《山脚下的书店》，
用了 十四天的时间 同期录制完成《玩皮》这张新唱片
有毛病，有欠缺 大家尽管 批评，指点
虽然，此时 我们正沉浸在一片 毫无理智的 幸福感中
传承 是可以，让自已 乐在其中的
发展 是可以，传承下去的
是有可能，让一个时代 乐在其中的。
也许是 妄想症 发作了 但是 管他呢。

Bass – Hideaki Mochizuki
Drums – Hiroshi Murakami
Piano – Humio Itabashi
Tenor Saxophone – Hideo Miyata
Tenor Saxophone, Soprano Saxophone – Kohske Mine
Producer – Tetsuya Shimoda
Engineer – Tamaki Bekku
Liner Notes – Masahiko Yuh

「アンサンブルの素晴らしさ」、それを表現する「3人の演奏技術の高さ」、そして「風景を描き出すセンス」…、ait guitar trio の世界を余すことなく伝える作品!ジャズヴァイオリン奏者Yu-Maを含めた22本の弦が織りなすハーモニーが美しく馴染む、何とも不思議な魅力に満ちた素晴らしいギター音楽の傑作が誕生した!
アーティストについて
ait guitar trio:
筒井裕之、浅沼毅一、鷲尾一夫、3人それぞれの異なるルーツとスタイルを武器に、独自のアンサンブルを聴かせる注目のギタートリオ。ステージ狭しと、エレキギター、ジャズギター、フラメンコギター、アコースティックギターなど持ち替えながら、幅広いジャンルの音楽を演奏する。2003年に「ギブソンジャズギターコンテスト・バンド部門」でグランプリを受賞。2008年「6×3 seis por tres」をリリース、三位一体となった多彩なギター・アンサンブルが話題を呼ぶ。2010年8月、ジャズ・ヴァイオリン奏者のYu-Maを迎えた最新作「Little Flower」をリリース。

国内首张有民族风格的爵士音乐CD。

出生於北海道平取町的爵士鋼琴演奏家福居良（Ryo Fukui），1970年無師自通學習鋼琴演奏，六年後便推出一鳴驚人的三重奏專輯《Scenery》，第二年再由原班人馬推出《Mellow Dream》，迅即奠定他在爵士樂圈的地位。

Bitches Brew is a studio double album by jazz musician Miles Davis, released in June of 1970 on Columbia Records.[1] Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August of 1969. The album continued Davis' experimentation of electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.
Often cited as one of Davis' best-selling albums and masterpieces, Bitches Brew marked a turning point in modern jazz. Upon release, it received mixed criticism from fans and critics, alike, due to the album's unconventional style and revolutionary sound. Later on, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians.[2] In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc box set that included the original album as well as ensuing studio sessions through February 1970.

Recorded August 17 & 18, 1977 at Yamaha Hall, Sapporo.
Mixed September 12, 1977 at AOI Studios, Tokyo.
Manufactured & distributed by Trio Records, Tokyo.

Recorded 9/7/1976 at Yamaha Hall, Sapporo.
Manufactured and Distributed by Trio Records, Tokyo.
Trio Records/Trio-Kenwood Corp. 5-2-1 Roppongi Minato-ku, Tokyo.

Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.

Bass – Pierre-François Massy
Composed By [All Compositions By] – Pierre Favre
Cover [Cover Art] – Andrea Alteneder
Executive-Producer [Executive Production] – Patrik Landolt
Guitar – Philipp Schaufelberger
Layout [Cover Layout] – Eugen Bisig
Liner Notes [Interviewee, German] – Pierre Favre
Liner Notes [Interviewer, German] – Patrik Landolt
Liner Notes [Translation, English] – Bruce Carnevale
Percussion – Lucas Niggli, Pierre Favre
Photography By [Photos] – Francesca Pfeffer
Producer [Produced By] – Pierre Favre
Recorded By, Mixed By – Martin Pearson
Saxophone – Roberto Ottaviano
Tuba, Serpent – Michel Godard
Viola – Marius Ungureanu
Violin – Karel Boeschoten
Recorded at Radio Studio Zürich, October 1999.
Mastered at Greenwood Mastering Lab.

Recorded In June 1956.