Recorded：December 9, 1964 Studio：Van Gelder Studio, Englewood Cliffs The John Coltrane Quartet[edit] John Coltrane – bandleader, liner notes, vocals, tenor saxophone, soprano saxophone[40] Jimmy Garrison – double bass Elvin Jones – drums, gong, timpani McCoy Tyner – piano Additional personnel[edit] Archie Shepp – tenor saxophone on alternate takes of "Acknowledgement" Art Davis – double bass on alternate takes of "Acknowledgement" Rudy Van Gelder – engineering and mastering Bob Thiele – production and cover photo[41] George Gray/Viceroy – cover design Victor Kalin – illustration Joe Lebow – liner design

Part One of Two. Second single pulled from the Mercury Prize-nominated British Pop/Jazz/R&B singer's 2006 sophomore album, Back To Black. Island. 2007.

Limited edition Japanese pressing of this album comes housed n a miniature LP sleeve. Columbia. 2007.

Japanese Version Featuring 20Bit Digital Remastering. Initial Copies Feature A Limited LP Style Slipcase Cover.

菜花サンチョ（バーカッションpercussion） 花野裕子（ボーカルVocal） 大谷カーズ（キーボードkeyboard） 鈴木ウータン（ドラムスdrums） 长岡ミツチー（ベースbass） 佐野ミツキー（ギターguitar）

「萬花鏡」は全曲佐井好子の作詞作曲になるものだが、テイチクのディレクター・春名勇はエンジニアに伊豫部富治、プロデュースとアレンジャーに大野雄二を指名する。（余談だが伊豫部と大野は1973年に梶芽衣子のシングル盤の録音で出会った後、この「萬花鏡」で再会し、その後長くコンビを組んで名作を多数リリースしている。）音楽的な知識には乏しかった佐井好子が、大野に曲の構想を伝える中で作品を完成させてゆく手法は、伊豫部のミキシングによって、ブルージーなサウンドにダークなイメージと豊穣な感性を融合させたアルバムを彩ることになる。 佐井好子の魅力の核である歌詞は、このファースト作でその奥の深さをまざまざと見せつける。「青ざめた夜の精」「逢魔ヶ時」「したたりおちる空の赤み」「揺れる血の海」「サーカス団」「魔性の女」「死の淵」「血まみれの緑いろ」...。この一見残酷な言葉を巧みに歌詞に用いながら、その言葉通りの意味に拘束されることなく、まるで夢幻の世界を想像させる歌唱スタイルは、当時も今も比類なき存在だろう。 佐井好子自身によれば、当時は日本人であること、女性であることから感じる自分の居場所の根元的な不安感、不信感が、こういった歌詞を書かせたのだろうと語るが、そういった内省的な思索を一種の幻想詩として完成させ、鮮烈な音楽曲へと高めた彼女の才能にはひたすら感服せざるをえない。唯一「紅い花」は、つげ義春の同名漫画作品から影響を受けて書かれた作品で、「二十才になれば」のシングルカット時にはＢ面に収録された。 サウンド面では当時森田童子のバッキングも務めた石川鷹彦がギターを担当。加えて琵琶、鼓、尺八といった邦楽器が曲の陰影を深めている。表ジャケットは奈良公園の奥地で、裏ジャケットは琵琶湖の桟橋で撮影された。 （CD版解説より抜粋／JOJO広重筆） 全作詞作曲●佐井好子 全編曲●大野雄二 keyboard:大野雄二 A.Guitar:石川鷹彦 A.Guitar,E.Guitar:松元恒秀 E.Bass:岡沢章 Percussion:ラリー寿永 Drums:田中清司 Strings:新音楽協会 琵琶:平山万佐子 鼓:堅田喜作 尺八:村岡実 Producer:大野雄二 Director:春名勇 Engineer:伊豫部富治 Recorded At Mouri St.,Akasaka Music St.,Onkio Haus & Teichiku Suginami St. from May to June 1975. Art Director:S.Saito Cover design:H.Kawabata Photography:Studio ELLE Greatful Thanks to H.yamamoto,T.Nakamura & M.Masuda. We would like to thanks all the creative people who helped in the making of this album.

13 track 1986 retrospective of his finest output for the Asylum label, including 'The Heart Of Saturday Night', 'Small Change', 'I Never Talk To Strangers', 'Blue Valentines', the 'Westside Story' classic 'Somewhere' and more! A WEA release.

The Eagles might have covered his song "Ol' 55," but Tom Waits was cut from a different cloth than California's other singer-songwriters--he suggested a scruffy beat poet who'd walked out of a forgotten scene of Jack Kerouac's On the Road. Waits's beatnik schtick could get old, and he developed into a much more musically adventurous songwriter in later years, but his second album contains some of his best early work, including the sweet romantic blues of "New Coat of Paint" ("You wear a dress baby, I'll wear a tie"), and his best hipster recitation, "Diamonds on My Windshield." Two songs are enduring classics: the doleful, dirge-like "San Diego Serenade" ("Never saw the morning till I stayed up all night") and the touchingly sweet "(Looking for) The Heart of Saturday Night" ("Stoppin' on the red, goin' on the green, `cause tonight'll be like nothin' that you've ever seen"). --John Milward

Dexter Gordon的蓝调别具一格。本专辑携手Freddie Hubbard 和Horace Parlan推出这一精品。特别推荐“Society Red”和“It´s You Or No One”。

Pianist and composer Sir George Shearing has died, at age 91. Born blind, Shearing was a self-taught musician, the youngest of nine children of a London coal man. In a career spent almost entirely in the U.S., he won fame, fortune and eventually a knighthood from Queen Elizabeth for a lifetime of elegant jazz.

Theodore Shaw Wilson was an American jazz pianist. Described by critic Scott Yanow as "the definitive swing pianist", Wilson had a sophisticated, elegant style.

Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments.