Bags & Trane is an album credited to jazz musicians Milt Jackson and John Coltrane, released in 1961 on Atlantic Records, catalogue SD 1368. Taking its title from Jackson and Coltrane's nicknames, it is the only collaborative record by the two, although only Jackson contributed original compositions.

When you think of lyrical, romantic jazz piano playing, the first name that comes to mind, the one who influenced so many others, is Bill Evans. Miles Davis thought so much of him, he included him on the sessions for his immortal Kind Of Blue album. You Must Believe In Spring, a trio recording cut late in Evans' career, features gorgeous playing and stunning production. Its title track has become a standard for all manner of singer and instrumentalist. Includes new liner notes and three bonus tracks.

阿曼多·安東尼·奇克·柯瑞亞 是美國的爵士鋼琴家、鍵盤手以及作曲家。 他作的許多曲子都被視為是爵士的標準曲目。在1960年是邁爾斯戴維斯樂隊的一份子，他同時參與了融合爵士的建立與茁壯。在1970年代他組成了回歸永恆樂團。

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。

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。

温暖慵懒的轻吟、纯净恬淡的曲风与有如夏夜微风的爵士情调，让肯妮贝儿Corinne Bailey Rae自2006年起缔造无数傲人成绩。2006年肯妮贝儿以首张同名专辑《追风箏的女孩Corinne Bailey Rae》空降英国金榜冠军，成为该排行榜近30年来，继安妮蓝妮克丝Annie Lennox与娜塔莎Natasha Bedingfield后，第三位以首张作品空降专辑榜冠军的新进女歌手。这样的表现无愧英国BBC国家广播电台网站，当初誉她为「2006年十大闪耀推荐新星Sound of 2006」的头号代表。首张同名专辑发行后，获得英美乐评一致高分推荐，纷纷预告一颗即将照亮世界的璀璨新星已经诞生。这样的预言在2006年进入尾声之际确实得到印证：肯妮贝儿的首张同名专辑除了荣获英国音乐权威杂誌Mojo，选为2006年度最佳专辑之一；在英国著名杂誌Q主办的Q Awards颁奖典礼上，肯妮贝儿更突破重围一举拿下「年度最佳新人Best New Act Award」的大奖。 出生英国里兹的肯妮贝儿，自小在一般教堂礼拜中演唱诗歌展现天生好歌喉，学生时期攻读古典音乐，并拉得一手绝佳小提琴才能，随后在获得人生第一把电吉他，开啟肯妮音乐另一扇门，同时开始试著词曲创作。签入EMI音乐集团前，肯妮早已累积十年演唱经历，简洁纯净恬淡创作风格，揉合各种不同音乐对她的影响，完成此张倍受讚誉的首张同名专辑。当中更不乏放克灵魂作品〈Call Me When You Get This〉，并佐以典雅弦乐点缀；〈Choux Pastry Heart〉带著微甜鬆软音感谱写出对於情爱世界期望，让人徜徉在一个不见压力的男女亲密关係之中；而〈Butterfly〉以及打造爵士灵魂外衣的〈Seasons Change〉，都是肯妮展现令人震撼且最具实力之明证。 肯妮贝儿在迈入2007年之际，可说完全绽放她的光芒，不但常驻销售排行榜，更在2007年全英音乐奖Brit Awards中获得「全英最佳女歌手British Female Solo Artist」、「全英年度最佳单曲British Single」以及「全英年度最佳新人British Breakthrough Act」三项提名。她的魅力同时横扫大西洋彼岸，在第49届葛莱美音乐奖Grammy Awards公布的入围名单中，肯妮贝儿亦为「年度最佳歌曲Song of the Year」、「年度最佳录音Record of the Year」以及「年度最佳新人Best New Artist」等热门奖项的候选人，而她在全美的唱片销量更已大破白金。

比较靠谱乐评一篇 Review by Richard S. Ginell Allmusic.com This gargantuan package — a ten-LP set now compressed into a chunky six-CD box — once was derided as the ultimate ego trip, probably by many who didn't take the time to hear it all. You have to go back to Art Tatum's solo records for Norman Granz in the '50s to find another large single outpouring of solo jazz piano like this, all of it improvised on the wing before five Japanese audiences in Kyoto, Osaka, Nagoya, Tokyo, and Sapporo. Yet the miracle is how consistently good much of this giant box is. In the opening Kyoto concert, Jarrett's gospel-driven muse is in full play, up to the level of his peak solo performances in Bremen and Koln, and the Osaka and Nagoya concerts have pockets of first-rate, often folk-like, even profound, lyrical ideas. The Tokyo concert takes a while to get in gear, but when Jarrett finally locks into one of his grooving vamps, he carries us along, and there is a memorably melodic encore. In Sapporo, Jarrett breaks from a nicely flowing pattern into a jumpy rhythm that reminds one of C&W guitar fingerpicking, and there's some exuberant barrelhouse stuff and outbreaks of dissonance in part two. Each concert is placed on a single CD, while the much briefer sixth disc is reserved for the encores from Nagoya, Tokyo, and Sapporo. While Sun Bear breaks little ground that his earlier solo piano albums had not already covered, it is nevertheless richly inventive within Jarrett's personal parameter of idioms. If price is not a barrier, the Jarrett devotee need not hesitate.

recorded on June 2, 1964 in Hilversum, Holland, 27 days before his death from diabetes.

Ian Ernest Gilmore Evans (né Green; May 13, 1912 – March 20, 1988) was a Canadian–American jazz pianist, arranger, composer and bandleader. He is widely recognized as one of the greatest orchestrators in jazz, playing an important role in the development of cool jazz, modal jazz, free jazz, and jazz fusion.

Misterioso is a live album by American jazz ensemble the Thelonious Monk Quartet, released in 1958 by Riverside Records. Pianist and composer Thelonious Monk had overcome an extended period of career difficulties by the time of his 1957 residency at the Five Spot Café in New York City. He returned to the venue the following year for a second residency and recorded Misterioso on August 7, 1958, leading a quartet that featured drummer Roy Haynes, bassist Ahmed Abdul-Malik, and tenor saxophonist Johnny Griffin. Misterioso and its title track refer to Monk's reputation as an enigmatic, challenging musician. The album's cover art, which appropriates Giorgio de Chirico's 1915 painting The Seer, was part of Riverside's attempt to capitalize on Monk's popularity with listeners such as the intellectual and bohemian audiences at the Five Spot Café. The album features four of his earlier compositions, which Monk reworked live. It was one of the first successful live recordings of his music and was produced by Orrin Keepnews, who said that Monk played more distinctly than on his studio albums in response to the audience's enthusiasm. In contemporary reviews of Misterioso, music critics complimented Monk's performance but were critical of Griffin, whose playing they felt was out of place with the quartet. It was remastered and reissued in 1989 and 2012 by Original Jazz Classics. Since its initial reception, the album has received retrospective acclaim from critics, who viewed Griffin's playing as a highlight.

爵士乐里，Alice Coltrane可类比于摇滚乐里的Yoko Ono或Courtney Love，因为人们在提到这三位寡妇时，总不知怎样去避开不谈她们各自大名鼎鼎的逝夫，尽管她们自己的成就皆可各成一章。所以一定要公允地讲，Alice的声望绝非仅建立在她死于40年前的丈夫、被誉为自由爵士乐之神的John Coltrane之上；怎样通过器乐建立人与神的沟通路径，怎样将音乐幻为形而上的器械、思考并呈现东方远古宗教里灵知一系，现代音乐里，没有人比她走得更远更缥缈。

Le Sony'r Ra, better known as Sun Ra, was an American jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances.

1920年出生於田納西州的硬式咆勃薩克斯風手，Yusef Lateef堅持而不妥協的獨特音樂理念，讓大家知道了他不僅止是一個單純的咆勃獨奏家，也是一個富有創意思考的音樂人。雖然被很多人視為現代爵士的早悟前衛樂手，Yusef Lateef並不是太在乎”爵士”這個名詞，他長期持續地從非傳統西方領域消化吸收進而創造出的獨特個人音樂語彙，以及其他如長笛、黑管等多種非主流樂器的嘗試運用，都讓他成為爵士音樂史上相當重要且高自覺性前衛樂手。而Yusef Lateef早在五O、六O年代便開始致力的「世界音樂」，更是遠較九O年代以降各大廠牌炒作民族流行或民謠而成的世界音樂，要來得有創意和實際意涵的多了。 YUSEF LATEEF,tenor sax,flute,pneumatic flute,bamboo flute,shannie,tamboura,taiwan koto & scratcher SONNY RED,alto sax BLUE MITCHELL,trumpet BUDDY LUCAS,harmonica KENNY BURRELL,guitar HUGH LAWSON,piano CECIL McBEE,bass BOB CRANSHAW,fender bass ROY BROOKS,drums

Recorded at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey on June 27, 1961. Mal Waldron – piano Eric Dolphy – alto saxophone, clarinet Booker Ervin – tenor saxophone (tracks 1-4, 6 & 7) Ron Carter – cello Joe Benjamin – bass Charlie Persip – drums