专辑介绍: 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。1月12日，这位缪斯因呼吸衰竭于洛杉矶去世，再过半年，她就整70岁了。 除了动辄提及John Coltrane，Ailce被人们聊起时还会经常被誉为爵士乐史上首席竖琴大师，似乎没错，她少年时的偶像是底特律竖琴高人Dorothy Ashby，她几乎所有个人唱片里都会弹起这件希腊拨弦乐器。但请注意，她显殊的竖琴风格就是发出大量琶音，尽量去缩短本来就很密集的弦与弦间的距离，在各根弦的余音间建立体系繁芜的和声，她希望乐音连成一片、没有中断，这点在她个人风格里很明显，于是从上世纪70年代早期开始，她着迷于演奏风琴这种可将厚实的余音严密编织为一体的乐器，并在最后一张录音室制作“Translinear Light”（2004）里，完全放弃了竖琴。这是她的信仰所至，她确信神的音乐没有间隔、宏大而密织，如时空一般；它不需要任何即成格调或常识里的逻辑，其音色间的轮回仅基于印度古教义中的因果。 风琴本就是她最早学习的器乐之一，另一种是钢琴。那时她7岁，在其出生地底特律的教堂里演奏圣歌。从最初到她去世，无论从演奏的数量或质量上来看，她当然首先是一位敲键器乐的行家，包括在60年代初，她刚刚进入美国爵士乐视野，跟随拉丁爵士乐创始者之一Terry Gibbs时对电颤琴的短时间迷恋。在她最著名的唱片之一“Ptah，the El Daout”（1970）的内页里，Terry不无遗憾地说：“她若愿意的话，一定可以成为电颤琴的巨人。”而钢琴，她取代McCoy Tyner成为John Coltrane最后阶段的钢琴手，其表现已成为爵士乐的至上经典。 两夫妇的合作录音并不多，最著名的两部，一是专辑“Stellar Regions”（1967），二是“Live at the Village Vanguard Again!”（1966）。有批评家认为，Alice在技巧呈现上虽不逊色于McCoy，却缺少力度从John那听似永无终结的即兴音系中拔身而出。McCoy曾解释过为何离开John：他越来越少地听到自己的键音在整体演奏中发出的声音。但这点对Alice并不存在，她情愿静默地从后面看那座背影，因为她知道自己的丈夫随时都会死去。 20岁出头时，Alice慕比波普宗匠Bud Powell之名去到巴黎，成为这名会将琴键烧着的钢琴大师的旁听生。在那里，她和爵士乐歌手Kenny Hagood有过一场短暂的婚姻，并生了一个女儿Michelle。1962年她回到美国，第二年，她在作为乐手随Terry的演出里第一次遇到比她大十岁的John，后者对Terry讲：“第一次见到她，就发现了她的美。”那一年，她26岁。 从头至尾，她就是一个回望内心的隐居者，从没有像Yoko或Courtney那样拿她和逝夫的感情当众招摇，这个一直抿紧嘴唇的非裔女子仅对媒体说过这么一句，在她尚未嫁给他时：“他的音乐为我打开了一扇门。”而任何可以听懂她后来音乐的人都明白，这扇门一直没有关上。 John与前妻Naima Grubbs（那首著名的“Naima”，正是他写给前妻的）离婚后，1965年，与Alice在墨西哥举办了婚礼，那时他们已有了两个男孩，John Jr.Cltrane和Ravi Cltrane，前者早夭于1982年，后者现已成为知名萨克斯演奏家。他们婚后生出的第三个男孩Oran Coltrane也作为爵士乐手推出过专辑。在她最后那张“Translinear Light”里，Ravi作为制作人和主音管乐手身份出现，值得思量的是，在Ravi成年之前，母亲从未告诉过他有一位被人称呼为神的父亲。 丈夫对妻子最重要的影响并不是自由爵士乐的即兴方法或其它一切相关音乐操作的事，而是令她确凿地明白：这世上有一个我们须无限信仰的神。John早年曾一度沉溺在酒瘾和毒瘾之中，他在1964 年那张划时代的专辑“A Love Supreme”里以彻底皈依于神的态度，宣布了自我的一次精神革命，变得自律、节制、精进。他从未说明自己属身于哪门宗教派别，只不过以为通过音乐使得他确信了宇宙一定有主宰者的事，并庆幸于自己有义务和能力与之无限靠近。丈夫把这个理念告诉了妻子，妻子将之作为一辈子去完成的事。 1967年John死于肝病，他和Alice的三个孩子都不到5岁，两个人的婚姻也不过两年光景。至去世，Alice守寡40年。 先是着迷于印度国器西塔琴里那些绵延瑰丽的琶音，遂为儿子起了将这件器乐带入西方的西塔琴大师Ravi Shankar的名；然后随嬉皮年代和自己一直寻觅着信仰归宿的势，在1970年跟去西方布道的古印度教思想家Swami Satchidananda到了印度，并被取了Turiya Aparna的梵名。Swami这个把胡子像毯子一样挂在胸前的印度老头，曾吸引了像John Lennon或George Harrison之类大人物跟他去印度悟道，在今天摇滚乐史的多数文本中，将这段历史看作那个年代不巧造就的某种滑稽场面，被看作左派嬉皮们一次无伤大雅的莽撞甚至受骗。但Alice并不这么认为，她用后半生一点都没有瑕疵地完成对自我信仰的坚忍与净化。她将自己所有的唱片都称为圣诗,穿着印度的艳丽花裙，用乐声完备了神之人道。 1975年，她在洛杉矶组建了Vedanta Center，可译为新吠檀多教义中心，宣扬这种古印度教一个分支混意西方近代哲学后的教派，并不时将古伊斯兰教与佛教的审思引入其中，其修炼过程多数通过音乐。最初几年，由于人们对其行为的无知与误解，传她为亡夫建了教堂，引领乐迷们去膜拜——却也真有不少游客是本着皈依John Cltrane的心，来到了Vedanta Center。(确实有一座将John Cltrane尊为主神的教堂，1969年，一个名为Franzo Wayne King的乐迷在旧金山建造了它。) 那或许，她真把他放在了神龛里也不一定……可笑尊重那些音乐寡妇的人，他们完全没有办法将这些女人从其亡夫身上吧嗒掰离。就像神离不开人，人离不开会爱人、会杀人的市井一样。将年轻时死去的爱人视为图腾，很多时候，并不是因为爱情的颜色淡也淡不下去。Alice 与Yoko和Courtney完全不一样，她可能更像另一位被忽视的摇滚寡妇Patti Smith，却也没有故作从容的一面。她的信仰，与河那边的丈夫抱在了一起，音乐只是鹊桥上鼓噪的喜鹊，现在他的萨克斯与她的竖琴已被放进展览馆密封的玻璃箱子里，喜鹊飞了，这对夫妇修得永恒。为此，我们应鼓盆而庆。

Total Time: 68:31

A young jazz star with an old soul and the hottest voice in American jazz right now, Cécile McLorin Salvant grew up in Miami, the daughter of a French mother and Haitian father.

Cachao - From Havana to New-York Latin Jazz | mp3 320 Kbps | 126 MB Caney 1994

此专辑被公认为爵士乐史上，最具影响力及最受欢迎的专辑之一. Chick Corea三十年的音乐生涯是不同音乐经历的一种混合。1941年，他出生于马萨诸萨州的切尔西。四岁时开始学习钢琴，而且儿时家庭之中也是充满音乐的，整天能听到Charlie Parker、Dizzy Gillespie、Bud Powell、Lester Young和Horace Silver，另外Beethoven和Mozart的音乐也启发了他的创作天性。 Chick Corea早期的创作开始于和小号手Blue Mitchell（1964-1966年间）的第一次职业合作演出期间，这时他正式作为这支名为Tones For Jones Bones的乐队的领导者了。早期的合作对象还包括Willie Bobo、Cal Tjader、Herbie Mann以及Mongo Santamaria，使得Corea许多作品中的Latin音乐成分很浓厚。在帮Sara Vaughan伴奏一年之后，由于加入了Miles Davis乐队任电钢琴演奏，Chick Corea开始真正的成名。与Miles Davis合作的几年间，他参与了《Bitches Brew》和《In a Silent Way》两张划时代的Fusion经典作品的录音。也就是从那时开始，他组建了自己的先锋即兴演奏团体“Circle”，成员包括贝司手 Dave Holland、小号手Barry Altschul、萨克斯手Anthony Braxton。 1971年，在“Circle”成立三年之后，Corea改变了其音乐上的注意力。成立了早期版本的Return to Forever，乐队的风格很柔和、充满桑巴风味，这时Stanley Clark任贝司手，还有人声乐手Flora Purim，其丈夫Airto为鼓手，长笛手Joe Farrell。以这个班底制作了两张专辑和一部分独奏钢琴专辑以后，Chick Corea开始为乐队插上了电，走上Fusion的路线，这时还招募了两位充满火力的乐手鼓手Lenny White和吉他手Bill Connors。 在Chick Corea使用合成器形成其独一无二的风格的同时，Return to Forever（这时吉他手由Al DI Meola代替Bill Connors）以其开拓性的专辑《Where Have I Known You Before》、《No Mystery》和《Romantic Warrior》在七十年代的Fusion大潮中冲锋陷阵。当1975年Return to Forever解散，Corea又开始尝试录制不同风格的唱片，包括电子大乐队、独奏钢琴、古典音乐、强力二人组演奏（与Herbie Hancock或Gary Burton一起）。 八十年代中期，Chick Corea组一支电子乐队，制作了获格兰美奖的专辑《Leprechaun》、《My Spanish Heart》、《Musicmagic》，其他的一些作品还包括《Mad Hatter》、《Return to Forever Live》，以及与Joe Henderson、Freddie Hubbard、Hubert Laws、Chaka Khan和Nancy Wilson等人的一系列合作。 1996年，Chick Corea和Sony Classical唱片合作，与Bobby Mcferrin制作了一张Morzat系列作品的专辑，期间充满了Corea独特的爵士即兴演奏以及Mcferrin的人声录音，另外还包括两个Morzat的钢琴协奏曲、Morzat第二号钢琴奏鸣曲的即兴变奏。Chick Corea与Bobby Mcferrin因此成为好友，共同合作了六年，并制作了一张现场爵士的专辑。

Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

My Way is an album by American singer Frank Sinatra, released in 1969. The album is a collection of contemporary pop songs, such as Simon and Garfunkel's "Mrs. Robinson", and The Beatles' "Yesterday", French songs such as "If You Go Away", and of course the anthemic title song "My Way", which effectively became Sinatra's theme song in this latter stage of his career. My Way was recorded and mixed at EastWest Studios, then called Oceanway Recording. Later it was remixed and reissued by Concord Records in 2009 to mark its 40th Anniversary. Two bonus tracks were included, and new liner notes from Bono. The bonus tracks were a rehearsal of "For Once in My Life" from 1969, for Sinatra's eponymous Emmy Award nominated 1969 television special, Sinatra, and a live 1987 performance of "My Way" at the Reunion Arena, Dallas, Texas.

IV is the fourth studio album from Canadian jazz instrumental hip hop band BadBadNotGood. It was released on July 8, 2016. It features collaborations with Future Islands frontman Sam Herring, saxophonist Colin Stetson, Haitian-Canadian musician Kaytranada, American hip hop artist Mick Jenkins, and Canadian singer-songwriter Charlotte Day Wilson. It is also the band's first album to feature longtime touring partner and collaborator Leland Whitty as a formal member of the band.

Booker Ervin - Sax (Tenor), Soloist Rahsaan Roland Kirk - Flute, Sax (Tenor), Reeds (Multiple), Stritch, Sirene, Manzello, Soloist, Siren Jimmy Knepper - Trombone Charles Mingus - Piano, Vocals Dannie Richmond - Drums Doug Watkins - Bass

Cookin' is the first of four albums derived from the Miles Davis Quintet's fabled extended recording session on October 26, 1956; the concept being that the band would document its vast live-performance catalog in a studio environment, rather than preparing all new tracks for its upcoming long-player. The bounty of material in the band's live sets -- as well as the overwhelming conviction in the quintet's studio sides -- would produce the lion's share of the Cookin', Relaxin', Workin', and Steamin' albums. As these recordings demonstrate, there is an undeniable telepathic cohesion that allows this band -- consisting of Miles Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass), and Philly Joe Jones (drums) -- to work so efficiently both on the stage and the studio. This same unifying force is also undoubtedly responsible for the extrasensory dimensions scattered throughout these recordings. The immediate yet somewhat understated ability of each musician to react with ingenuity and precision is expressed in the consistency and singularity of each solo as it is maintained from one musician to the next without the slightest deviation. "Blues by Five" reveals the exceptional symmetry between Davis and Coltrane that allows them to complete each other's thoughts musically. Cookin' features the pairing of "Tune Up/When Lights Are Low" which is, without a doubt, a highlight not only of this mammoth session, but also the entire tenure of Miles Davis' mid-'50s quintet. All the elements converge upon this fundamentally swinging medley. Davis' pure-toned solos and the conversational banter that occurs with Coltrane, and later Garland during "When the Lights Are Low," resound as some of these musicians' finest moments.

Duet albums were rare in 1962 and encounters of this quality are still rare. Bill Evans and Jim Hall, two modern jazz giants, were in peak creative form at the time, Evans leading his own trio and Hall working with Sonny Rollins's quartet at the time. These two masters challenge and complement each other brilliantly on a series of standards and jazz originals. Newly remixed and remastered in 24 bit, this new edition of Undercurrent, which contains two more tunes (tracks 7 & 8) and two alternate takes (tracks 9 & 10) added to the original United Artists album, sound exceptional.