转自 Bobby Mcferrin出生于1950年3月11日，纽约。他的父母亲都是古典音乐歌唱家。在他6岁那年开始学习音乐理论，那时他刚和家里人搬家到了洛杉矶。钢琴是在他上中学的时候的主修乐器，后来在大学里继续学习（加里福利亚大学）。作为一个钢琴家，当时他随着ICE FOLLIES,TOP 40等流行乐队和舞蹈乐队巡回演出。 1977年，他决定做一名爵士歌手，当时他在一个来自NEW ORLEANS的乐队里演唱，后来去了三藩市，在那里他的好运气来了。他碰到了一位喜剧演员bILL COSbY。COSbY帮助MCFERIIN得到在一次很重要的爵士音乐节上表演的机会。表演后的两年，1982年MCFERRIN录制了自己第一个爵士专辑。 1983年Mcferrin开始演唱cappella(无伴奏)。这种演唱方法运用在他在1988年创作的一首有名的歌曲中“DON'T WORRY, bE HAPPY”在这首歌曲里面，所有的声部的演唱都是他亲自演绎的。他可以分别录制曲子中不同声部到不同的音轨上，然后再将所有声部结合起来。

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. Atlantic. 2007.

Keith Jarrett于一九七一年灌录此张双LP专辑时，正是其脱离Charles Lloyd四重奏，与Charlie Haden、Paul Motian等人自组乐团，并参与Miles Davis多项fusion录音的阶段。本于先前之历练，Keith Jarrett于这张专辑中再度展露出其统摄各种音乐元素的超绝能力，在专辑十一首原创曲目中，举凡满溢拉丁风情的“Common Mama"；杂柔蓝调、古典带有浪漫抒情风格的“Expectations"、“The Magician In You"；掺染灵魂爵士以及摇滚热力的“Take Me Back"等均是明证。但这样地将各曲分门别类究其实也只能说是种为求方便的不负责书写策略。更精确点说（或更笼统点说），每首曲子虽或有所偏，但在所有像是Blues、Gospel、Classical、Rock、Avant-Garde等音乐质素均能为其炮制出不拘一格之生命力的情况下，我们亦更能窥见Keith Jarrett阳春百雪无所不擅的早期音乐源流以及其整体演奏概念。 参与录音的乐手除了Charlie Haden、Paul Motian等大师级乐手外，尚包括有著名前卫萨克斯风手Dewey Redman、吉他手Sam T. Brown、打击乐手Airto Moreira，Keith Jarrett本人更是钢琴、风琴、铃鼓、萨克斯风齐出；此外，亦视乐曲不同而添加了铜管、弦乐编制，整体阵容之坚强、乐手间即兴对答之精彩，堪称是Keith Jarrett个人早期最具企图心的一份历史录音，其音乐历程的一个重要脚注！

The Way Up represents, in the words of guitarist Pat Metheny himself, "our most ambitious undertaking ever as a group"-a single, brilliant 68-minute piece composed by Metheny and his collaborator of 28 years, Lyle Mays. Metheny has likened the creation of The Way Up to making a film, and in some respects, the album feels like a vividly rendered journey, its moods shifting like scenes glimpsed from a fast-moving vehicle.

Patrick Bruce Metheny is an American jazz guitarist and composer. He is the leader of the Pat Metheny Group and is also involved in duets, solo works, and other side projects. His style incorporates elements of progressive and contemporary jazz, Latin jazz, and jazz fusion.

Thelonious Monk with John Coltrane is a 1961 album by Thelonious Monk issued on Jazzland Records, a subsidiary of Riverside Records. It consists of material recorded four years earlier when Monk worked extensively with John Coltrane, issued after Coltrane had become a leader and jazz star in his own right. The album was assembled by the label with material from three different sessions. The impetus for the album was the discovery of three usable studio tracks recorded by the Monk Quartet with Coltrane in July of 1957 at the beginning of the band's six-month residency at New York's legendary Five Spot club near Cooper Square.[4] To round out the release, producer Keepnews included two outtakes from the Monk's Music album recorded the previous month, and an additional outtake from Thelonious Himself recorded in April.[5] The latter selection, "Functional," is a solo piano piece by Monk. It was reissued in 2000 on Fantasy Records as part of its series for back catalogue using the JVC 20-bit K2 coding system. Because of the historical significance of this album it was inducted into the Grammy Hall of Fame in 2007.

Recorded：October 21 and 22, 1959 at Fugazi Hall, San Francisco, CA Thelonious Monk – piano

This readily available Bluebird CD gives one an excellent overview of the talents of trombonist/singer Jack Teagarden. "Mr. T." is featured with Eddie Condon on a pair of classic 1929 selections and also with Roger Wolfe Kahn's orchestra ("She's a Great Great Girl"), Ben Pollack, the Mound City Blue Blowers, Fats Waller, Benny Goodman, Paul Whiteman, the Three T's, the Metronome All-Stars, Louis Armstrong (the exciting "Jack-Armstrong Blues"), and with Bud Freeman, in addition to a version of "St. Louis Blues" with Teagarden's group in 1947. Quite a few of these performances are famous, and although this is not a "complete" set, the consistent high quality of these recordings makes this CD highly recommended to all.

Alto Saxophone – Herb Geller Bass – Ray Brown Design [Cover], Painting [Original] – Si Leichman* Drums – Lawrence Marable Liner Notes – Mort Goode Piano – Lou Levy Producer – Albert Marx Tenor Saxophone – Harold Land Trumpet – Kenny Dorham

Scott Yanow & Bruce Eder In the 1950s, Bobby Hackett's pretty tone was often utilized on mood music albums, most notably by Jackie Gleason , but he never lost his ability to play hot jazz, and in the fall of 1955 he was part of the Dixieland Jubilee presented by Frank Bull and Gene Norman at the Shrine Auditorium in Los Angeles -- also featured on the program was Hackett's longtime colleague Jack Teagarden , who was in superb form at this point in his career. The results of that concert were so felicitous that Capitol Records OK'd the recording of Coast Concert , featuring Hackett leading an octet that included Teagarden on trombone and vocals, and also old friends Abe Lincoln on trombone and Matty Matlock on clarinet. Capitol was concerned with sales and had the group stick to familiar standards, such as "I Want a Big Butter and Egg Man," "That's a Plenty," "Basin Street Blues" (beautifully sung by Teagarden ), and "Struttin' with Some Barbecue." Hackett's cornet is center stage on some beautiful solos, ranging from the ebullient brilliance of "Struttin' with Some Barbecue" to the subdued, gorgeous lyricism of "Basin Street Blues," the latter beautifully sung by Teagarden and offering two solos by Hackett and a gorgeous spot for Matlock 's clarinet, plus Don Owens ' elegantly understated pianism. The top-notch players really inspire each other with some heated ensembles and creative solo work, and the result is one of Hackett's finest sessions of the 1950s. It had no small effect on Teagarden 's career as well -- Capitol ended up doing a quartet of follow-up albums by the legendary trombonist/singer, cut between January 1956 and April of 1958, which included some of his finest late-career work. As of 2005, Coast Concert had not been re-released by itself on CD by Capitol, but those much wiser heads at Mosaic Records included it -- since it's as much a Teagarden effort as a Hackett session -- as part of The Complete Capitol Fifties Jack Teagarden Sessions . What's more, they slipped in one choice outtake, a killer rendition of "St. James Infirmary Blues" featuring Teagarden on vocals paired with Hackett's cornet.

专辑介绍: 素有［黑暗王子］之称的小喇叭巨擘 Miles Davis(1929-91)　是一位奠定50年代酷派（Cool School）冷调风格，开创60年代末期Jazz-Rock 融合（Fusion）新乐风的先锋；受到咆勃时期最具代表性萨克斯风大师Charlie Parker 提携，Miles Davis 由纽约52街的酒吧表演跨入大乐团，而后自组五重奏的历程，不仅绽放个人深刻色彩，更跨越肤色藩篱成就后起之秀。张专辑是Miles Davis将摇滚乐融入爵士乐的一张作品。在新推出之时，并没有多少人认同他的新乐风，直到五至年之后才陆陆续续有人能够理解其先见之创造力!"沈默之道"，那是这张《In A Silent Way》专辑的中文译名，也许翻成「宁静之道」更妥善，更能忠实地传达出Miles营造出的那种吓人的宁静革命。这是这张专辑的阵式： 时间：1969年2月18日 地点：美国纽约市，52街上的西51号，CBS录音室裏 乐器：三架电钢琴、电吉他、贝斯、tenor sax、风琴、鼓、小喇叭 人物：Herbie Hancock、Miles Davis、Chick Corea、Wayne Shorter、Dave Holland、 Josef Zawinul、John McLaughlin、Tony Williams等八位。 创意：无限 这天，他们八员就在录音室裏花了一天时间，唏哩呼嚕地将这张《In A Silent Way》录製完成。其实说穿了它也仅有两首曲子，各为18:03的《Shhh / Peaceful》、19:57的《In A Silent Way / It's About That Time》。这合计不到四十 分鐘的专辑，却让我爱得死去活来。怎么说呢？ 这时Miles Davis的想法中已经不再是传统爵士乐，不只是那些钢琴、贝斯、Sax、鼓，还有追著先辈的步伐，沈重而蹣跚地走在前人的阴影下，在夹缝中寻找生存的契机，反之，他由60年代中期以来，脑子开始出走神游，由灵魂乐教父James Brown（此公曾因在舞台上表演过於投入及兴奋，当眾昏倒）、Sly And the Family Stone（此队人马的音乐会让你的细胞变成黑人那样有强烈的韵律和节奏感）、Jimi Hendrix（此君跟我同一月日出生，所以很伟大，喔不！他是个左撇子，吉电他在他手上於30年前弹出的音效，据闻至今依旧让许多吉他爱好者抓破了头皮还是弹不出来）得来的灵感，融入了Jazz音乐中，成了通了电的Miles Davis。 Shhhh / Peaceful 0:00 由电钢琴的颤音开始，还有电吉他的音色，随后就是贝斯「短─长─」、「低─ 高─」式规则的起伏。像是在星夜下无边的旷野似的，有低鸣的虫嘶，远处有无 名的篝火一落落地延烧著。 1:43 Miles的小喇叭出现了，我们延续前面的想像力，想像一下，在静謐的星空下， 出现了长吟的小喇叭声音是何感觉？是了，这裏的Trumpet就是这样的感觉。小 喇叭吹得人心七上八下的，真是好听得让人受不了。 4:18 - 18:03 小喇叭到此来进入第一个高潮，也看得出它是个主导的狠角色。此后，一直再轮 流主旋律。Miles Davis特别把曲子拉得这么长，也许是刻意要塑造那种幽暗深 远的空间感和距离的迷濛美吧。 In A Silent Way / It's About That Time 0:00 同名的单曲在这裏使用了安宁的吉他做为开场，拖沓了好一阵子，带出小喇叭的 长音演奏。这裏的空间感更加深长了。 4:15 到这裏的旋律完全改变，成为具有太空现代感般的音乐，贝斯是在暗处鼓譟的， 电吉他和电钢琴的音色有种蓝黑色的不明景象感，听上去安静，可是事实上又不 安静…… --- 上述文字来源于白云黄鹤站

Saxophone Colossus is one of Sonny Rollins' most acclaimed albums. Recorded in June 1956 and released in April 1957, it has been awarded a rare Crown by The Penguin Guide to Jazz, and is widely considered the masterpiece of his mid-1950s series of recordings for Prestige Records and one of the greatest albums ever issued on that label.