William John Evans was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continues to influence jazz pianists today.

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

William John Evans was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continues to influence jazz pianists today.

本专辑之所以被认为是一张重要的作品，不但由於它是爵士乐大师文斯‧葛拉第(Vince Guaraldi)首次为史奴比卡通跨刀创作的原声带，更因为它在六○年代，引领了上百万的小朋友(及它们的父母)第一次接触了爵士音乐。专辑中的音乐，由於广受喜爱，也成了查理布朗传奇的一部份。大师文斯‧葛拉第最为人讚佩的，除了为世人创作出如此才华洋溢、愉快摇摆的动人旋律之外，他全心投入、不轻忽卡通配乐的精神，更令人敬佩。事实上，他似乎比以往更兴味盎然地投入这项创作，展现出更多的创意与赤子之心。当葛拉第的三重奏完成了这些卡通配乐时，确实带给许多人小小的惊艳！想不到一个简单的爵士乐三重奏: 钢琴(葛拉第Guaraldi)、贝斯(Monty Budwig蒙堤‧巴德威)、小鼓(柯林‧贝里)，能够将卡通的意象以及主人翁的情绪詮释的如此传神，彷彿这些人物又活生生的回到我们眼前。许多史奴比迷熟悉的曲子，在卡通中常以不同的演奏方式出现。而原曲都来自本专辑。包括源自Bossa Nova风格的“Linus And Lucy”，以及“Baseball Theme”、”Oh,Good Grief”等。CD版本还比黑胶唱片多收录了一首”Fly Me To The Moon”。

Alto Saxophone – Paul Desmond Bass – Eugene Wright (tracks: 1, 7), Norman Bates (2) (tracks: 5), Ron Carter (tracks: 2 to 4, 6, 8) Cello – George Ricci (tracks: 8) Drums – Jack DeJohnette (tracks: 2 to 4, 8), Joe Dodge (tracks: 5), Joe Morello (tracks: 1, 7), Steve Gadd (tracks: 6) Guitar – Gabor Szabo (tracks: 2 to 4), Gene Bertoncini (tracks: 2, 8), Jim Hall (tracks: 6) Piano – Bob James (tracks: 2 to 4, 8), Dave Brubek (tracks: 1, 6, 7), Roland Hanna (tracks: 6) Trumpet – Chet Baker (tracks: 6) Recorded - July 1, 1959 - track 1 Recorded - November 1973 - track 2 to 4 and 8 Recorded - October 12, 1954 - track 5 Recorded - April, 1975 - track 6 Recorded - June 16, 1964 - track 7

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.

BILL EVANS - piano SCOTT LAFARO - bass PAUL MOTIAN - drums Recorded live at the Village Vanguard New York; June 25, 1961.

Last year Matthew Halsall’s debut album ‘Sending My Love’ planted him firmly on the UK jazz map, with a release which earned him praise across the board. Solid airplay from Radio 1’s Gilles Peterson (the album figured in his top 40 albums of 2008), Stuart Maconie (BBC 6 Music), Tom Robinson (BBC 6 Music) and Mike Chadwick (Jazz FM) amongst others, culminated in a Maida Vale session for 6 Music. Halsall’s expressive playing style and compositions, rooted deep in the spiritual jazz tradition, combined with subtle arrangements and respectful production, led to the release becoming something far greater than just the sum of its parts – more than simply a debut from a skilled, young player – ‘Sending My Love’ offered a welcome return to form for UK jazz – it even grabbed the attention of Nitin Sawhney, and led to the pair collaborating in a week long session.

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.

William John Evans was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continues to influence jazz pianists today.

Recorded Sept. 27, 1979 at Theatro Municipal General San Martin Buenos Aires, Argentina Piano – Bill Evans Bass – Marc Johnson Drums – Joe LaBarbera

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