Having already achieved varying degrees of commercial and critical success with Roy Ayers' Ubiquity project and Robert Flack, Harry Whitaker went into the studio to record Black Renaissance: Body, Mind & Spirit, a tone poem reflecting on the state of African American music in the 1970s. Debunking the myth of the record's rarity aside (scarcely available for decades until its 2002 reissue by Ubiquity), this album is a map of the African American musical canvas -- a symphony of melding influences as far reaching as Sun Ra's call and responses to the future, John Coltrane's tonal meditations to the holy spirit, and the electronic wizardry of Herbie Hancock's "Raindance" all nestled together in unison. The strength of this album lies in all these variables and Whitaker's own unique composition sensibilities bringing it all together in a way that's accessible to people unfamiliar with any of the aforementioned artists. Black Renaissance: Body, Mind & Spirit is a haunting echo of progression in a time where innovation was the norm, not the exception.

1-6:THELONIOUS MONK,piano;IDREES SULIEMAN,trumpet;DANNY QUEBEC WEST,alto sax;GENE RAMEY,bass;ART BLAKEY,drums 7-16:THELONIOUS MONK,piano;GENE RAMEY,bass;ART BLAKEY,drums 17-21:THELONIOUS MONK,piano;GEORGE TAITT,trumpet;SAHIB SHIHAB,alto sax;BOB PAIGE,bass;ART BLAKEY,drums Recording engineer:DOUG HAWKINS

A lost album of originals by John Coltrane, the American saxophonist who took jazz to new heights of freedom and expression, has been unearthed. The album, being released on 29 June as Both Directions at Once: the Lost Album, was recorded in a session on 6 March 1963, at the Van Gelder studios in New Jersey. Joining Coltrane in the quartet that also recorded classic albums such as A Love Supreme, Coltrane, and Ballads, are Jimmy Garrison on double bass, Elvin Jones on drums, and McCoy Tyner on piano. The master tape left in the studio was lost, and it’s likely it was destroyed in the early 70s when the label, Impulse!, was trying to reduce storage fees. But Coltrane gave his own reference tape of the recording to his wife Naima, despite their then disintegrating relationship – the pair divorced in 1966, and the tape has stayed in her family’s possession ever since.

Originally released in 1966. The Charles Lloyd Quartet was not only one of the most popular acts in Jazz, they also gained a rock audience by playing the Fillmore West during the late 1960s. A distinguished group of musicians, consisting of drummer Jack DeJohnette, keyboardist Keith Jarrett and bassist Cecil McBee, join Charles Lloyd on this recording, the two part 'Dream Weaver' the party jam 'Sombrero Sam' and 'Love Ship' showcase this tight group of musicians at their best. 2002.

专辑介绍： 六零年代，造反是纲，清洗既成体制的约定成俗是目。六零年代，不曾亲身下水体认「纲举目张」的人，不能算是活过。﹍﹍刘大任‧纽约眼 查尔斯洛伊德（Charles Lloyd），这位曾在六零年代后期，带领著以他为首的「查尔斯洛伊德四重奏」，在爵士乐面临摇滚乐来势汹汹，陷入听眾急遽流失的空低潮之际，仍以『森林之花：查尔斯洛伊德在蒙特利（Forest Flower：Charles Lloyd At Monterey）』专辑创下爵士乐史上少数销售逾百万张的惊人纪录，从一九六六至六八年，短短两年内，查尔斯洛伊德四重奏在「大西洋唱片（Atlantic）」总计发行了七张专辑，其中大都是在欧洲、苏联或是美国等地各大音乐祭或是现场演出的实况录音，由此可知这个在一九六五年中才正式成军的四重奏，在当时是多么受到欢迎。直至一九六九年，因团员相继离去而解散，短暂活跃於六零年代后期的「查尔斯洛伊德四重奏」写下爵士乐史上值得记录的一页。 这个时期的查尔斯洛伊德四重奏成员包括领军的洛伊德先生，擅长高音萨克斯风与长笛；钢琴手凯司杰瑞特（Keith Jarrett）、鼓手杰克迪强涅特（Jack DeJohnette）和前后两任贝斯手西索麦克比（Cecil McBee）与朗麦克鲁尔（Ron McClure）。 这个平均年龄还未满三十岁的四重奏，成军未满一年，就陆续在德国、美国新港（New Port）、法国安提贝司（Antibes）、挪威摩尔德（Molde）等地的爵士音乐节中巡迴演出，并且获得极大热烈的迴响。在成军隔年的三月，也就是他们第一次出发到欧洲巡迴演出前，查尔斯洛伊德四重奏在大西洋唱片灌录他们的第一张专辑『织梦者（Dream Weaver）』，之后四、五月间在欧洲等地演出，都在当地造成轰动，「在爵士乐史上，从来没有一个乐团像查尔斯洛伊德四重奏一样，在成军第一年就获得听眾和乐评压倒性的支持与推崇！」比利时的爵士乐节目总监比诺依特先生说。 这个年轻的四重奏引起听眾狂喜的原因，在於每一个乐团的成员都有著明亮的位置，相互呼应并且形成一个热情奔放的整体。奥斯陆的史确德（Schade）先生就特别推崇乐团有广泛的动态与变动的紧密张力及优美的声调。此外，洛伊德曲子的结构与旋律使得成员可以有空间发挥各自的特色并且对话，而且洛伊德深知每位成员的潜力与特质，像是当时才二十一岁的钢琴手杰瑞特先生，在洛伊德四重奏中，不仅有极大的独奏空间，并且也时常在专辑中贡献自己的曲子。 洛伊德四重奏最畅销的专辑，是录製於成军隔年九月十八日下午的蒙特利爵士音乐节现场：『森林之花：查尔斯洛伊德在蒙特利』。而洛伊德创作长达十八分鐘的标题曲「森林之花二部曲：日出与日落」更是成为他传世的经典曲目。这首在汉米尔顿五重奏时期就创作的曲子有著不断重複的张力，一开始洛伊德吹奏著标準柯川之声（Coltrane Sound）抒情风格的高音萨克斯风音色与旋律，接著杰瑞特先生的流畅钢琴键入，与迪强涅特先生的鼓碰撞带入这一区块的张力；随后就是一连串洛伊德时而精简微短，与贝斯的轻细的对话呼应，或是杰瑞特的美丽琴音在营造这一片森林之花。而曲子最后「日落之部」的一分鐘里，杰瑞特用钢琴的键盘创造出惊人的声响与不和谐的对话，但却是整首曲子中私以为最撼人心魄的一段。听著杰瑞特单手敲击键盘左右两端，叮叮咚咚，与洛伊德细緻但充沛的情感，构成的旋律与张力，著实让人惊异，这个六六年九月的现场。

Charles Mingus, piano, with Eric Dolphy, featuring Bud Powell, bass clarinet.

Clifford Jordan — tenor saxophone Don Cherry - cornet (tracks 1 & 2) Kenny Dorham - trumpet (tracks 3 & 4) Julian Priester - trombone Wynton Kelly - piano Richard Davis - cello, bass Wilbur Ware - bass (tracks 1 & 3) Ed Blackwell (tracks 3 & 4), Roy Haynes (tracks 3 & 4), Albert Heath (tracks 1 & 2) - drums

The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in 1963. The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements