On her latest album, the incomparable vocalist has crafted an exquisite collection of classic songs to reflect on a life well and passionately lived. With Songs Were Made To Sing, Stallings puts her distinctive stamp on a diverse set of 13 songs, using her gift for interpreting a lyric to transform familiar melodies into profoundly personal and captivating stories.
When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley’s “Mazatlan”, brimming over with energy, Gary Peacock’s evergreen “Moor”, Gershwin’s tender “I Loves You Porgy” and much more. All played with the subtlety of master improvisers, recasting the music in every moment.
Getz At The Gate is a previously unreleased 1961 live recording from the historic Village Gate in New York City. This release features an all-star, rarely heard quartet with pianist Steve Kuhn, bassist John Neves and drummer Roy Haynes (aka The Boston Band). Includes extensive liner notes by Boston jazz historian Bob Blumenthal.
This book compiles more than 150 Francis Wolff photos of jazz stars, most of which are published here for the very first time. It also includes a special introduction by renowned music historian and jazz critic Ashley Kahn.
This fascinating unissued concert finds Gordon at the Subway jazz club in Köln, Germany, on September 11, 1973, playing along Irv Rochlin on piano, Henk Haverhoek on bass, and Tony Inzalaco on drums. This edition contains a 16-page booklet with rare photographs, and special essays by famed jazz producer Michael Cuscuna and by Dexter s widow, Maxine Gordon.
Resonance Records proudly announces the issue of "Evans in England", a vibrant, previously unreleased set of recordings featuring music by lyrical piano master Bill Evans with bassist Eddie Gomez and drummer Marty Morell captured during an engagement at Ronnie Scott’s celebrated jazz club in December 1969.
Master saxophonist Roscoe Mitchell is one of the great innovators in creative music of the post-Coltrane, post-Ayler era. He has for over 40 years been a restless explorer of new forms, ideas and concepts. In 1967 he founded the Art Ensemble of Chicago (originally the Roscoe Mitchell Art Ensemble). Its motto – “Great Black Music, Ancient to the Future” – is vividly demonstrated on their ECM legacy, including the widely praised albums Nice Guys, Full Force, Urban Bushmen and Tribute To Lester. More recently Mitchell co-led the Transatlantic Art Ensemble with fellow saxophonist Evan Parker, which can be heard on Composition/Improvisation Nos. 1, 2 & 3, and collaborated with Jack DeJohnette on Made In Chicago, celebrating the early days and continued relevance of the AACM.
Parisian label specialized in high quality jazz records reissues on vinyl. In the tradition of labels wholly devoted to vinyl re-pressing, Sam Records puts out a product of top-notch musical and visual quality. In words of his owner and founder, Fred Thomas: “In 2006, after meeting with Nathan Davis, I decided to release one of his first recordings, from 1965. As I’m also very interested in photography, I decided to look for the original sleeve photographer, Jean-Pierre Leloir, to try and obtain a photo print and agree on a deal with him. I also decided to search for the owner of the master tapes to find an agreement with him. Five years after the Nathan Davis reissue, I decide to create Sam Records to continue doing the same type if work with other titles”.
For the original soundtrack of Bolden, in theaters this spring, nine-time GRAMMY Award winner Wynton Marsalis faced a nearly impossible task: bring fellow trumpeter and New Orleanian Buddy Bolden, widely considered one of the fathers of jazz, back from the dead. But on this album, Marsalis enthusiastically resurrects the bawdy, brassy sound of Bolden as no one else can, throwing a Big Easy party that romps through some of Bolden’s most beloved material. Featuring acclaimed vocalists Catherine Russell and Brianna Thomas and an all-star cast of instrumentalists that includes Wycliffe Gordon, Victor Goines, Marcus Printup, and more, Marsalis brings turn-of-the-century New Orleans back to life, imbuing ragtime classics popularized by Bolden and his competitor Louis Armstrong with a modern sound and energy.