Jazz Music Live

Muse- Hyper Music Live at the Montreal Jazz Festival 2002

Live Jazz $12.67 Live Jazz

Live At Bird’s Jazz Club $12.72 Jazz and Brazilian music join together. In the world of art, Mineira di Toninho Horta and Milton Nacimento, far from their native Brazil, known for its Boss della Samba, is intelligently mixed with the sound of European Jazz, thanks to the help of three Italian musicians, and the collaboration of the great bassist miniero Ricardo Moraes. Combined to create new original tracks live along with other authors from the wonderful musical world of Minas Gerais.

New Conception of Jazz Live $25.49 The Norwegian keyboard maestro and head of the Jazzland label assembles recordings of some of his best live sessions where he exemplifies the sound of “future jazz” with his New Conception collective. They play in a completely free style, free of boundaries and stunning audiences with their interplanetary sounds.

This Is Jazz $14.42 The last time Donald Harrison, Ron Carter, and Billy Cobham recorded together as a trio was on 2005’s New York Cool: Live at the Blue Note. Carter and Harrison have worked together in a couple of episodes of the excellent HBO television series Treme, but the particular chemistry this trio puts forth has been missed because of its kinetic spontaneity, and even more, its sense of balance. This Is Jazz was recorded in March of 2011. It contains originals, covers, and standards. Carter’s “Cut & Paste” opens the set with a beautiful knotty blues head in which the swing is built-in hard. Cobham keeps his playing tight, focused on Carter’s bassline, as Harrison stops and starts in the melody before he takes off. Cobham drops out briefly and lets Harrison solo as Carter walks his bass furiously. When Harrison starts to sprint — albeit elegantly — Carter’s right there as Cobham comes back and the fun begins in earnest. Harrison flirts with the outside but never quite goes there. This is post-bop playing at a high and imaginative level. On Carter’s “MSRP,” he and Harrison introduce a blues theme in unison before Cobham enters. His playing is so seamless and intuitive, and compared to the Cobham of old, quite restrained. He syncopates, shuffles, and connects with Carter on every level, never offering more than what’s necessary, yet swinging like mad. The eleven-and-a-half minute reading of Miles Davis’ “Seven Steps to Heaven” is presented with requisite fire and imagination, with Harrison pushing hard at the tune’s margins and Carter finding something new in the architecture (he played on the original). In the reading of “I Can’t Get Started,” Cobham introduces a beautiful — and unexpected — bossa rhythm before Harrison goes over the top reaching for something on the horizon. Album closer “Treme Swagger” is a deeply funky, second-line fingerpopper by Harrison. Cobham has the breaks and bumps to make it jump, while Carter gets into the bottom end of his bass to make the groove pour out of it. Harrison punches up the melody, rhythmically and soulfully, strutting it from uptown to downtown capturing the essence of not only NOLA jazz, but its blues and R&B too. When Cobham pops his breaking solo and Carter follows, it’s a certified dance number. This Is Jazz is the finest offering by this trio to date. Let’s hope it isn’t another six years before they record again. ~ Thom Jurek, Rovi

Live at the Jazz Gallery 1960 $15.18 Import-only two CD live archive release from the Jazz great. John Coltrane formed his first quartet as a leader at New York’s Jazz Gallery in May 1960. After a short trial with Steve Kuhn on piano, McCoy Tyner joined the group. Coltrane also began playing the soprano saxophone during his tenure at the Jazz Gallery. The previously unreleased set presented here was taped by an audience member during that gig. It contains versions of tunes rarely recorded by Coltrane, like ‘Liberia’, ‘The Night Has a Thousand Eyes’, ‘Summertime’ and ‘But Not For Me’, as well as Trane’s first issued version of ‘I Can’t Get Started’, a song he never taped in the studio, which he performs here on soprano. Rare Live Recordings.

Live at the Jazz Cafe $13.59 Scorching 2008 live platter from this veteran British Acid Jazz outfit. With his trademark howling Hammond, James Taylor has a reputation as a solid and accomplished band leader. ‘The Theme from Starsky and Hutch’ cemented the band’s reputation as masters of the Jazz/Funk/R&B workout. Formed in 1985, JTQ began playing music similar to the rare-groove Jazz-Funk then in vogue around London. By the early ’90s, that movement had spawned Acid Jazz, and JTQ found itself at the forefront of a vibrant young club scene. 11 tracks. Real Self. Performers: Andrew McKinney – Bass; Nick Smart – Trumpet; Nigel Wallace Price – Guitar; Yvonne Yanney – Vocals

Jazz: Live $4.99 For everything you do, there’s a song that hits the spot. MOG brings them all to you: a world of music on demand, unlimited mobile downloads and ways to discover music free from the limitations of Pandora. The music you love, with you everywhere you go.

Live at the Memphis Jazz Festival $7.98 The first recording by the Happy Jazz Band (founded by Jim Cullum, Sr. in 1962) to be on a label other than ones owned by the Cullums (American Jazz, Happy Jazz and Audiophile), this enjoyable LP finds the septet (which features cornetist Jim Cullum, Jr., trombonist Mike Pittsley, clarinetist Allan Vache and pianist John Sheridan) stretching out on six selections associated with Jelly Roll Morton, Sidney Bechet (“Egyptian Fantasy”), King Oliver and Louis Armstrong; nearly all of the numbers date from the 1920s. Decently recorded, these live performances have plenty of exciting moments, particularly from Cullum’s cornet. ~ Scott Yanow, Rovi Performers: Jim Cullum, Jr. – Cornet

Live at the Montreux Jazz Festival $24.79 Generally disregarded by jazz purists, Roy Ayers’ Live At the Montreux Jazz Festival is nevertheless a thoroughly engaging set of funky jazz fusion. In fact, the album is one of the most sampled jazz records in hip-hop. Loops of this performance of “Everybody Loves the Sunshine” have appeared on tracks by A Tribe Called Quest, Brand Nubian, and several others. The original grooves on this album are just as funky as those the hip-hop artists have derived from it. In fact, Ayers is probably funkier and looser than the musicians that borrowed from him several years later. Live At the Montreux Jazz Festival is one of the core recordings of acid jazz, “rare grooves,” and jazz hip-hop; it’s a record that sounds better 20 years after its release than it did when it first appeared. ~ Stephen Thomas Erlewine, Rovi Performers: Clint Houston – Bass; David Lee – Drums, Percussion; Harry Whitaker – Piano (Electric), Vocals; Roy Ayers – Vibraphone, Percussion

JAZZ SPEAK: JAZZ SPEAK LIVE $12.41 JAZZ SPEAK: JAZZ SPEAK LIVE

‘Round About Midnight [Legacy Edition] $23.99 Miles Davis’ entry into the Sony Legacy Edition series features his Columbia Records debut and the first offering from his quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. The label already issued the album in a definitive presentation with four additional tracks taken from the sessions onboard. Musically, the sound on ‘Round About Midnight is as unusual and beautiful as it was when it was issued in 1956. Davis, having already spearheaded two changes in jazz — with cool jazz and hard bop — was beginning to move in another direction here that wouldn’t be defined for another two years. The title track showcasing his muted trumpet premiered at the Newport Jazz Festival the previous summer (in a sextet with Thelonious Monk on piano) to a thunderous reception, and the studio offering is stunning as well. Charlie Parker’s “Au Leu-Cha” is edgy, with deep blues leaping from every chord. Coltrane’s solo is notable for its stark contrast to Davis’ own: Coltrane chooses an angular tack where he finds the heart of the mode and plays in harmonic counterpoint to the changes but never sounds outside. Cole Porter’s “All of You” has Davis quoting from Louis Armstrong’s “Basin Street Blues” in his solo. On “Bye-Bye Blackbird” we get to hear the band gel as a unit, beginning with Davis playing through the head, muted and sweet, slightly flatted out until he reaches the chorus and begins his solo on a high note. Garland slips shapes into those interval cracks and shifts them as the rhythm section keeps “soft time.” Of the bonus material, the gem is Jackie McLean’s “Little Melonae” — Davis and company recorded before the composer could. The band comes out blazing on this set, but it’s Coltrane who’s the surprise in his quoting various Dizzy Gillespie solos. For those who had already purchased the album, it may be disconcerting to need to buy it again in order to procure the 33 minutes of live material on disc two. Track one is that legendar…

(Victoriaville) 1992 $19.98 This is a live performance of Braxton’s classic quartet of the ’80s and ’90s at the annual festival of new music held in Victoriaville, Canada. Unlike many of the other documented recordings of this group, the material, with the exception of the closing track, consisted entirely of (at the time) recently composed pieces. Since much of Braxton’s writing in the early ’90s involved the exploration of very fluid and expansive sound territories, there are none of his infectious, bop-derived numbers or any plaintively emotional ballads. Instead we have a series of fairly knotty compositions where the thematic elements are elusive, recurring melodies rare and regular meter almost non-existent. All of which makes for one of the more challenging recordings by this quartet, requiring of the listener an approach perhaps more suited to contemporary classical music than to jazz. In fact, in the excellent and detailed liner notes/interview by John Corbett, Braxton makes reference to his concept of “navigating through form” and to the music and graphic scores of the composer Earle Brown. One is advised, therefore, not to listen for the standard (even as that term applies to Braxton’s music) theme/solos/theme format here; rather, one listens to the musicians, alone or in groups, investigating the rich, strange soundscape structure in which they find themselves immersed. Even so, there’s a feeling of pent up energy waiting to be unleashed so when the band vaults into a raging version of Coltrane’s “Impressions” as an encore, it’s hardly surprising. Indeed, one detects a very human sense of relief as they step back into familiar territory. ~ Brian Olewnick, Rovi

10 for 10 Sheet Music: Broadway – Easy Piano $10 Alfred Music Publishing is the world s largest educational music publisher. Alfred produces educational #44; reference #44; pop #44; and performance materials for teachers #44; students #44; professionals #44; and hobbyists spanning every musical instrument #44; style #44; and difficulty level. 10 for 10 Sheet Music: Broadway contains smash hits from top musicals. Titles: And All That Jazz (Chicago) * Can You Feel the Love Tonight (The Lion King) * Dancing Queen (Mamma Mia!) * Ease on Down the Road (The Wiz) * Hold Me #44; Thrill Me #44; Kiss Me (The Marvelous Wonderettes) * How Could I Ever Know (The Secret Garden) * How Lucky You Are (Seussical) * Make Them Hear You (Ragtime) * On the Street Where You Live (My Fair Lady) * Together Wherever We Go (Gypsy).

1958 Miles $51.99 1958 Miles is an album by American jazz musician Miles Davis, released in 1958 on Columbia Records. Recording sessions for the album took place on May 26, 1958 at Columbia’s 30th Street Studio and September 9, 1958 at the Plaza Hotel in New York City. 1958 Miles consists of three songs featured on the A-side of the LP album Jazz Track, which was released earlier in 1958, and three recordings from Davis’ live performance at the Plaza Hotel with his ensemble sextet. The recording date at 30th Street Studio served as the first documented session to feature pianist Bill Evans performing in Davis’ group. The sessions for the album in mid-1958, along with the Milestones sessions from earlier that year, were seen by many music writers as elemental in Miles Davis’ transition from bebop to the modal style of jazz and were viewed as precursors to his most well-known work, Kind of Blue. Following audio engineering and digital restoration by engineer Larry Keyes at Sony Music New York Studio, the album was reissued on compact disc in 1991 as part of Columbia’s Jazz Masterpieces Series.

1985 in Music: Live Aid, 1985 in Country Music, GLC Jobs Festivals and Concerts, 1985 in British Music, Eurovision Song Contest 1985 $21.61 Purchase includes free access to book updates online and a free trial membership in the publisher’’s book club where you can select from more than a million books without charge. Chapters: Live Aid, 1985 in Country Music, Glc Jobs Festivals and Concerts, 1985 in British Music, Eurovision Song Contest 1985, 27th Grammy Awards, Oz for Africa, 1985 in Heavy Metal Music, Melodifestivalen 1985, List of Number-One Singles in 1985, the Last Romantic, List of Number-One Indie Hits of 1985, 27th Japan Record Awards, 1985 in Jazz. Excerpt: The following songs achieved the highest in the charts of 1985. … More: http://booksllc.net/?id=160791

1993 in Music: 1993 in Country Music, Eurovision Song Contest 1993, 1993 in British Music, 35th Grammy Awards, the Who’s Tommy $19.99 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: 1993 in Country Music, Eurovision Song Contest 1993, 1993 in British Music, 35th Grammy Awards, the Who’s Tommy, Aria Music Awards of 1993, 1993 in Heavy Metal Music, Melodifestivalen 1993, List of Number-One Singles in 1993, 1993 in Jazz, 35th Japan Record Awards, Wet Wet Wet: Live at the Royal Albert Hall. Excerpt: This is a summary of significant events in music in 1993. (Aphabetical by artist) The following songs achieved the highest chart positions in the charts of 1993. … More: http://booksllc.net/?id=160804

1999 Live At The Montreuz Jazz (Live) $12.22 1999 Live At The Montreuz Jazz (Live)

2002 Series 15 Crunch Hi Hat Cymbals $362.08 Medium dark, full, rich, roaring. Fairly wide range, complex mix. Balanced, very responsive feel. Full, dark, rich, sizzling open sound. Fat, meaty, heavy chick sound. A very fast, responsive, crunchy hi-hat for articulate playing.  First cymbal series fully developed for electronically amplified music!During the 1960’s developing Beat and Rock music required cymbal sound to match the new frequencies and volume levels and in 1967 the Giant Beat series was created – The 2002 was developed 1971 fusing the power of the Giant Beat with the differentiation of the Jazz series Formula 602 – In 2005, Paiste once again makes the 2002 a core series for the future, as the best and most innovative Dimensions models are incorporated into the newly expanded 2002, adding current trend cymbal sound to this venerable line. ApplicationsMedium to very loud settings – Live and Recording – Country, R&B, Rock, Jazz-Rock, Progressive, Metal, Grunge, and modern hybrids rooted in those styles SoundBright, warm, brilliant, musical, precise with high energy levels and powerful projection characteristics

2002 Series 18 Novo China Cymbal $252.99 Very bright, slightly trashy, full, exotic. Wide range, complex mix. Fast, responsive, explosive crash, loud, clear defined bell. Very unique, versatile china for flexible application.  First cymbal series fully developed for electronically amplified music!During the 1960’s developing Beat and Rock music required cymbal sound to match the new frequencies and volume levels and in 1967 the Giant Beat series was created – The 2002 was developed 1971 fusing the power of the Giant Beat with the differentiation of the Jazz series Formula 602 – In 2005, Paiste once again makes the 2002 a core series for the future, as the best and most innovative Dimensions models are incorporated into the newly expanded 2002, adding current trend cymbal sound to this venerable line. ApplicationsMedium to very loud settings – Live and Recording – Country, R&B, Rock, Jazz-Rock, Progressive, Metal, Grunge, and modern hybrids rooted in those styles SoundBright, warm, brilliant, musical, precise with high energy levels and powerful projection characteristics

20th Century Masters – The Millennium Collection (Eco-Friendly Packaging) $6.23 20th Century Masters – The Millennium Collection is the most successful greatest hits series in Canada. Since its launch in 1999, the series has sold over 7 million albums and has grown to include over 400 titles. The albums in the 20th Century Masters series feature both single artist and multi-artist compilations and cover genres from jazz to rock, from gospel to soul and much more.These packages are perfect for first-time listeners who want to experience a new artist or sound at a great low price. With all the different types of music and artists represented throughout the line, we know you will find something that you will absolutely have to own!Track Listing1. Got to Get to It (feat. Make It Hot)2. Addicted3. Thong Song4. Your Love is Incredible5. It’s All About Me (feat. Mya)6. What You Want (feat. DMX)7. Can I Live (feat. Dragon Family)8. Dream (feat. Chinky)9. Homewrecker10. Dance for Me11. Unleash the Dragon (feat. Beanie Sigel)12. Incomplete

20th Century Masters – The Millennium Collection (Eco-Friendly Packaging) $9.22 20th Century Masters – The Millennium Collection is the most successful greatest hits series in Canada. Since its launch in 1999, the series has sold over 7 million albums and has grown to include over 400 titles. The albums in the 20th Century Masters series feature both single artist and multi-artist compilations and cover genres from jazz to rock, from gospel to soul and much more.These packages are perfect for first-time listeners who want to experience a new artist or sound at a great low price. With all the different types of music and artists represented throughout the line, we know you will find something that you will absolutely have to own!Track Listing1. What’s Going On?2. Trouble Man3. Let’s Get it On4. Mercy Mercy Me (The Ecology)5. Inner City Blues (Make Me Wanna Holler)6. Distant Lover (Live)7. You’re a Special Part of Me (feat. Diana Ross)8. Come Get to This9. I Want You10. My Last Chance11. Got to Give it Up

21 Spices $16.98 Some of the stodgier individuals in the jazz world labor under the delusion that a big-band project is not legitimate unless it sounds like something Buddy Rich would have done in the ’50s and is full of overdone warhorse standards that have been recorded by literally hundreds, if not thousands, of different artists over the years. But thankfully, not everyone in jazz sees things that way. 21 Spices, in fact, takes big-band music into both the jazz-rock fusion realm and the world jazz realm. This 2011 release is a collaboration between Indian percussionist Trilok Gurtu (who composed all of the material), drummer Simon Phillips, and Germany’s NDR Big Band; also on board are Michel Alibo on electric bass and Roland Cabezas on electric guitar. And with this lineup in place, the result is a fusion album that has a strong world music influence and sounds a bit Weather Report-ish in spots, only with the muscular horn section that the NDR Big Band brings to the table. Naturally, Gurtu’s mastery of Indian percussion and the wordless, Indian-style scat vocals that the Mumbai native provides gives 21 Spices (which contains both live and studio performances) some Indian appeal at times, but Indian music is hardly the only world music influence that asserts itself on this 55-minute CD. Actually, Latin music is a more prominent influence, especially on “Broken Rhythms” and “1-2 Beaucoup.” Meanwhile, “Balato” and “Jhulelal” both incorporate elements of African music. So in terms of world music influences, 21 Spices is pleasingly far-reaching. And it is also an exciting demonstration of the fact that regardless of what bop snobs have to say, big-band recordings don’t have to recycle old Buddy Rich charts in order to have validity. ~ Alex Henderson, Rovi

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