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|What's Left Is Forever
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|MILES AT THE FILLMORE - Miles Davis 1970: The Bootleg Series Vol. 3
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August 1969 to August 1970 was the most productive year of Miles Davis's career: in that short span of time, the trumpeter recorded enough material for his studio double-album Bitches Brew, a studio single album Jack Johnson, three sides of another studio double-album Big Fun, four tracks from the double-album Live-Evil...
... AND, across five nights at Bill Graham's famed Fillmore rock palaces in April and June of 1970, coast-to-coast at both the Fillmore East & West the complete, legendary concerts that will now see the light of day and be made available to fans in their entirety! MILES AT THE FILLMORE Miles Davis 1970: The Bootleg Series Vol. 3.
The searing white heat of these concerts, originally issued in severely edited form to accommodate LP sides, and without any track or song indications (e.g., "Wednesday Miles", "Thursday Miles, etc.") are now made whole. The additional 135 minutes of music in this set include a range spanning Wayne Shorter's Paraphernalia and Footprints from the earlier acoustic repertoire; to an early version of "Miles Runs The Voodoo Down" plus a RARE encore performance of "Spanish Key," compelled by the lightning-fast success of Miles's landmark studio album Bitches Brew.
This unprecedented collection tells a compelling story through its electrifying music, images, and cultural impact! In a rare, in-depth interview for art magazine Zygote II Zygote, which will be reprinted for this set, Miles--while listening to the concert playback--was "so excited about the music that he wanted every set, every note made available to the public..."
The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West at the April 1970 shows, and with fellow Columbia artist Laura Nyro in June 1970 at the Fillmore East run. The June shows are the earliest documented live performances of Miles s band when he hired two keyboardists--Chick Corea, and Keith Jarrett, who had been added to the band the previous month, along with saxophonist Steve Grossman who had replaced Wayne Shorter in March. The rest of the rhythm section--keyboardist Corea, bassist Dave Holland, drummer Jack DeJohnette and percussionist Airto Moreira--were in the backbone of this band throughout this explosive period.
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For more than three decades Nathan East, the founding member of world-renowned jazz quartet Fourplay, has been called upon to perform on hit songs for many of the greatest artists in music including 2013 record of the year "Get Lucky" by Daft Punk. With a mix of instrumental and vocal compositions, and produced by Chris Gero and Nathan East, the anticipated self-titled album delivers 13 songs featuring the new single "Daft Funk," plus compositions by Nathan East, Bob James, Pat Metheny, Stevie Wonder, Van Morrison, Chuck Loeb, Steve Winwood and Michael McDonald among other.
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Grammy nominated singer and Verve recording artist Ledisi is excited to announce the release of her fifth major studio release The Truth. The album, which will be in-stores March 11, is filled not only with Ledisi's trademark soaring ballads but also a generous collection of up-tempo, beat-driven celebrations of love and lust.
"With every album I grow, and with The Truth I've gone to a new level. It's an extension of who I am and where I am in my life. Everything I am feeling and experiencing is in this album and I am excited to share it with my fans," states Ledisi. "Of all of my recordings, this is definitely my favorite album ever."
The first single off the new album "I Blame You," written and produced by Claude Kelly, Chuck Harmony and Ledisi Young (the team who brought you "Pieces of Me"), is a joyful reflection on that new-found love. USA Today calls it "A breezy-smooth rush of pop-soul nostalgia."
Ledisi explains that her new music is a reflection of her journey of self-discovery. "There was a time when I felt like I had to please everybody," she says. "Now I'm like 'I don't care anymore,' I just want to be fully out there and be the person I really am, which is someone who loves being open and fun."
Ledisi's courage to be so vulnerable isn't the only positive byproduct of her transformation. "Over the past few years, I've really had to ask myself, 'Who are you and what do you want to be,'" she reflects. "I did some mediation and I started working out hard. Not like how I used to where I would do a couple of crunches and then drink a soda! Now I'm really challenging myself. And I love this girl! She's free and uninhibited and having fun with life. I've learned that when you really love who you are, it radiates! It all starts from the within. It all starts from accepting The Truth."
Ledisi's thrill of self-discovery is now available for all of us to enjoy, on The Truth.
|Another Long Night Out
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Brian Culbertson was a 20-year-old student at DePaul University recording demos in his bedroom "studio" in a crowded apartment that he shared with three roommates above a costume shop on a busy Chicago street. Those demos not only landed the then trombone player in DePaul's jazz ensemble a record deal, but they were released a year later - February 1994 - as part of his debut album, Long Night Out, on which Culbertson played most of the instruments himself. Twenty years later, he's an award-winning hit recording artist, songwriter, and producer who is revisiting that first collection of songs in a brand-new album as Another Long Night Out, and this time he'll be accompanied by many of the contemporary jazz artists who influenced him when making the original.
Culbertson's recent chart-topping releases have primarily been excursions aboard R&B and funk grooves, thus Another Long Night Out marks a return to his roots in contemporary jazz. Among the preeminent musicians joining him in the recording studio to play on the 11-song album are the Rippington's Russ Freeman, Eric Marienthal, Candy Dulfer, Toto's Steve Lukather, Paul Jackson Jr., Fourplay's Chuck Loeb and Nathan East, Jimmy Haslip and Will Kennedy of Yellowjackets fame, Ricky Lawson, Michael Thompson, Lenny Castro, Michael Bland, Patches Stewart and a 38-piece orchestra with additional legendary artists soon to be added. Culbertson is producing the record.
|Kind of Blue
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Brand: Miles Davis
Well, if you're going to revamp your jazz catalog, you might as well start with the greatest jazz album of all time! Includes a rare alternate take of Flamenco Sketches , and the first three songs are in their correct pitch for the first time.
This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed
- Miles Davis
- Modern Postbebop
- Jazz Music
- Blues music
|The Rite of Spring
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With a reputation for deconstructing popular songs and the avant-garde, it seems natural for the bad boys of jazz, The Bad Plus, to record their version of Stravinsky's controversial masterpiece The Rite of Spring. This new recording captures The Bad Plus' unique version of the piece that they debuted on tour in 2011 in a multi-media program entitled "On Sacred Ground: Stravinsky's Rite of Spring." The show received critical acclaim at every stop with the New York Times calling their interpretation "electrifying," and the Boston Globe describing it as "exhilarating…dramatic, dynamic."
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Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned "Take Five," Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Along with "Take Five," the album features another one of the group's signature compositions, "Blue Rondo a la Turk." Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era. --Fred Goodman
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In 2012, for the first time since 1980, guitarist Pat Metheny recorded with a band that highlighted tenor saxophone. Unity Band, which went on to win Metheny his 20th Grammy Award, featured Chris Potter on sax and bass clarinet, longtime collaborator Antonio Sanchez on drums, and Ben Williams on bass. Metheny added another musician, multi-instrumentalist Giulio Carmassi, and christened the ensemble Pat Metheny Unity Group. Their first record is Kin ( ). The vinyl includes two 140-gram LPs pressed at Pallas MFG in Diepholz, Germany, and a CD of the album.
Metheny says of this Group, "The core quartet of Chris, Ben, Antonio, and me played more than 100 concerts over the year that followed the release of our Unity Band record. Over the course of that period, the band became one of those rare combinations of players where the whole is greater than the sum of its parts; it gelled in every way, and that just seemed to beg for expansion and further research." He continues, "Simultaneously, I had been itching to write using more of a lush and orchestrated kind of concept that went beyond the sonic limits of what a straight-ahead quartet might invoke. But I really didn t want to lose the energy, focus, and intensity of what this band had developed. I wanted to take it further. If the first Unity Band record was a thoughtful, black and white documentary of four musicians in a recording studio playing, this record is more like the Technicolor, IMAX version of what a band like this could be but with that hardcore thing still sitting right in the middle of it all."
Over the course of more than three decades, guitarist Pat Metheny has set himself apart from the jazz mainstream, expanding and blurring boundaries and musical styles. His record-setting body of work includes 20 Grammy Awards in 12 separate categories; a series of influential trio recordings; award-winning solo albums; scores for hit Hollywood motion pictures; and collaborations and duets with major artists such as Ornette Coleman, Steve Reich, Charlie Haden, Brad Mehldau, and many others. His band the Pat Metheny Group, founded in 1977, is the only ensemble in history to win Grammys for seven consecutive releases.
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There should be no overlooking Beautiful Life, a journey of 12 songs which includes singularly memorable covers of Bob Marley's "Waiting in Vain," Fleetwood Mac's "Dreams," Marvin Gaye's "I Want You" and Ani DiFranco's self-empowering "32 Flavors." Included in the rest of the tracks, which cover the spectrum from jazz to soul, are two new songs "Cold" and "Satiated" which are emotionally volcanic. Produced by Terri Lyne Carrington, Beautiful Life features an all-star cast that includes bassists Esperanza Spalding and Richard Bona, vocalists Gregory Porter and Lalah Hathaway, pianists Robert Glasper and Gerald Clayton and Reeves cousin and frequent longtime collaborator George Duke.
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