{"title":"Jazz-CD","description":"","products":[{"product_id":"pre-order-erik-leuthauser-quality-time-in-nyc-cd","title":"Erik Leuthauser - Quality Time In Nyc [CD]","description":"\u003cp\u003eQuality Time in NYC is a vocal jazz project by Erik Leuthauser, recorded in New York with esteemed collaborators such as Alan Broadbent, Ken Peplowski, Allen Farnham, Steve LaSpina, and Rich DeRosa. 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Ces annees de collaboration et une connaissance intime du repertoire bollingien, conferent a son hommage une authenticite rare. Avec Swingin' Bolling Tissendier s'affirme comme un passeur de memoire, un gardien du temple swing, qui perpetue a merveille l'esprit et la lettre de l'oeuvre du chef. Augustin BONDOUX \/ Patrick FReMEAUX The talented saxophonist\/clarinet-player Claude Tissendier has been a member of the Claude Bolling Big Band since 1978, and so a privileged witness to his leader's career as a pianist and conductor. During those years of collaboration, Tissendier has gained an intimate knowledge of the band's repertoire that lends rare authenticity to his tribute here. With \"Swingin' Bolling\", Tissendier shows himself to be a perfect messenger filled with memories and also one of the best guardians of the temple of Swing. This record wonderfully perpetuates the spirit and the letter of the works of \"the Chief.\" Augustin BONDOUX \/ Patrick FReMEAUX BOWLING GREEN - LET'S SWING IT - TRADE MARK - BIG GOLDEN PIPE RHAPSODY - THE KEY - SAX SPECIALTIES (SAX SPECIAL TISS) - GENTLE GIRL - FEED THE CATS - MAIN DE FER ET GANT DE VELOURS - LA COMPLAINTE DES APACHES - PARIS EN BOUTEILLE - SOFT CALL - KEEP SMILING - CITY LIFE. CLAUDE TISSENDIER SAXPHONE ALTO, ARRANGEMENTS eRIC LEVRARD SAXPHONE BARYTON PHILIPPE MILANTA PIANO PIERRE MAINGOURD CONTREBASSE ALAIN CHAUDRON BATTERIE FABY MeDINA CHANT (5 \u0026amp;10) TOUTES LES COMPOSITIONS SONT DE CLAUDE BOLLING\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 3448960862028\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Fremeaux \u0026amp; Assoc. 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Les deux artistes ont developpe une connivence musicale unique, un dialogue spontane, quasi-telepathique, qui se caracterise par une liberte totale, une ecoute mutuelle exceptionnelle et une prise de risque constante. \"Portrait in Black and White\" est une conversation à la fois intime et audacieuse entre deux geants, capturee dans l'instant magique et suspendu d'un concert. Augustin Bondoux \/ Patrick Fremeaux Solal et Le Lann ne jouent ni du son ni du souffle, encore moins de la virtuosite. Ils jouent la musique (.). Se laisser embarquer. Oublier la technique, la performance et passer à l'essentiel Francis Marmande, Le Monde Ensemble, le pianiste et le trompettiste vont au bout de leur individualisme Alain Gerber, Diapason Here is sparkling evidence of the entente and virtuosity that can exist between two major figures in French jazz, namely pianist Martial Solal and trumpeter eric Le Lann. Each of these artists has developed a unique understanding of the other, enabling them to construct spontaneous, almost telepathic conversations whose principal quality is total freedom, a liberty of expression fostered by an exceptional ability to hear one's partner while constantly taking risks... \"Portrait in Black and White\" is one of those conversations, and it has daring and intimate exchanges between these two giants captured live in a magic moment onstage.Augustin Bondoux \/ Patrick Fremeaux THE MAN I LOVE (GEORGE \u0026amp; IRA GERSWIN) - PORTRAIT IN BLACK AND WHITE (ANTONIO CARLOS JOBIM) - ROUND ABOUT MIDNIGHT (THELONIOUS MONK) - WELL YOU NEEDN't (THELONIOUS MONK) - BODY AND SOUL (EDWARD HEYMAN, JOHNNY GREEN, ROBERT SOUR ET FRANK EYTON) - LE BLEU D'HORTENSE (eRIC LE LANN) - QUE RESTE-T-IL DE NOS AMOURS (CHARLES TReNET \/ LeO CHAULIAC) - INVITATION (BRONISLAW KAPER\/ NED WASHINGTON) - WHAT IS THIS THING CALLED LOVE (COLE PORTER).MARTIAL SOLAL PIANO - eRIC LE LANN TROMPETTE\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 3448960862325\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Fremeaux \u0026amp; Assoc. 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Cette anthologie 3 CD selectionnee par l'auteur retrace, en parallele a son ouvrage, la voie parcourue par cette musique qui, des maisons closes de La Nouvelle Orleans, jusqu'aux scenes les plus prestigieuses de la planete, a su devenir la plus savante des musiques populaires de notre dernier siecle.Patrick FReMEAUX Fremeaux \u0026amp; Associes, the leading jazz heritage label, has published in book and audiobook format a reference course on the history of jazz by Laurent Cugny, professor emeritus at Sorbonne University's Faculty of Letters (Institute for Research in Musicology), pianist and former director of the ONJ (Orchestre National de Jazz). This 3-CD anthology selected by the author retraces, in parallel with his book, the path taken by this music which, from the brothels of New Orleans to the most prestigious stages on the planet, has become one of the most popular music of our last century.Patrick FReMEAUXCD1 - DES DeBUTS, AU COOL JAZZ : DEEP RIVER MARIAN ANDERSON - IF YOU SEE MY SAVIOUR THOMAS A. DORSEY - KIND HEARTED WOMAN BLUES ROBERT JOHNSON - MAPLE LEAF RAG SCOTT JOPLIN - TIGER RAG ORIGINAL DIXIELAND JAZZ BAND - CANAL STREET BLUES KING OLIVER - BLACK BOTTOM STOMP JELLY ROLL MORTON - HOTTER THAN THAT LOUIS ARMSTRONG - JAZZ ME BLUES BIX BEIDERBECKE - NEW KING PORTER STOMP FLETCHER HENDERSON - BODY AND SOUL COLEMAN HAWKINS - THESE FOOLISH THINGS LESTER YOUNG - JUMPIN' AT THE WOODSIDE COUNT BASIE - ECHOES OF HARLEM DUKE ELLINGTON - CLARINET A LA KING BENNY GOODMAN - HOT HOUSE DIZZY GILLESPIE - KOKO CHARLIE PARKER - TEMPUS FUGUE-IT BUD POWELL - BOPLICITY MILES DAVIS - THOU SWELL STAN GETZ - I FALL IN LOVE TOO EASILY CHET BAKER - BERNIE'S TUNE GERRY MULLIGAN - TAKE FIVE DAVE BRUBECK. CD2 - DU HARD BOP AU FREE JAZZ (+ JAZZ VOCAL) : OLEO MILES DAVIS\/SONNY ROLLINS - MOANIN' ART BLAKEY \u0026amp; THE JAZZ MESSENGERS - JOY SPRING CLIFFORD BROWN \/ MAX ROACH - SELF-PORTRAIT IN THREE COLORS CHARLES MINGUS - SUMMERTIME GIL EVANS\/MILES DAVIS - SO WHAT MILES DAVIS - GIANT STEPS JOHN COLTRANE - INVISIBLE ORNETTE COLEMAN - CRAZY BLUES MAMIE SMITH - BACK WATER BLUES BESSIE SMITH - STRANGE FRUIT BILLIE HOLIDAY - HOW HIGH THE MOON ELLA FITZGERALD - EMBRACEABLE YOU SARAH VAUGHAN - SWEET LORRAINE NAT KING COLE - MY BABY JUST CARES FOR ME NINA SIMONE. 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Drawing deep inspiration from Keiji Nakazawa's Barefoot Gen and released on the 80th anniversary of the Hiroshima and Nagasaki bombings, Omura weaves a poignant short story in sound-one that confronts the horrors of nuclear devastation while threading in her own reflections as both a mother and a global citizen. 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Sorti initialement sur le label Cristal Records, cet album d'une rare fraicheur, nous embarque dans un voyage sonore qui mele quietude et ravissement, tout en ouvrant vers de nouveaux horizons.Augustin BONDOUX \u0026amp; Patrick FReMEAUX Accords, modes, timbres, rythmes, deux continents, une seule histoire : le pianiste Olivier Hutman et le joueur de kora Lamine Cissokho proposent un magnifique echange de vues avec Double Skyline. Francis MARMANDE - LE MONDE \"Double Skyline\" is the result of an exceptional encounter in music between French jazz pianist Olivier Hutman and Senegalese kora player Lamine Cissokho. With brio, their album provides a fusion of West African traditions, particularly Mandinka music and jazz. 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Set forrelease on October 24, 2025, Never Say Yes - 1986 offers seventracks of inspired modern jazz, full of interplay, elegance, andtechnical brilliance.Doug Raney, the son of jazz guitar legend Jimmy Raney, carvedout a distinctive path of his own, particularly within the vibrantScandinavian jazz scene, where he lived and worked fordecades. This recording, unearthed from the archives of theDanish Broadcasting Corporation, captures Doug in strikinglyfine form following a return to health, backed by some of themost intuitive players on the Scandinavian scene.\"He had an incredibly refined technique on the guitar, I'd almostcall it organically innate, \" writes bassist Jesper Lundgaard in theliner notes. \"His playing felt like an extension of his personality, effortless, and yet grounded in a deep understanding of jazz'sinner architecture, which is so difficult to truly master. Doug had aspecial ability to voice chords, and in my opinion, there was abeauty in his soloing that only very few possess.\"The session was the culmination of a brief Danish tour andshowcases Raney's wide-ranging repertoire, from the burningdrive of John Coltrane's Giant Steps to the aching beauty of I'mOld Fashioned and a soulful take on Nat Adderley's title track.Raney's melodic instinct, rhythmic command, and harmonicdepth shine throughout, with dynamic support from Besiakov, Lundgaard, and Uotila.Despite his remarkable talent, Doug Raney remains a somewhatoverlooked figure in modern jazz. 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Each note and silence is measured with care, revealing a rare comfort and understanding cultivated over decades of collaboration. Play Ballads is distinguished by it's contemplative approach to well-known standards such as Matt Dennis' Angel Eyes, Vernon Duke's Autumn in New York, Billy Strayhorn's Take the \"A\" Train, Thelonious Monk's Blue Monk, and Duke Ellington's Satin Doll. Each track is performed at deliberately slow tempos, allowing the trio to explore the subtle beauty and emotional depth of each melody. Dahl's piano often leads with sensitive, improvisational statements, while Ginman's bass and Blachman's drums provide understated yet essential commentary.Highlights include a sparse and intimate Angel Eyes, the reflective melancholy of Gone with the Wind, and a subtle reinterpretation of Ellington's Things Ain't What They Used to Be. 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What began as a holiday residency at Chicago's Plugged Nickel Café became the crucible where the Second Great Quintet forged it's identity. Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams delivered a masterclass in risk and invention, dismantling familiar tunes and rebuilding them on the fly. Producer Teo Macero captured every note across seven sets on December 22 and 23, 1965. Portions trickled out in the '70s and '80s, but only in the early '90s did Legacy reveal the full scope across seven and half hours of revelatory music-instantly hailed as one of the greatest live jazz recordings ever and earning the Penguin Jazz Guide's coveted \"Crown.\" Now, 30 years later and six decades after the shows themselves, veteran fans finally get the reissue they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history. This new 8CD edition mirrors the original sequence. Each CD comes in it's own newly designed mini-gatefold jacket, housed in a gold foil-embossed slipcase box. 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Made at Ruth Eckerd Hall in Clearwater, FL in October 2020, they would be the last public concerts Corea ever gave. Not long after these performances, his health suddenly declined, and in February 2021 the world lost one of it's greatest musicians.These recordings stand as both a deeply affecting goodbye and a definitive document of the Chick Corea solo piano experience. The listener is treated to Corea's signature cascading virtuosity, technical command, and harmonic knowledge. Featuring original music (\"Armando's Rhumba,\" a mini-recital of Children's Songs) alongside homages to some of the composers he cherished, like Monk, Powell, and Ellington. 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This vibrant ensemble blends Brazilian, North American, and Scandinavian musical traditions into a fresh, irresistible sound. After three years of sold-out concerts, the album promises a musical experience that radiates energy, sophistication, and joy.The album balances original compositions with Brazilian classics, brought vividly to life with guest appearances. Hans Ulrik's saxophone enriches the opening Samba Do Amor Que Nao Existe, the classic O Negócio É Amar, and the reflective Dormilhao, while Flemming Agerskov contributes flugelhorn on Maria and trumpet on Sugar Reef. Tracks such as Choro Sambado and Dorme, Dorme Meu Menino showcase the quartet's fluid interplay and Rosàlia's agile phrasing, highlighting a unique blend of bossa nova elegance and jazz spontaneity. Named after Copenhagen's latitude, 55º reflects the group's geographical and cultural meeting point, where diverse traditions converge.Born in Rio de Janeiro in 1966, Rosàlia de Souza is recognized worldwide as one of the most compelling interpreters of samba, bossa nova, and Brazilian music traditions. With thirteen albums to her name, she has collaborated with icons such as Marcos Valle and Roberto Menescal, bringing the essence and refinement of 1960s Rio into the present. Her performances are infused with silk-smooth vocals, precise control, and a modern sensibility, bridging deep-rooted Brazilian tradition with explorations into jazz.The trio supporting Rosàlia adds distinctive character and depth. Peter Rosendal blends folk, world, and jazz influences, enriched by his extensive experience living and recording in Brazil. Craig Earle anchors the group with a warm, agile, and virtuosic bass sound. Jonas Johansen, whose career spans more than four decades and over 200 albums, brings orchestral precision and a truly global perspective to the music.After years of international performances, Rosàlia de Souza Quarteto 55º is ready to bring their unique sound to the global stage, inviting audiences everywhere to experience Brazilian jazz reimagined through cross-cultural collaboration.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 717101854325\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Storyville Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 1.2.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\u003c\/div\u003e","brand":"Storyville Records","offers":[{"title":"Default Title","offer_id":51632023011559,"sku":"44118517","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0625\/2481\/7639\/files\/4467102-3467546.jpg?v=1765560359"},{"product_id":"pre-order-stephane-galland-kanda-cd","title":"Stephane Galland - Kanda [CD]","description":"\u003cp\u003eMaster drummer Stephane Galland (Aka Moon, The Rhythm Hunters, Ibrahim Maalouf...) presents Kanda, a fresh and polymorphous trio with Lucia Pires (Steps, Edoardo Cimino, Tomorrow's Warriors) on flute and EWI, and Louise van den Heuvel (Sonic Hug, Dishwasher_, Stephane Galland \u0026amp; The Rhythm Hunters) on electric bass, samples and effects.Kanda refers to many different concepts. In Sanskrit, the word means \"chapter\" and in South Indian music, Kanda Chapu is used to define a 5-beat cycle. In Thai, the word is a mark of affection for loved ones, and in Hatha Yoga texts, it refers to roots, both of plants and of the energy flows known as Nadis.With these branching spiritual meanings, it's no wonder that the project Kanda exists in many forms. It Is at once a purely acoustic trio with flute, bass and drums, and at other times more electronic with the addition of effects and keyboards to the bass and the use of the EWI (electronic wind instrument). The EWI can take over the role of the bass, while the bass plays the melodies and chords. Kanda is energetic and rhythmic as well as fragile and atmospheric all at once. Rhythmic complexity is used to pave the way towards new territories of sensation and groove. 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On Nuit Parisienne à La Havane, Cuban piano virtuoso Roberto Fonseca and French cellist Vincent Segal capture the magic of a first encounter - no rehearsals, no plan, just pure music. Recorded in Havana over five days, this album is a celebration of spontaneity, friendship, and the art of listening. Here, Paris meets Havana. The warmth of Cuban rhythms embraces the sophistication of French melody; echoes of danzón, chanson, classical and African influences intertwine seamlessly. Every track feels alive: breathing, shimmering, unfolding like a dream that could only happen once.At a time when music is often polished, programed, and overproduced, Fonseca and Segal remind us what happens when you let go of control. This is music that doesn't need to prove anything, it simply is. Deeply human, effortlessly cinematic, Nuit Parisienne à La Havane feels like watching eleven short films through sound: poetic, emotional, and timeless. Whether you're drawn to jazz, world, or classical music (or simply crave something honest and alive), this record will find it's way under your skin. 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Each piece represents a chapter in a larger story - one that reflects not only my journey as a musician but also my evolving understanding of life, purpose, and meaning.The opening track, \"Wu Wei,\" sets the tone. A central concept in Taoist philosophy, Wu Wei translates to \"non-action\" - not inaction, but effortless action, or moving with the flow of life rather than against it. As a musician, this idea resonates deeply: to be in harmony with your surroundings, to create without forcing, to live and express from a place of presence.\"One\" speaks to the longing for unity in a divided world. Despite conflict, disagreement, and disconnection, there is always a deeper thread that binds us together - a shared humanity that transcends our differences.\"Home\" represents the need for belonging, safety, and grounding. For some, home is a physical place; for others, it's something they must find or create. 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Her story, and the thousands of paper cranes she folded, speak of hope, remembrance, and the resilience of the human spirit. This piece is dedicated to her and to all victims of war.The final track, \"Healing,\" is a hymn for humanity. In times of pain and turmoil, sometimes what the world needs most is a moment of collective healing - a return to compassion, empathy, and wholeness.Throughout this album, I've tried to express something honest - something that reflects the complexity of being alive. We live in a world full of goals, distractions, and expectations. Often, we chase success or run from discomfort, forgetting to be present in the moment. But life is not a race to the finish line. It is a process of becoming, of unfolding - just like a flower grows, slowly and naturally, in it's own time.You cannot force growth. You cannot force mastery. The moment you think you've arrived, life will humble you. There is no final destination - only the ongoing path.Obstacles will come. Resistance will arise. But perhaps the key is not to fight or flee, but to accept - to let go, and to allow life to unfold. This is the essence of Wu Wei. 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