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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 (CD) and Mosaic (LP) reveal the full scope of seven and half hours of revelatory music-instantly hailed as one of the greatest live jazz recordings ever, earning the Penguin Jazz Guide's coveted \"Crown, \" and becoming pricey, secondary-market rarities. Now, 30 years later and six decades after the shows themselves, veteran fans finally get the repress they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history. This new 10LP edition mirrors the original sequence, cut from the high-res Mosaic masters and pressed on 140-gram black vinyl. Each LP comes in it's own newly designed jacket, housed in a gold foil-embossed slipcase box. 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Spanish, Indian, Arabic, African, and Latin American influences merge into a powerful and cohesive sonic tapestry, transcending cultural boundaries.The name Jaggat-derived from Sanskrit for \"world\"-reflects the ensemble's mission: uniting the rich sounds of diverse cultures into a captivating musical journey rooted in openness and respect for diversity. Their new album demonstrates how tolerance and cultural exchange can give rise to something truly new and beautiful-in music as in society. By weaving together global rhythms, melodies, and traditions, Jaggat creates a sound that is unmistakably their own.At the heart of this musical dialogue are original compositions by guitarist Markus Conrad and double bassist Caspar van Meel, seamlessly intertwined yet unmistakably marked by their individual voices. Percussionist Afra Mussawisade enriches the music with his unique instrumentation, laying down both a vibrant groove and a refined sonic foundation.Whether performing as a trio or expanding into a quartet with guest violinist Christoph Konig, Jaggat unfolds a colorful and wide-ranging spectrum of sound. 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Earlier in 1957, Coltrane had been fired by Davis (in April) over drug-related problems, then spent time in Philadelphia dealing with those issues. Musically, though his mature, iconic style was still developing, you can see him stretching: a real work with complex standards and original compositions, experimenting with phrasing and the form. Released in October 1957 (recorded May 31, 1957 at Van Gelder Studio in New Jersey) the album didn't make a major splash on release, Coltrane was still mostly known as Miles Davis's sideman and briefly as a member of Thelonious Monk's quartet. Prestige Records wasn't promoting him heavily; they were more focused on Miles, Rollins, and others. But what critics called \"first glimpse\" of Coltrane will be in future an important record valued as the document of his emerging sound, especially his work with harmony, phrasing, and that \"sheets of sound\" style that he'd refine later. 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Now, for the first time, this landmark session returns in stunning 24bit\/96kHz remastered fidelity on heavyweight 180g vinyl, preserving the warmth and swing of the original analog tapes.Backed by a stellar rhythm section featuring Kenny Barron (piano), Buster Williams (bass), and Billy Hart (drums), McNeil and Harrell engage in a spirited, lyrical dialogue that's as respectful of tradition as it is forward-looking. Their interplay is marked by mutual admiration rather than rivalry-Harrell's bright, unflappable tone contrasts beautifully with McNeil's introspective, saxophone-inspired phrasing.For audiophiles, collectors, and jazz devotees alike, this is not just a reissue-it's a rediscovery.\"... it's never a duel of trumpets here but it's the duet of trumpets... 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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. But for all of us, the feeling of home is essential to live a fulfilled life.\"Reflections in the Water\" is an introspective piece - a reminder of where we come from and who we are at our core. Influenced by classical and impressionistic traditions, it pays homage to the great composers who have shaped music history and continue to inspire me.\"Seven Virtues, Seven Sins\" explores the dualities of human nature - the push and pull between good and evil, right and wrong, light and shadow. It's a reflection on the moral questions we all face and the deeper quest for inner truth and balance.In \"Samsara,\" the cyclic nature of existence is made audible: life, death, and rebirth - endlessly repeating. It reminds us that every end carries the seed of a new beginning.\"Blues for Sadako\" is a tribute to Sadako Sasaki, a young girl who became a symbol of peace after the atomic bombing of Hiroshima in 1945. 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. 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This is an interesting lineup because it includes Jackson, Heath, Kay who are parts of the Modern Jazz Quartet, but here with Horace Silver (at that time closely associated with the nascent hard bop \/ bop movement). A true blend of lyricism and swing. Milt Jackson's naturally swinging vibraphone style draws from both gospel and bebop and he made the vibraphone take a decisive step forward, towards the absolute solo realisation of the instrument. 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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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His meant for years he couldn't legally play in nightclubs. By 1957, Monk regained his cabaret card and his career reignited. He took up a residency at the Five Spot Café in New York where this album was recorded on August 7, 1958: It was a heyday for Monk, with live interactions showcasing both his edgy, eccentric style and his band's ability to blend with his unique musical vision. It is an essential document of Monk's work in the late 1950s, along with Misterioso.\u003c\/p\u003e\u003cp\u003eThe records captures not just the music but the feel of a tight New York club -- glasses clinking, audience reactions, and a charged energy in the air. 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'Poems from a rooftop' was their third album in ten years, and is the first to feature new member Alexander Stolze on violin. The dusty, haunted jazz of 'M.=addiction' and 'Vertigo II' is still visible, but joined by Stolze's shimmering string tones, giving the already rich sound a further layer of depth.The title 'Poems from a rooftop' comes from Iran's 'green revolution', where people were so afraid to go out on the street that they emerged on their own rooftops to protest the stifling regime. This sentiment carries into the conflict and shrouded mystery in each song, from the rhythmic, emotive bar-room crawl of 'The Conversation' to the phenomenal 'Rattle', led by vocalist Mariechen Danz. It seems as if 'Poems from a rooftop' catches a point in the band's career where they appear perfectly at ease with their sound, and able to distil the jazz, subtle electronics and haunting ambience of their previous records into one deftly coherent whole. 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Backed by his world-class band and joined by a powerhouse horn section, Cory delivered a set packed with relentless rhythm, inventive solos and the infectious spirit that has made him a fixture in modern funk and jazz. From the adrenaline rush of \"Assassin\" to the delicate sway of \"Meditation,\" relive an evening that seamlessly blends technical mastery with pure showmanship. 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Following the success of her two previous albums, Iluzja (Illusion, 2018), which received the prestigious Czech Music Academy Award for Jazz Album of the Year, and Dotyk (Touch, 2021), which was nominated for the same award, Barova brings an album featuring eight new songs, all of which have been composed by herself and recorded together with Barova's long-term collaborators, guitarist Miroslav Chyska and bass player Milos Klapste, who are joined by Jan Krejca on Baroque lute as a guest. Pisen pro Mi is characterized by the same original style, sound and intimate tender atmosphere as the previous recordings, the major difference, however, is that here, Barova sings in Czech. Coming from a bilingual family from the Czecho-Polish borderland, Polish seemed a natural choice for her on the previous two albums, regardless of whether writing her own lyrics or setting to music poems by Polish authors. This time round, she decided to work with texts of her close friend, Czech artist, musician and poet Michaela Vejnarova, who passed in 2023: \"As soon as I got hold of her notebooks full of sketches and texts, I knew I wanted to record an album that'd include not only her poems as lyrics, but reproductions of her paintings as well. I chose seven poems which reflect her inner world of dreams, her kindness and witty cunningness. The album's title comes from an eponymous song, which is my tribute to Mi and the only song on the album that I sing in Polish,\" says Dorota Barova. Besides her solo career, Barova has participated in many other projects. She is a regular member of Aneta Langerova's band and the Czech-and-Slovak jazz formation Vertigo, with who she has received several Czech Music Academy Awards. With Jan Valik she forms the Polomy duo and is also member of the Tellemarkk trio, together with Pavel Hruby and Tomas Reindl. With Andrea Konstankiewicz, she formed the cello duo Tara Fuki (between 2000 and 2022) and she previously performed in the rock project Tugriki, founded by members of Korben Dallas. 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It is a deeply personal tribute to the late Egyptian composer Fouad Abdel Majeed, whose music shaped her artistic voice from an early age.In this recording, Rima revisits ten of Abdel Majeed's Muwashahat-classical Arabic vocal compositions often set to poetry and marked by intricate rhythms and modes-and places them in dialogue with the colors and sensibilities of French chanson. At first glance, chanson may seem far removed from the Arabic Muwashah, yet both traditions share a deep commitment to poetic expression, lyrical nuance, and the marriage of words and harmony. This cross-cultural resonance became the spark for the ensemble's refined arrangements, created by Maarten Ornstein, Tony Overwater, and Juan Rodriguez.A Living Conversation Between Heritage and the PresentFor Rima, Ya Man Itha is not just a tribute - it is the fulfillment of a promise made thirty years ago. As a young singer of 13, she traveled to Cairo in early 1994 to meet Fouad Abdel Majeed. 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