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Miles Davis was still near the start of his storied career when he cut the three sessions that comprise his Blue Note recordings in 1952, 1953, and 1954. In 1955, Blue Note compiled the tracks into two 12" LPs as part of the 1500 series.
Miles' early Blue Note sessions from 1952-54 yielded two later LPs that Blue Note released as part of the 1500 Series. Volume 2 is split between the blazing bebop and beautiful ballads that first made Miles famous.
Al Di Meola, a GRAMMY Award-winning artist, has achieved remarkable acclaim across a spectrum of genres, including flamenco, Latin, fusion, jazz, rock, and world music.
An ungraspable, ghostly, spooky album consisting of ten different journeys into the experimental sound world of Dictaphone's "minimalistic and subliminal elegancy"(ARTE), diving deeper into their "morbid instruments" concept.
Blue Note Classic Vinyl Series. Blues walk is a classic 50's hard bob/bebop recording. What sets the album apart from other albums of the same era is the subtle conga playing of Ray Barretto.
Afro-Cuban is an album by American jazz trumpeter Kenny Dorham. The first release of the album dates back to 1955 on 10" Vinyl, featuring only four tracks and having a different cover artwork. Some time later, Blue Note decided to add three tracks and iss
Kenny Dorham's first LP fronting his own quartet. He takes on a fluid, all-encompassing style in which he emulates the intricate technique of Miles Davis while also playing with the broad sound of trumpet players like Dizzy Gillespie.
Centered around one of the baddest Hammond organists from the ’70s, who generated a cult following for the albums he released on Oakland’s Black Jazz label.
Even though Duke Ellington and Coleman Hawkins had both been well-known jazzmen since the early 1920s, it wasn't until 1962 - at least 20 years after Duke first suggested it - that these two recorded their only session together.
The Tony Bennett Bill Evans Album (1975) brings together two legends of modern music. Featuring just vocal and piano, without any additional musicians.
Everybody Digs Bill Evans is an album by jazz musician Bill Evans. It was released in early 1959 on the Riverside label. Everybody Digs Bill Evans was Evans's second album, done two years after his first record as a leader. Though his producer (Orrin Keep
"Moonbeams was the first album Bill Evans made after the death of his musical right arm, bassist Scott LaFaro. An album of ballads, it was a startling return to the recording sphere and a major advancement in Evans' development as a leader." -Thom Jurek
The first of two albums recorded at the legendary final appearance of the Bill Evans Trio at the Village Vanguard, these recordings have long been recognized as capturing the unique interaction that characterized the trio of Evans, LaFaro and Motian.
Now cited as one of his best albums, Waltz for Debby was a live album from Bill Evans' trio and was the companion release to the critically acclaimed Sunday at the Village Vanguard.
Newly mastered edition of pioneering jazz pianist Bill Evans' seventieth studio album, "You Must Believe In Spring", his final recording session with bassist Eddie G¢mez and drummer Eliot Zigmund.
This Hits collection was carefully curated, composed by such names as Cole Porter, Richard Rodgers & Lorenz Hart, and Duke Ellington. Many of these tunes were taken from the celebrated song books that gained Ella Fitzgerald enormous prestige.
