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1. Careless Love
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2. Come Away with Me
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3. When I Fall In Love
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4. Feels Like Home
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5. Whipped Cream & Other Delights
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6. Kind of Blue
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7. Dreamland
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8. The Girl In The Other Room
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9. Radiance
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10. At Last...The Duets Album
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11. Getz/Gilberto
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12. The Way Up
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13. The Ultimate Collection [DVD]
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14. American/English
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15. Definitive Hits
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16. Eldar [D&D]
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17. Matt's Mood
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18. Twentysomething
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19. Pure
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20. Time Out

1. Careless Love
list price: $17.98
our price: $13.49
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Asin: B0002NRRAG
Catlog: Music
Sales Rank: 55
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Amazon.com

When Madeleine Peyroux's debut, Dreamland, was released in 1996, its success threw her for a loop. She's taken eight years to create this follow-up, and, at age 30, she brings a confidence and resilience to this dozen-song set. She's able to move seamlessly between songs by writers as diverse as Elliott Smith and W.C. Handy, whose title track was popularized by Bessie Smith. Though American-born, Peyroux absorbed the language and culture of France growing up in Paris with her French-teacher mother. On her debut, she covered Edith Piaf, and this time out she wraps herself around "J'ai Deux Amours," which Josephine Baker sang to the Allied troops during World War II. --David Greenberger ... Read more


2. Come Away with Me
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Asin: B00005YW4H
Catlog: Music
Sales Rank: 41
Average Customer Review: 4.19 out of 5 stars
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Amazon.com

It is not just the timbre of Norah Jones's voice that is mature beyond her 22 years. Her assured phrasing and precise time are more often found in older singers as well. She is instantly recognizable, blending intimations of Billie Holiday and Nina Simone without sounding like anyone but herself. Anyway you slice it, she is a singer to be reckoned with. Her readings of the Hank Williams classic, "Cold Cold Heart" and Hoagy Carmichael's "The Nearness of You" alone are worth the price of the CD. Jones's own material, while not bad, pales a bit next to masterpieces such as these. They might have fared better had she and producer Arif Mardin opted for some livelier arrangements, taking better advantage of brilliant sidemen such as Bill Frisell, Kevin Breit, and Brian Blade; or if the tunes had simply been given less laconic performances. Jones has all the tools; what will come with experience, and some careful listening to artists like J.J. Cale and Shirley Horn, is the knack of remaining low-key without being sleepy--sometimes less is not, in fact, more. --Michael Ross ... Read more

Reviews (1262)

5-0 out of 5 stars "Come Away With Me".....I would!
A buddy, affectionately known as 'That Ricky Guy,' discovered that I had never heard of Norah Jones. Well, he thought so much of this unique and gifted song stylist (and of me, for some reason) that he gifted me with a copy of this CD. I pay attention to Ricky's musical evaluations because he is the only still-living person I know who was actually there at Carnegie Hall in 1961 to witness Judy Garland's Ultimate Triumph (though he was probably on his mama's knee), and he said Norah Jones is good. He's right. He's definitely right!

It's human nature for us, hearing a singer for the first time, to make the inevitable comparisons....and I did just that listening to Norah. There were touches of Peggy Lee, I thought...certainly Rita Coolidge...Blossom Dearie, though the voice isn't that fragile...some of Nina Simone's subtle emotion. And of course she's a jazz singer, but there sure is a touch of country in that delivery of hers, maybe even a gentle hint of smokey coffee-house folk singers. But finally it dawns on you that Norah Jones, this young girl with a talent far older than she herself, has seduced you....reeled you right in with her OWN individual brand of musical magic.

Just as I didn't know Norah until this evening, many of the songs were also new to me....but I'm sure will become old friends. I especially loved "One Flight Down," and the title song she wrote herself, as well as "Nightingale" and "The Long Day Is Over." Of course my favorites were the two familiar standards, "Cold, Cold Heart" and "The Nearness Of You" (let's face it....I'm basically stuck back there in time wanting more details of Garland's encores from my friend Rick) but I really do think Ms. Jones would be doing herself (and us) a great service if she borrowed a page from Diana Krall and recorded an entire album of the old classics. She has the genuine talent to give new life to old chestnuts...and she should!

5-0 out of 5 stars Music To My Ears
I grew up in the sixties and am not a fan of most of today's music. Popularity and Grammy Award wins normally don't persuade me to buy an album. However, Norah Jones's invitation to "Come Away With Me" was too hard to resist. I fell in love with her voice and enjoyed every song on the album. The tasty arrangements, performed by outstanding musicians, not to mention her own melodic piano playing, perfectly complimented Norah's sensual, seductive voice. For me, the music recreated the atmosphere of a late night jazz club. "Don't Know Why" is one hit song that I never get tired of hearing. I was especially impressed by the arrangement of Hank Williams's country classic "Cold Cold Heart." She transformed it from a honky-tonk lament into a jazz ballad. J.D. Loudermilk's "Turn Me On," when performed by Ms. Jones, had the desired effect on me that the writer intended. The melancholy "The Long Day Is Over" effectively conveyed weariness, suggesting that it's time for the sleepy patrons to finish their drinks and go home, because even late night jazz clubs have to close sometime. Closing out the album with Hoagy Carmichael's "The Nearness Of You" implied that Norah will not be going home alone. "I need no soft lights to enchant me, if you'll only grant me the right, to hold you ever so tight, and to feel in the night the nearness of you." This album totally won me over and turned me into a Norah Jones fan.

1-0 out of 5 stars GET AWAY FROM ME
Cold, calculating, but ultimately callow Upper Middle Class pop jazz from an Ice Queen who sings with all the soul of a doorstop. If this is indeed Ravi Shankar's daughter, she inherited not one iota of her father's passion and artistry. Phony through and through.

5-0 out of 5 stars Beautiful, distinguished voice and sophisticated music.
In a world where the new "singing sensations" are the unoriginal screamers who participate to "American Idol" and similar TV monstrosities, it's really refreshing to witness the rise of a REAL talent with a REAL music background and an exceptional panache for musical "buon gusto."

Norah doesn't have a "big" voice, so what? Neither did Billie Holiday, but I'll take her over any screamer at any time. It's not by chance that I mentioned Billie Holiday, because that's the kind of voice Norah reminds me of, and I simply love it. Sultry, smoky and haunting are the three adjectives that immediately come to my mind.

On to the music, Norah's songs are a delightful blend of country, blues and jazz, all encased by electronic-free arrangements (i.e. real singers need no walls of synthesizers and special effects to cover the flaws of their voice...) and some very tasteful but unobtrusive piano playing by Norah herself.

I basically like all songs in this album, but my favorites are the title track ("Come Away with Me", a really delightful jazzy waltz), "Don't Know Why" (a Pat Metheny-esque tune featuring a beautiful melody and an exceptionally tasteful arrangement) and the amazing "The Nearness of You", where Norah showcases her incredible ability to perform immortal standards with nothing behind her voice but her own superb piano accompaniment.

The fact that this album received 8 Grammy awards makes me a little less pessimistic on the future of pop music.

2-0 out of 5 stars cub away wif be
Norah Jones... either she ought to have her deviated septum fixed or she was suffering from a head cold when she cut this album. In either case, perhaps Amazon should put together a two-cd deal featuring Norah Jones and one of Jonathan Richman's records. Stuffy-nose pop fans, rejoice!
But seriously folks, this stuff is not music. If you want to hear comatose jazz stylings, check out Blossom Dearie Sings Comden and Green or her version of Someone to Watch Over Me. This is pure heroin. You bang it in the mainline and fall back on the flophouse bed with the hypo still sticking out of your arm. Norah Jones, on the other hand, is not satisfied until her tracks ramp up to some up-tempo peak of countryfication. Just so you know she means it when she whispers out, "Cub away wif be... inna dight." Sounds suspiciously like the cold sufferer on a Nyquil commercial. ... Read more


3. When I Fall In Love
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Asin: B0002VL0K6
Catlog: Music
Sales Rank: 23
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Amazon.com

This is not the typical example of an artist from another genre jumping on the crowded standards-and-ballads bandwagon. When I Fall in Love instead represents an instrumental stylist busting out of a box to find a much more suitable platform for his craft. These tracks are the fruits of an obvious labor of love for everyone from the featured musicians to the arrangers to the engineers. The arrangers, particularly Billy Childs and Gil Goldstein, give Botti's trumpet a broad-brushed orchestral backdrop that allows him to emerge from the swirling strings and bouncy horns with bold strokes of creative improvising. Some tracks are obvious nods to Gil Evans and the lush arrangements of 1970s CTI recordings. Even the guest vocalists, Sting and Paula Cole, let his trumpet sing first before their respective cues on "La Belle Dame Sans Regrets" and "What'll I Do." The only blemish here is the obvious attempt at smooth jazz airplay with Sade's "No Ordinary Love." --Mark Ruffin ... Read more


4. Feels Like Home
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Asin: B00018D44U
Catlog: Music
Sales Rank: 15
Average Customer Review: 3.61 out of 5 stars
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Amazon.com

Norah Jones blew everybody away with her jazzy, country-tinged,Grammy-winning debut CD, Come Away With Me. On this recording, Jones doesn't mess with her trademark formula. Under Arif Mardin's cozy co-production, Jones is supported by her writing partners, her Handsome Band, and some special guests (country legend Dolly Parton, Levon Helm and Garth Hudson of the Band, and jazz drummer Brian Blade, to name a few). Jones's Texas-twanged vocals and her sparse acoustic and electric Wurlitzer piano lines enliven the CD's 13 tracks, from the light and lively single, "Sunrise" to Tom Waits' "The Long Way Home" and the bouncy duet with Parton, "Creepin' In." Jones's soul-baring piano/vocal rendition of Duke Ellington's "Melancholia," retitled "Don't Miss You at All," proves she's a true Blue Note artist with unlimited potential. --Eugene Holley, Jr. ... Read more

Reviews (495)

3-0 out of 5 stars Middle of the road
I am a Norah Jones fan but have to admit that her music is somewhat generic. The songs seem to blend into each other - besides the first single 'Sunrise' which is at least distinctive. She has a tendency to repeat a single word/line all throughout the song, until the fade out .. kind of following a formula of sorts. Not much content in the songs, not very good songwriting perhaps. I'm not a songwriter but would prefer songs where it doesn't feel like a broken record at times.

The good points are that it's a very nice soothing album that you can put on in the background. Plus, she does have a wonderful voice. It's more country than her previous album, but that's a good thing .. I presume that's why it's called 'Feels Like Home'.

Definitely recommended. It's good music to just put on during a drive home or for relaxing with a cup of hot chocolate (or coffee or whatever's your poison).

PS: The CD has copy-control, I haven't had any problems with it but it's just something to keep in mind .. since according to the back, it might not work with most car CD players.

5-0 out of 5 stars A unique, musical sound; great songs
I was in a mood to find some new artists, and indirectly heard of Norah Jones. Amongst the other albums I ordered, I was very surprised and pleased to find this one. Norah's voice is very cool -- the songs are a little jazzy, a little bluesy and a little rock. They are all pleasing and complex without being too much, too loud, etc. I find myself listenging and discovering new aspects of the music each time and this has become one of my favorites.

1-0 out of 5 stars Short and Sweet...
A Norah Jones CD would sound just like one long continuous boring song if there were no breaks between tracks!
I really tried hard to find some enjoyable quality in her music. But after the third song, she really starts to become annoying to listen to. It's like someone dragging their fingernails across a chalk board.

5-0 out of 5 stars heaps better than the first cd...
I was never a fan of Norah's, but the week this cd was released every music store in town was playing it in heavy rotation, so i started to like it, then i decided to buy it and i love it! it took me ages to get into it though. first i played my favourites and now have worked up to playing the whole cd. My faves would have to be Sunrise, Creeping In, Toes, Humble Me, Don't Miss You At All and The Prettiest Thing. The line in Humble Me 'Baby Teresa she's got your eyes, i see you all the time, when she asks about her daddy i never know what to say', really got to me. it's such a sad song..it made me think of Norah as a mom though, which was kind of weird, but i think she'd be a great one : ) This CD is fantastic and well worth the money. What's the enhanced bit on this CD?

5-0 out of 5 stars great sophomore cd
please ignore and disregard the mean one star reviews foe this excellent sophomore album from the grandaughter of the great indian sitar maestro ravi shankar and it gives me great pride as an indian to listen to her great albums and her accompilshments.very highly recommended.go norah go!!!!!!! ... Read more


5. Whipped Cream & Other Delights (40th Anniversary Edition)
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our price: $11.99
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Asin: B0007MRXUQ
Catlog: Music
Sales Rank: 47
Average Customer Review: 5.0 out of 5 stars
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Album Description

40th Anniversary Edition Of The Classic Album!

1965's Whipped Cream & Other Delights transformed Herb Alpert & The Tijuana into bonafide superstars, spending an incredible 8 straight weeks at the top of the charts. The album was not only memorable for its music, but for the iconic cover art which featured model Dolores Erickson strategically swathed in whipped cream.The original twelve tracks revolve around the theme of food and include such classics the triple Grammy-winning hit, "A Taste of Honey" and the Dating Game theme "Whipped Cream."This special 40th Anniversary edition features two studio bonus tracks along with a 20-page booklet and a collector's poster.

Each album in the Herb Alpert Signature Series features meticulously remastered sound, deluxe packaging, detailed liner notes, and an intro by Herb Alpert containing personal recollections and anecdotes. ... Read more

Reviews (10)

4-0 out of 5 stars A TJB CLASSIC!
I grew up loving this album (along with other TJB records) in the mono format. My father who was a product of his times, was a firm believer in mono. He would say - wherever you happened to be standing, you'll at least hear the proper balance(mix).

Years later when I became a TJB fanatic, I of course picked up the stereo records and grew to love these mixes as well. But there are those occasions where the mono mix has something special to offer. I think it would have been nice to have both the mono and stereo versions on the same disc. Maybe someday "Shout Factory" will put out a four disc MONO box set of those first eight albums (1962-1967) which were available in both formats.

Anyway...a great album of course!

5 stars - for being a classic.
3 stars - for a blown opportunity.

4 stars!

5-0 out of 5 stars Me Too!
Me too! That really sums up my experience with this album, because, like almost everyone else, it brings back great memories of my childhood. It was released the year before I was born, and even before I was old enough to stand, my dad used to dance to it with me. "A Taste of Honey" and the title track were my favorites.

5-0 out of 5 stars Herb Alpert Was Hot Then & Still Is
I own this album on a reel to reel.If you like brass and lots of it, the hi-fidelity of Herb Alpert & His Tijuana Brass will get your foot a tappin and your body dancin.This is one hot, hot album that no one should pass up.Buy it today!

5-0 out of 5 stars forgotten album!
i had forgotten all about this album! i was born in 1966, and remember my parents having this album (the cover was confusing to me..i thought who would want to do that?)....the songs seem sort of campy now..this was the kind of music that was played in the background of every cool, swinging, 60's movie...really cool and a fun flashback!

5-0 out of 5 stars At last!
I had this album on an 8-track tape when I was young, remember those?Yes, I'm that old.

When I went searching for this album on CD I found that it was out of production and was bringing HUGE prices in the used markets.I was thrilled when I came to Amazon one day and found it was being re-released.I pre-ordered it right away, and now I have it and can listen to all this fantastic music again (and again!).

This is one of the all-time great albums, don't miss it!
... Read more


6. Kind of Blue
list price: $11.98
our price: $8.99
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Asin: B000002ADT
Catlog: Music
Sales Rank: 134
Average Customer Review: 4.77 out of 5 stars
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Amazon.com essential recording

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 ... Read more

Reviews (495)

5-0 out of 5 stars Music for the ages
I've must have listened to this recording many times over the last thirty years and I've never gotten bored with it. This recording can be enjoyed by casual jazz fans and jazz fanatics and musician types like myself.

The music is very "accessible" as opposed to the heavy hard bop that turn non-jazzers off. Yet, for all its accesibility, the music swings from the first beat of the crash cymbal that starts "So What" to the cool "All Blues". The haiku-like "Blue in Green" is the closest to a Jazz tone poem I've ever heard before or since. If i were to characterize this recording with one word it would be "understatement"(maybe that's two words).

The personnel: Miles Davis,trumpet;John Coltrane,ten. sax;Cannonball Adderly,alto sax;Paul Chambers, bass; Wynton Kelly and Bill Evans on piano; J. Cobb on drums, have all been freed from the strictures of chord fragments and progressions to create and develop any improvistional idea they could dream up. This was some revolutionary stuff in the pop song dominated hard bop repertoire of that era. With the exception of "Blue in Green" all the tunes are based on modal scales. Which freed the musicians to play anything they wanted within that scale.

Coltrane is superb. It's one of his last dates with Miles before recording exclusively as a leader. His ideas are muted, inventive and never tired. Cannonball complemented the horn section with bright,exuberant and rapid fire phrasing. Miles' "less is more" approach to playing on all of the tunes tie the whole album together into a seamless masterpiece, yes masterpiece. The spaces between his notes are as much of the music as the notes played.

If you are a musician and want to play with the CD, I would suggest you purchase versions that correct for the original pressing being recorded at a slightly faster speed than the music was actually performed. This resulted in the tones being a half step higher resulting in slightly sharper tones. If your ear won't or can't detect that, it really doesn't matter which version you pick up just as long as you add this to your collection. You won't be disappointed.

5-0 out of 5 stars Miles Revelation!!
Admittedly, I was a latecomer to the genius of Miles Davis. On several occasions, I was told of the level of greatness in his music. Kind Of Blue was the first album I heard - thanks to two family members who might have been trying to tell me something; I received the album twice, on the same Christmas Day! Is this the epitome of cool/love ballad jazz? Complex enough to feel the aesthetic, modal harmonies- Concise enough to blend into the accessible rhythm. The clarity is powerful enough to validate that these notes, initially written down on scraps of paper and subsequently distributed to each established musician. Delicately chosen, Miles was always secure in knowing what type of sound he wanted. I listen to 'All Blues' and love the fact that the song is quite the odyssey, performing a complete three-sixty, ending up right where we started. As are all the tunes a myriad of the melancholy, (Blue In Green) across the gamut, displaying the bouncy-hip style of, "Freddie Freeloader" named after a real-life character. Miles Davis crossed definitive boundaries purposely, creating a timeless sound.

5-0 out of 5 stars This album is the jazz's quintessential !
This album is incredible , amazing . It doesn't happen very often one recording reachs so cosmic heights .
You may consider a simple account about this statement.
Think in I love Paris (Michel Legrand)(see my review) . In this case Davis is present in the recording session , and we are just talking about the supreme jewel of the instrumental music in any time . I mean , if I love Paris (made in 1954) reached this status (years before A kind of blue) , you must agree with me that Miles Davis owned the magic playing , moreover, the poetic level (and when I talk about poetry , I mean the greek sense of the term , which is creation ).
Specifically , Davis was a very illustrated man , with a strong introspective approach . The notes are there , but the scope is the difference , the velvet touch , the exact expressiveness and the precise instant in what the note must sound vibrato or languish . Davis played music as he would be making a film, writing a book or painting , his trumpet was a brush , a pen or a script according the case .
Notice for instance the Davis sound . I mean Davis was original because he goes to the origin , and transforms the notes , making them "sing" . There are other examples in jazz such as Stan Getz in the saxophone , Wes Montgomery in the guitar or Bill Evans in the piano .
In Davis there was a deep sense of the expression and the wholeness meaning about jazz represents : this sense of freedom , and also a wide spectre of changing sensations , loneliness , happiness , sadness , anguish , desperation or seduction . This gradual sense of the tonal color about every note he played , you may find in the classical music giants , like Casals in the cello playing the Bach suites , Sandor Vegh conducting Mozart or Furtwangler conducting Beethoven or Bruckner , or Lipatti playing Chopin waltz . The sense of the expression and the real presence of commitment to achieve one specific sound and no other one.
A Kind of Blue will be a reference standard not only for many years but also centuries .
I have not any kind of doubt about that.

2-0 out of 5 stars Worth listening to once.
I wasn't too surprised to see that no-one's reviewed this item yet. I'll admit this is not a good album, but the trumpet player on here (Miles Davis) has an interesting style that's reminiscent of Orville Reddenbacher's playing during his final "consumptive" period. This album has been out of print for a long time, but as you can see there are a couple of used copies available, both for less than the price of a cup of coffee. So you might want to ChEcK iT oUt.

1-0 out of 5 stars Only rated it one star so that everyone will read it
Okay- here goes,
Now, first of all there is NO ONE that can possibly even doubt Davis' ability as a player. You listen to ANY OTHER trumpet player then listen to him and you will right a way be able to tell how he has his own unique voice whenever he plays his instrument. It is so different than anyone else, and his soundis INCREDIBLY hard to reproduce, most trumpet players can only dream of having a sound and dynamic control like his. Being able to play stuff like this that isn't just fast lound and flashy, and keep it MUSICAL is true genius. You listen to anything on this cd and it is all GENIUS. It really takes a true genius to come up with the stuff he does. After hearing the album Davis makes it extremely clear the mood he was trying to convey to us because thats what music is....a language and he definately says something with this album. No matter if you like it or not, NO ONE can disagree thathe does not get what he wants to say said through this album, because Jazz truly is a great artform- where someone like him can actually do something like this and say so much through music. So honestly, whether you as an individual likes it or not does not matter, because this album besides being hailed as the greatest jazz album of all time, and just plain being insanely amazing, is a true statement of Davis' genius, and this album is truly the greatest piece of art and mastery ever to be created, even though some may not like the music- he gets what he wants said. ... Read more


7. Dreamland
list price: $11.98
our price: $10.99
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Asin: B000002JAX
Catlog: Music
Sales Rank: 427
Average Customer Review: 4.77 out of 5 stars
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Reviews (39)

4-0 out of 5 stars Surprise someone you love--this is a great gift CD
When I first heard this album on NPR two years ago, I was stunned. Peyroux sounds like Billy Holiday filtered through Patsy Cline by way of Edith Piaf. Her phrasing is fabulous, especially given her young age when the CD was cut. My only gripe is that sometimes she sounds too much like Lady Day, Patsy, or Piaf. I cannot wait for her to develop her own voice and sound--it will be incredible when she matures and deepens. I hope a second album is coming soon--I will get it immediately. Give this as a gift and you will be seen as a true afficianado! By the way, Marc Ribot is on guitar on this album--for another special treat, listen to his Marc Ribot Y Los Cubanos Postizos, a wonderful Cuban-inspired guitar CD.

5-0 out of 5 stars Also looking..
Yes, like everyone else I have been anxiously awaiting a new album from Peyroux. Aside from all of the comparisons to Billie Holiday, I can honestly say that she has a wonderful voice and is also a great performer. I was fortunate enough to see her perform twice about 5 or so years ago. She sang at the University of North Florida. I also saw her perform at a cafe with her Lost and Wandering Blues and Jazz Band. I was very impressed with the more intimate venue. I will never forget her three piece band which included someone who played a real washtub bass. After the set, they sold cassette recordings of her and the band. The cassette is great, but I am looking for a copy on CD. If anyone knows of this please e-mail me!

4-0 out of 5 stars Good but she has improved much since this one....
I recently saw Madeleine in NYC and was just mesmerized- I thought her voice was fantastic and her style of performing was simple but bewitching. I bought her CD afterwards (its a short version not available in stores I think) and was similarly excited. I had been looking forward to hearing Dreamland for awhile but I have to admit that now that I have, it's just okay in my mind compared to what she is capable of. No doubt that her voice is wonderful here but I feel the songs chosen and the arrangements for much of the album are not nearly as great as she is capable of. It's enjoyable to hear but it doesn't stand out in my head. Your best bet is to see her or get the new one when it comes out.

4-0 out of 5 stars Buy this album, then GO HEAR HER LIVE!
Unfortunately, I did it the other way around--heard her gorgeous, heartbreaking singing at a little Red Cross benefit in October 2001 and then picked up the record, which is beautiful but almost sterile by comparison. Hence the loss of a star.

I do listen to _Dreamland_ whenever MP hasn't done a local gig for a while, and it tides me over, but I try to go see her whenever I can (find gig listings at madeleinepeyroux.com). I took my parents to hear her, and my dad--a lifelong Billie Holiday fan--literally had tears rolling down his face, he was so happy. Every foot in the place was tapping. She is so much The Real Thing.

MP does keep saying that the new album's coming soon. I hope that it includes more of her own songs, as the ones I've heard are beautiful.

5-0 out of 5 stars Evocative Voice
I bought this CD based on the reviews here and was not disappointed. She has a voice reminiscent of Billie Holiday, but she doesn't sound like she's trying to copy her.
Great Jazz/Blues sound that is different from many of today's artists.

It's amazing that someone so young has such an interesting voice ... Read more


8. The Girl In The Other Room
list price: $18.98
our price: $13.49
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Asin: B000148KK2
Catlog: Music
Sales Rank: 67
Average Customer Review: 3.09 out of 5 stars
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Singer/pianist Diana Krall breaks new ground interpreting modern standards by Tom Waits, Mose Allison, and Joni Mitchell, as well as compositions by her and her new husband, Elvis Costello. Krall's piano-jazz cred comes through loudly and clearly on her Count Basie-styled version of the Bonnie Raitt staple "Love Me Like a Man" (written by folk-bluesman Chris Smither). But it's the collaborations with her spouse that unearth untapped emotional nuances of her velvet voice; many are reminiscent of Bill Evans's moody, impressionistic pieces. The title track, "Narrow Daylight," "Abandoned Masquerade," and "I’m Coming Through" all deal with love and loss. "Departure Bay," a picturesque ode to her hometown of Nanaimo, B.C., proves that this is the start of something big, and that two heads--and hearts--are better than one. --Eugene Holley, Jr. ... Read more

Reviews (238)

5-0 out of 5 stars Finally, the one...
Diana Krall ultimately made it. The setting with the jazz band rather than an orchestra brings an intimate feeling. Right tempo, great songbook and the voice create "be here now" atmosphere. The album sets the mood.

Listen to the record either loud or low, you will be amazed with its feeling of closeness to you that still allows space for aloofness.

Stop The World sets the spirit of the recording and promises a great adventure through the music journey with Diana Krall. And the rest of the album does not disappoint. Indeed. Temptation is, of course, the track that can be played again and again. You won't be able to resist listening to it one more time, every time. Abandoned Masquerade brings scenery of a late night cafe - dimmed lights, a few remaining guests, deep smoke from cigars in the air. The last track on the disc proves great thought put behind the record. Nowadays, there are not many records that end in a way they should be. The Girl In The Other Room with its Departure Boy is a rare exception. You wouldn't end the record in a better way.

Don't tempt yourself. You can't resist listening to Diana Krall this time. This record will definitely be the one for jazz record of the year.

4-0 out of 5 stars Much Better Than Many of the Reviews Would Have You Think
I too have written a negative review of a Diana Krall release, but it was one of the recent 'heavy on the strings / short on the trio / very short on good piano' CDs. I almost did not buy this CD because of the number of negative reviews on Amazon, but I'm very glad that I tried it anyway. Frankly, I hear none of the adulterating influences that many reviewers attribute to Mr. Elvis Costello. These songs, though they're not the jazz and torch classics that populated her previous albums, have a character and performance that typifies much of the rest of her work. Gone are the syrupy strings and orchestral accompaniments, the sparse piano work, and sublimation of the jazz trio interplay that made her earlier CDs so good. And if none of these songs are destined to become classics, most of them are very good. The title track is a beautiful, haunting song which I could not get out of my mind after the initial hearing. The covers of Temptation, Black Crow, and Stop This World are better than other recorded performances. The piano is up-front in most of these songs, and the arrangements are masterfully done. Of special note are the piano work in the title track and the spare and atmospheric use of the Hammond in Tom Waits' song. Mr. Costello wrote or co-wrote (with Diana) many of the lyrics of these songs, and they have come under especial vituperation in other reviews. Here, too, I disagree. After listening to and reading the lyrics of the original songs on this release, I find them to be far above the quality of lyrics encountered in most popular music, and if they lack the profundity of though inherent in some (rare) classic songs of the past, there's certainly nothing for the composers to be ashamed of. Indeed, many jazz standards have lyrics that aren't worthy of much consideration: Straighten Up and Fly Right, The Frim Fram Sauce, Broadway,...to name some from previous Diana Krall albums. All in all, I found this CD to be very enjoyable and of a quality similar to some of her previous works. To her credentials as a pianist and vocalist she displays solid strengths as a composer and lyricist. Much to my loss if I hadn't tried this....

3-0 out of 5 stars Diana*** - Dena*****
I went to two jazz concerts recently one by Diana Krall, and one by Dena Derose. Diana perforrmed most of the songs from her latest album. It simply wasn't up to her standards, musically or vocally. I was hoping in concert that Diana would really sell these songs. I hate to say this but, they don't sound much better live than her CD, songs performed went over with less than enthusiastic reception-- all the songs were slow and boring, felt no emotion, and "many people left halfway through the concert."This was very disappointing". ANOTHER CONCERT, more enjoyable was Dena Derose. Dena DeRose gets inside the lyrics, and with a slight vibrato to end her phrases and a luxurious tone, she can be absolutely commanding. Her phrasing as a singer is immaculate. Her strong piano soloing is a pleasure, Versatile, resourceful, and genuine, Dena DeRose is without a doubt one of jazz's most exciting singers. Dena DeRose is a singer-pianist who gives deeply-felt life to her interpretations of ballads and standards. Her sense of phrasing and understanding of the lyrics is impeccable. Suddenly songs that I've heard hundreds of times before came alive as Dena sang the lyrics in a way that perfectly conveyed the story they were meant to tell.

1-0 out of 5 stars Great in the past, and hopefully again in the future
Diana Krall should be credited by helping to end the obnoxious screaming and yelling that became popular with the "love anthems" of Whitney Houston, Celine Dion, and Michael Bolton in the 90s. Thank goodness that is going out of style and this new calming and romantic sound is coming into vogue.

Unfortunately, this is probably a bit too watered down, introspective and muted to be exciting, passionate or particularly interesting for more than one listening. DIana's "Look of Love", "Love Scenes" and "Live in Paris" tower above this effort and I hope she gives us more of this type of brilliance again in the future.

This CD is imaginative, but seems aimless and confused.

5-0 out of 5 stars A Watershed Recording
Don't like it? Your loss. Those of us in the know already realize that this recording will be a watershed in Ms. Krall's long and illustrious career. She has the musical gifts and the artistic sensitivity to make her one of the great jazz singer/pianists of her generation. Long live the Costello /Krall collaboration. ... Read more


9. Radiance
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Asin: B0007YH4EO
Catlog: Music
Sales Rank: 263
Average Customer Review: 5.0 out of 5 stars
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Returning to the solo live format for this double disc, one hour and 20 minute set, Keith Jarrett is in fine form. Recorded on two nights, three days apart, in Osaka and Tokyo in 2002 (but not released until 2005), Jarrett approached these recordings with no planning. Instead he let the energy transport him and his hands to places that can only be found when the philosophical and physical join as one. It was a risky move, but it paid off in one of the most inspired and challenging albums of his near four decade career.

The usual Jarrett musical concepts apply as he combines classical, jazz, avant-garde, and dynamic melodic ideas within a single piece. Even in the album's many quiet moments, the energy level never wavers as this performance proves that the space between notes is every bit as intense and important as the notes themselves.Shifting between subtle passages such as those in "Part 6" and the more dissonant work of "Part 7," Jarrett takes his audience on a journey that seems as illuminating for him as it is for us. This is cerebral, obdurate yet flexible and emotionally driven music from a musician who always follows his inner calling. Established fans will be thrilled with this performance and open-minded newcomers will be left slack-jawed at Keith Jarrett's talent and uncompromising vision. Hal Horowitz

Recommended Keith Jarrett Discography


The Köln Concert (LIVE)
Belonging
The Survivor's Suite

Silence

Keith Jarrett at the Blue Note: The Complete Recordings (Box Set) (LIVE)

Nude Ants

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Reviews (6)

5-0 out of 5 stars Both Avant-guard and Romantic Aspects in Osaka and Tokyo
14 - 17 tracks are from Tokyo, October 30, 2002.Later than track 15, Keith once stopped his improvisation due to an ill-timed applause.He should got excited and restarted even more avant-guard tune, even destroying not only melody but rhythm also.I felt that it was like sonatas of Prokofiev or Boulez.Please enjoy this section in DVD released in this autumn.Tunes in this album are the beginning and the end of the Tokyo concert.Keith even broke tonality and rhythm in tracks 1, 4, 5, 7, and 11.They are spontaneous inspiration on the night of Osaka, started from his left hand.Many people remember his romantic and nostalgic recitals in Bremen, Sun Bear (six CD Japan tour), and Koeln.This album may be the avant-guard development of the idea in Dark Interval or Solo Tribute, both in Tokyo.The world of Jarrett improvises freely in various ways, rushes, deeply considers himself, and released to the memory of adolescence.Personally, tracks 1, 4, 5, 7, and 11 are extending the world of Jarrett.In the framework of concert, nostalgic tracks 3, 6, 8, 13, and 16 are well contrasted with avant-guard parts.Keith also played in Tokyo on October 31, 2002, but it was too much romantic and not avant-guard.I prefer the coexistence of avant-guard aspects and romanticism found in this album.This album is based on classical aspects of Keith.In his solo in Tokyo, this October, I also eager Jarrett promoted by his groove and swing, as I experience in Tokyo, September 29, 1999.

5-0 out of 5 stars Sublime Return
It's truly a joy and a privilege to hear this cutting edge artist, who has proven himself pretty clearly to be one of the best musicians of the last 30 years back on top of his game after falling into chronic fatigue syndrome. This album, which is a recording of a live solo performance, is deeply moving and introspective. I'm glad they decided to leave Keith's humming in the recording at the last minute. What is evident from his playing here is that he is a true artist, who is constantly devoted to sharing his most private feelings and challenging our ears. He seems fully energized here, though he has sections of amelodic and very dark and perhaps even slightly aggressive movements. Highly varied and beautiful. The conclusion is among the most intense bits I've ever heard. To any fan of music, do not miss this record!

5-0 out of 5 stars Thank you Keith and ECM
This is the only forum I know of to express my deep appreciation for the music that Keith shares with his audience. I can't imagine the talent, emotion, effort and expressiveness that goes into making music this wonderful. I figure I've spent about $400 in 20 years of buying Keith's music. I will treasure all of it for the rest of my life. This excellent recording only adds to the list. Buy it and you will understand what I mean.

5-0 out of 5 stars Exquisite New Solo Work
To sit and listen to Keith Karrett's piano, particularly when it entails his solo improvisations on the piano, puts me in a state of awe before the first note is touched on his keyboard. Yet, saying this stems less from the faithful love of a long-time fan but rather from the recognition of the quality and depth of a man's work over so many years.
"Radiance," his first solo offering in many years, can only reaffirm my appreciation and anticipation for the depth and range of moods he has me accustomed to, with his recordings.
Throughout the seventeen pieces selected for this double CD release, Jarrett, again, conjures up moments of sublime tenderness and vivid and soulful conflict.
Not knowing in much detail about his ordeal with chronic fatigue, the compositions included here seem to portrait the range of emotions of a man that has gone through a journey of initiation.
At times, through melodies that evoke a profound sense of personal peace or bound to stir some ancient pains, whether the notes seem to flow or be painfully forced out of a difficult confession, the album as a whole confirms Jarrett's artistic stature and the maturity and deep honesty of his current work.
Jarret's a virtuoso, yet this not only accounts for his exquisite technique but, even more, for the troubled vulnerability he can express so vividly on each of these pieces. It's hard not to be moved by the wondrous combination of blissful and disturbing truths coming out of his piano.
So, my awe has been more than justified, and my gratefulness for a work of such emotional and austere beauty cannot sufficiently do justice to what you are about to hear in these two CDs.
This is one of the most moving, intelligent and courageously vulnerable sets, in any genre, I have heard in a long time.

5-0 out of 5 stars Profound
Perhaps it was his battle with fatigue and stress, but ever since the CD, THE NIGHT ALONE WITH YOU, Jarrett's intensity has taken on an ever more profoundly reverent regard for silence, for what is not uttered, for what is and must be left unsaid because our deepest spiritual aspirations can only approximate and in some way parenthesize what id ineffable. It is what is in Music itself that calls upon musicing to articulate, to clear a ground, to shine and glimmer in a night, not so it can radiate in its own glory, but so that it can remind us of what remains left unsaid. In dwelling so poetically, Jarrett has through his trio and solo work, always sought what breathes when all else goes quiet. Rapturous at times, melodic, abstract, the considerations on this disc operate from a spontaneity that he deliberately attempeted to avoid thinking about and planning for.
The results are profound. Possibly his very finest work to date. The audience was with him all the way on this, even though he notes that they were likely as unprepared as he was. Some sections end without applause, startling both him and his listeners. In the end, there is a silence before the enthusiasm that speaks volumes for hwat they have done together. He hesitated to remove audience coughing and his own sounds, gracefully at a minimum, and reinserted them because they somehow further articulated what was perhaps uneasiness on one or the other's part.
This is not simply improvisational. This is spontaneous. This is Music announcing itself through the hands of one man hitting notes, chords, motifs that either occur or are delivered whole through him, to point back to what it is in the human soul that so desperately needs Music in a world so noisy, so full of things, that something as ephemeral as this would have so everlasting an effect seems at direct odds with our reifying existence. This music belongs to no one and yet infuses all of us, as though we belong to it, and to what it leaves unsaid about the very truth of our lives.
... Read more


10. At Last...The Duets Album
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Asin: B00064K2RQ
Catlog: Music
Sales Rank: 147
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11. Getz/Gilberto
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Asin: B0000047CX
Catlog: Music
Sales Rank: 519
Average Customer Review: 4.84 out of 5 stars
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Originally released in March 1964, this collaboration between saxophonist Stan Getz and guitarist João Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with Jazz Samba, his release with American guitarist Charlie Byrd. Jazz Samba remains the only jazz album to reach number one in the pop charts. In fact, the story goes that Getz had to push for the release of Getz/Gilberto since the company did not want to compete with its own hit; it was a good thing he did. Getz/Gilberto, which featured composer Antonio Carlos Jobim on piano, not only yielded the hit "Girl from Ipanema" (sung by Astrud Gilberto, the guitarist's wife, who had no professional experience) but also "Corcovado" ("Quiet Night")--an instant standard, and the definitive version of "Desafinado." Getz/Gilberto spent 96 weeks in the charts and won four Grammys. It remains one of those rare cases in popular music where commercial success matches artistic merit. Bossa nova's "cool" aesthetic--with its understated rhythms, rich harmonies, and slightly detached delivery--had been influenced, in part, by cool jazz. Gilberto in particular was a Stan Getz fan. Getz, with his lyricism, the bittersweet longing in his sound, and his restrained but strong swing, was the perfect fit. His lines, at once decisive and evanescent, focus the rest of the group's performance without overpowering. A classic. --Fernando Gonzalez ... Read more

Reviews (105)

5-0 out of 5 stars Tall and tan and young and lonely...
The 1964 winner for Best Album was this mellow but spright cool jazz album that pushed Latin bossa nova and samba rhythms on the map. With a lineup that included Joao Gilberto on guitar and vocals, Antonio Carlos Jobim on piano, Tommy Williams on bass, Milton Banana on drums, and on the two most memorable songs, Joao's wife Astrud. However, the driving force behind this was tenor saxophonist Stan Getz, and his straight-tone, controlled-vibrato sound.

The album starts appropriately enough with the Grammy winner for best song, "The Girl From Ipanema". This is the full 5:22 version that begins with Joao Gilberto singing in Portuguese. Then comes that soft voice and those familiar lyrics: "Tall and tan and young and lonely/The girl from Ipanema goes walking/And when she passes/Each one she passes goes haaa." Well, the thing that makes me go "haaa" here is Astrud Gilberto's voice. Getz's sax solo and Jobim's piano in the middle serves as a bridge between the two refrains. There is a 45 rpm version of this classic, the 2:46 single edit of just Astrud singing, included later. I must confess that I first heard a parody of this song, Bob River's "The Girl With Emphysema", and then sought hard to find out the original version, which led me to this album.

"Corcovado (Quiet Nights of Quiet Stars)" is the other song featuring Astrud Gilberto. In the full 4:14 version, we have Joao doing Portuguese lyrics, as he did in the full version of "Ipanema." There is a dreamy quality about this song, particularly when Astrud sings "Quiet nights and quiet dreams/Quiet walks by quiet streams/And the window lookin' on the mountains and the sea how lovely." And Getz's sax really enhances that exoticness as does Jobim's piano. BTW, Corcovado is the name of a mountain overlooking Rio de Janeiro. There is a 2:21 45 rpm issue included here as well.

As for the rest of the songs, Getz's rich saxophone provides the rich qualities that make this a winner, particularly his solo on "So Danso Samba" with its "vai vai vai vai vai" refrain by Joao Gilberto. The song title means "I Only Dance Samba", as opposed to calypso, the twist, and the cha-cha that were sweeping the country's dance floors in the 1960's. And Joao Gilberto's soft vocals complement the soft qualities of the other instrumentalists. Only complaint: Astrud should've been featured on more songs.

5-0 out of 5 stars Masterpiece
This is such a terrific CD. It was a break trough in 1964 when it was released introducing Bossa Nova to world audiences. Every Grammy it received like best album and best song for The Girl From Ipanema was well deserved.

It's hard to say which performance is more impressive. Would it be the marvelous Tom Jobim composition? Or the whispering Joao Gilberto's voice accompanying his wonderful guitar cords? Would it be the melodic Stan Getz sax solos. Or the soft almost childish Astrud Gilberto's voice? Probably the combination of all.

Every track is special but my favorites are Corcovado and Doralice. Doralice has the most beautiful saxophone solo I ever heard however, for some strange reason, the song is almost unknown even in Brazil.

Most of the lyrics are in Portuguese but The Girl From Ipanema and the beginning of Corcovado are sung in English by Astrud but this shouldn't be an obstacle for the appreciation of this masterpiece. With under 40 minutes of total play time and two very similar releases of The Girl From Ipanema and Corcovado it might seem not too much bang for your buck but believe me it pays off.

5-0 out of 5 stars THE Best Bossa Nova Album
Have owned two vinyl copies of this album. Wore out the first copy. Will probably buy the CD. I can't add too much to the previous reviews but let me add two words, 'Timeless & Elegant.'

5-0 out of 5 stars One thing to say---
I do not know a word of Portugese, but I can sing "The Girl From Impanema" by heart -- in Portugese. That's how many times I've played this album.

If you can and have the means to play it, get this in its original LP format. But the CD is most excellent as well, and if you haven't ever heard it, I encourage you to buy it right now; you won't be disappointed.

5-0 out of 5 stars Something about Samba
This will just be a short review..this CD is absolutely wonderful. I am not going to compare it to anything...I'm not even going to try and describe it other than to say it brings me an incredible amount of joy. It's sexy cool, it's flippin' hot.

It's just right for a night of loving.

My only complaint is that it is too short...but maybe that's the genius of it because it made me crave other music by both Getz and Gilberto.

So I'm going to let you stop reading and let you purchase this beautiful recording. ... Read more


12. The Way Up
list price: $18.98
our price: $13.49
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Asin: B0006M4SO6
Catlog: Music
Sales Rank: 363
Average Customer Review: 4.0 out of 5 stars
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For nearly 30 years, guitarist Pat Metheny and his longtime musical cohort, pianist/keyboardist Lyle Mays, have covered an incredible amount of diverse material. On their debut recording for this label, they and their international group--bassist Steve Rodby, Mexican drummer Antonio Sanchez, Vietnamese trumpeter Coung Vu, and the Swiss-born harmonica virtuoso Gregoire Maret--distill that diversity into a continuous 68-minute opus. The challenge here lies in sustaining the melodic narrative thread while keeping the sound of surprise.Thanks to Mays's evocative pianisms and Metheny's array of acoustic, electric, and synthesized guitars, the group pulls it off.For Metheny fans this disc contains elements of his most acclaimed recordings, from the straight-ahead swing of Question and Answer and the folk-fusion of Offramp, to the Afro-Latin tinges of We Live Here, the atonally adventurous Zero Tolerance for Silence, and the Asian impressionism of Secret Story. --Eugene Holley, Jr. ... Read more

Reviews (117)

5-0 out of 5 stars The album I always hoped they would make
I have been a Metheny Group fan since I first heard "Still Life (Talking)" and "The First Circle" in the mid-80's.These guys always find melodies and changes that sound so logical they seem almost obvious, both when they really are obvious and when they are something we have never heard.For those of us who crave the "new" part of the equation, the transitional segments that occasionally pop up towards the end of medium-length compositions like Minuano (Six-Eight), The First Circle, And Then I Knew, or Lyle Mays' Highland Aire are like that whiff of pine-scented air you sometimes catch in the spring.

May I present an entire cedar forest.Flawless, exhilarating performances, crisp and rich recording, and composition that you can get lost in after repeated listening.Music that is both cerebral and moving.The Group doing what they were always capable of, but never inclined to do before: a work that's long but not stretched, organized but not predictable, tonal but not too sweet, exciting but not raw, thematic but not repetitious.

4-0 out of 5 stars Cocktail of Sounds
You take Imaginary Day , Speaking of Now , We Live Here , add some wild Trumpet and sequence touches and Voalá : The Way Up is Sea Level ... Not bad for a rainy day ... The art work is All The Way Down ... So , not everyday is kind of wonderful , so what , still , good music from some of the best players and writers of the moment ... For lack of Weather Report , get Pat Metheny Group ...

4-0 out of 5 stars Orchestrally amazing, but missing something
I've heard this album so many times I can't even begin to count.I feel bad giving this album 4 stars because I hold Pat to standards miles above everyone else.So this review is based on Pat's standards; keep in mind that it's still a piece of music far beyond the capability of anyone else alive.

This album is basically a bunch of different sections that weave in and out, sometimes overlapping.It works quite well actually--but the middle section is just simply too long and missing that emotional level that usually exists in Pat's music.The intro and closing are fun to listen to because they are busy with strumming, odd beats, full chords and buildup.The first six minutes of Part One introduces the simplest yet most prevalent theme on the album that's played over and over in many different contexts, and almost sounds progressive-rocky.Yet after this section dies out, I feel as if I'm walking across a very long desert.There's a couple of rocks here and there, but mostly it's just a flat walk.I want the moutains that Metheny creates--I don't want to get bored.

The straight-ahead jazz sections kind of pop out of nowhere, and I almost feel like he put those in there as a response to people calling his music cheesy (which it sometimes is, but we learn to get past that).The Way Up definitely has its share of beautiful sections--the pinnacle I'd say being in Part Three (the closing) starting around 7:45 or so when all of the themes sort of come together and build up to a climax.

There's no doubt that Metheny is a master of composition and his instrument.I don't think he went in over his head with his album.I think he was trying to not keep the middle section "too busy," but in doing so he kind of left an opening that needs to be filled somehow.

Just a quick recap on the musicians: Antonio Sanchez (drummer) is out of this world on this album.Cuong Vu (trumpet) makes some really well-fit-in background noises and adds color to this album that no other trumpet player can do--his range isn't amazing, but that's not what he's here for.Lyle Mays takes more of a background approach in this as well--he has a few solos, but nothing extraordinary.Gregoire Maret (harmonica) has his moment of glory, and it sounds nice and Western (because that's how harmonicas sound to me), but I get a little bored when listening.Steve Rodby holds his fort down, and has a little solo where the bass plays the melody (I love this part) in what I call the "whale section"--it kind of reminds me of whale song.And Pat is at his best with soloing here, although I feel like more recently he plays the same licks more and more often.With the exception of his solo in Part One at around 20:00, where he plays one of the best and most melodic, unique, and well developed solos I've ever heard.

Overall, a definite must, but didn't quite live up to its year-long hype.But that would have been nearly impossible.

4-0 out of 5 stars Uplifting.....
Having just been given this album the other day it has made quite an impression on me. Although it is not the 'highest' music I have ever heard it has many beautiful moments and the recording sounds great. I've been off listening to other things for a while so to hear the lyricism of Metheny and Mays is refreshing to say the least.
Other reviewers have described the album in some detail so I won't. What I do want to remark upon is how many reviewers seem to have a very stale and fixed idea of what 'jazz' is and how they pour scorn over anything that does not conform to their limited ideas. This attitude has been a factor ever since Davis started to experiment with different sounds and forms and has continued in the Masarlis vein, etc. So what is jazz? Does it have to be an endless rehash of bebop in 'clever' contexts - nods and winks to the establishment and those who only want to be reinforced and not challenged? Or do we have to play the same standards over and over again? How much can you do with that music that hasn't already been done now? Isn't that why a lot of contemporary jazz sounds so dead and uninspiring? Beyond which quote to pull in the next moment, the spontaneity has been left behind somewhere.
Personally, I am relieved to hear Metheny steering away from yet another 'jazz' album and towards something that's actually sort of unique. I enjoy what I consider to be the best of all musical styles - I love a taste of bebop, free-jazz, modern orchestral, baroque, prog, jazz-rock, folk or even pop. If I don't change between them fairly frequently I get bored.
So to those who deride new music of difference I wish you an eternity locked in a small room listening to the Residents. Enjoy.

5-0 out of 5 stars Maximal musical historisism is what you get...
if you join PMG The Way Up. It is the last 400 years of music history incorporated into multi-layers of sound, individual world class performances (I heard them in Oslo 15. May, amazing!!) and melodic simplicity as the "red thread" through the album. Buy it!

... Read more


13. The Ultimate Collection [DVD]
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Asin: B0007X9U2Y
Catlog: Music
Sales Rank: 439
Average Customer Review: 5.0 out of 5 stars
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Billie Holiday (1917-59) wore gardenias, was a teenaged prostitute,did drugs, and died with a cop posted outside her hospital bed.But withher gravel-like vocals, and behind-the-beat phrasing, she was one ofthe greatest singers of the twentieth century. This multimedia collectioncommemorates her ninetieth birthday. Two CDs contain forty two of hergreatest hits, from her 1935 stint with Benny Goodman, to her chilling 1958strings album, Lady inSatin. It features her signature songs like "Good MorningHeartache," "God Bless the Child," and her unforgettable anti-lynchingnumber "Strange Fruit." The DVD includes film cameos withDuke Ellington and Louis Armstrong, photographs, posters, rehearsals andinterviews with friends and musicians, including a rediscovered 1956 radiobroadcast with a young Mike Wallace.Her achy artistry is timeless, and asAshley Kahn wrote in his superb liner notes, "Billie will be there tonight,tomorrow night and a long time to come." --Eugene Holley, Jr. ... Read more

Reviews (6)

5-0 out of 5 stars Billie Holiday - by far the best ever
I purchased this collection solely for the DVD that's included because I have all of the other audio material.The DVD is great!It leaves you wishing for more.It's a pity that this is all we have of the best jazz singer of all time.I'd like to see a movie made of her life;a true story, not the bunk that they gave us with "Lady Sings The Blues" back in the 70's.If you do not own any of Billie's music this is a great starting place.

5-0 out of 5 stars The ultimate starting point (collectors take notice, too)!
It seems as if every year or two we're looking at a new and improved Billie Holiday anthology, and THE ULTIMATE COLLECTION is the latest and probably best Lady Day introduction to date.As others have mentioned, this set covers her entire career via 42 tracks on two CDs.The set is skimpy on Billie's first decade (albeit we do get such gems as "God Bless The Child").However, you can easily balance that out by one additional purchase: the highly-recommended 2-CD set LADY DAY: THE BEST OF BILLIE HOLIDAY on Sony, which has 38 key tracks from the early years (only three of which are repeated here).Several key tracks from her 1939-1944 Commodore sessions (including "Strange Fruit") and the 1942 cut "Trav'lin' Light" (with Paul Whiteman) offer further proof of this set's wide reach in covering her career.

Being that the set is produced in collaboration with the Decca and Verve labels, the last fifteen years of Billie's career get excellent coverage.There's a certain point in the 1950s where some Lady Day fans mourn the perceived wear-and-tear in her voice,while others such as myself celebrate the deeper emotive power and increasingly inventive melodic, rhythmic, and harmonic chances she takes with classic pop tunes.Even so, by the final track "I'm A Fool To Want You" (from the much-debated 1958 LADY IN SATIN album) it's difficult for most listeners to not feel 1) pushed away by her fading voice and 2) pulled back in by the communicative power of her heart-on-sleeve phrasing (one error in the set's booklet: this cut is not from her last session).

The DVD has an effective mix of seen and unseen footage.The 1934 and 1946 movie appearances have been issued in their entirety: here we get some highlights.The key bit of material that will attract Billie Holiday collectors is some newly-uncovered 1956 footage from the STARS OF JAZZ television show (three songs), and there is a 1958 appearance, too.The most famous Lady Day clip (1957's all-star jam on "Fine And Mellow") is seen in its entirety.The DVD also has a clip of Billie's key influences Bessie Smith and Louis Armstrong, plus lots of other extras that are interesting but mostly not essential.Although some excellent Billie footage didn't make the cut, there's still enough of value on the DVD to recommend it.Add the timeless, extraordinary music on the CDs, and you've got a great introduction to arguably the greatest jazz vocalist of all-time.

5-0 out of 5 stars Incredible
Lady Day is timeless&Will never go out of style.this is without a doubt the best all around Compilation on her Work&the DVD is a great collection as well. you get a chance to hear her voice&Material through various era's&whatnot. Her voice just had a way of hitting you emotionally that so few Artists ever reach that Zenith. Her Tone&Feel captures so many things all at once. she died far too young.She is One of My All time Favorite Artists in any Style of Music Period.

5-0 out of 5 stars KUDOS!!!
So many great things about this collection its hard to know where to start. This is the first collection to include tracks from ALL the record companies that Billie recorder, not even the Ken Burns compilation touched so much ground. There are tracks that are unavailable in CD until now, like 'Detour Ahead', a classic song. The remastering, specially for the Blue Note and Verve catalog is breathtaking, the best these sides have sounded ever. Package is beatiful, this is one of those Sound + Vision collections, like the Hendrix at Isle of Wight. It includes a COMPLETE sessionography, every session, dates, musicians, places of every song released commercially. It includes a timeline, which is a biography, year by year of the life of lady day,with dozens anddozens of pictures and scans of documents and letters. Wow!! I was really impressed. The DVD also includes a bunch of audio feautures, like interview with Billie, and people who knew Billie. There is a great segment of Billie rehearsing with Jimi Rowles that is pure gold. Live tracks with Basie. The video clips are not remastered, some of them look and sound preety rough. There are more videos of Billie out there, I wish they had included more. The CD's are too heavy on the Verve material, some more Columbia sides with Lester Young could have been better, and where is 'Autumm in New York'? Still, this is a five star collection, recommended both for newbies and long time fans.

5-0 out of 5 stars Finally, THE definitive overview .... ESSENTIAL
For years, there have been hundreds if not thousands of imports of Lady Day's music on subpar compilations that don't do her justice, various box sets put out by different record companies in the US (Columbia, Commodore, and Verve all have exhaustive box sets), but no true retrospective that covers the bases in one place.

Until now. This is one of the best collections of songs ever assembled in one place. Previous retrospectives were great, but because they were usually limited to the respective record label, they fell short.

In a way, if it wasn't for downloading as well as record companies finally being more willing to compromise, this probably wouldn't have been possible.

From one of her earliest recording sessions where she sings "Miss Brown To You" to her final recordings where she does "I'm A Fool To Want You", all 42 tracks are classics.

As if that wasn't enough, you're also getting a DVD of rare TV and film appearances, a lot of which have only been seen in documentaries (except the clips from the "New Orleans" movie Holiday and Louis Armstrong starred in and available on Amazon and contains the "Symphony in Black" short) It also has a few rare audio tracks as well as an interactive timeline. The only criticism (other than it having a slightly higher price tag than it should) is that I would've wanted the clip of "Strange Fruit" to have been included on here (unless I've overlooked it or it's an Easter Egg). But considering there's so little footage of Billie Holliday otherwise, the DVD alone is worth getting the collection for people who have bought previous collections.

I highly recommend this to anyone who is a music lover of any age. If you own Jeff Buckley, Norah Jones, Frank Sinatra (who was a huge fan of hers) or Nina Simone (or liked Queen Latifah's foray into jazz) this should ABSOLUTELY be part of your music library. If you want to hear what a torch song is and one of the most significant figures of jazz music let alone music, you'll find it here. If you want to hear what is considered one of the most important songs of the 20th Century, it's here.

This is one of the best collections of music ever assembled, and warrants why more artists from the past should be putting out CD/DVD combos... This package is by far THE standard allcompilations should go by, versus the 1 CD packaging done for the millionth time just to keep an artist's name alive.

I can't say enough good things about it.

Frank Sinatra is another artist that should have a comprehensive overview out like this one versusdifferent record companies putting out the different eras. It strengthens a legacy as well as putting something comprehensive for future fans to enjoy.

(Side note: A couple of compilations that I found are called "Billy Remembers Billie" and "The Milt Gabler Story", which comedian Billy Crystal put together (and amazon.com has it as well). Crystal's uncle Milt Gabler produced Holiday's "Strange Fruit" and others like Louis Jordan and Bill Haley's "Rock Around the Clock". Crystal has talked about Holiday taking him to his first movie. There's something about personalized compilations that I like though...)

If there's one CD worth buying this year, this is the one. ... Read more


14. American/English
list price: $17.98
our price: $13.49
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Asin: B0007QCLS6
Catlog: Music
Sales Rank: 502
Average Customer Review: 4.5 out of 5 stars
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Reviews (9)

1-0 out of 5 stars they used to be good
I've been a fan of Acoustic Alchemy for some time now.And I fully realize that bands need to change and evolve.However, this is most definitely a lame segue of the duo into a JazzLite phase that minimizes the impact of their ability.What sound precisely were they going for?This album makes for pleasant, non-offensive background music at best (well, except for some truly cloying and annoying vocalizations) but certainly does not merit acknowledgement as an audio treat.Sorry.

5-0 out of 5 stars A Very Solid Effort
I have been a fan of AA since the days of Red Dust and Spanish Lace. This CD is their best work in several years! I especially like the first four tunes. If you listen for the structure of the melodies as well the interplay of the guitars you'll find that they appeal to your mind as well as your body. Their touring show this summer and fall should be fantastic!

4-0 out of 5 stars Great Musicians, Great Songs and Great Sound
Unlike some of the reviewers of this album, I had never heard of Acoustic Alchemy until recently, when a friend recommended them.They did not disappoint.Their music is a fusion of pop, jazz and country, and they are very accomplished musicians.Furthermore, their recording is outstanding; the details of all the instruments are there and the imaging is first-rate.The only reason I did not give this album 5 stars is that some of the tracks seemed repetitious and in several of the songs, the "na nas" seemed inane and detracted from the songs.(After all, they are not Paul and this is not "Hey Jude".) However, having said that, I like this group enough to purchase their other albums.

5-0 out of 5 stars Spectacular evolution ...
The evolution of this group has been nothing short of spectacular. I've been with them since 1989's "Blue Chip" when all the backgrounds were synth. I rank "Beautiful Game" as a pivotal point with it's more "live" group sound.

But "American English" offers a new depth. The melody lines have a timeless complexity and the spare synthesizer tracks blend just right with the live musicians.

A nice touch is drummer Greg Grainger's background vocals. I also enjoy Miles Gilderdale's track-by-track synopsis. I too plan to see them live in concert this summer.

All-in-all, Acoustic Alchemy's best yet!

5-0 out of 5 stars Good work by good musicians
Whenever I get a new cd, I always seem to compare it to the bands older music.With this album (and the former Radio Contact release), I find that each are a slight departure from what the band had been known for.

This album in particular starts to use many more electronic loops and drum sounds.Personally, I'm used to the actual musicians playing.However, the classic AA licks and melodies are still there, keeping that undeniable sound they're known for.

Don't get me wrong; the album is still innovative with tracks such as "Detroit Shuffle", "Lilac", and "14th St Carrot Cafe" which was recorded in one take, not letting us forget that the acoustic sound and live musicianship will always prevail.

In short, anything AA touches turns to gold... which is sort of what alchemy is anyway.I have come to accept this (and Radio Contact) with open arms into the AA catalog and can't wait to see them on tour this summer.

Cheers! ... Read more


15. Definitive Hits
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Asin: B00005ABMY
Catlog: Music
Sales Rank: 816
Average Customer Review: 4.14 out of 5 stars
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Amazon.com

In an era when elaborate wordplay and adventurous production were the order of the day, Herb Alpert made an impact barely uttering a word or breaking a mold, other than expanding the commercial parameters for pop instrumentalists. Dashing trumpeter Alpert and his Tijuana Brass scored five top-20 hits between 1962 (when "The Lonely Bull" climbed to No. 11 in the U.S.) and 1968 (when the vocal-driven "This Guy's in Love with You" cracked the top 10), racking up five No. 1 albums over the same period. The group's patented "Ameriachi" sound made up in south-of-the-border sprightliness what it lacked in innovation; the likes of "Spanish Flea" and "Casino Royale" possessed the kind of unshakable hooks that fit perfectly on top-40 radio sandwiched between Nancy Sinatra and the Mamas & the Papas. This 20-track overview serves up 13 selections from the Tijuana Brass's heyday and is rounded up with seven Alpert solo selections, including comeback hits from 1979 ("Rise") and '87 ("Diamonds"). --Steven Stolder ... Read more

Reviews (28)

5-0 out of 5 stars Where is the rest of the HA&theTB catalog?
This record is a perfect example of why I never want the 'greatest hits' all in one package. Always buy the originals if they exist, except in this case they are not so easy to find. I want one CD with that cool 60's HA&theTB sound. The 60's songs are so much fun, and they're so light, and go down so easy, and if you lived through the 60's and 70's you could not escape this stuff -- this is absolutely one from 'Dad's record collection.' But, what is that effect? In the 80's all songs were recorded from a speaker at the bottom of a well -- is this like a reverb machine with the dials all cranked to 11? Okay, Rise was a good song, and it was just the perfect thing to play as the disco was cooling off for the night. But Rise and its cousins don't fit alongside the 60's stuff.

Herb, if you're reading this, release the originals again on CD. And for the greatest hits set do a double-CD. Disk 1 with the 'TB'/60's Herb, disk 2 as 'Disco-Herb'.

4-0 out of 5 stars Did a great job at introducing Alpert's talents to me
Herb Alpert is one of those musicians that everyone has probably heard of, but not many really know when it comes to his music. Yes they have heard his pop hit with Janet Jackson "Diamonds", yes they know he is one of the brains behind A&M music, and yes they may even know an instrumental hit he had called "Rise". One reason for purchasing "Definitive Hits" was to get to know him better when it came to his music. From what I had heard, his horn playing was extremely good and I wanted to hear more. I figured purchasing a Greatest Hits collection would be a great starting point. I'm happy to report - I am very satisfied.

This CD does a great job at chronicling about 1/4 century of Herb Alpert's career - starting in 1962 and going out into 1987. The CD really covers three distinct phases of Alpert's career. The bulk of the CD (or first 13 songs), cover Herb when he was with his band, the Tijuana Brass. This really covers a period from 1962 to 1968. The second phase is Herb's "solo" period" from 1979-1982 (I assume he laid low while building A&M records in the 70s). The third phase is from the album "Keep Your Eye on Me" which was a phase in which Herb would embark on a collaborative period with established vocalist in a similar manner like Carlos Santana would do a decade later.

In Phase 1, the "Herb Alpert and the Tijuana Brass" period; the CD presents 13 songs that Herb did with his band - The Tijuana Brass. These songs have a very distinct Mexican feel to it and have a lot of horns. This is where you will get to know Herb Alpert's roots. The guy is one heck of a horn player. One thing that did disappoint me is that Herb wasn't a big songwriter and that his songs were all written by others. However, its Alpert and the Tijuana Brass' great instrumentation that will give all of the songs a very three dimensional effect (I'm sure the remastering really helps here). In these songs, the name of the song is very reflective to how the song sounds. So "The Lonely Bull" will give you the feel of a bullfight. Whipped Cream will remind you of "Whipped Cream", "Zorba the Greek" reminds you of "Zorba the Greek". There isn't a song title that isn't backed up and described well by the music. Really good stuff. This is a testament to Herb Alpert being one of the outstanding producers. You'll probably recognize many of the instrumentals (I'm pretty sure I heard "Spanish Flea" from some 70s game show as background music for describing prizes and sponsors)

Perhaps the biggest surprise is the Burt Bacharach/Hal David written song called "This Guy's In Love With You". In this song we hear Herb Alpert on lead vocals - and he's terrific. Herb shows he has a very powerful voice in delivering a very powerful and emotional performance on this track. My question is why doesn't he sing more often? You'll hear some horns on this song, but you'll hear less horns by the Tijuana Brass than on the other songs.

On Phase 2, there are four recordings from solo albums Herb did without the Tijuana Brass. "Route 101" is a nice song it continues the theme of the song describing the title. You'll get a feel from driving down Highway 101 in California into Tijuana Mexico. "Fandago" has more of a Tijuana Brass recording (Alpert mentions this in the liner notes as well). "Fandago" has more of a modern Latin Jazz feel. "Rise" is possibly the most well known Herb Alpert instrumental. It has more of a seductive feel than anything else I heard. In fact, back in 1979, "Rise" was heard in many discos. "Rotation" while not as strong as "Rise" is from the same album shows the modern Latin Jazz feel (again mentioned by Alpert in the Liner Notes), but you'll hear what I call "soft strokes" of Rise in certain parts.

Phase 3 includes three songs from the album "Keep Your Eye on Me". This was a 1987 album which marked a radical direction for Herb Alpert. On this album, Herb would start combining his talents with other vocalists. The most noteable is Janet Jackson on the song "Diamonds". "Diamonds" is a perfect fusion between Janet's unique vocals and Herb's unique horn playing. An underrated song is "Making Love in the Rain" which features a vocalist named Lisa Keith who really does an incredible job with the vocals. The third song is the weakest of the three - the title track from "Keep Your Eye On Me" which also features some Lisa Keith vocals. These three songs were not produced by Alpert, but were produced by R&B producers Jimmy Jam and Terry Lewis (who also penned the 3 songs). I think it shows great maturity on Alpert's part at this point of his career to put his trust in other producers. I only wish they would have included some more songs from the album.

This album contains some good liner notes. You'll see a lot of the production credits for each album. The best part of this is that Herb himself writes a few sentences describing his feelings on the song - this is invaluable stuff. There also is a nice intro and some words from Burt Bacharach. I only wish they also included the lyrics to the vocal songs that are included on here. The songs are almost in chronological order - I'm not sure why the decision was made to put some of them slightly out of order.

This is a great collection. It helped me learn a lot more about a sensational musician in Herb Alpert and gain a full appreciation for his talents. I highly recommend this collection.

4-0 out of 5 stars Wake up A&M
Nice compilation for starters, but anoying limited for real fans. When will A&M finally release all his albums in remastered versions? How much would we like to have Herb's 12" versions on CD? Or his alternative versions and B-sides? An extensive box set in addition would be nice as well. Just think that these mastertapes are only collecting dust in the vaults of Universal... Could someone at A(lpert)&M(oss) wake up and take action? Your founder deserves more than one-CD-collections.

5-0 out of 5 stars Great Collection!...Box Set Next?
Because of more modern technology, this album sounds much better than his previous hit collections such as "The 25th Anniversary: volume 1 & 2. Thus, this is the best single-disc collection containing the majority of his hits as a solo or with the Tijuana Brass Band. The next logical step would be a 4 or 5 CD box set containing ALL hit chart entries, rarities, unreleased material, b-sides, and live tracks. Herb Alpert deserves box set treatment.

5-0 out of 5 stars Herb Alpert is Wonderful!
Although I can understand some of the other customer reviews which mentioned that this CD didn't include all of Herb Alpert's greatest songs, bur he has had sooooo many great songs it would probably be pretty hard to put them all on one disc. Therefore, with that in mind, I would like to say that this CD was pretty good. It covers his music from the beginning of his career in the 60's to more current songs from the 90's. Although Herb's newer stuff is pretty good, I was glad to see that this CD stayed true by putting most of his older hits on there. Herb Alpert is a very enjoyable artist to listen to. This is a great CD to check out! ... Read more


16. Eldar [D&D]
list price: $12.98
our price: $11.99
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Asin: B0007MSVI4
Catlog: Music
Sales Rank: 1050
Average Customer Review: 4.5 out of 5 stars
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Reviews (5)

4-0 out of 5 stars Speed for speed's sake?
I first heard Eldar on the radio and was so impressed, I ran out and bought the CD.After several listens through, my opinion is that this kid has a great future ahead of him.His chops are jaw-dropping, but you can only listen to blinding fast right-hand runs for so long.I started wondering if this kid could do anything but play fast.But I have to admit there are some pretty tasty items on this CD if you are willing to sit through the pyrotechnics.Nice interpretation of Round Midnight and a groovy tribute to Herbie Hancock called "Watermelon Island" make this more than a "look how fast I can play" session.The CD is definitely worth picking up; maybe, like me, you'll be amazed at the technique and then really listen closer for some meaning in between all the notes.It's there, trust me.I look forward to more from him.

5-0 out of 5 stars Wow!
On a scale of 1-5 this is 6 stars. I personally have never heard the piano played so well in any music genre. This guy's got it! Add to this that he's at the beginning of a career - at only 18 yrs of age! Hopefully we'll have a chance to hear lots more from him in the years to come! From mellow jazz that's almost clasical (track 6)to stuff that's all over the keyboard. -BPA

5-0 out of 5 stars Art Tatum meets Chick Corea
What is the reviewer below my review talking about?I've heard this CD and was blown away.First you hear traditional jazz piano and then pyrotechnic runs not heard since Art Tatum tickled the ivories.This kid has chops.Just when you think you have his style wired, he drops in some of the angular cascading pentatonics used to great effect on Chick Corea's "Now He Sings, Now He Sobs."Several great players accompany him too on his first solo effort including Michael Brecker and John Patitucci.Without a doubt this is the finest young pianist to come along in many years.Go to the music websites that provide samples and listen to the tracks yourself.If you are a fan of Jazz Piano, prepare to be impressed.

-- Bill, a Jazz Piano Player in Denver

4-0 out of 5 stars Young, dumb, and full of...
First things first - Eldar clearly has 10 fingers that can accomplish any and all technical feats demanded by his imagination.It's impressive.In fact, at times it's more than impressive, it's downright astounding.There is joy to be found in this sort of raw technical excellence and Eldar provides this in abundance.
However, jazz isn't rooted in technical excellence; if anything, technique is a tool, a conduit, a means to an end, rather than the end in itself.What counts in jazz is the soul, the essence, the spirit, the pungent fat that drips between the meaty notes.In this respect, Eldar is a lean cut of pork.He's plays like the eager youngster he is, a neophyte bubbling with possibility and borrowed soul, bouncing happily from one tune to the next, from one well-honed and quote-laden phrase to the next, seemingly oblivious to the desolate landscape he's painting.Eldar's playing imitates the best jazz piano in the same way that packaged pornography compares to the real thing - clean-shaven, overblown, even objectively impressive at times, but utimately devoid of meaning and downright draining in its over-the-top mimicry.

5-0 out of 5 stars A burning jazz star
Whew.That's all I can say after listening to the first cut, "Sweet Georgia Brown."Eldar takes the tune at something around ludicrous speed, and John Patitucci & Todd Strait hold on for dear life.But after cooking through that, we're treated to a ballad to offset the breakneck speed the album opens with.This would be the crux of Eldar's burgeoning skills.He seems to distill many who have come before, and be able to offer something of his own from all the disparate sources hidden within his notes.Truly somebody to be watch. ... Read more


17. Matt's Mood
list price: $16.98
our price: $13.99
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Asin: B0007KTB8U
Catlog: Music
Sales Rank: 2033
Average Customer Review: 5.0 out of 5 stars
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Reviews (16)

3-0 out of 5 stars A Bit Over-Rated
I'm as much a "Basia" fan as anyone else, but not a fanatic. I had heard "Ordinary Day" on the radio, liked it, and bought this CD. (Yes, I did listen to samples, but they are just not indicative of what the entire songs sound like at home.) Basia does some great chordal harmonies that she's known for, and there are a few good tunes in here other than "Day", in particular, La Luna and Golden Days.

But ya' know, this is not a CD that I can enjoy all the way through, and, I wouldn't call it jazz either. My biggest complaints are the horrible uninspired sax solos that add nothing to the feel and flow of the song(s); in fact, many are grating and "kill" the song. So I guess if you really, really know and like these guys, then you're in heaven. But for me, it misses the mark. I was hoping that "Ordinary Day" was a pretense of what was to come, but what followed was so-so.

And not that it has anything to do with the music, but they really need to get another photographer and/or CD jacket designer. The photography is not flattering at all; even Basia is made to look bad and I know she is (or used to be) quite attractive. As far as the two guys, well, they just look like European skinheads. Again, it's the photography; nothing personal. I'd pass on this CD if I were you; it's just not worth the 5 stars that others seem to be giving it.

5-0 out of 5 stars Matt's Mood - Best Ever!
Basia's back with Matt, Danny, and an excellent back-up band and vocals; her sister is one of the vocalists.I saw them at the House of Blues in Orlando.That was absolutely one of the best performances I've ever seen (and I've seen many).Basia has returned better than ever; Matt's vocals are smooth; Danny's just as great as ever.This CD takes on a jazzy mood, with mellow, smooth songs intermingled with jazzy, upbeat, get-on-your-feet tunes that will make you want to listen over and over again.

5-0 out of 5 stars Matt's Mood's Deliver's the Good's....
From the very begining of the first cut of the album, to the very last note that is played on the final song, the recently reunited MATT BIANCO delivers such a solid mixture of Jazz, Latin and good feeling music that it seems like they never took a 15 year or so hiatus with BASIA. And of course, its good to hear BASIA back after a long break as she delivers such mind blowing notes that you realize she is one of the great contemporary artists of the last 20 years. Some of the best tracks on the album in my opinion are "ORDINARY DAY", "LA LUNA" and "MATTS MOODS III". They each create a feeling to the album that truly breaks new ground, but at the same time pays homage to some of the truly great jazz and latin artists out there. Matt's Moods is truly a must have album that even the most harsh music critic will be able to enjoy.

5-0 out of 5 stars A nicely done jazz cd!
I have always loved Basia's music since the '90s. I attended their April 6th concert in Chicago, which was GREAT!!! However, like many groups on tour, the goal is to promote the new cd.Well, I was a bit slow in buying Matt's Mood, and while I thoroughly enjoyed the new material, I was not familiar with it.Now that I have the cd and have listened repeatedly, I absolutely LOVE it!!!

The group dynamic is a bit different, so fans of Basia's solo work may be a bit surprised, but definitely NOT disappointed! I promise.If you like your jazz with a Latin influence, this is a must have. My favorites include: Ordinary Day, I Never Meant To, La Luna, Say The Words, Golden Days, Ronnie's Samba, and Matt's Mood III.

I just really hope the Smooth Jazz stations in the US will begin to play some of their songs, so that old fans can become reacquainted with the new Basia and others can be introduced to Matt Bianco.

5-0 out of 5 stars Basia finally returns!!
Last week we were fortunate to see Basia and 'Matt Bianco' in concert in Alexandria, VA's small Birchmere venue. Although at first I had no idea what was going on and wondered who the 'other guys' were they certainly won me over! Some of the songs are classic Basia, and others infuse a style new to me. Listen to it a few times and you'll be hooked. I certainly hope this is only the new beginning for her and this group. She remarked as how she was very depressed after the deaths of her mother, cousin and sax player and resisted singing. Well, its a blessing she's back. I only hope that some of these songs get the play they deserve. Basia jest najlepsie!!!!! ... Read more


18. Twentysomething
list price: $18.98
our price: $7.99
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Asin: B0001XANUI
Catlog: Music
Sales Rank: 94
Average Customer Review: 4.09 out of 5 stars
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Amazon.com

English singer-pianist Jamie Cullum comes into view as an already heralded jazz-pop artist, signed to a million-pound contract and riding a CD that's already registered double platinum in the UK. The "jazz" label doesn't hang that comfortably on the 24-year-old Cullum--he's more in the mold of polished lounge swingers like Bobby Darin and Buddy Greco and has more in common with, say, Billy Joel (definitely a "New York State of Mind") than any traditional jazz artist you might mention. An ironist who covers both Cole Porter and Radiohead, he's aware of the contradictions that he embodies. Those contradictions drive the title track as Cullum's lyrics plumb "twentysomething" uncertainties ("Maybe move back home and pay off my loans/Working nine to five answering phones") while moving to a mock-primitive chanted riff that's pure '50s hip. What surprises most is Cullum's emotional and musical range, and the way he combines methods to create depth and complexity. "Blame it on My Youth" is delivered with the heartfelt delicacy of Chet Baker, while his reading of "The Wind Cries Mary" suggests that Jimi Hendrix might have just about invented smooth jazz. "I Could Have Danced All Night" explodes with playful energy and creativity, launched with scat singing over a rhythm pounded out on drums and piano wood. Cullum has energy and talent to burn, plus a postmodern knack for layering idioms that signals a welcome direction for jazz-pop. As "Lover, You Should've Come Over" attests, he can also project an emotional intensity that breaks through the clever arrangements. --Stuart Broomer ... Read more

Reviews (46)

5-0 out of 5 stars A Fresh New Talent On The Jazz Scene!
Jamie Cullum's newest CD "Twentysomething" really is something. It's something that every music lover should check out. If you give this CD a listen you will discover Jamie's excellent singing, playing, song writing, and how perfect his fresh and innovative approach towards these wonderful songs fits into the contemporary music scene.

This album is a tasty mix of excellent new material combined with classic tunes from the past to create a very interesting and enjoyable listening experience. Jamie handles all this different material with an original style that captures the listener's attention without wearing them out. Through brilliant innovation and a truly unique approach to his music, Jamie exposes the listener to a whole new landscape of musical textures, colors, and emotions that challenge and satisfy at the same time. All art forms need artists that are willing to take chances and explore new ground, and Jamie Cullum has set a course to take us listeners to uncharted musical territory. This is one CD you will be playing 30 years from now and it will be as fresh then as it is today.

If you enjoy listening to crooners and Big Band Swing, I would also suggest Monte Procopio "Swingin' With Style". His 13-piece band really swings and deserves a listen.

5-0 out of 5 stars the leader of the British modern jazz surge
Finally hitting American shops, Jamie Cullum's TWENTYSOMETHING is simply the best release so far in 2004. The original compositions -- penned by Jamie and his brother -- stand up amazingly well next to his unique interpretations of jazz standards and showtune hits. What ultimately catches you most off guard -- and holds you in their grip -- are the subtle covers of Jeff Buckley, Jimi Hendrix, and Radiohead, along with the catchy version of Pharrell's "Frontin'" (a bonus track for Americans that was the B-side of the UK "These Are the Days" single). Cullum's originality and energy are best showcased live; however, these analog recordings (under the classy, masterful production of Stewart Levine) give you an amazing sense of his development as an artist. Compared to "Pointless Nostalgic," Cullum's loosened up from his classical training, proves he's having more fun, and infuses the tracks with more emotion thanks to the scratchy, Van Morrison-esque vocals. When I first got the CD, I thought that it would just be background music for Sunday brunches and dinner parties -- but it's ultimately become the soundtrack for my life over the past three months. And as a side note -- it's always cool when you meet someone and find out that he's a really nice guy in person, and Cullum's appreciation for his fans is truly genuine. Highly, highly recommended for any music lover.

4-0 out of 5 stars Finally something good
simply stated, its good, very few originals i must say but the originals are outstanding. and the arrangements of classic tunes by other famous artists are excellent. i listened to the whole cd straight through and felt it was a little weak in some areas but makes up for with his jazz/funk fusion he has througout the rest of the album. 4 of 5 stars

1-0 out of 5 stars A shoddy rehash of other's material
I've had the dubious honor of getting to listen to this CD just about daily at my place of employment. I just can't respect it. No artist should have their "breakthrough" album be around 50% covers... and even as far as some of the tracks on here being standard choices to cover (a showtune like "I could have danced all night" for example), there are also plenty of songs written to be a testament to the sole artist's talent... I can't imagine a band as pretentious as radiohead selling their work to anyone, let alone someone who plays mediocre jazz-influenced lounge music. As for Jimi Hendrix and Jeff Buckley (yes, "Lover, you should've come over" was done first by Buckley, and so well you'll understand why this CD is a debauchery just by hearing it), I'd love to know who decided allowing their songs to be rearranged and ruined here would be a fitting tribute to their memories. As for his own compositions (which I can't truly say he has, but I'll give him the benefit of the doubt), they don't stay with me... they're just one more generic lounge act buzzing through the speakers, with the same piano, same haphazard lyrical rhythms... they could have been pulled from any CD featuring any member of the rat pack. This music was done best before most of us were born, and Jamie has done nothing to further the genre by my ears. He's only (appropriately given his name) culled songs from across the boards to serve his own fame. You'd be better off buying the original CDs, even with the low price of this album.

5-0 out of 5 stars Jamie Cullum
I heard "All at Sea" while on vacation on Long Island and instantly feel in-love with Jamie's voice. At first I thought it was a new Bruce Hornsby CD! I think Jamie should record more songs like this one! Excellent. ... Read more


19. Pure
list price: $18.98
our price: $13.99
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Asin: B0002HJF34
Catlog: Music
Sales Rank: 748
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Amazon.com

The man who made R&B safe for smooth-jazz saxophonists has another possible Soul Train award winner featuring slick vocal excursions by Debi Nova and Dwele. There's also a real groove-a-thon with Bilal titled "Better with Time" that, like the lyrics state, is like an old soul record. Keyboards also stand out among these 10 tracks. Joe Sample delivers one of his patented short piano solos on the aptly titled "Stone Groove," and while Billy Preston's organ and Bobby Lyle's piano are not out front on "You Don't Have to Go Home," the aural picture they frame for the artist is masterful. James, who produced this album, has developed into a very solid contemporary jazz composer, adding spicy horn arrangements throughout that really showcase his growth in that area--particularly on "Here She Comes," which has an Incognito horn-section vibe to it. It all adds up to James's most rewarding album since 1998's Sweet Thing. --Mark Ruffin ... Read more


20. Time Out
list price: $11.98
our price: $8.99
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Asin: B000002AGN
Catlog: Music
Sales Rank: 433
Average Customer Review: 4.78 out of 5 stars
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Amazon.com essential recording

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 ... Read more

Reviews (120)

5-0 out of 5 stars The Quartet at it's best!
When the inimitable Dave Brubeck Quartet went into the studio in the summer of 1959, they created a timeless, monumental message in jazz. Nearly everyone, jazz fan or not, has heard the classic "Take Five", the only Paul Desmond composition on the album. It feautures teriffic solos from Desmond on his dreamy, wistful alto. Brubeck takes a backseat on this piece to allow drummer Joe Morello to play a stunning, brilliant solo. The remaining tracks on the album are equally strong. The driving, insistent rythym of "Blue Rondo A La Turk" nearly knocked me out of my chair at first listen. The magnificent "Strange Meadow Lark" is both Brubeck and Desmond at their definiitive best. The rest of the album is a sheer delight, untouched by the fourty years that have passed. DBQ didn't expect their seminal foray into exotic and rare time signatures to be a success. However, one note of one song on this album will tell you why that happened.

5-0 out of 5 stars Take Five - Stars, That Is!
I was watching a B horror movie called "Tormented" in which the leading actor portrayed a famous jazz pianist. It was obvious from his arm movements that he wasn't even playing the piano, but watching that prompted me to turn off that turkey and take time out to listen to "Time Out." This is by far my favorite jazz album of all time. I never get tired of hearing it. It would definitely make my list of desert island discs. I also dig the painting which serves as the album cover.

The superb pianist Dave Brubeck is the nominal leader of the group, frantically kicking off the opening classic track "Blue Rondo A La Turk." Drummer Joe Morello amazingly keeps perfect time during all of the tempo shifts. He particularly shines on the appropriately named tune "Pick Up Sticks." Saxophonist Paul Desmond takes center stage on the most famous track of all, "Take Five." This song has rightfully taken its place among the greatest instrumentals of all time. Rounding out the quartet, Eugene Wright's bass deftly anchors the beat on the melodic "Kathy's Waltz." The song "Everybody's Jumpin'" would be right at home on an album of sophisticated swing music. I'm no jazz expert who can expound on exotic time signatures, but I know what I like. I love "Time Out" by the Dave Brubeck Quartet!

3-0 out of 5 stars Lightweight, Enjoyable but Overrated
More than 40 years after its first appearance, Time Out still retains its popularity. But along with this it has acquired a set of myths and misconceptions: for example, that it represents the Brubeck Quartet at its best; that Brubeck was a "cool" jazz musician; that his use of unusual time signatures and other time-related devices was some kind of important innovation in jazz.

In fact, in the context of Brubeck's work as a whole and of jazz in general, the quartet's experiments with time are less significant than is often supposed. The claim that these experiments would have an important influence on other jazz musicians has not been justified, and it's not difficult to see why. What matters in a jazz musician's use of time is not time signature - the number of beats in the bar - but rhythm - how phrases are placed and accents distributed in relation to the beat. In other words, what matters is how the music "swings". All four members of the Quartet knew how to swing (saxophonist Paul Desmond more subtly and flexibly than Brubeck or drummer Joe Morello). But the jazz musician swings most effectively and employs a greater range of rhythmic and poly-rhythmic resources when playing in a conventional time signature, one which, in the development of jazz, has been internalised to the point of being its "natural" rhythmic medium. The problem for jazz musicians when they try to improvise in time signatures more complex than "common time" (4 beats to the bar) or "triple time" (3 or 6 beats to the bar) is that the need to consciously "count" the beats in the bar inhibits the usual flexibility with which they can play in, against and around the beat (as well as inhibiting their melodic and harmonic invention). You can hear the effect of this inhibition on Time Out when the playing becomes overly self-conscious and the rhythms laboured and mechanical: for example, when Brubeck, on "Kathy's Waltz", hammers out his repetitive 4/4 phrases against the rhythm section's 3/4 time, or when Joe Morello, in his solo on "Take Five", tries to find rhythmic patterns to play "against" the 5/4 measure and sounds in danger of being cut adrift from any coherent time signature (on the other hand, his light, bouncing swing behind Desmond's playing on this famous track is one of the best things on the album).

Once the novelty value of these experiments with time has worn off, a listener might justifiably ask the question: why? Why play 4/4 against the rhythm section's 3/4, other than to show that it can be done? (And didn't we already know this from centuries of folk, ethnic and European classical musics?) In a piece like "Three to Get Ready", why bother to alternate throughout between two different time signatures if the musicians can play more freely and naturally in one? What would "Take Five" lose, apart from its novelty value, and its rhythmically inhibiting effect, if it were "Take Six"? (It would presumably not need Brubeck's repetitious "comping" to mark the time signature so obviously.) One of the most original compositions on the album is "Blue Rondo a la Turk". But it's not really a jazz composition as such, and it's significant that for its improvised solos it shifts from the "Turkish" theme in a complex 9/8 time signature into a conventional 12-bar "walking" blues in 4/4 time - which seems to concede that the unusual time signature is of limited value, and too tricky to negotiate, for an improvising jazz musician.

The other effect of this "time" material was to shift the focus of interest within the quartet's music to the compositions themselves, and away from their function as vehicles for jazz improvisation. This would matter less if they were more interesting as compositions, if the melodic and harmonic material were less simplistic ("Strange Meadow Lark", "Three to Get Ready" and "Kathy's Waltz" sound like themes which didn't make it into The Sound of Music or Mary Poppins). Perhaps this simplicity is a reason for the album's appeal to listeners from a background of pop/rock - that it makes the often-complex nature of jazz more easily assimilable. A spoonful of sugar helps the medicine go down.

I'm a long-time fan of the Brubeck quartet, and still find things to enjoy on this and the other "time" albums. But the problem when part of an artist's work is overvalued is that other works can be unfairly undervalued and the artist's true strengths neglected or misunderstood. The Brubeck quartet's strength was always in its spontaneous, creative improvisation - particularly in the ability of Brubeck and Desmond to improvise genuinely tuneful lines on fairly conventional standards. You can hear that gift for melodic invention on Time Out, but it is stronger on other sessions without the use of tricky time signatures to needlessly complicate the process; and both musicians were more rhythmically inventive when improvising within a conventional time signature. So I suggest that we should take with a pinch of salt some of the extravagant claims made for Time Out, see it for what it is - a lightweight, enjoyable but overrated album - and look elsewhere for the best of the quartet's music, not least to the early-50's concert recordings: Jazz at Oberlin, Jazz at Pacific College and Jazz Goes to College.

5-0 out of 5 stars COOL, CALM, SOPHISTICATED!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
This was my first exposure to The Dave Brubeck Quartet. My dad had this album in his record collection. As he bought it just for Take Five,and that was the end of him playing the album, so I kind of inhereted it. I enjoyed the album right away, and began collecting albums by Brubeck one after and another, week after week. After listening to this album, I was also introduced to drummer, Joe Morello. And now, after looking for albums by Brubeck, I only get albums by Brubeck with Joe Morello on it, and others with Joe Morello as a sideman. Anyway, this album starts off with one of the three most famous DBQ songs, (blue rondo a la turk, koto song, and take five). I had no idea about time signatures when I first listened to this album, being about age 12. But somehow I managed to play along with on the drums, no problem. For some strange reason, I was able to play all of Brubeck's odd time signature songs like Eleven Four, Castilian Drums, and of course Take Five, as most kids struggle with odd time signature songs, but I picked it up like that! The next song, Strange Park, was allright, displaying some 3/4, 4/4 techniques featured on the next side. The famous Take Five, which I new nothing of its signifigense was cool, especially with the drum intro. I almost instantainiously picked up the 3/4 brush patterns on 3 to get ready, Kathy's Waltz, and Everybody's Jumpin'. This album sounds like a real late night album. It's echo and coolness, sounded like backround music for a cd store, or a coffee shop. Most other Brubeck albums are not like this. Albums like Southern Scene, Gone With The Wind, and Countdown remind of sun, and the outdoors! I dont think there's a jazz fan in the world who doesn't own this on record or cd, or hasn't heard Take Five. Any young kid or an adult who is just getting in to jazz, will love this album, or jazz, for that matter, after listening to this!

5-0 out of 5 stars Timeless brilliance.
Judging from the other mixed comments on this page, it seems that this album is still being taken several different ways, just as it was in 1959. Want something easy & accessible for the new jazz fan? Like inventive solos and spontaneous group communication? Interested in odd rhythms and time signatures? Looking for something smooth-swinging that'll provide some nice background music? Well, the appeal of Time Out is that it works beautifully on *all* those levels. It started as a simple experiment in branching out beyond steady 4/4 time - which may not seem too rare now, but at the time it was pretty weird stuff - and was never intended to be anything more. But it's one of those works where everything falls into place so naturally it's uncanny, and the result from these sessions really caught on, due largely to the sinuous addictingness of "Take Five." You've probably heard that one somewhere, whether you know it or not.

There's more to offer in the way of rhythm, from the catchy alternating 4/4 and 9/8 of "Blue Rondo a la Turk" to the slow-hopping swing of "Three to Get Ready" to the easy-walking 6/4 beat of "Pick Up Sticks." The group has a wonderful chemistry. They listen and respond to each other but it never seems awkward or forced; they're all just having fun, and that's what really makes the whole affair sound so informal and inviting.

I wouldn't hold all its popularity against it - like Miles Davis's Kind of Blue and John Coltrane's A Love Supreme, Time Out is one of those classics that transcends its genre and succeeds wildly without sacrificing any of its quality. And like those other two albums it's highly recommended for jazz neophytes, absolutely essential for any serious collection, and even remains pretty enjoyable to non-jazz fans too. So simply put, if you have any interest in jazz at all, you need this disc. No way around it. ... Read more


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