Global Shopping Center
UK | Germany
Home - Music - Jazz - Soul-Jazz & Boogaloo Help

1-20 of 200       1   2   3   4   5   6   7   8   9   10   Next 20

click price to see details     click image to enlarge     click link to go to the store

$13.49 $10.74 list($18.98)
1. Anthology
$14.99 $12.71 list($18.98)
2. Smokin' at the Half Note [Bonus
$11.99 $9.88 list($12.97)
3. The Incredible Jazz Guitar of
$14.99 $14.50 list($18.98)
4. Unspeakable
$13.99 $10.90 list($18.98)
5. End of the World Party: Just in
$10.99 $7.96 list($11.98)
6. Sidewinder
$10.99 $8.00 list($11.98)
7. Midnight Blue
$15.99 $15.00
8. Conscious
$10.99 $7.54 list($11.98)
9. Smokin' at the Half Note
$13.99 $10.95 list($18.98)
10. Peace...Back By Popular Demand
$11.98 $8.14
11. Sermon
$13.99 $12.95 list($15.98)
12. West Coast Boogaloo
$10.99 $9.52 list($11.98)
13. Concord Records SACD Sampler 1
$10.99 $3.96 list($11.98)
14. Verve Unmixed 2
$14.99 $9.79 list($18.98)
15. Sounds from the Verve Hi-Fi
$14.99 $12.40 list($16.98)
16. I Remember Brother Ray
$18.98 $10.25
17. The Song Lives On
$10.99 $6.95 list($11.98)
18. Root Down
$9.98 $7.89
19. Point Of No Return: Music From
$10.99 $6.50 list($11.98)
20. Winelight

1. Anthology
list price: $18.98
our price: $13.49
(price subject to change: see help)
Asin: B00000348K
Catlog: Music
Sales Rank: 447
Average Customer Review: 4.89 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com essential recording

Even for a relatively brief (20-song) overview of Ray Charles's '60s output during the peak of his recording stardom at ABC-Paramount, Anthology covers a hell of a lot of styles. It couldn't be any other way, not when examining the period in which he hit the charts with transformed versions of half-forgotten standards ("Georgia on My Mind"), hip jazz instrumental takes on Clovers tunes ("One Mint Julep"), rocking uptempo R&B ("Hit the Road Jack") and mournful proto-countrypolitan ("I Can't Stop Loving You"). If any of those four titles means a thing to you, this primer on America's greatest singer is probably a disc you should own. --Rickey Wright ... Read more

Reviews (18)

5-0 out of 5 stars Almost perfect.......
This is the best mini-collections one can get of Ray's music. I think it's a crime that so many of our legends that are still living are virtually invisible, drowned out by the thunder-thump of some of the digital wizards that pretend to be musical artists today. There is one song I really like that wasn't included her. It's "You Don't Know Me" ("You give your hand to me....and then you say hello...."). This is the music of my early childhood, and it was played around my house along with Cannonball Adderley, Lou Rawls, Nancy Wilson, Wes Montgomery..... oh man, the list could go on and on! I find myself reminiscing every time I come to these Amazon music pages! If you are on a budjet, this CD gives you the most for the least dough. Ray Charles is part of the royalty that gave us the best music of the 20th century. He will be eulogized and all after he passes away, but it's just a shame there isn't enough room in the mainstream spotlight for those that got us here.

5-0 out of 5 stars A SAMPLER OF BROTHER-RAY'S BEST
In 1967 I was stationed at Ft. Benning, Ga. after doing my 1 yr."tour" of Viet Nam. I needed a healthy dose of Soul to re-invent my lost spirits, so I bought a double-album by Ray called "Ray Charles, A Man And His Music", I liked that album so much I kept it, and played it quite often for over 35 yrs. Yikes am I gettin old! I finally gave it away to a friend cuz my record player went to Hell.
Anyway if you like Ray's music even a little bit I think you'll like "anthology" Here are a few of my picks in different
music styles: 1- "I Don't Need No Doctor" (blues-rock) "Unchain my Heart" (blues-rock) 2-"I Can't Stop Loving You (mournful-blues ) "Lets Go Get Stoned" (hard-day-at-work blues)
Buy This One....I am cuz I know what's on it
Later on dudes!!
Blues-eyed Bob

5-0 out of 5 stars Rest in peace, Genius
This CD features recordings from Ray Charles' 1960s heyday. (I have a first pressing of this CD, which features "Sticks and Stones" instead of "America the Beautiful".) This is all prime Ray Charles. He had (for the most part) stopped writing his own material at this point, and instead became an interpreter of any song that struck his fancy. He could take a song from any musical genre and make it his own. People said he was crazy when he decided to record an album of country songs, but it went on to become his best selling LP. This anthology is by no means complete, (it doesn't include his Number Two hit "You Don't Know Me"), but it is a solid hour-plus of Ray Charles at his best. Highly recommended.

5-0 out of 5 stars Blues God
I own this CD and The Genius of Ray Charles. Both excellent, but between the two, I have to give my thumbs up to the Anthology. "Busted" is enough of a reason to own this album and the entire CD is just as good. Buy it, you won't be disappointed.

5-0 out of 5 stars A Great Collection
If you're looking for one CD that has the best of Ray Charles on it, this is it. There are more complete collections, but this is the best overall. ... Read more


2. Smokin' at the Half Note [Bonus Tracks]
list price: $18.98
our price: $14.99
(price subject to change: see help)
Asin: B0006VXF4G
Catlog: Music
Sales Rank: 2902
Average Customer Review: 5.0 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

Wes Montgomery brought the art of the electric guitar to new heights in the 1950s and 1960s before his untimely death at 43. His vaulting style employed octaves much as his main influence, Charlie Christian, did in the Benny Goodman Sextet. Montgomery's crowd-pleasing facility with the fretboard was best employed in live performance when he could stretch out and really be heard. Smokin' is a thoroughly satisfying live album recorded in 1965 and 1966 at the New York nightclub, with co-leader Wynton Kelly and his trio--Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. Montgomery and Kelly are in perfect sync here, especially on "No Blues" and "If You Could See Me Now." --John Swenson ... Read more

Reviews (2)

5-0 out of 5 stars The best just got better
The orginal version of this album has been available on CD for some time, but until now the complete live recording wasobtainable only as a pricey import. This re-release adds bonus tracks as well as stage announcements that make the listener feel as if he or she is actually present to hear Wes Montgomery and the Wynton Kelly trio in an intimate club setting. If you have the older CD, this new version is definitely a worthwhile upgrade. If you have never owned this album before and love good jazz guitar, there has never been a better time to start "smokin'."

5-0 out of 5 stars A fire that won't go out.
This remastered, expanded edition of the classic Wes Montgomery-Wynton Kelly session is essentially an economy-priced version of the import, "The Complete Smokin' at the Half Note."If you have the original "Smokin' at the Half Note" and are not a Wes completist, the audio quality of this version is not sufficiently superior, imo, to justify purchase.Still, it's reassuring to see that Wes' popularity continues to be supported by new editions of his work.

Wes did not receive widespread public recognition until he was 35, and he was barely 44 when he died.Still, it's unlikely any other guitarist (including Christian and Django) has had a greater impact in the history of this music. By the time he had moved on from Riverside to this session for Verve, he had little to prove to musicians and was beginning to accept more accessible, popular assignments that would broaden his appeal to the general public. "Smokin'," despite lacking any tunes as challenging as "Airegin" ("The Incredible Guitar Artistry of"), can stand alongside his Riverside work as an example of creative, inspired playing. And the presence of Wyn Kelley along with Chambers and Cobb definitely raises the swing factor a notch.

What sets Wes apart from the field is not pyrotechnical legerdemain or bold innovation but every "little" thing that he does so well so effortlessly so much of the time. The sound he gets out of the instrument is of itself a marvel. It has a deep and meaty, utterly natural, resonance, almost as if the tone is doubling itself, reminding me less of other guitarists than of Bird and Clifford. Additionally, there's never a microsecond of doubt in his playing or solo constructions. Nothing is tentative--in terms of notes, phrases, or choruses. It's all so completely lyrical and logical that the listener's biggest challenge can be not to take it for granted.

His solo on Sam Jones' "Unit 7" might serve as a touchstone to all of his playing. He starts with inventive single note melodic ideas, then moves to octaves without the faintest suggestion of slowing down to accommodate the extra note, then finally kicks it into high gear with a fully chorded "out" chorus that feels as forceful as a shout chorus by the whole Count Basie Band.

I never caught Wes live, but I've heard that visually he was the mirror image of his music--efficient, composed, resourceful, economical--not the least hint of wasted motion, just like Bird and Tatum. Genius requires a level of concentration that the rest of us probably have little to no experience with. Wes Montgomery is one of those artists who can take the listener beyond the music, offering a glimpse of the creative process itself as practiced by a true master. ... Read more


3. The Incredible Jazz Guitar of Wes Montgomery
list price: $12.97
our price: $11.99
(price subject to change: see help)
Asin: B000000Y27
Catlog: Music
Sales Rank: 2019
Average Customer Review: 4.73 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

This 1960 record solidified Montgomery's reputation as the mostimportant jazz guitarist to emerge since Charlie Christian in the1930s. His two most-distinguishing traits---the mellow thumb-pickingapproach and the soft and round use of octaves--are in full bloom here.Montgomery tackles two standards, one tune each from Sonny Rollins andDave Brubeck, plus four originals, including the classics "WestCoast Blues" and "Four on Six." His solos are remarkablyfluid and melodic while still capturing the essence of the blues idiom.He achieves a near-perfect balance of technique and emotion. On"Polka Dots and Moonbeams," his approach is unhurried anddelicate; on the original "Mr. Walker," he produces lengthy,bop-inspired runs without ever losing control. Tommy Flanagan'sgracefully understated piano proves a perfect match. Rather thancompete with horn players and their styles, Montgomery relished thedistinct and unique qualities of the guitar. --Marc Greilsamer ... Read more

Reviews (22)

5-0 out of 5 stars A Legend
There is probably none who has done more for jazz guitar than Wes Montgomery, except maybe Charlie Christian. Listening to this album you can hear why this man has influenced nearly every guitarist that has ever picked up an axe. Montgomery's style of play came about from playing late at night when his family was in bed. He used his fingers to keep the guitar quiet, and his trademark sound was born.

This album showcases some great songs from the master of the jazz guitar. The album opens with "Airegin", an upbeat tune that shows off some great chord comping and powerful melodic runs. "D-Natural Blues" intros with "Heartbreak Hotel", but turns into run after run of powerful soloing from Montgomery. The quietly soulful "Polka Dots and Moonbeams" is nothing but beautiful. His solos are full of the octave-doubled notes that give his sound such a rich color.

Even though Montgomery is gone, he still lives on not only through his own music, but through the music of others that have been touched by him. His soulful and innovative way of playing the guitar has earned him much respect in the guitar and jazz world. If you're a guitar fan, you owe it to yourself to check out Wes Montgomery, and this album is a good place to start.

5-0 out of 5 stars The Birth of Modern Jazz Guitar
I owned this recording long before ever hearing a lick from the likes of Grant Green, John Scofield, Pat Metheny, Andreas Pettersson, or Peter Bernstein (just to name a few of my axe heroes aside from Wes), and I don't think I ever fully appreciated it until reading an interview with Metheny in which he names Montgomery as his all-time guitar influence, in terms of Wes's phrasing. It then dawned on me that this record not only sounds great, but it represents an *original* work that set a standard that has influenced thousands of jazz guitarists over the past 40 years. The simplest way to describe this recording is that throughout each track (and they all sound great) Wes makes his guitar sing in a way that few at the time thought possible. Moreover, he shows a very diverse range of melodic capabilities, from the ballad "Polka Dots and Moonbeams", to the jam "Four on Six". The rhythm section also seems superb here (how can one go wrong with Tommy Flanagan and the Heath Bros.?).
Most impressive about this recording, however, is the feeling I get that Wes is not breaking much of a sweat here. The notes just seem to flow out in a very natural way and the music seems very unpretentious. If I could afford it, I would buy the entire box set representing all of Wes's Riverside recordings.

3-0 out of 5 stars Terrible sound
This is a great, great album. You need to buy this album if you are interested in jazz guitar or guitar at all. But the sound on this CD is just plain awful. Spend the extra bucks and get the Hybrid SACD version or at least the 24 bit remastering, its worth it.

5-0 out of 5 stars Jazz Guitar Landmark
All jazz fans, especially jazz guitar fans, should have this album in their collection. This recording highlights Montgomery's sweet tone and lyrical phrasing, and after one listen it is easy to see how his playing influenced legions of guitarists. He is one of the giants of jazz, and he may be the greatest jazz guitarist of all time. If nothing else he is certainly in the jazz guitar pantheon that includes Joe Pass, Kenny Burrell and Charlie Christian -- and this is his finest album.

4-0 out of 5 stars The first from th father of Jazz guitar
OK, so the father of Jazz guitar is Charlie Christianson, but Was is his son, who, ummmm, had a baby , and it was Jazz guitar. Shut up. LOl. Ok, the sound quality is not as good as some others, and the playing is second best (next to Smokin at the Half Note.) Wes is not the most technical player, but he sure is the most emotional and soulful, and that more than makes up for it. I like Smokin better, but this album is great too. ... Read more


4. Unspeakable
list price: $18.98
our price: $14.99
(price subject to change: see help)
Asin: B0002JP4IC
Catlog: Music
Sales Rank: 2336
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

Stylistic shifts are nothing new in the career of Bill Frisell, who changes musical directions more often than Madonna. In fact, he even covered a Madonna song once. Unspeakable continues that tendency as Frisell teams up with Hal Willner, a willful musical eclectic. The two have worked together on collaborative projects including tributes to Nino Rota, Walt Disney, and Charles Mingus. Willner, who is also the turntabulist here, orchestrates a landscape of turntable spins and space jams using generic library production discs for much of his source material. '60s Dragnet jazz horns and orchestral Twilight Zone stylings lend the modern sound of Unspeakable a strangely nostalgic hue. Frisell finds himself in a landscape of Ligeti-like strings, bongo percolations, and Ghanian tribal calls, most of it super-charged by the rhythm team of bassist Tony Scherr and drummer Kenny Wollesen. Their funky beats lay the terrain for Frisell's angular crossfire solos, but he can also wax sweetly nostalgic on "Hymn for Ginsberg" for guitar and string trio. Bill Frisell is filed in jazz, but he continues to be a genre unto himself. --John Diliberto ... Read more


5. End of the World Party: Just in Case (Dig)
list price: $18.98
our price: $13.99
(price subject to change: see help)
Asin: B0002QO4B8
Catlog: Music
Sales Rank: 1268
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

With each successive album, Medeski Martin & Wood have become harder to pin down. Having long ago transcended their soulful organ-groove basics to enter a more expansive world of snappy beats and backbeats, eerie atmospheric effects, post-lounge riffing, and the occasional jazz overture, they occupy their own category. Produced by the Dust Brothers' John King (Beck's Odelay, the Beastie Boys' Paul's Boutique), End of the World Party (Just in Case) is an agreeably varied effort, ranging from the spacey effects and Middle Eastern taint of "Bloody Oil" (on which bassist Chris Wood lays down the lumber) to the sassy electric funk of "Sasa" (one of four tracks featuring guitarist Marc Ribot) to the wordless voice effects of the jaunty title track. As ever, John Medeski is equally at home referencing post-bop piano aces like Herbie Hancock, getting down on churning Hammond organ, and making like Stevie Wonder with his "Superstition"-style synth. Unlike some MMW records, this one wastes not: all 12 tracks clock in at around the four- or five-minute mark, and they flow together with consummate ease. --Lloyd Sachs ... Read more


6. Sidewinder
list price: $11.98
our price: $10.99
(price subject to change: see help)
Asin: B00000IL26
Catlog: Music
Sales Rank: 3312
Average Customer Review: 4.9 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

The Philadelphia-born trumpeter and superb bop stylist Lee Morgan apprenticed with Dizzy Gillespie and Art Blakey before emerging as a leader in his own right in the early '60s for Blue Note Records. Although Morgan owed a stylistic debt to both Gillespie and Clifford Brown, he quickly developed a voice of his own that combined half-valve effects, Latin inflections, and full, fluid melodies. While many of Morgan's later sessions for Blue Note would find him paired with saxophonist Hank Mobley, The Sidewinder features then up-and-coming tenor player Joe Henderson, plus Detroit pianist Barry Harris, bassist Bob Cranshaw, and drummer Billy Higgins. Along with the title track, an unconventional 24-bar blues, the album's compositional standout is "Totem Pole," a minor Latin groove featuring an outstanding solo by Henderson. This is the kind of relaxed blowing date, invigorated by thoughtful performances, that forms the backbone of the Blue Note catalog. --Fred Goodman ... Read more

Reviews (21)

5-0 out of 5 stars Blazing trumpet
This is probably Lee Morgan's best album as a band leader, as most of his best work seems to have come earlier in his career as a member of Art Blakey's Jazz Messengers. This CD really swings- there is not a slow track on the album- all the numbers are upbeat, and Lee Morgan's trumpet solo on the title track is known to be his best on record. Joe Henderson plays sax- this is one of his first recording dates. Lee Morgan's music was more popular than the average jazz musician because he played a lot of blues songs with a commercial appeal. Originally released in 1964 the Sidwinder became an instant classic. I have the original CD issued in the late 1980's that is not remastered, but it sounds clear and bright- a good recording. Along with Freddie Hubbard and Miles Davis, Lee Morgan was one of the best trumpet players in the 1960's, with immaculate technique- if you have not heard him then you are missing something for sure.

5-0 out of 5 stars A Classic Blue Note Recording by A Legendary Trumpeter
Although all knowledgeable jazz fans know about Lee Morgan, had he not been murdered over thirty years ago, it is likely that today his name would be as recognizable in popular culture as that of Miles Davis and Dizzy Gillespie. He was a superbly fine player who made consistently strong sides in the 60s for Blue Note and Vee Jay, among other labels. Whether as a leader or a sideman, his musical contributions were extremely formidable and should be deeply investigated by any jazz fan or students of the trumpet.

"The Sidewinder" is perhaps Morgan's best known recording, and it is indeed a good listen. The recording also features Joe Henderson (tenor), Barry Harris (piano), Billy Higgins (drums), and Bob Cranshaw (bass). The main title track that opens the recording is a pretty well-known, funky vamp that is so catchy that it is easy to miss the fine interplay between Henderson and Morgan throughout the track. The remaining tracks on the recording are a little more in the hard bop vein and really showcase Morgan's underrated skills as a composer--it should be noted that all of the tracks on the recording were written by Lee Morgan. As with the case of Hank Mobley, Morgan should be given a lot more credit for crafting intricate jazz compositions. They are excellent, particularly the gorgeous "Totem Pole" which features beautiful improvisational interludes, novel changes, and a tight, melodic head.

Basically, this is not a bad place to start a Lee Morgan collection, if you are interested in hearing his work. However, with an artist of this magnitude, you can't really go wrong getting anything by him.

5-0 out of 5 stars The cure for people who think they don't get jazz
Some musicians do a particularly good job of expressing their personality through their instruments. On this album, Lee Morgan's trumpet expresses both sheer confidence and the absolute joy of playing music.

This album is the cure for everyone who thinks they don't get jazz. The music is funky,bluesy, brash and extroverted. Fans of pretty much any popular music genre will be able to react to the groove here. Yet this is no dumbed down, watered-down piece of pandering. Instead, this was a group of highly accomplished jazz musicians playing their butts off on a really good day.

The re-mastering of the original Blue Note recording sessions is also excellent. Blue Note was famous for having being best recorded sessions in jazz and this album is a good example of everything that made the label great. You can really here the interplay between the musicians on this very clean recording, without ever having to sacrifice the soulfulness of the music.

Lee Morgan was one of several jazz trumpeters in the 1950s who died in a relatively young age. Play this disc and find out just what we all missed.

5-0 out of 5 stars Underated jazz trumpeter
This a desert island jazz disc. Any true jazz fan either has or had this disc in their collection and with good reason. The title track is the seminal jazz formula rooted in hard bop that was progressing into the formation of a free wheeling post bop generation of new players to carry on the torch. The brilliant then young, now long gone trumpeter Lee Morgan assembled a tight group of musicians to record his original compositons. This disc demonstrates the talent Lee Morgan had as a composer and soloist, unfortunately his time amongst us was short. The cast of musicians was outstanding with extra props going out to bassist Bob Cranshaw and veteran tenor sax man Joe Henderson. The rhythmic and harmonic structure of these songs played on this session are exceptional examples of a cohesive jazz unit playing as one whole. The duet by Henderson and Morgan is a rare beautiful interchange by a lead and sideman on "Totem Pole" as each plays in harmony, in unison as one instrument then suddenly gives way for the other to add a solo within the framework and continuing the pattern hitting all registrars and shattering perception of what notes can do. Certain discs that have been resurrected from the archives sound better with a sonic cleansing and this is one of those. The music is hot jazz played with a cool demeanor, it is simply one of the best in it's genre. It is about as tight a recording session as you'll ever hear. Originally recorded in the sixties this disc is the perfect backdrop as you make your way through a day in the concrete urban jungle. This is music to put your top down and cruise with the wind blowing through your hair as you leave the golden triangle and head up the coast to your hideaway. If you don't have this in your collection check it out and file it under perenially hip and classic right next to Miles Davis. Highly recommended for straight-ahead jazz aficionados.

5-0 out of 5 stars Briliiant
Lee Morgan was a true giant of bop and his trumpet playing on this record is representative of this man's amazing talent. Morgan's trumpet style was clean and hot . Every track on this CD is a winner.I love Morgan's work with Art Blakey too but this is the best work Morgan did as a bandleader. Joe Henderson compliments Morgan's searing trumpet style perfectly. It is impossible in my opinion to rank the great bop era trumpet players - Morgan, MIles, Clifford Brown, Fats Navarro and of course Dizzy are all stars in the firmament. Lee Morgan deserved his place in that company and the work he did on this collection assurred it. ... Read more


7. Midnight Blue
list price: $11.98
our price: $10.99
(price subject to change: see help)
Asin: B00000I41G
Catlog: Music
Sales Rank: 2951
Average Customer Review: 4.9 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

Kenny Burrell's music is a wonderful blend of elegance and conviction, musical inventiveness and thoughtful restraint. On this 1967 session, the guitarist is joined by regular associates--tenorist Stanley Turrentine, conga drummer Ray Barretto, bassist Major Holley, and drummer Bill English--and together they concentrate on the subtlest and deepest hues of the blues, combining strong rhythmic grooves with a feeling of late-night reflection. There's never a misstep or a superfluous note, from the funky Latin hit "Chitlins Con Carne" to Burrell's deeply felt solo "Soul Lament" and the concentrated swing of "Gee, Baby, Ain't I Good to You." The result is a masterpiece, and the 24-bit remastering by the original engineer, Rudy Van Gelder, adds to the spaciousness and intimacy that have always been hallmarks of the session. --Stuart Broomer ... Read more

Reviews (20)

5-0 out of 5 stars Ultra-Cool Blues Masterpiece
This recording, and "Midnight Blue" in particular, is the greatest expression of late-night "bluesy" jazz guitar playing I have ever heard in 35 years of listening. Kenny Burrell was, and is, the master of this style. His touch, tone and rhythmic placement of notes -- all are immaculate. He is joined by Stanley Turrentine on tenor, Ray Barretto on congas,Major Holley and Bill English -- a perfect group. Lots of mid-tempos and minor keys. Sometimes I listen to the "Midnight Blue" track over and over. I have transcribed most of it, chords and solo lines -- Fm7, Gm7, Abmaj7, Gm7, etc. It takes me to a different place and time. The recording is magnificent, as if the musicians are in your living room, you are lounging at your table 3 feet away, nursing a Tom Collins . . . It doesn't get any cooler.

5-0 out of 5 stars Jazzy Blues or Bluesy Jazz? Who Cares?! Buy It!
You'll never go back to silly, boring, 3-chord blues after hearing what Kenny Burrell can do. None of the songs here are really traditional blues at all, but there is a relaxed bluesy FEEL in these songs. Burrell has the most incredible guitar tone and his note placement is perfect. This music is both relaxed and low-key AND dramatic all at the same time. Listen to Soul Lament and then Midnight Blue and you'll feel it too. He's the best.

5-0 out of 5 stars A certified classic
This is a perfect marriage of Jazz and Blues music. While some "classic" albums are considered such more because of a single performance or two rather than the whole (i.e. Grant Green's excellent "Idle Moments"), there is not a weak track on this CD...even with the reissiue bonus tracks. Kenny Burrell simply does not play a wasted note, he fills it up in all the right places. The CD flows from the first cut to the last, the whole greater than the fantastic sum of it's parts. This would be a welcome addition to most any CD collection. Perfect for dinner/cocktail parties or headphone listening, music does not get much better than this.

4-0 out of 5 stars good in the 5 disc player.
Great album, a bit startled when it ended....just too soon. Talented bluesy jazz. (I always look for more rythm in an album so thats why only 4 stars.) put the disc in with 4 others and press shuffle cause ya ain't gonna wow anyone by this disc on it's own. *do buy*

5-0 out of 5 stars Not one wasted note
Kenny Burrell's playing combines the most creative chord voicings with rhythmic intensity while never compromising the overallmood of the piece. On Midnight Blue his choice of chords and his melodic playing are so fluid and bluesy in the best sense of the word. Stanley Turrentine's sax blends perfectly with Burrell's guitar to create an irresistible groove. The rhythm section is also outstanding with a special nod to Major Holley on Bass. This is one of my all-time favorites and I highly reccomend it. ... Read more


8. Conscious
list price: $15.99
our price: $15.99
(price subject to change: see help)
Asin: B0006PWJHG
Catlog: Music
Sales Rank: 7701
US | Canada | United Kingdom | Germany | France | Japan

Album Description

Conscious is the long awaited follow up to Julie Dexter’s Peace of Mind and Dexterity which combined have sold over  40,000 copies in their limited release. A dynamic singer/songwriter /composer and producer hailing from Birmingham, England, Julie’s artistic passions flow in her latest effort, an insight to her muse on love, trust, and the plight of perseverance. Blending the signature brand of meditative funk and soul from label mate Michael Johnson with  her jazzy reggae vocal stylings,   together they have produced Conscious. ... Read more


9. Smokin' at the Half Note
list price: $11.98
our price: $10.99
(price subject to change: see help)
Asin: B00000470Y
Catlog: Music
Sales Rank: 2802
Average Customer Review: 4.9 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

Wes Montgomery brought the art of the electric guitar to new heights in the 1950s and 1960s before his untimely death at 43. His vaulting style employed octaves much as his main influence, Charlie Christian, did in the Benny Goodman Sextet. Montgomery's crowd-pleasing facility with the fretboard was best employed in live performance when he could stretch out and really be heard. Smokin' is a thoroughly satisfying live album recorded in 1965 and 1966 at the New York nightclub, with co-leader Wynton Kelly and his trio--Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. Montgomery and Kelly are in perfect sync here, especially on "No Blues" and "If You Could See Me Now." --John Swenson ... Read more

Reviews (20)

5-0 out of 5 stars THE Jazz Guitar Album
I could sing most of the solos in their entirety off of this album just because I've listened to it so many times. The first cut "No Blues" just tells you what Wes is all about. Every other track is great as well and of course you get to hear "Four on Six" which is any Wes fan's favorite. There arn't any disappointing tracks on this album.

AND HIS TONE! I have never heard Wes' tone sound so big and full. I didn't think that his tone could get any fatter... but it has, and it is gooood. The whole album is choc full o' phat octaves, as are all of his albums. And let me also tell you that this is some straight ahead jazz, before Wes went Pop.

I have no doubt that this is one of the best Wes Montgomery albums available. Most people I know think it is, and it's worth the $10.99 (which is a good deal for any CD these days) You owe it to yourself to get "Smokin' at the Half Note.

5-0 out of 5 stars Overrated?
As everyone is entitled to their opinion I will give mine on Wes Montgomery and especially this album. Way overrated? Wes swung like no other guitar player and his lines are not only beneficial to the guitar player but to horn players as well and all jazz musicians. Why? His solos follow a "plot" type form that build and build and are not just pretty sounds. He also was a pioneer of the octave technique (while Charlie Christian and others did use octaves, no one was as skillful and smart with them as Wes). I will not describe his chordal solos, they need only to be listened to get what he was doing with modern/bebop harmony. To all readers out there- ask any guitar player or jazz musician (try Pat Metheny?? about Wes and they will tell you that Wes is "it". But really just go and listen to one of the best jazz album a few times and you will be able to sing every note of these melodic and swinging solos. Thanks.

5-0 out of 5 stars Guru of the Guitar
Wes arrived late (he was 35) and checked out early (fewer than 10 years in the spotlight). Still, no guitarist has had a greater impact in the history of this music. By the time he had moved on from Riverside to this session for Verve, he had little to prove to musicians and was beginning to accept more accessible, popular assignments that would broaden his appeal to the general public. "Smokin'," despite lacking any tunes as challenging as "Airegin" ("The Incredible Guitar Artistry of"), can stand alongside his Riverside work as an example of creative, inspired playing. And the presence of Wyn Kelley along with Chambers and Cobb definitely raises the swing factor a notch.

If you're new to Wes, don't expect to be blown away by just one recording. Guitar is such a popular if not universal instrument that to be designated "number one" often seems to over-inflate listeners' expectations, inviting subsequent doubt and dissent. What sets Wes apart from the field is not pyrotechnical legerdemain or bold innovation but every "little" thing that he does so well so effortlessly so much of the time. The sound he gets out of the instrument is of itself a marvel. It has a deep and meaty, utterly natural, resonance, almost as if the tone is doubling itself, reminding me less of other guitarists than of Bird and Clifford. Additionally, there's never a microsecond of doubt in his playing or solo constructions. Nothing is tentative--in terms of notes, phrases, or choruses. It's all so completely lyrical and logical that the listener's biggest challenge can be not to take it for granted.

His solo on Sam Jones' "Unit 7" might serve as a touchstone to all of his playing. He starts with inventive single note melodic ideas, then moves to octaves without the faintest suggestion of slowing down to accommodate the extra note, then finally kicks it into high gear with a fully chorded "out" chorus that feels as forceful as a shout chorus by the whole Count Basie Band.

I never caught Wes live, but I've heard that visually he was the mirror image of his music--efficient, composed, resourceful, economical--not the least hint of wasted motion, just like Bird and Tatum. Genius requires a level of concentration that the rest of us probably have little to no experience with. Wes Montgomery is one of those artists who can take the listener beyond the music, producing vibrations that are not merely satisfying at a sensual or emotional-intellectual level: his music is capable of leading to discoveries about the creative process itself.

4-0 out of 5 stars amazing, but incomplete
Of course this album is a classic - and rightly so. But for the complete recordings from these historic sessions, check out "The Verve Jazz Sides". Though the double-album includes samples from Wes' other Verve albums (which you may already have or not desire), it's worth the investment (and 5 stars) to hear 'Smokin' in its entirety.

5-0 out of 5 stars HEADS-UP TO ALL WES FANS....
Just wanted to say there's a new Live release of Wes in Paris, in 1965, that is killer, called "Complete Live In Paris 1965" ... Read more


10. Peace...Back By Popular Demand
list price: $18.98
our price: $13.99
(price subject to change: see help)
Asin: B0002RUPHE
Catlog: Music
Sales Rank: 1700
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

The velvety voiced Mo' shifts away from his usual matters of the heart to matters of the world on this disc of predominantly covers. He has also abandoned his bluesier roots in favor of a slicker, jazz-based pop. The result is a protest album for the double-latte crowd, most of whom can hum along to chestnuts from the Rascals ("People Got to be Free"), John Lennon ("Imagine"), and Bob Dylan ("The Times They Are A-Changin'"). While a jaunty banjo- and fiddle-flecked version of the Nick Lowe-penned "(What's So Funny 'Bout) Peace, Love and Understanding" (popularized by Elvis Costello) uses a questionable rearrangement to convey the song's message, Mo' really connects when he raids the soul vaults for tunes by Marvin Gaye, Harold Melvin & the Bluenotes, and Donny Hathaway. It's a pleasant, subtle, and always professionally performed detour that's as comfy as a warm cup of hot chocolate on a chilly day. --Hal Horowitz ... Read more


11. Sermon
list price: $11.98
our price: $11.98
(price subject to change: see help)
Asin: B00004X0QK
Catlog: Music
Sales Rank: 9938
Average Customer Review: 4.92 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

Jimmy Smith put the Hammond B-3 organ on the jazz map for good in the 1950s. The Sermon, dating from 1958, is among his best recordings, featuring the exceptional lineup of trumpeter Lee Morgan, altoist Lou Donaldson, tenorman Tina Brooks, guitarist Kenny Burrell, drummer Art Blakey, and others. Smith's smooth, vibratoless sound perfectly suits the nimble and prodding leads of the player as he touches on R&B, soul, blues and, of course, gospel. This brings us to "The Sermon," which is reason enough to seek this gem out. Smith's group takes the title tune out for a 20-minute, fully improvised, slow-blues stroll, during which each player shares the spotlight. The soul-stirring feeling set in motion by Smith rubs off on the other musicians to make this tune and album a defining moment in organ jazz, and even in soul music. The Sermon stands as a sparkling gem in the Rudy Van Gelder reissue series. --Tad Hendrickson ... Read more

Reviews (12)

5-0 out of 5 stars A masterful "Sermon"!!!
"The Sermon ", the album that established Jimmy Smith as the absolute master of the Hammond B-3 Organ is back in this excellently produced remaster. Boasting a who's who of great jazz musicians including Art Blakey, Kenny Burrell, Lou Donaldson, Lee Morgan, and Tina Brooks, the group smokes all the way through this album. There's really not much more that can be said that hasn't already been said. It's impossible to overpraise this masterwork of ensemble musicianship. This reissue like all the other excellent Blue Note reissues is produced by Grammy winning producer Michael Cuscuna, and remastered by engineering genius Rudy Van Gelder. A watershed jazz recording and essential part of any jazz collection.

5-0 out of 5 stars Oh Halleluiah The Sermon has arrived
There are three sides to this album, the bluesy, the hard core bop, and the ballad side. Jimmy Smith, one of my favorite jazz players, recorded so many jazz albums in his career. This is definitely my favorite. The very first opening statement made by Jimmy Smith on (the track) The Sermon is so smooth. Don't get me wrong, it's not at all a calm feeling you get but a real cool feeling. Jimmy's solos throughout this album are just incredible. Here you have some of the finest artist coming together creating such deep blues vibes. An awesome line up including Lee Morgan, trumpet, George Coleman(not to be mistaken with George Foreman) and Lou Donald on alto, Tina Brooks on tenor, Kenny Burrell and Eddie McFadden on guitar, and Art Blakey and Donald Bailey on drums. The Sermon, being twenty minutes, is definitely a marathon jam session, where every artist lays out what they got and cook and cook some more, and cook so much until its so hot it can't be touched. The way Kenny Burrell and Jimmy Smith just jam together it creates a sound that is hard not to move to. Lee's solos on here are just cookin'! His solo on The Sermon is just it! Into the nineteenth minute of this twenty minute song they start wrapping it up, when Lee bursts in blowin' like a mofo and starts cookin'hot than ever before. This is just an essential for any organ lover (or cook).

5-0 out of 5 stars On Any Given Sunday
It's Sunday afternoon on the strip, and one club has become the magnet for musicians who today have no other jobs to report to. The B3 player starts it off with a medium-tempo blues in F, soon other guys show up, unpack their horns and take their individual turns on the stand--a guitarist, a tenor player, trumpet man, and an altoist.

Scenes such as this were once commonplace, and "The Sermon" above all recalls a time when the music was looser and freer, less organized and protective, more communicative and human. The continuing popularity of Jimmy Smith's "Sermon" is, we can hope, not merely representative of a retro trend but testimony to the enduring power of music played "in the moment" by the combination of capable musicians and the most common of all denominators--the blues.

Not that the performances are ordinary (though neither are they extraordinary). Kenny not only solos with economy but shows how to make guitar mesh with organ, Tina keeps it direct while hinting at formidable bebop chops held in reserve, Lee curtails technique and playfully accentuates the beat, Lou finishes up sounding like Cannonball. Meanwhile, Blakey just keeps laying down that unyielding backbeat and Jimmy constructs a solid bass-line foundation while using his right hand to pump the rhythm (often "doo-dot" on the first beat of the measure) and to create harmonic tensions (this blues man loves to raise the 11th of those dominant chords).

Jimmy's accomplishment on this track has less to do with his virtuosity (in fact, there's little of it--even the registration bars remain the same, and Leslie effects are minimal) than his supplying the power and energy for the session. It just keeps building and building, mainly because Jimmy never stops coming. And like sermons of the morning variety, this late-Sunday variation is alternately spiritual and sensual, heady and earthy, climaxing in a cartharsis no less inspiring.

5-0 out of 5 stars Legendary
This is one of my favourites Blue note sessions. On the sermon, well, every solo is perfect, although Tina Brook's solo is just one of the best I've ever heard, he could play the blues no dubt about that. And Lee Morgan on Flamingo, well, lets just say for me, this is the definitive version. On JOS, a fast paced number, you can really hear the magic of these sessions: Jimmy Smiths instructs with his organ that is time for a player to stop his solo, but Lee Morgan just ignores him and keeps going! A memorable moment from a great session. I agree: all tracks from this session should have been packed and sold as "The Sermon", but with the great remaster, you kind of forget about it. Now, go get 'House Party' with the rest of the tracks from this session, another excellent purchase.

5-0 out of 5 stars Worth it
Believe the hype. As advertised, Jimmy Smith and company funk out the joint on the Smith originals, "The Sermon" and "J.O.S." But, for me, the cover of the haunting "Flamingo" really anchors the album. Lee Morgan's trumpet in the opening bars is as sweet as it gets (this is some of his earliest recorded work.)

Throughout, Smith seems inspired by the new musicians added to his regular crew. Kenny Burrell especially seems to work well with Smith, and Tina Brooks adds a great solo in the title track.

The Hammond might be an unconventional instrument on which to build a jazz combo, but the results here are fantastic. ... Read more


12. West Coast Boogaloo
list price: $15.98
our price: $13.99
(price subject to change: see help)
Asin: B0000060BM
Catlog: Music
Average Customer Review: 4.92 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Reviews (13)

5-0 out of 5 stars Calculated Liberty
This band is all about juxtaposition. In West Coast Boogaloo, the Allstars produce an incredibly tight and unified groove, all the while peppering it with badassedly loose and liberated abandon. Bouncy, flowing basslines, coupled with the light touch and tasty hi-hats workings of Zak Najor on drums lay the ground work for this disc. Sprinkled on top are lively horns, simple but effective guitars, and hot keyboards. Karl Denson leads the group, donating mind-blowing flute solos and soulful sax runs. The only drawback to this band is when Denson attempts to sing. Each member gets the opportunity to solo in almost every song, giving a free, fresh and 'flying by the seat of your pants' feeling. Tight, free, big, funky, exciting, fast - you choose. This album is the band's crowning achievement and is not be missed.

5-0 out of 5 stars The Greyboys At Their Finest
In a time when so much music seems processed and overproduced, the Greyboy Allstars offer fresh, funky, and downright mesmerizing relief here. Along with the help of ex-JB Horn's member Fred Wesley the Greyboys jam acid-jazz style better than anyone around. Each member showcases his outstanding talents on this album, and Karl Denson on sax provides more proof that he is one of the finest players in the jazz world bar none. buy this CD and strap yourself down, or you may be blown away.

5-0 out of 5 stars Smooth as butter, baby
Bass lines JUMP out of your speaker, into your ears and send message to brain that says: "Conitnue to shake booty generously from side to side." Boogaloo guitars and Rhodes pianos lightin' it up. Causes head to rock front to back, right along with Zak Najor, quite possibly the sickest drummer around. And FRED WESLEY, folks! The Man Is Trombone. He plays effortlessly. Struggle-free lick trading with Karl Denson. If you have any appreciation for thoughtful AND fun music, this is the disc for you. Wouldn't consider this jam band. Widespread Panic is a jam band. If you like being bored to tears, buy thier stuff. If you like Herbie Hancock's funkier stuff, Galactic, Corduroy, The JB's, Tower of Power, etc. you'll love this session.

5-0 out of 5 stars What's with the Flute you ask?
It is not often that I am compelled to review an album, but I just had to give this one its props. This collection of studio cuts is as close to a live performance as it gets. Throw in some Fred Wesley (how many other famous trombone players can you name? Nuff said!) and it is just straight up groovin'. Karl Denson's flute breakdowns on this CD are the closest thing to Jethro Tull's Ian Anderson that I've heard. This guy rips on the flute (and sax). Every track on this cd is good. Highly recommended for any fan of Boogaloo!

5-0 out of 5 stars A True Classic
Boogie beats plus serious musical chops plus a few well-chosen funk covers plus Fred Wesley = A TRUE CLASSIC. Many have given props to Karl Denson (and deservedly so), but let us not forget the masterful guitar work of Mike Andrews a.k.a. Elgin Park. If you dig this record, check out the follow-up A Town Called Earth. Not as complete and concise as this one, but many of the tunes capture the West Coast Boogaloo and take it to new places, too. ... Read more


13. Concord Records SACD Sampler 1 (Multichannel Hybrid SACD)
list price: $11.98
our price: $10.99
(price subject to change: see help)
Asin: B0000BWVCO
Catlog: Music
Sales Rank: 7851
Average Customer Review: 5 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Reviews (1)

5-0 out of 5 stars Great demo disk
Fantastic disk with which to demo your SACD audio system. Start with Clooney, which has the original mono sound through the center channel and watch the reactions when it broadens to a modern 5.1 version. Then play 'Watermelon Man'. Jaws will drop. ... Read more


14. Verve Unmixed 2
list price: $11.98
our price: $10.99
(price subject to change: see help)
Asin: B0000ACAOI
Catlog: Music
Sales Rank: 14272
Average Customer Review: 5 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Reviews (4)

5-0 out of 5 stars The price is right
Why can't more CD's be priced like this fine offering from the Verve vaults?
For the cost of a couple of gallons of gasoline this music will take you further and you'll get plenty of mileage out of these classics. Beginning with the Carnegie Hall live recording by Dizzy Gillespie of "Manteca" in 1961, this disc will either take you down memory lane or set you on a new path of jazz discovery. Jazz means many different things to many different people, often discredited as being too cerebral or just plain high music, jazz often gets a bad rap. There is no clear definition because like many other genres there are many sub categories. Within the broad context of jazz this disc is diversified . Several great songbirds are featured including the marvelous, so nice the used here twice, Nina Simone, Sarah Vaughn, Ella Fitzgerald(two songs too), Betty Carter and Astrud Gilerto. Unlike the remixed versions featured on "Verve/Remixed 2," the complete songs display the full spectrum and range of depth of some these artists. For example, Nina Simone's vocals on "Sinnerman"show the gospell influenced style more clearly than on the remixed version and her piano skills are demonstrated along with her jazz interaction with other instrumentalists. It is a thing of beauty. The live version of "Brother , Where Are You"? by Oscar Brown Jr. has the passion of the Civil Rights movement, a slow swagerring, gritty song that builds momentum as the audience claps along joining the artist in unison in approval of his message. "Blues For Brother George Jackson"(check your history) fits the mold of what most non jazz people think of as jazz with it's multiple horns led by Archie Shepp with yet another Civil Rights era song. I would be remiss without mentioning the exceptional Latin influenced songs by Cal Tjader and Willie Bobo entitled "Soul Sauce" and "Fried Neck Bones and Some Home Fries" respectively. These two songs alone are worth the price of admission. It is worth comaparing the versions to the remixed versions to fully appreciate both the originals and the great job with the new interpretations. Recommended as is but even more so as a companion to the remixed versions. A super compilation for traditional jazz fans or those interested in the roots of "Verve Remixed /2."

5-0 out of 5 stars Real Value for Money!
Even if you only liked two or three of the tracks here, you'd still be getting a great deal for your money. That said, every track here is a winner and it's easy to see why these were picked for remixing on Volume 2. Virtually all of them feature wonderful percussion, which usually translates into arresting remix sounds (like the mighty Six Degrees Records roster!). If you don't own any Nina Simone, start right here with the mighty 10 minute "Sinnerman," used to dazzling effect in the "Thomas Crown Affair." Her "Black is..." shows us what a unique talent she was. As far as Volume 3 goes, it will interesting to see if Verve ever gives the OK for some remixes of Getz, Bird or the mighty Trane. Perhaps people are scared to touch those, but regardless of your position of remixing, Verve Unmixed 2 is the perfect present to get for someone, especially if you're CHEAP!!!

5-0 out of 5 stars Verve Unmixed - the Sequel.
"Verve Unmixed 2" is the companion CD to "Verve Remixed 2," in which a handful of dance DJs successfully revamp several jazz classics. Here, each track appears in its pure original version, giving the listener a tour through some of the genre's most respected artists. The album kicks off with the infectious bite of Dizzy Gillespie's "Manteca," which sets the tone for the rest of the album. Ella Fitzgerald's "Slap That Bass" and Ramsey Lewis' "Do You Wanna" stand out pretty well, while Cal Tjader's stunning "Soul Sauce (Guachi Guaro)" is a timeless fusion of traditional jazz and Latin flavor. Another winner is the beautifully piano-laced "Black Is the Color of My True Love's Hair," which features Nina Simone's voice in all its aching glory. There isn't much more for me to say, as the music really speaks for itself. If you already have "Verve Remixed 2," it would be foolish to pass on this release which not only has the original versions but also one of the most impressive tracklistings I've seen on any compilation.

5-0 out of 5 stars More classics
This follow-up disc is every bit a great as the first. Do not let the low price scare you into thinking it's something less than high quality. A must have disc...fans and those unfamiliar with the Verve label will both enjoy that this music is BACK!!!! ... Read more


15. Sounds from the Verve Hi-Fi
list price: $18.98
our price: $14.99
(price subject to change: see help)
Asin: B00005RTJ4
Catlog: Music
Sales Rank: 8972
Average Customer Review: 3.94 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

Get ready for your jazz education. These virgin, unremixed tracks taken from the 1960s Verve vaults were a major influence on Thievery Corporation's Rob Garza and Eric Hilton years before they spun epic documents like TheMirror Conspiracy. Their time capsule is a bubbling, Brazilian soul-jazz blast, starting with the sensuous "Menina Flor" by Stan Getz and Luis Bonfa. Jimmy Smith's "Road Song" is a classic of '60s hard bop, while Kenyon Hopkins's "Hard Latin" shows the kind of groovy organ jazz that was popular in bars from Philly to hot 'Lanta. Things go left with Cal Tjader's "The Fakir," a day-glo Middle Eastern track influenced by Coltrane's "My Favorite Things," while Astrud Gilberto pulls a Nancy Sinatra on another freaky standout, "Light My Fire." Walter Wanderley, Wynton Kelly, Chico Hamilton, and Elis Regina also light up the night, along with your hi-fi. --Ken Micallef ... Read more

Reviews (32)

4-0 out of 5 stars Oh, you poor hipsters!!!
When Mad Professor remixed Massive Attack's "Protection," there was a rush to grab up the Professor's solo material. You could hear the shouts of horrified hipsters everywhere as REGGAE wafted out of the speakers! Something tells me that something similar might occur with this CD.

"Sounds from the Verve Hi Fi" is a collection of semi-obscure easy listening/bossa-nova/jazz from the record collection (are all of their records on Verve? Hmmm...) of Eric Hilton and Roberto Garza, Thievery Corporation to you. NO, it's not set to BEATS, and there is NOTHING SAMPLED. The music here is original and occasionally raw...this is the real thing! Standouts include "Ogd" (anything by Jimmy Smith is a worthy purchase), "Light My Fire" as interpreted by Astrud Gilberto and Wynton Kelly puts in an appearance with "Escapade."

The verdict? Everything on here is great, but it's no place to start your jazz collection. This is not the complex or spiritual stuff like Miles or Mingus. However, it goes down quite nicely with a decadent Polynesian cocktail and that lil' special someone...

4-0 out of 5 stars What's Old Is New Again...
Bossa Nova, Jazz, Reggae and Lounge-Pop are what the Thievery Corporation is all about. The resurrection of the downtempo-lounge movement of recent years is a reflection of the original musical craze of 30-35 years ago. It is nice to see that artists such as Willie Bobo, the Gilbertos, Stan Getz, Sergio Mendes, and other artists that my parents grooved to, have now come full circle for a new generation. Although this music may sound a bit dated to those born after 1985, those who can appreciate music before the MTV age can chill out with a cool drink and some headphones, stereo lounge chair optional. This CD is a nice tribute compilation of various artists and gives us an idea of TC's inspirational roots.

5-0 out of 5 stars Can't get enough!
I first heard this compilation in the Pacific Restaurant in Dublin. I asked the server for the name of the CD and ordered it right away. I'm a boomer and was heavily into the "Top 10". Finally, I've matured beyond that. Thievery has done a great job of placing the music so that it flows along. The instrumentals are catchy enough to linger in your head and complex enough to engage you in multiple listenings. First rate. I'm ordering this for my daughter!

5-0 out of 5 stars Swiging Soundtrack for Futuristic Lounge Lizards...
Theivery Corp. digs in the past and gives you a taste of the future too. Excellent for making pitchers of martinis!

5-0 out of 5 stars Smooth...
Smoooth... The most delicate tunes for true romance. Must have music. On your shelf proves that you are sophisticated person with TASTE. ... Read more


16. I Remember Brother Ray
list price: $16.98
our price: $14.99
(price subject to change: see help)
Asin: B0006J2FLW
Catlog: Music
Sales Rank: 3553
Average Customer Review: 4.0 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Reviews (1)

4-0 out of 5 stars Blues, Ballads & Devotion
Personnel: David "Fathead" Newman (tenor saxophone on all the cuts!); John Hicks (piano); Steve Nelson (vibraphone); John Menegon (bass); Winard Harper (drums). Produced by Houston Person. Van Gelder Studios, Englewood Cliffs, New Jersey (08/14/2004)

I saw Fathead in Seattle right after he played one of these tunes as a solo at Ray Charles' funeral in LA. The old R&B sideman has become a tenor saint. And a leader. I asked him why he never put out a ballad album, since all the great tenors finally do. "Make it all tenor!" I whispered. He just smiled. Maybe he already had this filet on the coals.

Usually his tenor ballads are interspersed with pop, R&B, funk, and much of it on flute or alto sax. So we've never had a straight tenor session from Fathead. You have to go to blues albums under other names like Ronnie Earl ('Grateful Heart') or Jimmy McGriff ('Dream Team'). Those blues artists know that they want Fathead on tenor and nothing else! Well, this CD is about as close as I'll come to my dream, a Fathead Newman ballad/blues album on which he sticks to tenor.

No other tenor player has a sound quite like his: from the Texas lineage of Illinois Jacquette, Arnette Cobb, Willis Jackson and James Clay. This often means a tendency to bar-walk and honk. But Fathead, like Brother Ray, mellowed his blues shout into a gentle cry, gritty but tender. That is the particular genius in both of their sounds, and maybe Fathead learned it from brother Ray. Or maybe the secret is his old hard-rubber Berg-Larson mouthpiece: each amber note of melody served up smothered in gravy, charbroiled on the outside but juicy within. I would put Fathead in a distinguished list with Pres, Ben, Trane, Jug, Dexter and Getz. What do these disparate tenors have in common? They each have such a distinctive sound, all they need to blow is one note to gain instant recognition.

You'll recognize every tune as a Ray Charles hit, but you'll find that Newman has chosen the most melodic and balladic of Ray's songs. Even those that were originally up-tempo R&B have been turned down to sunset mellow. For after all, this is a eulogy to the master blues wailer who first introduced the young sax player with the album 'Fathead: Ray Charles Presents David Newman'('58). Like another recent eulogy, Houston Person's 'To Etta With Love'(Etta Jones), this tribute to a late great musical partner is bitter-sweet. At the same time, it gently swings.

Note the excellent accompaniment: master pianist John Hicks, the hot young drummer Winard Harper, and one of the best vibists in contemporary jazz, Steve Nelson. Each of these musicians can muster and lead their own recording sessions. It speaks highly of their respect for Ray Charles and his old friend Fathead that they would play as sidemen on this session. No, it isn't ground-breaking or even charged with edgy five-star energy. But it's worth every penny and every tear because of the devotion, drenched with memory, that inspired it. ... Read more


17. The Song Lives On
list price: $18.98
our price: $18.98
(price subject to change: see help)
Asin: B00000ILY5
Catlog: Music
Sales Rank: 27662
Average Customer Review: 4.66 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

"When Your Life Was Low," one of this album's four writing collaborations between former Crusaders keyboardist Joe Sample and pop's hack-for-hire Will Jennings, is typical of this CD's low aim and artistic laziness. The vague expression of friendship in "Life," voiced listlessly by the technically adept but boring Lalah Hathaway, is perfect for the office-ready smooth-jazz radio format and little else. Hathaway's appearances on 7 of The Song Lives On's 11 cuts are a blessing only in that they break up the monotony of Sample's in-one-ear-and-out-the-other noodlings; her extremely unnecessary version of "Fever" and a dull-edged remake of the Crusaders/Randy Crawford classic "Street Life" are résumé fodder and little else. --Rickey Wright ... Read more

Reviews (95)

4-0 out of 5 stars It's A Keeper...
Especially for the notable vocal performances of Lalah Hathaway. If it does turn out that Lalah's true calling in music was to to be an established artist in the jazz vein, then this worthwhile collaboration with former Crusaders co-founder Joe Sample definitely leaves her in good standing. Of the seven tracks she lends her gifted voice to, highlights include unique, slow-burning takes on the oft-covered "Fever" (initially made popular by Little Willie John, NOT Peggy Lee) and the Crusaders' own "Street Life", the appropriately reflective "When Your Life Was Low", and a powerfully understated reading of "For All We Know" that truly shows Lalah at her most jazz-inspired.

For those looking to get into Ms. Hathaway, this is really the album to get that does its hardest to put her within the proper setting. It also helps to keep the musicianship live and tight, unlike so many other contemporary jazz albums that tend to compromise between live instrumentation and calculated programming. However, Lalah still seems to be searching for her own identity apart from being the daughter of certified soul music genius Donny Hathaway (may he forever rest in peace). Here's hoping that "The Song Lives On" finally proves to be her launching pad in that direction...

5-0 out of 5 stars EXCELLENT!
Joe Sample and Lalah Hathaway deliver a resounding one-two punch that will knock you out! The music is wonderful. Obviously, the highlight of this CD is the beautiful, rich voice of Ms. Hathaway, who is a credit to her late father, Mr. Don Hathaway. When Your Life Was Low and When Your World Turns Blue are my favorites. I am a huge Randy Crawford fan and don't like it when anyone re-does her work, but I truely enjoyed their rendition of Street Life as well. This CD is hypnotic and beautiful. I have listened to it from beginning to end a number of times and haven't tired of it yet.

5-0 out of 5 stars Professional reviews are only somebody's opinion!
My wife and I absolutely love this compilation. Recently, it took missing from our collection, so I'm here to purchase it again.

You can read what that "Ricky" guy said, then listen for yourself. Do not let these selections pass you, especially "When Your Life Was Low". This is an excellent album...highly recommended!

5-0 out of 5 stars Had I only purchased this sooner . . .
This cd is so sincere, so mesmerizing. It came into my life at time when I really needed to hear it. I love it. I got two one for the car and the house so I'm never without it. Soothing music, vocals and arrangements. My faves are "When Your Life Was Low", "Come Along With Me."

5-0 out of 5 stars One Day I'll Fly Away....
and when I do I want to take this CD with me. Joe Sample and Lalah Hathaway,what a magical pairing.I admit I'm not a big fan of instrumental jazz,but I've been a fan of Joe Sample every since Ashes to Ashes. When I saw that he teamed up with one of my favorite R&B artists I knew I had to get this one.I was not disapointed.There is not one bad tune here.Lalah's voice is as crisp and clear as Joe's Piano.
This CD is perfect for those lazy sunday afternoons or when you need a pick me up at work.

Standouts: Living in Blue,When Your Life Was Low,When The World Turns Blue,and For All We Know.
Get this Cd before it goes out of print!!! ... Read more


18. Root Down
list price: $11.98
our price: $10.99
(price subject to change: see help)
Asin: B00004UAQS
Catlog: Music
Sales Rank: 18836
Average Customer Review: 4.75 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

Root Down captures the king of the Hammond B3 organ, Jimmy Smith, playing down and dirty R&B. It isn't that Smith had forgotten that he was one of the jazz greats for this 1972 live concert, but with an LA rhythm section, there is definitely a groove here. A damn funky groove, at that. The album includes two versions (one previously unissued) of Smith's "Root Down," a song covered by the Beastie Boys in 1994.There is also a hypnotic reading of Al Green's pleading "Let's Stay Together," which yet again proves that Jimmy Smith is a man with a lot of soul. But it is when he ups the pace that the album really comes alive, such as on his "Slow Down Sagg," released here in its entirety for the first time. With Arthur Adams accompanying on fat-back guitar, its raw funk would impress James Brown. With Root Down, dancing shoes are essential. --Phil Brett ... Read more

Reviews (8)

5-0 out of 5 stars greazy!
A funky album that makes you want to throw a BBQ for all your friends! Great, fun music, unlike any album Jimmy recorded for Blue note. Wah, wah, guitars, soul jams that will enjoy even the jazz hater of the family. One fo my favourites Jimmy Smith CD's.

5-0 out of 5 stars Root down and get it (whatever that means)
This is one of those soulful jazz cds that even those who don't usually like jazz will and enjoy. Jimmy Smith and co. make their instruments smoke during a live date in Feb. 1972 in LA. The title cut "Root Down and Get It" (whatever that means) is the kind of groove that will make you bob your head like Wayne and Garth to "Bohemian Rhapsody" in "Wayne's World." "For Everyone Under the Sun" is the kind of mellow tune that you can imagine a nighttime radio DJ using as a sign-off theme on a pleasant evening. The verson of "Let's Stay Together" does AL Green proud. "After Hours" has nice harmonica work, and the "Sagg" tunes are closer to the avant-garde stuff that harcore jazz fans like. That aside, it's a great Cd to introduce non harcore-jazz fans to Jimmy Smith.

5-0 out of 5 stars A perfect intro. to soul-funk-jazz
This is the one that introduced me to jazz. One of my so-called island discs. I especially love the rhythm section with bass-drums-conga and Arthur Adams funky wah-wah guitar. You have to hear this album no matter what your flavor is. I grew up listening to skate punk and classic rock and once I heard this funkified goodness i was hooked. Now I listen to guys like Grant Green, Idris Muhammad, Lonnie Smith, Melvin Sparks, The Head Hunters, and the list goes on and on and ends with FUNKADELIC oh yeah!! Eddie Hazel is the man, but thats another review. Check this out- it's good for your soul!!

5-0 out of 5 stars cooler than cool
This is extremely hot stuff. Recorded in L.A. in Februrary 1972, it's looser and less traditional than a lot of Smith's landmark Blue Note material, but it still feels great. Arthur Adams' guitar is amazing and the rhythm section of Wilton Felder on bass, Paul Humphrey on drums and Buck Clarke with congas and percussion work together like three perfectly machined pistons. And at the center of it is Jimmy Smith and his Hammond organ, sounding relaxed and laid back and like he's having a lot of fun.

The fact that the title track is the source of the Beastie Boys "Root Down" is probably a big selling point for this record. And there's nothing wrong with that -- both versions are excellent music. But there's a lot of other great stuff here, particularly the friendly, upbeat "For Everyone Under the Sun," the ten minute "Slow Down Sagg," and a stretched-out cover of Al Green's "Let's Stay Together."

This isn't my favorite Smith disk -- I'm just a little more partial to "The Sermon" and "Home Cookin'" -- but it's up there with the best.

4-0 out of 5 stars "Gonna kick it root down..."
Arthur Adams guitar funky guitar work is worth the admission price alone! Jimmy is jammin' and the whole album has a loose and party atmosphere to it. "Root Down" is awesome (and you get two versions!) as is "Stay Together", a version that the Reverend Al Green could nod his head to. Put this on at your next bar-b-que and see how many of your friends tilt their heads at the sound of the title track and it's familiarity! ... Read more


19. Point Of No Return: Music From The Original Motion Picture Soundtrack
list price: $9.98
our price: $9.98
(price subject to change: see help)
Asin: B000002WNX
Catlog: Music
Sales Rank: 10071
Average Customer Review: 4.64 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Reviews (14)

5-0 out of 5 stars ONE TO GROW ON
This review will cover the original score by Hans Zimmer and not the Nina Simone pieces. This score took a while to grow on me because it is so unconventional. Once I accepted it, it became amazingly unique. The tracks are inspiring and beautiful, sad and tragic. The score, except for guitar and the male voice is electronically orchestrated. It works beautifully, this soundtrack is something you can always listen too, I love it while driving. A few of the tracks feature soulful male vocals, they are here to accentuate the score. Overall the tracks are driving and pulse-pounding, with some quiet moments. Hans Zimmer's score conjures up visual imagery and emotions that portray someone moving to New York and unknowingly falling in love with a mobster and becoming part of a monstrous scandal....the trial....going on Barbara Walters....the book....the movie.....

5-0 out of 5 stars This is the soundtrack that belongs on both movies
This is a great soundtrack on two levels. The first four cuts are by Hans Zimmer and they capture perfectly the tone of both films.

There are two versions, the original by Luc Besson which has a soundtrack composed entirely of elevator music and in my opinion not worth buying.

This is the soundtrack of the American Remake. This soundtrack is wonderful. It belongs on both films.

Nina Simone has 5 wonderful tracks on this CD including the hard to find Beatles song 'Here Comes the Sun'. But the tracks by Hans Zimmer really capture the spirit of the films underlying mood and emotions. They are inspired and strangely inspirational. This is wonderful stuff and above the ordinary, a very complex and wonderful CD.

5-0 out of 5 stars I have to rave. Sorry
Note: I usually review Selena items, but...well, just read this, okay? You'll understand why I had to recommend this to anyone who looks up this CD on Amazon.com.

I haven't actually bought the soundtrack CD, just downloaded it in the glory days of Napster. However, I'd seen the movie when it was in theatres in 1993 and fell in love with the instrumentals. My favorite is "Happy Birthday Maggie," and it's my favorite instrumental of all time.

I'm about to buy the CD from Amazon.com, because I desperately want a copy for myself. The instrumentals are just so beautiful and haunting that I have to have this entire CD.

5-0 out of 5 stars Discover Nina Simone
This movie soundtrack I fell in love with the first time I had seen the film. I wanted to find out why Maggie was so moved by this woman's voice. It has since turned me onto Nina Simone myself, she is everything from soulful to gospel to blues and more. Discover her yourself, you won't be disppointed! This is one of my favorite soundtracks.

Thanks for reading!
~Pandora

5-0 out of 5 stars A GREAT SCORE FOR A GREAT MOVIE
I must say,this is the best of Hans Zimmer sountrack ever. Don't miss it!!!! ... Read more


20. Winelight
list price: $11.98
our price: $10.99
(price subject to change: see help)
Asin: B00000DALK
Catlog: Music
Sales Rank: 8906
Average Customer Review: 4.88 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Reviews (16)

5-0 out of 5 stars Can anyone top Mr. Washington? I don't think so!!!
He did it again. Grover Washington, Jr. has thrown down some serious tracks this time. He has got to be one of the greatest saxophone players ever. He shows it with this cd. His "Just the Two Of Us" shows off his talent along with Bill withers great voice. It's better than Will Smith. Well, maybe equal to his. Will can't blow like Grover though!

5-0 out of 5 stars Exudes Hypnotic Brilliance
It would be criminal to say a word wrong about this cd or to give it anything less than five stars. This is seriously good stuff and one, in my opinion, for the history books. This album is born of Heaven where now, very regretably, Grover resides. The music exudes sheer brilliance and its totally hypnotic, you want to listen to it time and time again. If your passionate about Grover Washington this is the one cd you HAVE to own!

5-0 out of 5 stars One of the most beatiful jazz albums ever made.
Many will probably argue with me, but this album is absolutely radiant. There is so much love and romance contained and it is displayed in every note played. Mr. Washington plays with great technique. This will remain to be one of my favorite albums of all time until the end of time.

4-0 out of 5 stars Let if Flow
Growing up in Philadelphia, we were awestruck at the abilities of Julius Erving very frequently. I think Grover captured his playing style perfectly with "Let It Flow (For Dr. J)". I can't think of a better representation of an athelete through a song than this. This album flows throughout. A must have for fans of Grover Washington Jr. who indeed left us too early!

5-0 out of 5 stars Smooth Jazz!
I purchased this album back in 1980 on vinyl. What a buy - I used to play this album over, and over, and over!! I really believe that Grover Washington Jr, and the recording of this album, Winelight, was the beginning of the "Smooth Jazz" genre. Thanks Grover, rest in peace. ... Read more


1-20 of 200       1   2   3   4   5   6   7   8   9   10   Next 20
Prices listed on this site are subject to change without notice.
Questions on ordering or shipping? click here for help.

Top