180 gram audiophile black vinyl in a heavyweight cardboard sleeve with linen laminate finish features the 1996 mix by Mark Wilder for the Grammy Award-winning Box Set "Miles Davis Gil Evans The Complete Columbia Studio Recordings." Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. Quiet Nights is a mix of situations and sources: Brazilian folk ("Prenda Minha", titled "Song #2" on the album), Spanish classical ("Adelita" by guitar pioneer Francisco Tárrega, here called "Song #1"), and a few ballads, including one that stands out from the rest of the big band album: "Summer Night," a quintet take featuring Miles playing muted then open trumpet and the start of a new band: tenor saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler.
Vinyl LP pressing.. In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector's item: In Paris, Aries 1973. Therefore, it was not surprising that they crossed paths with Jef Gilson, who offered Baikida Carroll the chance to record his first album under his own name. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. The first side of the album is divided into two long tracks which send free jazz back to it's long-lost African roots.
In a 2019 article, Forbes Magazine decreed that the two characteristics women need most to thrive in the business world are "grit and grace." Bass trombonist Jennifer Wharton has exemplified those qualities in the music she's made with her brass-forward band Bonegasm since it's 2019 debut. How else to explain Wharton's venture into improvising and bandleading after years in the classical world, big band sections and Broadway orchestra pits? Or her dedication to giving the oft-neglected trombone - and more to the point, her own bass trombone - it's place in the spotlight? And not least, that she's done so with a tricky balance of elegant arrangements, bold musicianship, and audacious wit?
Time was when the use of any electronically-generated effects in an artist's work, would immediately brand you as a member of the avant-garde. Eventually, however, jazz embraced the modernism of electronics as people like Rashaan Roland Kirk, John Zorn and classical composers like Edgard Varèse took electronics down a less self-destructive and more communicative road. On THIS, tenor saxophonist and composer JD Allen explores the possibilities of electronics+jazz with a set of new compositions for himself, drummer Gwilym Jones and electronics effects wizard Alex Bonney. These works exhibit an astonishingly wide spectrum where you may find modal, blues-infused melodies juxtaposed against startling and provocative electronic effects. There can be a slim line in jazz between being a traditionalist troglodyte and being a radical visionary. On his latest recording, JD Allen has demonstrated that there is a musically satisfying and emotionally fulfilling middle ground.
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