There's definitely a Hall-like sense of space and timing going on here, but as with many. Koji's got a style that's slightly raspy at points – not off key, but very personal – and sung in this spacious way that really allows for a lot of contemplation between the lines of the tunes – a mode that's followed strongly by the trio on the set – which features piano from Tsuyoshi Yamamoto. Tsuyoshi also has a different style here than on other records – one that's more evocative of Garner, with lots of rhythmic impulses bubbling through the melody – on titles that include "There Is No Greater Love", "Blues For Erroll", "Time After Time", "La Vie En Rose", and of course "Mistly". Beautiful alto from Yoshio Otmo – a player who brings an old school style of soul to his horn, but who also works here in the leaner, more modern mode of the. Singlish - Building Language the Fun Way! The set's got a lean kind of sound – as you might expect from the lineup – and Japanese players Shoji Yokouchi and Toru Konishi really explore some great territory in jazz with the format. Who cares? Your recently viewed items and featured recommendations, Select the department you want to search in. You can create alerts for anything searchable on our site — even artists or titles we've never had in stock before. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. These albums have brought me so much joy. However, it's this style of recording that really brings out the best of the album – as the complicated stylings of Takayanagi ring out with a much more honest sound than you'd expect on an album of this nature – reminding us more of earlier work by Lee Konitz collaborator Billy Bauer than most of the late 70s guitar heroes from Japan! Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. The sound is beautiful throughout – and titles include a version of Charlie Haden's "Song For Che", a reading of Lennie Tristano's "Lennie's Pennies", and a great version of Ornette's "Lonely Woman". A cooking little record from Japanese guitarist Sunao Wada – one with plenty of offbeat touches! Moments later, Mollie walks into the room and turns on the lights, only … Other instrumentation includes additional bass from Nobuyoshi Ino, drums from Tetsujiro Obara, and piano from Kunihiko Sugano – and titles include two great long originals – "Blue City" and "45th Street" – plus "Play Fiddle Play" and "Body & Soul". The production is perfect – laidback, unassuming, and very much a showcase for Max's role in the lead – singing over rhythms that seem as dictated by his charisma upfront, as they are part of the bedrock of the album! see all. The tracks are long, and relatively open-ended – kind of in the, (Part of the "Nippon Jazz Spirits 48" series! The record's got a nice sense of freedom, but is never too far outside – and titles include a version of Joe Henderson's "Isotope", plus the originals "Morningtide", "Dream Eyes", and "Work I". No U.S. source but CD Japan (http://www.cdjapan.co.jp) is recommended. A smoking live set from pianist Tsuyoshi Yamamoto – working here not in a small Tokyo club, but on the stage of the Montreux Jazz Festival – where he's clearly drawing inspiration from the global lineup to blow away most of the competition! From shop AegleApothecary. This 2-volume CD series takes a small amount of live material that was originally issued under the 3, An excellent live set, featuring Blakey's great sextet of the early 60's – with Wayne Shorter, Curtis Fuller, Freddie Hubbard, Cedar Walton, and Jimmy Merritt – all working incredibly hard to forge a new soulful style of hardbop, one that showed the world that Blakey was still on top as a leader! Backings are from the quartet of reedman Kosuke Mine – whose lines on soprano and alto sax are almost worth the price of the album alone – and all tracks are long, with titles that include "Be Still My Soul", "Round Midnight", "Yellow Carcass In The Blue", "Alone Together", "River Dry", and "Blues In C Minor". Style sheets are disabled or not working. One of the wonderfully creative 70s sets from Japanese stringman Isao Suzuki – an artist who also plays bass, but who works here on jazz cello – for a very unusual approach! Includes obi. Isoo really drives the group here up from the bottom – by playing both bass and cello with these well-inflected notes that are heavy on soul and rhythm, and which often enforce a modal sensibility that's carried out perfectly by the vibes of Kazuhiro Matsuishi and piano of Hideo Ichikawa!
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