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JAZZ

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1,000.00 ฿

Rufus Harley ‎– King / Queens

There have been arguments regarding whether Rufus Harley meant some of the tracks on Kings/Queens to be humorous. Whether intended that way or not, the average listener reacts to his bagpipe version of the Byrds' "Eight Miles High" first with incredulity and then with guffaws. The same is true of the versions of "Love Is Blue" and especially "Windy," a lightweight pop tune that certainly has a unique sound when played on bagpipes fronting a blues band. On repeated listenings, one develops a sense of respect for the amazing skill that makes these cuts as listenable as they are. If they gave Grammys for inventiveness and sheer audacity, Harley would have a closetful. His version of "Moon River" is astonishingly effective despite the fact that the five-note octave of the bagpipe would seem to make this tune impossible for that instrument. If the whole album was made of pop tunes, this would be a novelty album to surpass all others, albeit one that wouldn't get played very often. What makes the album demand repeated play are the other two compositions, which are Harley's own. "Kings" is an extended duet for bagpipe and marimba -- not instruments one thinks of combining as a usual thing, but it's probably obvious by now that Harley thinks way outside the box. The two instruments create an instrumental dialogue that is very similar to an Indian raga, each playing various parts of a theme, sometimes relating to each other in ways that don't connect in any formal way but that work. "Queens," the closing track, is another duet for what sounds like Japanese koto and Scottish bagpipes. This piece is more meditative, with long passages in which one instrument develops an idea while the other accents it or plays a countertheme. These two extended tracks remind the listener that, while Rufus Harley may have played pop tunes on the first half of the album, his roots are in jazz -- and when he sets his mind to it, he plays jazz that can't be mistaken for anyone else.
Review by Ric

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1,000.00 ฿

Freddie Hubbard ‎– Polar AC

Trumpeter Freddie Hubbard's sixth and final CTI studio recording has its moments although it is not on the same level as his first three. Hubbard, backed on four of the five songs by a string section arranged by either Don Sebesky or Bob James, is assisted on songs such as "People Make the World Go Round" and "Betcha By Golly, Wow" by flutist Hubert Laws and guitarist George Benson. "Son of Sky Dive" showcases his trumpet with a sextet including Laws and tenor-saxophonist Junior Cook. The music is enjoyable but not essential and this LP has yet to appear on CD.

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1,000.00 ฿

Ahmed Abdul-Malik ‎– East Meets West: Musique Of Ahmed Abdul-Malik

Ahmed Abdul-Malik ‎– East Meets West: Musique Of Ahmed Abdul-Malik
All songs are the bomb, but check out "Mahawara" in particular.
Jazz mixed with Middle Eastern instruments.

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1,000.00 ฿

Herbie Hancock ‎– Man-Child

Perhaps the funkiest album of Herbie Hancock's early- to mid-'70s jazz/funk/fusion era, Man-Child starts off with the unforgettable "Hang Up Your Hang Ups," and the beat just keeps coming until the album's end. "Sun Touch" and "Bubbles" are slower, but funky nonetheless. Hancock is the star on his arsenal of keyboards, but guitarist Wah Wah Watson's presence is what puts a new sheen on this recording, distinguishing it from its predecessors, Head Hunters and Thrust. Others among the all-star cast of soloists and accompanists include Wayne Shorter on soprano sax, Stevie Wonder on chromatic harmonica, and longtime Hancock cohort Bennie Maupin on an arsenal of woodwinds.

Review by Jim Newsom

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1,000.00 ฿

Stan Clarke‎– Children Of Forever

Stanley Clarke's debut solo effort was issued when he was already a seasoned jazz veteran, and a member of Chick Corea's Return to Forever, which at the time of this recording also included Joe Farrell on soprano sax and flute, and the Brazilian team of vocalist Flora Purim and drummer/percussionist Airto Moreira. Produced by Corea, who plays Rhodes, clavinet, and acoustic piano on Children of Forever, the band included flutist Art Webb, then-new RtF drummer Lenny White, guitarist Pat Martino, and a vocal pairing between the inimitable Andy Bey and Dee Dee Bridgewater on three of the five cuts -- Bey appears on four. Clarke plays both electric and acoustic bass on the set; and while it would be easy to simply look at this recording as an early fusion date, that would be a tragic mistake. If anything, Children of Forever is a true cousin to Norman Connors' classic Dance of Magic and Dark of Light albums, which were also released in 1973; Clarke played bass on both. This is basically funky, spiritual jazz in the best sense. Yes, jazz. That wonderfully mercurial, indefinable force that brings into itself the whole of music, from popular to classical and folk forms, and makes something new out of them. The long title track with its killer vocal interplay between Bridgewater and Bey is seductive from the jump. Add Clarke's big fat bassline, which is mellow and meaty at the beginning, but after the long piano and guitar breaks in the middle becomes dirty, fuzzy, and spacy by the end as the cut leans into souled-out funk.

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1,000.00 ฿

Quincy Jones ‎– You've Got It Bad Girl

Review by Andy Kellman
Quincy Jones followed up Smackwater Jack and his supervision of Donny Hathaway's Come Back Charleston Blue soundtrack with this, a mixed bag that saw him inching a little closer toward the R&B-dominated approach that reached full stride on the following Body Heat and peaked commercially with The Dude. That said, the album's most notorious cut is "The Streetbeater" -- better known as the Sanford & Son theme, a novelty for most but also one of the greasiest, grimiest instrumental fusions of jazz and funk ever laid down -- while its second most noteworthy component is a drastic recasting of "Summer in the City," as heard in the Pharcyde's "Passin' Me By," where the frantic, bug-eyed energy of the Lovin' Spoonful original is turned into a magnetically lazy drift driven by Eddie Louis' organ, Dave Grusin's electric piano, and Valerie Simpson's voice. (Simpson gives the song a "Summertime"-like treatment.) Between that, the title song (a faithfully mellow version, with Jones' limited but subdued vocal lead), a medley of Aretha Franklin's "Daydreaming" and Ewan MacColl's "First Time Ever I Saw Your Face," and a light instrumental, roughly half the album is mood music, and it's offset with not just "The Streetbeater" but a large-scale take on "Manteca," a spooky-then-overstuffed "Superstition" (where the uncredited Billy Preston, Bill Withers, and Stevie Wonder are billed as "three beautiful brothers"), and the "Streetbeater" companion "Chump Change" (co-written with Bill Cosby). The best here can be had on comps, but the album is by no means disposable. [Given a straight reissue in early 2009 via Verve's Originals series.

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1,000.00 ฿

Awkward Corners ‎– Dislocation Songs

Awkward Corners ‎– Dislocation Songs
Label: Shapes Of Rhythm ‎– SORLP2
Format: Vinyl, LP
Country: UK
Released: 22 May 2020
Genre: Electronic, Jazz
Style: Abstract, Drone, Downtempo, Experimental, Future Jazz

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900.00 ฿

Jackie & Roy ‎– East Of Suez

"Jackie Cain and Roy Kral are incapable of sounding down or being blue. East of Suez is another batch of delightfully upbeat material featuring their distinctive two-part vocal harmony, guaranteed to "turn your frown upside down." The program alternates between songs with lyrics and wordless vocal romps. Michael Franks' opening "Don't Be Blue" sets the tone and is followed by "D'Light," a Kral original featuring his piano, Paul Johnson's vibes, and the duo's "doo-dop-ooo-dah" scatting. The Johnny Mandel-Paul Williams composition, "Close Enough for Love," gives Cain an opportunity to demonstrate her beautiful way with a ballad. The title track is another wordless workout, while "Wings of Love" is a gorgeously swinging piece of romantic wistfulness. Bassist Brian Torff kicks off the Cain-Johnson collaboration, "Travelin'," a marvelously melodic invitation to hit the road, full of surprising musical curves and swerves. After the Alec Wilder pop tune "It's So Peaceful in the Country," East of Suez wraps up with a bebop finale, Bird and Dizzy's "Anthropology."
Review by Jim Newsom

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900.00 ฿

McCoy Tyner ‎– Echoes Of A Friend

McCoy Tyner dedicated this 1972 recording of piano solos to John Coltrane. Five tunes, two by Coltrane, two by Tyner, and Rodgers & Hammerstein's "My Favorite Things," comprise the album.


On Coltrane's "Naima," Tyner enters softly in the upper register. After some orchestral piano strumming, he brings the listener into the melody. Then, using a chord as a launching pad, he takes off into a virtuoso right-hand piano break. Coming back into the melody, he uses the piano like a harp. "Promise," another Coltrane tune, starts with a Keith Jarrett-like groove, but quickly enters full-fledged McCoy Tyner territory. Sweeping into some low-register rumbling, the tune is stated in its simplest form and it's over. The 17-minute "The Discovery" starts with a gong, and immediately descends into a sweeping sonic torrent. After an outbreak of pianistic rage, there is a beautiful Debussy-like moment, spontaneous and natural. This is emotional and unrestrained music, best enjoyed if you just give in to it. It's beautiful, and innocent.

Review by Rovi Staff

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800.00 ฿

Sun Ra ‎– Of Mythic Worlds

Of Mythic Worlds is a fine album recorded in 1979 that sounds like a studio date. "Mayan Temples" is a great piece: slow and exotic with lots of flutes and bass clarinet. A nice reading of "Over the Rainbow" follows, then a great piano feature called "Inside the Blues." Side two heads just a bit farther out, with "Intrinsic Energies" sounding like some kind of space bebop while "Of Mythic Worlds" is a great tenor feature for John Gilmore. This is another album that will probably be tough to find but well worth it.

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800.00 ฿

Herbie Hancock ‎– Mwandishi

A splendid album Mwandishi is the first of a perfect trilogy, and the only thing missing is probably a cool artwork as Crossings and Sextant have. But outside of this detail, Mwandishi is brilliant and the perfect introduction (or first step) to the more supersonic Crossings and the cosmic Sextant. This album got shot down by the specialized press and didn't sell in quantity, but the group survived by playing numerous concerts, thus getting even tighter live than in the studio. Outstanding stuff and there is better still to come.

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800.00 ฿

Various ‎– Jazz Is Alive And Well On CTI And KUDU

Produced by Creed Taylor
Featuring Hank Crawford, Deodato, Hubert Laws, Stanley Turrentine, Freddie Hubbard, Esther Phillips, Johnny Hammond, George Benson and Grover Washington, Jr.

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700.00 ฿

Greg Foat, Paul Armfield, Ken Black ‎– Gone To The Dogs

Greg Foat, Paul Armfield, Ken Black ‎– Gone To The Dogs
Label: Jazzaggression Records ‎– JA1020SJU
Format: Vinyl, 10", 45 RPM, EP, Limited Edition
Country: Finland
Released: 2019
Genre: Jazz
Style: Jazz-Funk

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600.00 ฿

More Images Archie Shepp ‎– Attica Blues

Archie Shepp ‎– Attica Blues
Label: Mr Bongo ‎– MRB7148
Format: Vinyl, 7", 45 RPM
Country: UK
Released: 2019
Genre: Jazz

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600.00 ฿

Stanley Clarke ‎– School Days

Excellent jazz rock fusion album with a prominent role for the electric bass but also a role for the acoustic upright bass.
This album is different than other prominent bass jazz rock artists like Eberhard Weber and Pekka Pohjola. It is less folk and jazz influenced and has more funk and rock influences where Stanley actually plays chords on his bassguitar.

It has some Return to Forever-influences but it is clear that Stanley Clarke has a sound of his own. To augment the sound and colour of the songs, Stanley carefully picked the right musicians for each song, so the list of guests is long list. But the songs have a natural flow and fit together perfectly.

Also the addition of strings and brass makes it more than just a solo-bass album.

Highly recommended!

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500.00 ฿

Rudy Smith Quartet [Still Around]

Format : CD / New
Label : EM Records
Genre : Jazz

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500.00 ฿

STANTON DAVIS [BRIGHTER DAYS]

Format : CD / New / Reissue
Label : Cultures of Soul
Genre : Fusion Jazz

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