Carnegie Hall

Extraordinary talented jazz trumpeter Woody Shaw recorded at the zenith of his personal development in 1982, accompanied by a sensational group of musicians. The group includes drummer Tony Reedus, bassist Stafford James, the pianist Mulgrew Miller and the trombonist Steve Turre, who became one of the new young voices of the jazz trombone shortly afterwards. Shaw's playing was characterised by technical perfection (just as those of his role model Freddie Hubbard) and a hands-on approach when it came to sound and tonality; Shaw was extremely fast when he wanted to be but never lost the clarity of his musical language.

Jazz/pop vocalist Esther Phillips is joined here by Henry Cain, Wes Blackman, Bill Upchurch, and James Levi for a set that includes 'Stormy Weather" and "What A Difference A Day Makes".

"… Already the music made by the young Collins, born 1932 in Leona/Texas, was praised to be especially 'cool'; and of course, when he performed on the tiny stage of Onkel Pö's Carnegie Hall on Eppendorfer Lehmweg in Hamburg, he was joined by his band called The Icebreakers. Naturally, on this winter evening no cold barrier needed to be overcome, certainly not in the overcrowded Pö, where most probably (as so often) tropical temperatures will have prevailed. . . . His name adorned the star line-up at the Montreux Jazz Festival and at the Paleo-Festival in Nyon, just around the corner on Lake Geneva. It was also in Nyon that his terminal illness first broke out.

"When Freddie Hubbard came to Hamburg to get on the tiny stage of Onkel Pö's Carnegie Hall, he was right at the centre of the world of jazz, probably more than ever before or after in his career – together with Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams the trumpet player had set-up the quintet 'V.S.O.P.' three years earlier; as the other four people of the group had previously formed the legendary second quintet of Miles Davis, Freddie Hubbard could be considered to be his direct successor. . . .

After an absence of twelve years, Vladimir Horowitz's return to the concert stage was one of New York s most exciting musical events. It was Sunday, May 9, 1965, when the great pianist stepped onto the stage of Carnegie Hall, greeted by a shouting, standing ovation. It was his first public performance since he had left the same stage on February 25, 1953. The recording of his recital would be awarded with three Grammy® Awards and become one of the most successful classical albums. In the months before the historic day of May 9, Horowitz went to Carnegie Hall twice in January, twice in April to play for his wife and close friends, before he decided he was ready to perform publicly.

After an absence of twelve years, Vladimir Horowitz's return to the concert stage was one of New York s most exciting musical events. It was Sunday, May 9, 1965, when the great pianist stepped onto the stage of Carnegie Hall, greeted by a shouting, standing ovation. It was his first public performance since he had left the same stage on February 25, 1953. The recording of his recital would be awarded with three Grammy® Awards and become one of the most successful classical albums. In the months before the historic day of May 9, Horowitz went to Carnegie Hall twice in January, twice in April to play for his wife and close friends, before he decided he was ready to perform publicly.

Nina's concert featured a total of eighteen songs, seven of which made up the 1963 release, 'Nina Simone at Carnegie Hall' and eight of which were used for 1964's 'Folksy Nina'. Includes 4 bonus songs 'Work Song', 'Little Liza Jane', 'Will I Find a Resting Place?' & 'Blackbird' which were discovered in a studio vault in the late '90s.

The “Ever More” of Jazz: Jazz icons Johnny Griffin and Eddie "Lockjaw" Davis are joined here by Tete Montoliu, Niels-Henning Orsted Pedersen and Art Taylor.

Recorded live at at Onkel Pö‘s Carnegie Hall, in Hamburg in 1981, this concert represents a typical Jazz Machine live performance, and the selection of tracks feeds on concise themes and motives from all established sources of the hard bop era where the musicians get plenty of room to stretch out and Jones specially proves his mastery again and again.