Classic Jazz Club

Bill Evans Trio - The Complete Balboa Jazz Club Performances 1979 (2008) {2CD Set, Gambit Records 69281}
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© 1979, 2008 Gambit Records | 69281
Jazz / Post Bop / Piano Trio

2008 digitally remastered two CD set featuring a superb performance by the last edition of the Bill Evans Trio. Less than a year before his death, Bill Evans traveled to Madrid, Spain, to play three nights at a small venue called the Balboa Jazz Club. One of those magic nights was recorded and appears here in its entirety. The music from the December 12, 1979 Balboa concert was privately recorded and the sound quality leaves much to be desired. However, the music has been reprocessed and sounds better here than on any previous release.

Barney Wilen - More From Barney At The Club Saint-Germain (1959) {2014 Japan Jazz Collection 1000 Columbia-RCA Series}
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© 1959, 2014 RCA / Sony Music Japan | SICP 3979
Jazz / Bop / Post Bop / Saxophone

Reissue with latest 2014 DSD remastering. Comes with liner notes. A great little set – never issued before, but recorded at the same time as Wilen's classic 1959 album Barney, caught live at the Club St-Germain with a group that includes Kenny Dorham on trumpet, Duke Jordan on piano, Paul Rovere on bass, and Daniel Humair on drums. Like the Barney album, these tracks are fantastic – some of the most open-ended playing that Wilen ever did in the 50s, and proof that his tenor work was some of the best jazz coming out of Europe in the postwar years! All tracks are long – and titles include "Reets & I", "The Best Things In Life Are Free", "All The Things You Are", "Round Midnight", and "Time On My Hands".

Grant Green - Live At Club Mozambique (1971) {Blue Note}
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© 1971, 2006 Blue Note / Capitol / EMI | 0946 3 63522 2 0
Jazz / Soul Jazz / Jazz Funk / Groove / Guitar

Live at Club Mozambique was, according to Bob Belden's liner notes, rumored to exist for decades in Blue Note's Grant Green discography, but was never released. His explanation as to why is satisfactory – Green's star had waned considerably – and makes some sense, but the label had 15 unissued albums by the guitarist by 1971. This date recorded at the famed Detroit jazz club (Green was living in the city at the time) is the second such set of grooves to be issued from the club floor – Lonnie Smith's was the first. The band consists of Idris Muhammad, Ronnie Foster, Houston Person, and the all but unknown Clarence Thomas, and the two tenor saxophonists (Thomas also played soprano here) laid out heavy, deep funk on the tunes that were chosen.

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.
For a mild-mannered man whose music was always easy on the ear, Nat King Cole managed to be a figure of considerable controversy during his 30 years as a professional musician. From the late '40s to the mid-'60s, he was a massively successful pop singer who ranked with such contemporaries as Frank Sinatra, Perry Como, and Dean Martin. He shared with those peers a career that encompassed hit records, international touring, radio and television shows, and appearances in films…

Art Blakey & Les Jazz-Messengers - Au Club Saint-Germain Vol.1 (1959) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 3966}
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© 1959, 2014 RCA / Sony Music Japan | SICP 3966
Jazz / Hard Bop

Reissue with the latest remastering. Comes with liner notes. Grand Prix Du Disque De L'académie Charles Cros 1959. Recorded at the celebrated Club Saint Germain, the formation presented here marks the third incarnation of Art Blakey’s Jazz Messengers, with trumpeter Lee Morgan (then only 20 years old), tenor saxophonist Benny Golson, pianist Bobby Timmons and bassist Jymie Merrit. For the last two tunes, bop drum pioneer Kenny Clarke (who was living in Paris) substitutes Blakey. Besides the individual gifts of each member, the group forms a compact unit with a cohesive sound. “We play modern jazz”, explained Blakey during a 1958 interview, “and to understand it you mus listen. We study, we rehearse. The Jazz Messengers are very serious about getting the music across to you. If you don’t want to listen, maybe the person sitting next to you does.”

Art Blakey & Les Jazz-Messengers - Au Club Saint-Germain Vol.2 (1959) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 3967}
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Full Artwork @ 600 dpi (png) -> 187 Mb | 5% repair rar
© 1959, 2014 RCA / Sony Music Japan | SICP 3967
Jazz / Hard Bop

Reissue with the latest remastering. Comes with liner notes. Grand Prix Du Disque De L'académie Charles Cros 1959. Recorded at the celebrated Club Saint Germain, the formation presented here marks the third incarnation of Art Blakey’s Jazz Messengers, with trumpeter Lee Morgan (then only 20 years old), tenor saxophonist Benny Golson, pianist Bobby Timmons and bassist Jymie Merrit. For the last two tunes, bop drum pioneer Kenny Clarke (who was living in Paris) substitutes Blakey. Besides the individual gifts of each member, the group forms a compact unit with a cohesive sound. “We play modern jazz”, explained Blakey during a 1958 interview, “and to understand it you mus listen. We study, we rehearse. The Jazz Messengers are very serious about getting the music across to you. If you don’t want to listen, maybe the person sitting next to you does.”

Art Blakey & Les Jazz-Messengers - Au Club Saint-Germain Vol.3 (1959) {2014 Japan Jazz Collection 1000 Columbia-RCA Series SICP 3968}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 244 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 600 dpi (png) -> 189 Mb | 5% repair rar
© 1959, 2014 RCA / Sony Music Japan | SICP 3968
Jazz / Hard Bop

Reissue with the latest remastering. Comes with liner notes. Grand Prix Du Disque De L'académie Charles Cros 1959. Recorded at the celebrated Club Saint Germain, the formation presented here marks the third incarnation of Art Blakey’s Jazz Messengers, with trumpeter Lee Morgan (then only 20 years old), tenor saxophonist Benny Golson, pianist Bobby Timmons and bassist Jymie Merrit. For the last two tunes, bop drum pioneer Kenny Clarke (who was living in Paris) substitutes Blakey. Besides the individual gifts of each member, the group forms a compact unit with a cohesive sound. “We play modern jazz”, explained Blakey during a 1958 interview, “and to understand it you mus listen. We study, we rehearse. The Jazz Messengers are very serious about getting the music across to you. If you don’t want to listen, maybe the person sitting next to you does.”

One of Armenia’s best bands of the period of jazz fever in the beginning of the 60’s was the quartet formed at the Institute of Languages after Brusov and led by Levon Malkhasyan. The band performed during youth parties in Yerevan, toured around the Soviet Union and participated in All-Union jazz festivals. In Voronezh the band won the Grand Prix, while Levon Malkhasyan was named the best pianist of the festival.

During the 1950s in Paris the traditional jazz cellars could call on American as well as French musicians and Classic Jazz at St Germain des Pres is a lively record of the music heard there. Clarinettist Albert Nicholas had grown up with Bechet in New Orleans and offered a more elegant, less forceful individualism within that city's reed-playing tradition. His eight tracks from 1954 comprise four in the New Orleans sextet format, two delightful ones with a trio and two welcome borrowings from the world of Ellingtonia. Trombonist Archey was a less sophisticated musician but had his own recognisable style and his six tracks with a band including Michel Attenoux (on Bechet-like soprano) and pianist Georges Arvanitas (at the beginning of his career) are full of enthusiastic vigour…

Lonnie Smith - Live At Club Mozambique (1970) {Blue Note Rare Groove Series 31880 rel 1995}
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© 1970, 1995 Blue Note / Capitol | CDP 7243 8 31880 2 4
Jazz / Jazz Funk / Soul Jazz / Boogaloo / Organ

Recorded on May 21, 1970, at Detroit's Club Mozambique, this was shelved and remained unreleased until it was retrieved for CD issue in 1995. It's odd that Blue Note decided to sit on it for so long, because it ranks as one of Lonnie's better sets. The band, featuring George Benson on guitar, is relaxed and funky without being in your face about it, and unlike much soul-jazz of the time, most of the material is original, Smith having penned six of the eight numbers. Although the riffs often owe a lot to James Brown, this is definitely at least as much jazz as soul, with Lonnie taking a rare vocal turn on "Peace of Mind."