不定期转让个人闲置唱片，JAZZ为主(含个人拙评)
本帖最后由 windkobe 于 2014-11-6 15:21 编辑在下听JAZZ相对偏保守，所以转让的唱片也以旋律相对优美同时又不呆板的内容为主。
坛子里对JAZZ感兴趣的朋友请多多交流~买不买唱片都没关系，重要的是觅得知音。
一些个人闲置的唱片都会集中发布在一楼的个人淘宝闲置连接，不定期更新。论坛朋友可以适当优惠 :P
联系方式：站内信，QQ119 690
淘宝个人闲置连接
PS：所有发布的唱片均低于当时的购买成本（唱片价格+国内外运费） 本帖最后由 windkobe 于 2014-3-25 23:55 编辑
The Dave Brubeck Quartet at Carnegie Hall2CD 已出
For all those who have a big axe to grind with Brubeck, for all those who claim the band was only successful because they were predominantly white, or played pop-jazz, or catered to the exotica craze, or any of that, you are invited to have all of your preconceptions, tepid arguments, and false impressions hopelessly torn to shreds by the CD debut of one of the great live jazz albums of the 1960s. At Carnegie Hall is a date that showcases all of the finest elements of the storied Brubeck Quartet that featured, alongside Brubeck's piano, alto innovator Paul Desmond, bassist Eugene Wright, and Joe Morello on drums. First the rhythm section: On this February night in 1963 -- either the 21 or 22nd depending on which side of the cover you believe -- W.C. Handy's "St. Louis Blues" was given a knotty rhythmic workout it had never seen on Basin or Bourbon Street. Time signatures moved and shifted all over the tune for 12 minutes as Brubeck and Desmond exchanged cross-contrapuntal solos and melodic inventions back and forth. Movement and plenty of it was the identity this old nugget took on, with Brubeck taking Wright's cue and moving the blues into unheard of harmonic spaces and intervals. At one point, with 16/4 time, forcing itself onto the front line, Desmond makes his move quickly with one scalular interval to the top of the meter and stops. It's enough, he seems to be saying, it gets brought back to a humane tempo before clamoring itself from a samba back into the blues before winding it out. And that's just for openers! The band moves through all their hits and their new instincts gained from traveling abroad for the better part of six years. With cuts like "Bossa Nova U.S.A" and "Blue Rondo a la Turk," the quartet breathed new fire both melodically and tonally into their won material, while other standards such as "Pennies From Heaven," were literally harmonically reinvented by the intense counterpoint, double and even triple that went on between Desmond and Brubeck. And that's what this set is a reflection of: the Brubeck band would have loved to be recorded live every night they played. They hated the studio because there was nothing to compete against and no energy but their own to glean from. Check out "Eleven Four" and see where the audience in stuffy old Carnegie Hall is transformed into a hooting mob as Desmond solos his ass off. When Brubeck pulls Ravel out of his back pocket and Wright accommodates him, setting a samba tempo for him to play against, the crowd may not know what they are hearing, but they flip just the same; they know something's happening and they're right there to experience his harmonic indulgence in the past married to a contrapuntal bop syntax from Desmond. It's no surprise that "Take Five" would take the set out, but given what has been played over two discs, it's almost a comfort. There are fewer surprises here it's true, but then, the tune's a groover anyway, and they grease it to the point of making it funky thanks to Wright's slapping at his bass in the middle section. This double CD is perhaps the one essential Brubeck disc. While Take Five is rightfully a classic in that it changed everything, At Carnegie Hall reveals the band at the epitome of its musical -- harmonic, rhythmic, melodic, improvisational -- strength with near telepathic communication. It swings like a mother and offers an entirely new dimension to the definition of "melodic improvisation."
最初买这张现场我承认目的很简单——就是来听Paul的，就是来听blue rondo和take five的。CD到手后，我得到了我想听到paul的表现，paul的声部相对于他们其他的现场更加突出，paul独有的中音sax音色尽显，即兴演奏非常完美流畅。blue rondo和take five作为本场最后的压轴演出，果不其然得精彩高涨。 然后我还收获了意外惊喜。这支西海岸爵士四重奏，在这次音乐会中，每首曲目时间都很长，除了Eleven Four是4分多钟，其余的曲目都在6分钟以上，甚至超过10分钟，这意味着dave留了相当充足的空间给各部即兴发挥，Joe Morello的鼓， Eugene Wright的底音贝斯，以及dave自己的钢琴，都在这场音乐会中充分展现了各自的魅力，两个字过瘾。
和常见的Jazz live还有一个显著的区别，一般jazz live多是在场地不大的PUB中进行，而在卡内基大厅举行的这次演奏会，在声场和气势上都别具一格。
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本帖最后由 windkobe 于 2014-7-6 15:24 编辑
BILL EVANS TRIO - WALTZ FOR DEBBY （XRCD）(已出)
喜欢BILL EVANS三重奏，喜欢BILL EVANS在河岸公司的三重奏，喜欢BILL EVANS在河岸的三重奏在1961年6月25日周日的下午和晚上在Village Vanguard的这场演出。
河岸公司将这场经典的LIVE分成了两张专辑发行，而这张Wlatz for debby是第二张。Waltz for debby,这首曲子正是BILL EVANS所作。乐队的低音贝斯手Scott LaFaro充满创造力的演奏能够完美的融合在BILL的interplay中，这位也许是BILL整个生涯中最欣赏的贝斯手，不幸死于十一天后的一场车祸中，也使这场演奏成为了永恒的经典。
这张1998年的XRCD首版，被普遍认为是CD版本中音质最好的一版。本人收集过美首版OJC，美K2版，日首版，日K2版，这张XRCD首版的音质的确优于日首版以外的所有版本。而同日首版相比，XRCD在贝斯和鼓的表现上稍微不如日首版真实生动，而XRCD在声场的处理上恰到好处，优于日首版，动态表现上也优于日版，同时XRCD拥有4首日版没有的增补曲目（日首版曲目同LP版本），其中包括了我非常喜欢的一首 PORGY I LOVES YOU。
http://t3.gstatic.com/images?q=tbn:ANd9GcT5lN5TzOKoSEbtkvYSk1fisg9ndOjAzEYVzthjgQ8IEvWdttX-bvyhDB_wbw 都是精品中的精品 本帖最后由 windkobe 于 2014-7-1 23:38 编辑
BILL EVANS - COMPLETE RIVERSIDE RECORDINGS 12CD (已出)
For Bill Evans fans. 你可能有这个盒子里的大多数专辑，但这盒子里没准可能有你不知道的故事和没听过的河岸时期的曲目 :handshake
出下面那套首版无码。 本帖最后由 windkobe 于 2014-3-24 10:06 编辑
Keith Jarrett - My Song (ECM) 已出
早些年追逐过KJ的ECM作品，如今这是手头上留有的KJ的最后一张， 也是个人比较喜欢的一张ECM，一是喜欢这张录音的清新感(喜欢听那首Country)，二是喜欢KJ和Jan Garbarek难得的一丝和谐 ;p三是喜欢这张封面，当然这张唱片中也不乏KJ的即兴演奏。
http://cps-static.rovicorp.com/3/JPG_400/MI0001/701/MI0001701376.jpg?partner=allrovi.com 实话得罪了，有点贵 morefeel 发表于 2014-3-16 09:41 static/image/common/back.gif
实话得罪了，有点贵
没关系 :P 小小一张唱片，贵和便宜顶多就是几十块钱的事情。喜不喜欢才是重要。有时遇到自己喜欢的唱片，在经济允许的条件下我都会果断拿下。 另外morefeel兄若有什么感兴趣的我们可以聊聊啊，论坛的朋友可以优惠 :) windkobe 发表于 2014-3-16 09:49 static/image/common/back.gif
没关系小小一张唱片，贵和便宜顶多就是几十块钱的事情。喜不喜欢才是重要。有时遇到自己喜欢的唱片， ...
有同感 本帖最后由 windkobe 于 2014-3-28 17:55 编辑
赠品 Nina Simone - It Is Finished (已赠)
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即便是把范畴限制在某个时代甚至是某次录音中，估计也很难定义Nina Simone究竟属于哪个领域。我只知道Simone的声音是有魔力的，不圆润，不甜美，不宽广，但却源自内心，听她哑哑地、慢慢地唱，听不全歌词，却能很容易被感动，喜怒哀乐，只需静静聆听。
每当自己听其他类型的音乐有点疲劳或者说腻歪的时候，我都会拿出Simone的现场听一下，很舒服。 这与另一位jazz大师rahsaan kirk有异曲同工之妙。 本帖最后由 windkobe 于 2014-3-25 23:46 编辑
Ben webster - Stormy Weather 已出
Ben webster - gone with the wind 已出
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Ben Webster在50年代有张专辑叫King of the Tenors，我想这个King应该指的是“抒情”， Ben不是最伟大的次中音sax手，却是我最喜欢的次中音sax手。
50年代，随着modern jazz在美洲大陆的兴起，传统的摇摆乐已不再是最受欢迎的爵士表现形式，而Ben以他极具特色的结合着blues风格的抒情演奏，仍然非常受欢迎。
1964年，Ben Webster漂洋过海来到欧洲，这是Ben做出的一个正确决定，欧洲的生涯，成就了Ben职业生涯的第二春。从此，Ben再也没有回美国。
这两张唱片，是65年1月30日和31日，Ben Webster在哥本哈根的jazz圣地Montmartre Jazzhus的演出（另外一个相同内容的2CD版本叫Live at The Jazzhus Montmartre, Vol.1/2），在我个人听来是Ben整个生涯最棒的现场录音。
钢琴手是Kenny Drew。 赠品不错帮顶 本帖最后由 windkobe 于 2014-4-21 20:54 编辑
Paul Desmond - The Complete Paul Desmond RCA Victor Recordings (featuring Jim Hall) （已出)
一个理由：给你一个最最纯粹的Desmond :)
这套盒子收录了Desmond作为leader在RCA的所有录音（Desmond与Mulligan的合作two of a mind不在其中）。全程参与的鼓手connie kay，是我当下最喜欢的爵士鼓手。
http://i61.tinypic.com/23lmhpv.jpg 本帖最后由 windkobe 于 2014-3-28 15:15 编辑
Phineas Newborn, Jr. - Here is Phineas （Piano Artistry of Phineas Newborn, Jr.）(已出)
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Phineas Newborn, Jr. 是一位充满神秘色彩和悲情色彩的爵士钢琴大师。他技艺超群却在生涯中后期始终未能摆脱病痛缠绕而逐渐消失在人们的视线中。即便如此，他生涯录制的唱片可谓张张精彩。
这张录制于1956年的唱片，是Phineas的开山之作，录音中不可思议的演奏技巧，简洁明快的波普风格，使他在当时的爵士界一鸣惊人。
“Leonard Feather once said of him "In his prime, he was one of the three greatest jazz pianists of all time.” ~wikipedia
