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Art Blakey's most successful album gave us Bobby Timmons's "Moanin'" and Benny Golson's "Along Came Betty" and "Blues March," tunes so powerful that Blakey played them almost every night.
On the evening of February 22, 1954, Blue Note recorded Art Blakey's quintet at Birdland and the jazz landscape changed forever. Art Blakey, already the most exciting drummer in modern jazz.
On the evening of February 22, 1954, Blue Note recorded Art Blakey's quintet at Birdland and the jazz landscape changed forever. Art Blakey, already the most exciting drummer in modern jazz.
Since his days with the Bud Powell trio, drummer Art Taylor was an invaluable member of the Blue Note recording family. “A.T.’s Delight” is the only album made under his own name for the label.
Intensiv platta inspelad hos oss 13/3 1999.
Peter Brötzmann -sx, cl, tarogato.
Peter Friis Nielsen -b.
Peeter Uuskyla -tr.
Produced by Martin Hansson in co-operation with the Swedish Broadcasting Company SR P2 Gothenburg.
Released by the great Ayler Records.
Bud's first two Blue Note dates are here in complete form. The 1949 session features the horns of Fats Navarro and Sonny Rollins (making his recording debut) on such be-bop anthems as "Bouncing With Bud"
Complete for the first time with five previously unissued tracks, this August 14, 1953 session with Bud's working trio (George Duvivier on bass and Art Taylor on drums).
One of the best known record dates in the history of modern jazz, the chemistry among Adderley, Miles Davis, Hank Jones, Sam Jones and Art Blakey is amazing.
Recorded in 1965 the day before Gordon’s final Blue Note album “Gettin’ Around,” this session sat in the can for 14 years.
Dexter Gordon connects immediately with the sublime rhythm section of Kenny Drew, Paul Chambers and Philly Joe Jones on this, his second Blue Note album.
Dexter Gordon’s Blue Note debut kicked off the first of several resurgences in his career. With Freddie Hubbard and Horace Parlan’s trio, the master tenor saxophonist made a great album.
Dexter Gordon had been a European resident for two years when he made this create session, one of the greatest of his career.
With four of the brightest innovative talents in New York (Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams) and five startling, diverse originals, Eric Dolphy made the greatest jazz album...
Henry Grimes -b.
David Murray -sx, bcl.
Hamid Drake -tr.
1. Spin
2. Eighty Degrees
3. Flowers For Albert
4. Blues For Savanah
Total time: 63:34
Recorded live at the Kerava Jazz Festival, Finland.
Cover art and layout by Åke Bjurhamn.
Herbie Hancock's fourth Blue Note album with Freddie Hubbard, Ron Carter and Tony Williams defined the sound that his jazz work would carry to this day: funk, delicate harmonies and experimental impro.
Every single tune on this album from the haunting "Maiden Voyage" to the gentle, swinging "Dolphin Dance" has found its way into the standard jazz repertoire.
Although not released until 1980, this 1958 all-star gathering at Small's Paradise in Harlem, New York has become one of Jimmy Smith's most highly regarded Blue Note albums.
Dubbel-CD!
Jimmy Smith made 15 albums in a variety of contexts, but this live session captured how he reached people night after night with his working trio.
Every single album produced by the team of Joe Henderson and Kenny Dorham has become a Blue Note classic. “In ‘N Out”, propelled by the rhythm section of McCoy Tyner, Richard Davis and Elvin Jones is no exception.
Joe Henderson's final Blue Note album in 1966 featured an all-star septet. Every composition is a beautifully-voiced and played gem.
This is the third exceptional collaboration by Joe Henderson and Kenny Dorham (after "Page One" and "Una Mas") with the cutting edge rhythm section of Andrew Hill, Eddie Khan and Pete LaRoca.
Page One introduced the jazz world to the unusually mature and original young tenor saxophonist, Joe Henderson. "Recorda Me" & "Blue Bossa" have become jazz classics for their mix of Brazilian rhythms...
Davis's 1952 sextet date with J.J. Johnson and a very young Jackie McLean introduced "Dear Old Stockholm", "Donna" and the trumpeter's classic reading of "Yesterdays". His 1954 quartet date with Horac.
Art Blakey's drums generate a lot of power on Miles Davis's 1953 sextet session with J. J. Johnson and Jimmy Heath. All but the ballad "I Waited For You" are heard in two takes. The enduring masterpie!
In 1962, Ornette Coleman, who'd rocked the jazz world three years earlier, debuted his new trio with classical bassist David Izenson and drummer Charles Moffett, introducing an entirely new sound.
In 1962, Ornette Coleman, who'd rocked the jazz world three years earlier, debuted his new trio with classical bassist David Izenson and drummer Charles Moffett, introducing an entirely new sound.
# 1-2 recorded in concert at Kägelbanan,
Stockholm, August 17, 1977.
# 3-4 recorded in concert at Jazz Club Fasching,
Stockholm, August 5, 1975.
Cover art and layout by Åke Bjurhamn.
"Drawn from a pair of mid-Seventies club appearances, the music is wide open free jazz, with plenty of quiet passages in the lengthy tracks. At their fiercest, Lars-Göran Ulander unleashes one impassioned solo after another, kicked hard by drummer Peter Olsen. Pianist Wallin's broad voiced and excited piano moves in and around the serpentne saxophone lines with his own dynamics. The result is consistently interesting and absorbing blowing by a confident ensemble." -Stuart Kremsky, IAJRC Journal.
Dubbel-CD! The mid-fifties was an astonishing period for this saxophone genius. And for all his great work in this era, this daring album and "Saxophone Colossus" remain his crowning achievements.
Personnel: Sonny Rollins: tenor sax Wynton Kelly: piano Doug Watkins: bass Philly Joe Jones: drums
Sonny Rollins was still with Max Roach's quintet when he made his auspicious Blue Note debut, which includes the classic "Decision".
J.J. Johnson shared the front line with this tenor master for an exceptional session that features a unique reworking of "Poor Butterfly" and a great original "Why Don't I."
Some of the most original, influential and perfect modern jazz ever recorded. Monk introduced his greatest and most unique compositions in these early years like "'Round Midnight".
Monk debuted some of his most complex masterpieces like "Four In One" as well as classics like "Straight No Chaser" on his two final Blue Note sessions which are present here in complete form.
Tung platta med Herbie Hancock, Sam Rivers, Gary Peacock, Bobby Hutcherson, Richard Davis och Ron Carter förutom Anthony Williams.
One of the most exciting and innovative voices in modem jazz, Wayne Shorter was in his final weeks with Art Blakey's Jazz Messengers before joining Miles Davis when he recorded this exceptional album.
Wayne Shorter’s first Blue Note album remains a masterpiece. Lee Morgan, McCoy Tyner, Reggie Workman and Elvin Jones interpret his unique compositions beautifully.
Bilden visar tröjans rygg. och trycket i nacken med texten -The Jazz of Gothenburg since 1978.
Storlek large.
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