Destination Moon 黑胶唱片和CD

Review: Game-changing samba king Jorge Ben's 1963 debut album Samba Esquema Novo marked the beginning of a legendary career in Brazilian pop. Featuring the iconic tracks like the oft-imitated but never bettered 'Mas Que Nada' and 'Chove Chuva,' the agenda-setting album showcases Ben's early blend of vibrant bossa nova rhythms, rich choruses and his distinctive minor-key guitar style. While not yet embracing the Afro-rock influences of his later work, this release highlights a light yet energetic sound with big-band arrangements adding punch to the infectious melodies. It's a timeless album that remains a joyful and essential listen and captures the roots of a unique musical voice destined to shape Brazilian music for decades.

Review: What is there left to be said about this album? It is (probably) one of the most pressed and reissue of all-time and for good reason - it set a new standard for jazz and appeared to both hardcore lovers of the genre as well as those with only a passing interest. No matter your view of jazz, it is hard not to be moved by the feathery drums and wandering bass of opener 'So What', or the expressive horns of 'Freddie Freeloader' over nimble piano fingers that dance so delicately about the keys. 'All Blues' is a study in melancholy and 'Flamenco Sketches' brings a hint of South American sunshine into this most moving and intimate of jazz records.

Review: This limited edition and hand-numbered reissue features the complete performance by the Miles Davis Sextet from the Newport Jazz Festival in July 1958. The ensemble, which is rightly one of jazz history's most celebrated, included Davis on trumpet, John Coltrane on tenor sax, Cannonball Adderley on alto sax, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. Although this iconic lineup was short-lived, they made a truly lasting impact on jazz as they went on to record the legendary Kind of Blue album just six months later. As a special bonus, this release also includes rare broadcast performances by both the Miles Davis Quintet and Sextet from the same period.

Review: Before Aretha Franklin made her mark with stomping southern soul in the late 60s, she had already built a diverse career. Beginning as a gospel singer, she spent the early 60s recording in various genres, with mixed success. These early recordings with the Ray Bryant group present her as a jazz vocalist, reminiscent of Sarah Vaughan or Ella Fitzgerald. Tracks like 'Ain't No Way' and 'Take a Look' capture her ability to blend effortless technique with deep emotion. The sessions are pristinely recorded with no overdubs, allowing Franklin's voice to shine in its purest form, proving her talent in jazz long before she became an icon of soul.