Terasima Records presents Jazz Bar 2020. Enrico Pieranunzi Trio, Niels Lan Doky, Harry Allen, Chad Lawson Trio, Dag Arnesen, Jan Harbeck Quartet and many others.

This 2-CD set presents the legendary valve trombonist acting as co-leader with Zoot Sims on the January 1956 album "Tonite's Music Today" and as leader of three separate studio groups on the self-titled "Brookmeyer" from October of the same year. He's leader of the BB Quartet on "The Blues - Hot and Cold" from June 1960, and finally shares leadership on "Stan Getz/Bob Brookmeyer" from September 1961.

Whether as a trumpeter or singer, Chet Baker was always the subject of controversy among jazz listeners, a victim of fashion who was doomed in his lifetime to be either over- or underrated. These Pacific Jazz recordings from the mid-1950s present Baker the instrumentalist at the height of his popularity. While his coolly passive treatments of ballads like "Imagination" and "Stella by Starlight" may play to the languid stereotype of West Coast jazz, there's boppish fire and invention on the medium- and up-tempo tunes, with Baker emphasizing the middle register that was his forte. Altoist Art Pepper and valve trombonist Bob Brookmeyer turn up among the supporting cast, and there's a good choice of material by boppish heads from both coasts, including Carson Smith's "Carson City Stage," Jimmy Heath's "C.T.A.," and Al Haig's "Jumping Off a Clef".

The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.

A dynamic jazz band that plays a soulful mix of melodic original tunes with a rock attitude. From cool cocktails to filling the dance floor bluelounge have the grooves. The combination of sax, guitar, double bass and drums creates a rich, funky sound. Formed in 2002 by Sydney, Australia based musicians Andy Gatfield and Mike Berry, Bluelounge are an instrumental jazz band that play cool melodic grooves. The addition of virtuosic guitarist and songwriter Martin Cilia to the band in 2005 took Bluelounge to a new level and led to the release of their self titled CD in 2007. With a stunning original collection of songs to add to their repertoire of classic standards, Bluelounge are a force to be reckoned with on the Australian music scene. With guest vocalist Steve Howard (courtesy of The Capitols). The hardworking members of Bluelounge have and still play with some of Australia's best bands such as The Atlantics, The Capitols, Slide McBride, Dom Halpin and the Suspects, Paris Dumper, Gervais Koffi and the African Diaspora, Dave Warner and many others.

With the support of the American State Department, the Dave Brubeck Quartet, including new members Joe Morello and Eugene Wright, began a major tour of Europe early in 1958. Their first concert in the Netherlands was held on 26 February in the legendary Concertgebouw Hall in Amsterdam, usually reserved for performances of classical music. Since 1951 and the collaboration between Dave Brubeck and Paul Desmond, the band had gained a stunning reputation. In 1954, Dave Brubeck was featured on the cover of Time magazine. Rumor has it that Duke Ellington knocked on Brubeck’s hotel door to congratulate him. Brubeck is said to have responded, “It should have been you.” He dedicated one of his most famous pieces, “The Duke”, included on this album, to his fellow pianist.

Slavic Smile was recorded in 1982, shortly after the Modern Jazz Quartet was reunited. On this album, the unique pianist of the MJQ, John Lewis pursued a different sound and approach from the legendary group, albeit with the same instrumentations and Connie Kay on the drum chair. The key difference, of course, is the presence of Bobby Hutcherson, whose cool, lyrical approach to the vibraphone is quite different from the more soulful and bluesy Milt Jackson. The band has a very unique, minimalistic and prestine sound, and Lewis's mixture of classical and jazz concepts gives the atmosphere of contemplative chamber music to the proceedings.

Flugelhornist Art Farmer's fourth and final LP for CTI also features tenor-saxophonist Joe Henderson. The material (which includes originals by Clare Fischer, Joe Zawinul, Don Grolnick and Mike Mainieri) is not the most memorable and the funky rhythm section (which is greatly expanded) does not really blend all that well with the styles of Farmer and Henderson so this set is not as exciting as one might hope.

Pianist John Lewis, heard on vacation from the Modern Jazz Quartet, mostly plays introverted interpretations on this album. He duets with drummer Connie Kay and guitarists Barry Galbraith and Jim Hall, only using a full rhythm section (bassist Percy Heath and drummer Kay) on two of the seven selections. The thoughtful and introspective selections include four Lewis originals (best-known is "D & E") and three standards (including a tender "It Never Entered My Mind").

Stan Getz leads a piano-less quartet at the Salle Pleyel in 1966, with veteran drummer Roy Haynes and two talented musicians still in their twenties at the time, bassist Steve Swallow and vibraphonist Gary Burton. The tenor saxophonist's always-lush tone is beautifully complemented by his musicians' sensitive accompaniment, especially on the lovely ballad "When the World Was Young." Burton is doubly showcased by Getz in the vibraphonist's tricky "Singing Song" and also dazzling the audience with his already well-developed four-mallet technique in a show-stopping solo interpretation of Rodgers & Hammerstein's "Edelweiss" (from The Sound of Music). Getz doesn't disappoint his French audience's desire for bossa nova, beginning the set with a smooth rendition of "Manha de Carnaval"…

It was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well-known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on Afternoon in Paris - neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well-known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from "Willow Weep for Me," "All The Things You Are," and "I Cover the Waterfront" to Milt Jackson's "Bags' Groove" and Lewis' title song…

During 1949-1951 pianist Dave Brubeck led a San Francisco-based trio with bassist Ron Crotty and Cal Tjader doubling on drums and vibes. This CD has all 24 of this group's recordings, interpretations of standards that are full of surprising moments. Even at this early stage, Brubeck had his own style and sounds nothing at all like Bud Powell, the dominant influence of the era.

This studio date came about as a result of Albert Mangelsdorff's appearance at the Third Yugoslavian Jazz Festival, where pianist John Lewis was impressed enough with his performance to set up a recording session a few days later. With bassist Karl Theodor Geier and drummer Silvije Glojnaric also on hand, none of the musicians had ever played together, though it made little difference as they quickly absorbed the originals of Lewis and Mangelsdorff, along with the familiar standard "Autumn Leaves" (a trio arrangement omitting Lewis) and Gary McFarland's "Why Are You Blue." The leader's judgment is validated with Mangelsdorff's impressive work. The final track showcases a separate group, the Zagreb Jazz Quartet, featuring pianist Davor Kajfes, vibraphonist Bosko Petrovic, bassist Miljenko Prohaska and Glojnaric on drums.

Returning to the large ensemble sound of her 2005 success, Christmas Songs, pianist/vocalist Diana Krall delivers a superb performance on 2006's From This Moment On. Although having received a largely positive critical response for her creative departure into original singer/songwriter jazz material on 2004's The Girl in the Other Room, here listeners find Krall diving headlong into the Great American Songbook that has long been her bread and butter. While she's always been a pleasant presence on album, Krall has developed from a talented pianist who can sing nicely into an engaging, classy, and sultry vocalist with tastefully deft improvisational chops.