Teresa Luján - Sings Anita O'Day

Styles: Vocal Jazz
Year: 2021
Time: 46:09
File: MP3 @ 320K/s
Size: 106,9 MB
Art: Front

(2:52) 1. Fine and Dandy
(4:16) 2. Honeysuckle Rose
(5:45) 3. A Nightingale Sang in Berkeley Square
(3:15) 4. Sing, Sing, Sing
(2:46) 5. Pick Yourself Up
(5:36) 6. Somebody's Crying
(3:43) 7. Let's Face the Music and Dance
(3:19) 8. Four Brothers
(2:26) 9. Drum Boogie
(4:04) 10. Tenderly
(3:27) 11. Whisper Not
(4:34) 12. Tea for Two

"I saw Anita O'Day live in 1987, at Teatro Principal in Valencia. Her and clarinetist Buddy DeFranco were the guest artists in tour with Woody Herman’s Orchestra, which was then led by Frank Tiberi. I barely knewher then; she looked like a nice old grandma, but I wasn’t impressed. Almost 70 then, her best days were behind her. I discovered her little by little, thanks to the wonderful albums that I slowly managed to get my hands on, and to films like Jazz on a Summer’s Day (1960), where a hat with feathers, a pair of white gloves and a black cocktail dress became the iconic get-up that today we associated with her.

In any case, for those of us without ties to her and her times, her independent character, her defiance of apartheid, her addiction problems and her flashes of genius on stage feel very far away. For us, Anita O'Day means mainly a vocal style. A style that share with Billie Holiday the limitations of their tone and timbre —as well as the creative solutions to overcome them—, with Ella Fitzgerald the passion of rhythm, and with Mel Tormé the overwhelming imagination necessary to recreate well-known songs and turn theminto one surprise after another.

Teresa Luján is also an independent soul among us. A singer who spends her time teaching and investigating —she is one of the foremost experts in Tete Montoliu when she decides to face an audience, it is always after careful consideration of the project. She is not particularly keen on experimenting, butwhen she looks back in search of inspiration, there isn’t a hint of nostalgia in her eye. Her interest in Henry Mancini or the Boswell sisters is focused on the more timeless aspects of their work. Now, with her tribute to Anita O'Day she wants to highlight just how modern she was.

This CD also represents a step forward in Teresa Lujan’s career as a singer. For the first time she is confronting an artistwith a similar stylistic frame, range and color to her own. Although Teresa’s voice has a deeper timbre and a more pronounced vibrato, she manages to sidestep the main danger in this endeavor, which was imitation. And she does so using her strongest suit, which she also shares with her admired O’Day: the more jazz-oriented aspects of her craft. And being backed by a trio —and an excellent trio at that,withMiano, Ferrer and Pérez, experts inmaking the music walk— a fresh, swinging approach is guaranteed. When all is said and done, a feeling of freedom pervades their music, and the end result belongs to all of them, not taxes, no tolls, no buts.

The choice of songs hearkens back to Anita O'Day, but with subtle innovations with respect to her better-known versions. The first three tracks were already on the LP 'Anita' (1956), with orchestrations by Buddy Bregman and some tunes for small group. Teresa Luján’s «Fine and Dandy» still uses the original arrangement, but focusing more on the pure vocal sensuality of the first bars, to later go into a beautiful scat that remindsme of Chet Baker. From the initial walkin’ bass, «Honeysuckle Rose» also sounds like the 1956 arrangement, but Teresa adds a vocal solo, followed by two more by Richi Ferrer and Fabio Miano. «A Nightingale Sang in Berkeley Square» is the first ballad,which lets Teresa showmore of her personality, her range of colors and phrasing, as she let’s herself be dragged by the beautiful melody, never straying too far from the intimacy that O'Day imparted to her own version. (tbc: https://www.freshsoundrecords.com/teresa-lujan-albums/53998-sings-anita-o-day.html)

Personnel: Teresa Luján (vocals), Fabio Miano (piano), Richi Ferrer (bass), Julio Pérez (drums). Recorded at Infinity Estudios, Madrid, June & September 2019

Teresa Luján Sings Anita O'Day

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Jeb Patton - Whisper Not

Styles: Avantgarde jazz, Contemporary jazz, Free jazz
Year: 2025
Time: 38:38
File: MP3 @ 320K/s
Size: 89,0 MB
Art: Front

(7:34) 1. Cheesecake
(5:49) 2. Whisper Not
(5:29) 3. Take the Coltrane
(7:36) 4. Darn That Dream
(4:50) 5. My Heart Stood Still
(7:16) 6. Solar

Jeb Patton has earned a distinguished reputation in the international jazz community. Gifted with exquisite technique, commanding swing, and a profoundmelodic commitment, he has made a lasting impact on the contemporary jazz scene.

Under the mentorship of Sir Roland Hanna and Jimmy Heath, Jeb earned his Master of Arts degree, summa cum laude, in 1997 from the Aaron Copland School of Music, Queens College, City University of New York. During his studies, he was also honored with the Louis Armstrong Award for Composition by the ASCAP Foundation.

Since graduating, Jeb has toured extensively across the United States and abroad with the Heath Brothers and Jimmy Heath’s Generations Quintet, performing in theaters, festivals, concert halls, colleges, and jazz clubs. Since moving to New York in 1996, Jeb has collaborated with esteemed musicians such as Charles McPherson, The Jimmy Heath Big Band, The Dizzy Gillespie Alumni Big Band, The Dizzy Gillespie All Stars, George Coleman, the Faddis/Hampton/Heath Sextet, James Moody, Jeremy Pelt, Mike Mossman, Lewis Nash, Antonio Hart, The Vanguard Jazz Orchestra, The Carnegie Hall Jazz Band, Barbara Cook, Jessye Norman, Frank Wess, Dmitry Baevsky, Grant Stewart, Mike Karn, Joe Magnarelli, Lew Tabackin, Jerry Weldon, Sachal Vasandani, Pete Van Nostrand, Roberta Gambarini, Rodney Green, David Wong, Winard Harper, Diego Urcola, Peter and Will Anderson, Willie Jones III, and Marlene Ver Planck, as well as leading his own trio.

This recording, made in Barcelona during Jeb Patton’s quartet tour of Spain in May 2022, features the pianist accompanied by three top Spanish jazz musicians: Santi de la Rubia, Ignasi Gonzalez and Roger Gutierrez. Jeb Patton plays with fullness, strength, and remarkable range. His touch and the intelligent development of his musical ideas make him a pianist with a truly unique voice. Jeb breathes fresh life into time-honored jazz standards, making them sound vibrant and exciting once again.

Jeb Patton Quartet: Jeb Patton (piano), Santi de la Rubia (tenor sax), Ignasi González (bass), Roger Gutiérrez (drums). Recorded at Estudi Medusa, Barcelona, May 17, 2022

Whisper Not

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Joan Fort - So Far, So Good

Styles: Avantgarde jazz, Contemporary jazz, Free jazz
Year: 2025
Time: 57:02
File: MP3 @ 320K/s
Size: 131,6 MB
Art: Front

(4:21) 1. So Far, So Good
(3:55) 2. Fly With The Wind
(6:09) 3. So Nice
(6:40) 4. Bush Baby
(4:34) 5. Hocus Pocus
(7:27) 6. Escapade
(4:26) 7. Where's The Plunger
(7:34) 8. You Taught My Heart To Sing
(5:32) 9. Book's Bossa
(6:20) 10. With A Song In My Heart

When I heard the first bars of the opening tune, “So Far, So Good”, I thought, “Wow! The Poll Winners are back”, recalling that famous trio from the ‘50s featuring Barney Kessel, Ray Brown, and Shelly Manne. But the comparison quickly fades as Joan Fort, Philip Lewin and David Puime are definitely having their own sound and are able to take the music to another direction.

Lucky Thompson’s composition “Fly With The Wind” lives up to its name as the band truly takes flight. It swings hard and the interaction between the guitar and the drums is great. “So Nice”, written by the legendary bebop piano player Elmo Hope, has a great feel with Fort playing beautiful lines in his solo and supported by Lewin’s warm bass sound and Puime’s nice fat swinging brushes. Fort’s own composition, “Bush Baby”, begins with a beautiful guitar intro which leads to the melody in a relaxed medium tempo and I hear the phrasing and melodic influence of Jim Hall and Jimmy Raney which is very rare these days. Lee Morgan’s “Hocus Pocus” sounds really swinging in this great trio arrangement and the chase choruses between Puime and Lewin are an example of musicality.

The trio expands into a quartet for the next few tunes with the addition of the excellent pianist Timothy Banchet. “Escapade”, written by the great Kenny Dorham, has a very relaxed and warm feel. Fort’s “Where’s The Plunger?” is a fast swinger with great solos from Fort and Banchet and nice, clear phrasing from Puime. Timothy’s beautiful piano intro is the beginning of awonderful duo performance of the ballad “You Thought My Heart To Sing”, with Fort on guitar. The samba “Book’s Bossa”, written by bassist Walter Booker is played which such a groovy feel that it is impossible not to dance.

The closing tune of this remarkable debut album is the Richard Rogers and Lorenz Hart’s standard “With A Song InMy Heart”. This could not be a better ending, starting with a gorgeous rendition of the seldom heard verse by Fort and the beautiful voice of guest singer Sanna van Vliet. The tune ends in up-tempo with a wonderful trumpet solo from Paolo Petrecca another surprising guest. 

This is a remarkable debut album of three great inventive and swinging musicians who are making music on a very high level with the guest soloists as an extra plus. They know the language and have the tradition solid in their pockets. The future of Jazz is definitely safe in their hands. I can’t wait to hear their next album! — Eric Ineke

Personnel: Joan Fort (guitar), Philip Lewin (double bass), David Puime (drums). Guest: Timothy Banchet (piano, on #6, 7, 8 & 9), Sanna van Vliet (voice on #10), Paolo Petrecca (trumpet on #10). Recorded at Studio Conservatorium van Amsterdam, October 4 & 5, 2023

So Far, So Good

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OH HAPPY DAY

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Sal Mosca - For Lennie Tristano · Solo Piano 1970 & 1997

Styles: Jazz
Year: 2022
Time: 49:01
File: MP3 @ 320K/s
Size: 112,8 MB
Art: Front

( 9:03) 1. You Go to My Head / Sweet Georgia Brown
( 4:28) 2. Talk of the Town
( 8:14) 3. All the Things You Are
( 2:15) 4. Prelude to a Kiss
(11:15) 5. Night and Day / These Foolish Things / That Old Feeling
( 6:46) 6. Sweet and Lovely
( 5:38) 7. In a Mist
( 1:19) 8. Stella by Starlight

During my seven-year archival project transferring all of Sal's personal recordings to the Institute of Jazz Studies (Rutgers Univ., Newark, New Jersey), I uncovered this reel-to-reel audio tape in Sal's Mt. Vernon, New York, studio, tucked away in a drawer in his corner desk separate from all of his other tapes. It was tied closed with a thick string from top to bottom as well as from side to side. On the back of the cardboard box, written in Sal's exquisite penmanship, were the words, “Solo Tape for Lennie Tristano, February 2, 1970.” I was so excited that this tape (if it was still playable) would have some really great early Sal Mosca piano playing. I had to wait a few weeks until I was able to locate a high-end tape player before I could listen.

In the interim, I wondered whether this was the source file. Sal's studio burnt in the mid-1970s, and he'd lost everything, including his piano. It was surprising to find anything like this from 1970 in this new studio. Did Lennie own this tape and return it? Or did Sal get it back after Lennie's death? From what I've been told, Lennie probably labelled it in Braille on the back cover. When I found this tape, I had already archived a few hundred hours of Sal's music. The recordings started as early as 1950. But I realized that this was the first complete recording of solo piano by Sal. It was more than five years earlier than Sal's first solo release, Sal Mosca Music, on Interplay Records. Finally, after hearing the first tune, You Go to My Head, I knew this was a special recording, and when I finished listening to both sides of the tape, I understood why Sal would have wanted to give this to Lennie or to record it specifically for him. It's one great pianist paying homage to another great pianist who happened to be his teacher, close friend, and one of his major influences; however, Sal, even with some obvious Lennie influence, remained true to himself throughout; he was able to pay and play tribute to Lennie without ever copying Lennie, yet on a feeling level, the influence is undeniable. But Sal was doing something new, especially with his sense of time, his unique sound, his melodic creativity, and his unmistakable multilined, two-handed approach to improvising. His love of Tatum, as a piano stylist, is also there.

As a result of this archiving project, the Mosca family and I had already released seven CDs on two separate albums for Sunnyside and Cadence Jazz. Whether to release this album or any of the previous posthumous albums carried a significant responsibility for me. I had to answer: “Does this add to Sal's legacy?” If this was the only recording someone heard of Sal, would it represent him? Is this music more than just historical? My feeling was and still is a resounding “yes!” It is historical as it is the earliest recording available of Sal's solo piano playing, but mainly it is thrilling to hear Sal's intense and electric improvising. It reveals where his solo piano playing was going, and how he might approach the standard tunes that he loved, the lines he wrote and played in the years to come. And if Sal felt that this was good enough to give to Lennie (and that is something impressive), then it is quite good to share with the rest of us.

Before I approached the Moscas with the idea of releasing this music, I needed further affirmation. It was just too important. Even though I knew Sal's music really well (we became very close friends during his last 10 years and played sessions and some gigs together for 7 years), I needed to consult with a few players who I thought also knew his playing intimately. I went to Larry Bluth, Connie Crothers, Jimmy Halperin, and Peter Prisco, all really wonderful jazz musicians, who either studied with Lennie or Sal. They agreed that this should be released. I also included two additional solo piano arrangements from 1997 that he was proud of. He played these two pieces, “In A Mist” and “Stella By Starlight,” on a WCKR-FM radio show in 1998 dedicated to his music.

Tenor saxophonist Jimmy Halperin, a student of both Lennie and Sal, is someone that I think will be forever linked with Sal's music and Sal’s teaching. Jimmy is an original improviser. Sal said of Jimmy, in a Cadence Magazine interview from 2001, “Jimmy is the most prepared student I ever had and the most professional student I ever played with.” It's so fitting that we were able to interview Jimmy regarding Sal, Lennie, and this album. I consider myself so very fortunate to have played with both Jimmy and Sal, as well as for being able to hear Sal perform solo or with Lee Konitz and Warne Marsh. The last time I played with Sal was on New Year's Day 2007 at Bird- land, NYC. He died in July, though he was able to perform in Europe for a series of concerts and workshops in January 2007. Sal was 80. I'm certain that you will enjoy this music and be thrilled and awed by it as I have been, perhaps as Lennie was too. —Don Messina, July 2021 

Sal Mosca, solo piano 

Recorded at Sal Mosca’s Studio, Mt, Vernon, NY, February 2, 1970 (#1-6); and 1997 (#7-8)

Sal Mosca for Lennie Tristano. Solo Piano 1970 and 1997

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Victoria Rummler - Take Two

Styles: Jazz, Pop, Stage & Screen
Year: 2017
Time: 45:58
File: MP3 @ 320K/s
Size: 106,4 MB
Art: Front

(0:20) 1. 20th Century Fox Theme
(3:34) 2. Love Is Here to Stay (From "An American in Paris")
(3:00) 3. Theme from Le Ballon Rouge (From "Le Ballon Rouge")
(3:10) 4. The Pink Panther Theme (From "The Pink Panther")
(5:59) 5. Smile (From "Modern Times")
(4:01) 6. Frankly (From "Frankly")
(3:02) 7. Ascenseur pour l'échafaud (From "Lift to a Scaffold")
(1:00) 8. C'est le vent, Betty (From "Betty Blue / 37,2 Le Matin")
(4:11) 9. I Wanna Be Loved by You (From "Some Like It Hot")
(3:21) 10. Casablanca (From "Casablanca")
(3:43) 11. La chanson d'hélène (From "Les Choses De La Vie")
(3:02) 12. Theme from Le Ballon Rouge (From "The Red Balloon")
(2:18) 13. Cantina Theme (From "Star Wars")
(5:11) 14. Chanson de Delphine (From "Les Demoiselles De Rochefort")

It all started with a commission from the Théâtre du Bois d’Arcy near Paris, to do a jazz performance with a theme. I spontaneously chose “cinema,” probably due to the strong connection between jazz standards and movies. It also felt like an amusing challenge to juxtapose genres and make each piece a kind of short film for the ears. Since that first performance, the project has rolled around in my head, hibernated, and periodically resurfaced. Today it has finally emerged from my mind’s egg.

In the past, movie music meant lush orchestration, so in recording this album I decided to pull a musical u-ey: only voice and guitar, with as little arrangement as possible. The idea of working with different guitarists felt natural in light of the sweeping differences between the pieces, and it was thrilling to work with no less than five masters of the instrument: Lionel Loueke, Nguyên Lê, Federico Casagrande, Guilherme Monteiro and Dano Haider. Each of the songs reflects some aspect of my personal or creative journey. Cut! That’s a wrap! - Victoria Rummler, November 2016 

Personnel: Victoria Rummler (vcl), Federico Casagrande, Dano Haider, Guilherme Monteiro, Lionel Loueke, Nguyên Lê (g)

Take Two

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Toots Thielemans - The Soul of Toots Thielemans

Styles: Swing, Bop
Year: 2010
Time: 41:24
File: MP3 @ 320K/s
Size: 95,6 MB
Art: Front

(5:19) 1. You Are My Sunshine
(5:24) 2. Nuages
(4:37) 3. Five O'Clock Whistle
(4:59) 4. Soul
(4:23) 5. Lonesome Road
(2:59) 6. Misty
(6:34) 7. Confirmation
(4:55) 8. Les Enfants S'ennuient Le Dimanche
(2:12) 9. Brother John

Not many European-born musicians have been admitted to the select inner circle of jazz innovators. One of them, of course, is the Belgian Jean Toots Thielemans. His amazing capacity to coax real music from a harmonica made of him a true virtuoso. And, as a guitarist, Toots also proved to be more than proficient at playing simple and eloquent, as we can appreciate in this charming program of nice music carried forth with taste, creativity and restrain.

This is by far the best album Jean Toots Thielemans has ever made. Nat Hentoff started his liner notes for the original Signature release in 1960 with this categorical statement. As for Thielemans, he regarded this album as a sort of graduate degree as the result of my assimilation of American life and the American jazz scene. Especially, my assimilation of the people who play, live and sing the blues. Thats why I wanted soul in the title of this album.

A cohesive rhythm section joined him for the date, with pianist Ray Bryant, bassist Tommy Bryant, and Oliver Jackson on drums. A superb trio, with Bryant delivering some bright piano solos in addition to his background duties. By and large, the feel of this set is pleasant, relaxed and swinging. Lets all rejoice in the fact that they went to the studio and did it.

Personnel: Toots Thielemans (harmonica, guitar); Ray Bryant (piano); Tommy Bryant (bass); Oliver Jackson (drums). Recorded in New York City, October 1959

The Soul Of Toots Thielemans

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The Billy Bauer Quartets - Let's Have a Session (2 LP on 1 CD)

Styles: Cool Jazz
Year: 2011
Time: 61:35
File: MP3 @ 320K/s
Size: 143,4 MB
Art: Front

(2:38) 1. Somebody Loves Me
(2:57) 2. September In The Rain
(3:06) 3. A Ghost Of A Chance
(2:27) 4. 'S Wonderful
(2:52) 5. Easy Walkin' Blues
(2:42) 6. Out Of Nowhere
(3:14) 7. These Foolish Things
(2:23) 8. (Back Home In) Indiana
(4:11) 9. It's A Blue World
(2:33) 10. Maybe I Love You Too Much
(4:05) 11. Lincoln Tunnel
(4:46) 12. Night Cruise
(3:01) 13. Too Marvellous
(3:40) 14. Lady Estelle's Dream
(3:14) 15. You'd Be So Nice
(3:46) 16. When It's Sleepy Time Down South
(3:40) 17. The Way You Look Tonight
(4:00) 18. Lullaby Of The Leaves
(2:11) 19. Moon Mist

Billy Bauer was the most celebrated guitarist in early modern jazz, winning more awards than any other on the instrument and establishing an enviable reputation as a member of the Woody Herman rhythm section. As a longtime sideman for Lennie Tristano and Lee Konitz, he made some brilliant recordings showcasing his magisterial authority with contrapuntal lines.

Despite his long career as a sideman, he did only two recording dates as a leader, both quartet sessions, compiled in this CD. In them he managed at all times to extract the greatest tenderness from his instrument. Playing with soul, swinging subtly, straight ahead or lightly as the need arose, he accomplished the rare and difficult feat of combining good jazz with accessibility.

Personnel: Billy Bauer (g), Tony Aless, Andrew Ackers (p), Arnold Fishkin, Milt Hinton (b), Don Lamond, Osie Johnson (d) Sources: Tracks #1-8, from the 10" album "Let's Have a Session" (Audio Lab AAL-5501) Tracks #9-19, from the 12" album "Billy Bauer, Plectrist" (Norgran MGN-1082) Personnel on "Let's Have a Session": Billy Bauer (guitar), Tony Aless (piano), Arnold Fishkin (bass), Don Lamond (drums). Recorded in New York City, April 1955 Personnel on "Plectrist": Billy Bauer (guitar), Andrew Ackers (piano), Milt Hinton (bass), Osie Johnson (drums). Recorded in New York City, May 1956

Let's Have a Session

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Harold Corbin - Soul Brother - The Driving New Jazz Piano of Harold Corbin + Bonus Tracks

Styles: Jazz
Year: 2014
Time: 37:19
File: MP3 @ 320K/s
Size: 86,8 MB
Art: Front

(3:02) 1. Soul Sister (LP Version)
(2:30) 2. Don't Blame Me
(3:06) 3. Rene
(3:02) 4. The Gypsy
(3:33) 5. Caroline
(3:40) 6. Jamf's
(2:47) 7. I've Never Been in Love Before
(3:17) 8. The Girl in the Window
(3:21) 9. Soul Brother
(3:27) 10. Tunga
(2:47) 11. Our Love Is Here to Stay
(2:41) 12. Soul Sister

Pianist Edwin Harold Corbin (1933-1962) was born in Philadelphia, Pennsylvania, where he began classical piano study when he was seven. At 20 he switched from classical to popular music and formed his own trio, working daytime as a city inspector and supplementing his income by playing as house pianist in several Philadelphia jazz spots until 1961. That year, he composed and recorded Soul Sister, which became a local hit single on the 20th Century label (tracks 11 & 12) and led to a contract with the Roulette Recording Company and top booking engagements.

In his debut album for Roulette, he revealed an eclectic style influenced by some of the greatest on the instrument, such as Garner and Jamal. He had the ability to write pieces redolent of his era, at times allied to a certain flair for fashionable funkmanship. His touch is percussive, spicing his lines with emphatic chord voicings, but he soloes with honest, unflashy guts. The effortlessly swinging support by Spanky DeBrest and Eddie Campbell is sensitive and restrained throughout, lending this set the easy, unforced quality. This was a persuasively driving and unaffected trio. Unfortunately, Corbins career ended in tragedy when he died of an overdose on April 1st, 1962, less than five months after the release of this album.

Personnel: Harold Corbin (p), Spanky DeBrest (b), Eddie Campbell (d) Sources: Tracks #1-10, from the album Soul Brother The Driving New Jazz Piano of Harold Corbin (Roulette SR 52079) Tracks #11 & 12, from the 45 rpm Twentieth Century 1215 Personnel in all tracks: Harold Corbin, piano; Spanky DeBrest, bass; and Eddie Campbell, drums. Recorded in New York City, June 1961 [#1-10], Philadelphia, early 1961 [#11-12] Roulette recordings produced by Henry Glover 20th Century single produced & engineered by Irvin Ballen (Gotham Records)

The Driving New Jazz Piano of Harold Corbin. Soul Brother

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Kenny Wheeler - Double, Double You

Styles: Jazz
Year: 1984
Time: 48:50
File: MP3 @ 320K/s
Size: 112,3 MB
Art: Front

(14:03) 1. Foxy Trot
( 3:49) 2. Ma Bel
( 7:46) 3. W. W.
(23:10) 4. Three For D'reen / Blue For Lou / Mark Time

Kenny Wheeler's string of ECM recordings are all quite rewarding, generally avoiding the ECM stereotype of introspective long tones and silence. A fiery but thoughtful trumpeter whose style can range from advanced swinging to sound explorations,

Wheeler is joined on this excellent set by tenor saxophonist Michael Brecker, pianist John Taylor, bassist Dave Holland and drummer Jack DeJohnette. They perform a set of Wheeler's originals and each of the world class musicians has an opportunity to be featured. A generally memorable outing. By Scott Yanow
https://www.allmusic.com/album/double-double-you-mw0000208011#review

Personnel: Kenny Wheeler – trumpet, flugelhorn; Mike Brecker – tenor saxophone; John Taylor – piano; Dave Holland – bass; Jack DeJohnette – drums

Double, Double You

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Sammy Davis Jr. - Now

Styles: Jazz, Soul, Swing, Easy Listening
Year: 1972
Time: 40:59
File: MP3 @ 320K/s
Size: 94,8 MB
Art: Front

(3:13) 1. 01 The Candy Man
(3:35) 2. 02 This Is My Life
(3:02) 3. 03 I Am Over 25 - But You Can Trust Me
(3:26) 4. 04 Have A Little Talk With Myself
(3:58) 5. 05 Willoughby Grove
(4:29) 6. 06 Take My Hand
(2:33) 7. 07 I'll Begin Again
(2:48) 8. 08 I Want To Be Happy
(7:20) 9. 09 MacArthur Park
(2:27) 10. 10 Time To Ride
(4:02) 11. 11 John Shaft

Sammy Davis Jr. Now is a 1972 album by Sammy Davis Jr. The album features the number one hit "The Candy Man", a Grammy-nominated song. The rest of the album is made up of standards, big ballads and soul tracks.https://en.wikipedia.org/wiki/Sammy_Davis_Jr._Now

Now

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