Silky Denims: 05/11/14

Sunday, May 11, 2014

Alex Pangman - They Say / Can't Stop Me From Dreaming

Album: They Say
Size: 143,3 MB
Time: 61:14
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz: Swing/Big Band, Early Jazz
Art: Front

01. Sing You Sinners (2:52)
02. Daddy Won't You Please Come Home (3:57)
03. They Say (3:49)
04. I'm One Hundred Percent For You (3:39)
05. Without That Man (4:44)
06. We Three (5:20)
07. Love Me Tonight (3:26)
08. Let Yourself Go (3:03)
09. I'll Never Say 'never Again' Again (3:37)
10. Here We Are (4:49)
11. No Regrets (4:04)
12. Three Little Words (4:09)
13. Moon Ray (5:39)
14. After You've Gone (4:48)
15. Can't We Talk It Over (3:12)

Tackling a long out-of-fashion genre is always tricky enough; it's even trickier when the style becomes trendy again and burns out fairly quickly. Coming so soon after the collapse of interest in bands like Squirrel Nut Zippers, vocalist Alex Pangman's decision to record an album of '20s and '30s-style swing could have been doomed, except for the fact that Pangman obviously loves the genre, and has opted for a much more traditional approach here -- no pandering to the trendies. It also doesn't hurt that Pangman hooked up with Jeff Healey, who has long harbored an interest in classic jazz, and who knew a number of players around the world who would be interested in participating. As expected, the players are top-notch (and keep an ear open for Healey playing trumpet here). The real surprise is that Pangman -- only 22 when the album was recorded -- comes through so convincingly on this debut effort. The album is all the proof you need to know that she'll be worth watching in the future. ~Review by Sean Carruthers

They Say

Album: Can't Stop Me From Dreaming
Size: 134,4 MB
Time: 57:40
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz: Swing/Big Band, Early Jazz
Art: Front

01. You Can't Stop Me From Dreaming (4:46)
02. Serenade In The Night (4:12)
03. Mama's Gone Goodbye (4:09)
04. Give Me Liberty Or Give Me Love (2:42)
05. I Had Someone Else Before I Had You (3:07)
06. Yours All Yours (3:47)
07. It's Unanimous Now (3:28)
08. Through The Courtesy Of Love (3:28)
09. After You Said You Were Leaving (3:06)
10. Prisoner Of Love (4:26)
11. One Night In Monte Carlo (4:12)
12. Melancholy Lullaby (2:50)
13. Concentratin' On You (5:11)
14. Careless (4:54)
15. It's All Your Fault (3:14)

A pleasing singer in her mid-twenties, Alex Pangman loves the music of the 1920s and '30s. For her second recording for the Canadian Sensation label, she performs 13 vintage obscurities plus a lone standard ("Prisoner of Love") and her own "Melancholy Lullaby." Although her voice is small, it is personable and she digs into the lyrics of such early gems as "Mama's Gone Goodbye," "I Had Someone Else Before I Had You," "Through the Courtesy of Love," "Concentratin' on You," and "Careless." Particularly intriguing are the four separate groups that the singer uses. Her Jazz Manouche is a quartet with trumpeter Chris Whitely, two acoustic guitars, and bass. Her Hired Hands is more in the Western swing vein with trumpeter Peter Ecklund, violinist Erin Solomon, and Whitely on steel guitar, plus two guitars, piano, and bass. Her Alleycats is a more conventional septet with three brass horns (including Jeff Healey on trumpet and guitar), while her International All Stars is a sextet with the Bix Beiderbecke-inspired trumpet of Dick Sudhalter. With the variety of instrumentation, the obscure material, and Alex Pangman's enjoyable voice, it makes for an excellent set of revivalist jazz, easily recommended for fans of trad and 1920s-style music. ~Review by Scott Yanow

Can't Stop Me From Dreaming

Edu Lobo - Edu Lobo & The Metropole Orkest

Size: 165,6 MB
Time: 71:30
File: MP3 @ 320K/s
Released: 2013
Styles: Latin Jazz, Bossa Nova, MPB
Art: Front

01. Vento Bravo (6:56)
02. Dança Do Corrupiao (3:47)
03. No Cordao Da Saideira (5:46)
04. Ave Rara (4:53)
05. Choro Bandido (5:35)
06. Frevo Diabo (4:02)
07. Casa Forte (5:32)
08. Cançao Do Amanhecer (3:59)
09. A Historia De Lily Braun (5:27)
10. A Bela E A Fera (4:19)
11. Canto Triste (5:51)
12. Ode Aos Ratos (3:32)
13. Zanzibar - Instrumental (7:42)
14. Na Carreira (4:02)

Some of the boldest, most expressive work we've heard from Edu Lobo in years – a beautiful recording with the Metropole Orchestra, who help Lobo regain all the lofty power of his early 70s years! The arrangements here are full, and full of feeling too – lead vocals by Lobo soaring over the top of his sublime compositions, pushed onward strongly with the full orchestrations of the ensemble –and given some great jazzy undercurrents by the flute and sax work of Mauro Senise! We always like Edu, but the album's a real return to the qualities that first made us fall in love with his music so many years ago – and is continuing proof that the Metropole Orchestra really know how to bring new energy to an artist. Titles include "Vento Bravo", "Canto Triste", "Casa Forte", "Zanzibar", "Ave Rara", "Choro Bandido", "A Bela E A Fera", "Frevo Diabo", and "Danca Do Corrupiao".

Edu Lobo & The Metropole Orkest

Melissa Oliveira - In My Garden

Size: 115,2 MB
Time: 49:35
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Vocals, Bossa Nova, Contemporary Jazz
Art: Front

01. Footprints (5:51)
02. Flor Que Nao Dura (4:19)
03. Sandu (4:24)
04. Sambu (4:11)
05. Chasing Rainbows (6:16)
06. Acordar (6:06)
07. Dia Sem Luz (4:13)
08. Stepping Stones (4:25)
09. Garden Walls (4:49)
10. Nature Boy (4:57)

Half Australian, half Portuguese, Melissa Oliveira has been living in Europe for the past years (in Portugal and in the Netherlands). She had the privilege of recording her debut CD In my garden in Boston with special guests Greg Osby and Jason Palmer and is currently presenting it using an idiosyncratic line-up which also includes the Portuguese guitar, turntables and visuals. In an innovative way, especially in the world of jazz, Melissa Oliveira presents a show that, despite being multifaceted, remains faithful to the principles of this style. Consider the Portuguese guitar, which instead of being used in a strictly traditional manner, is also entitled to jazzy melodies and harmonies as a mandatory part of the arrangements made for this project. Yet, the fusion of styles and instruments doesn’t stop here. Another member of the project is JAM who uses turntables in an interactive way so that even audio-visual solos are possible thus resulting in no two shows being alike by maintaining the spirit of jazz in an unconventional format with this extra visual layer.

In My Garden

Mathilde Santing - Under Your Charms

Bitrate: 320K/s
Time: 44:14
Size: 101.3 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[3:10] 1. Under Your Charms
[3:50] 2. In The Morning
[3:36] 3. My Love Has Gone
[3:10] 4. Fall
[3:09] 5. Mess
[2:46] 6. You've Been Gone To Long
[3:49] 7. Give Me An Ocean
[3:39] 8. Blue Monday
[4:10] 9. St Judas
[3:34] 10. Change Is Gonna Come
[3:06] 11. Been A Fool
[3:34] 12. Didn't I Say
[2:36] 13. The Rules

Mathilde Santing is a Dutch pop and jazz singer born on October 24, 1958 in Amstelveen, a suburb of Amsterdam. Her first album appeared in 1982 and was simply called “Mathilde Santing”. Although most of her songs are in English, she sometimes performs in her native Dutch. Mathilde Santing’s sound is whispery and vulnerable. She is an important gay role model in the Netherlands and she sang at the opening and closing ceremonies of the 1998 Gay Games in Amsterdam.

Under Your Charms

Creedence Clearwater Revival - Creedence Covers The Classics

Bitrate: 320K/s
Time: 39:15
Size: 89.9 MB
Styles: Rock
Year: 2009
Art: Front

[2:41] 1. Good Golly Miss Molly
[3:50] 2. I Heard It Through The Grapevine - Single Version
[2:11] 3. Hello Mary Lou
[4:31] 4. Susie Q - Single Version
[4:10] 5. Midnight Special
[2:04] 6. Ooby Dooby
[3:05] 7. The Night Time Is The Right Time
[2:53] 8. Cotton Fields
[3:35] 9. Ninety-Nine And A Half
[3:24] 10. Before You Accuse Me
[2:16] 11. My Baby Left Me
[4:29] 12. I Put A Spell On You

Another in a long list of fun and inessential Creedence Clearwater Revival compilations, Creedence Covers the Classics rounds up the 12 covers CCR released on their albums over the years. Hits aren't plentiful -- only "Suzy Q" and "I Heard it Through the Grapevine," both here in single edits -- but there are plenty of great tracks here, music that showcases CCR's range. Old Sun rockabilly from Roy Orbison ("Ooby Dooby") and Elvis ("My Baby Left Me") sit alongside spooky R&B ("I Put a Spell on You"), blues ("Before You Accuse Me"), testifying soul ("The Night Time Is the Right Time"), sweet pop from Ricky Nelson ("Hello Mary Lou") and raveups from Little Richard ("Good Golly Miss Molly") and Leadbelly folk turned swamp choogle. While it might be hard to discern who this is for -- casual fans want the hits, the hardcore know this -- it's still a ripping good time, a perfect party record for any occasion. ~Stephen Thomas Erlewine

Creedence Covers The Classics

Ray Brown - Two For The Blues

Bitrate: 320K/s
Time: 34:41
Size: 79.4 MB
Styles: Soul jazz, Hard bop
Year: 1966/2014
Art: Front

[3:27] 1. Baubles, Bangles And Beads
[3:05] 2. It Happened In Monterey
[4:40] 3. Thumbstring
[3:55] 4. My One And Only Love
[3:52] 5. Tricrotism
[3:32] 6. Cannon Bilt
[4:04] 7. Two For The Blues
[5:15] 8. Work Song
[2:48] 9. Day In, Day Out

Original title: Ray Brown With the All star Big-Band.

This long out-of-print LP features an 18-piece big band arranged by Ernie Wilkins with plenty of solos from the co-leaders (altoist Cannonball Adderley and Ray Brown on bass and cello) and a few spots for tenor-saxophonist Yusef Lateef and cornetist Nat Adderley. Highpoints include Oscar Pettiford's "Tricotism," "My One and Only Love" and "Work Song." It's a rare big-band outing for Adderley. ~Scott Yanow

This album teams two of the most talented and most popular jazz musicians in modern music. Cannonball Adderley is an artist of fire and startling rhythmic excitement. He is a player who has captured the imagination bf modern jazz fans. Ray Brown is the backbone of the Oscar Peterson Trio; a bass soloist and rhythm player of indisputable talent energy and creative ability. On this album, Brown not only shows his talent on his major instrument, the bass, but on cello as well. He plays cello on My One And Only Love, the title tune Two For The Blues and Baubles, Bangles And Beads. On these tunes, Hank Jones plays bass behind Ray's cello.

Nat Adderley (cornet); Joe Newman, Ernie Royal, Clark Terry (trumpet); Jimmy Cleveland (trombone); Cannonball Adderley (alto sax); Yusef Lateef (tenor sax, flute); Albert Johnson, Seldon Powell (tenor sax); Jerome Richardson (baritone sax, flute); Hank Jones (piano); Ray Brown (cello); Sam Jones (bass); Osie Johnson (drums).

Recorded Monday January 22, 1962

Two For The Blues

Walter Wolff - Tomorrow

Bitrate: 320K/s
Time: 51:25
Size: 117.7 MB
Styles: Piano jazz
Year: 2013
Art: Front

[6:49] 1. Backstabber Bebopper
[7:03] 2. Tomorrow
[3:23] 3. The White Guy
[5:58] 4. Spark
[1:56] 5. Jean
[2:32] 6. Simple Line
[5:24] 7. Look At My Face
[4:58] 8. Second Song
[5:01] 9. Morava
[4:12] 10. Waiting For Angela
[4:04] 11. Where Are We Going Heen

The music of Wolff/Angiuli/Fryland is founded in a solid knowledge of the tradition of jazz. But the trio also encapsulates a fresh approach to this old musical form – resulting in a lyrical and melancholic, yet at the same time energetic and intense sound. During the past 6 years this trio has performed throughout Europe and in 2008 the trio both toured and recorded with legendary vibraphonist Teddy Charles, receiving great international acclaim by both the press and the public. On their debut CD “Prelude” compositions by the trio members as well as more familiar jazz repertoire are taken into treatment. Now this trio is back with their second album and a debut on Challenge Jazz: again an extraordinary jazz album!

Tomorrow

Kendra Shank - Afterglow

Styles: Vocal
Year: 1992
File: MP3@320K/s
Time: 49:13
Size: 116,6 MB
Art: Front

(5:17) 1. Almost Blue
(5:34) 2. Photograph
(8:26) 3. Tes Yeux Bemol
(3:44) 4. Paris Bossa
(7:38) 5. There's Never Been A Day
(6:23) 6. Afterglow
(4:07) 7. Devil May Care
(3:42) 8. I Have The Feeling I've Been Here Before
(4:18) 9. Left Alone

Singer Kendra Shank, who has a beautiful voice, has grown a lot since her debut CD, but her maiden effort is still worth checking out. In general, this set emphasizes slow ballads, and her voice is quite haunting on the more atmospheric pieces. Shank, who plays a bit of basic Brazilian guitar, is joined by a trio that includes pianist Larry Willis, plus (on two songs) guest altoist Gary Bartz. Other than "Devil May Care," the material is generally pretty obscure; Jobim's "Photograph," Billie Holiday's "Left Alone" and Shank's "Paris Bossa" are among the highlights. ~ Scott Yanow http://www.allmusic.com/album/afterglow-mw0000578706

Personnel: Kendra Shank (vocals, guitar), Gary Bartz (alto saxophone), Larry Willis (piano), Steve Novosel (bass), Steve Williams, Paul Murphy (drums), Steve Berrios (drums, percussion, congas). Personnel: Kendra Shank (vocals, guitar); Gary Bartz (alto saxophone); Larry Willis (piano); Steve Berrios (drums, congas, percussion); Steve Williams , Paul Murphy (drums).

Afterglow

Mandy Barnett - I Can’t Stop Loving You: The Songs Of Don Gibson

Styles: Country
Year: 2013
File: MP3@320K/s
Time: 35:55
Size: 84,7 MB
Art: Front

(2:17) 1. (Yes) I'm Hurting
(2:57) 2. Too Soon To Know
(2:28) 3. Look Who's Blue
(3:25) 4. Sweet Dreams
(3:14) 5. Just One Time
(3:31) 6. Blue Blue Day
(3:06) 7. Oh Lonesome Me
(3:25) 8. Oh Such A Stranger
(2:24) 9. Far Far Away
(3:20) 10. I Can't Stop Loving You
(2:23) 11. Lonesome Number One
(3:20) 12. Legend In My Time

It's a match made in heaven, or at least a match possible only in a place like Nashville where songwriter Don Gibson ventured out one night to a Nashville club hear a young woman, Mandy Barnett, whose sonic voice turned the songs it touched into gold. The two became close friends, and she told Gibson that she'd one day record an album of his songs. A decade after Gibson's death, Barnett has lined up Nashville's A-team of musicians Harold Bradley, Hargus "Pig" Robbins, Charlie McCoy, Andy Reiss, Lloyd Green and Alison Krauss - and produced a riveting album that features her soaring country torch voice driving jaunty interpretations as well as throaty ballad phrasings of many of Gibson's familiar songs. The album kicks off with (Yes) I'm Hurting, which features Reiss' Dick Dale-style guitar poise against dashing, urgent, strings while Barnett channels early Connie Smith or Lynn Anderson. On Look Who's Blue, Barnett delivers a rockabilly tune in the style of Wanda Jackson, replete with chicken-picked guitars on the lead break.

Although Barnett has already sung Sweet Dreams thousands of times in her role as Patsy Cline in the play "Always...Patsy Cline," she slows down the album version to a languorous, dream-like ballad. Cascading guitars reminiscent of the Everly Brothers' tunes open the song, and aching steel guitars pierce the song with their cry, and Barnett captures the sweet desire and sweet, painful regret of this "I-can't-quit-you" song. I Can't Stop Loving You is a perfect match for Barnett's torchy voice and the jazz arrangement that recalls Ray Charles' and Ella Fitzgerald's respective versions. Barnett slows Blue Blue Day down, weaving her voice under and around intricate guitar picking and McCoy's haunting harmonica, turning it into a gorgeous ballad in which she makes the blues palpable. With her powerful and spellbinding voice, Barnett pays fitting and loving tribute to Gibson's songs, and she demonstrates once again that she's as at home in a honky tonk as she is in a jazz club.

It's a match made in heaven, or at least a match possible only in a place like Nashville where songwriter Don Gibson ventured out one night to a Nashville club hear a young woman, Mandy Barnett, whose sonic voice turned the songs it touched into gold. The two became close friends, and she told Gibson that she'd one day record an album of his songs. A decade after Gibson's death, Barnett has lined up Nashville's A-team of musicians - Harold Bradley, Hargus "Pig" Robbins, Charlie McCoy, Andy Reiss, Lloyd Green and Alison Krauss - and produced a riveting album that features her soaring country torch voice driving jaunty interpretations as well as throaty ballad phrasings of many of Gibson's familiar songs. The album kicks off with (Yes) I'm Hurting, which features Reiss' Dick Dale-style guitar poise against dashing, urgent, strings while Barnett channels early Connie Smith or Lynn Anderson. On Look Who's Blue, Barnett delivers a rockabilly tune in the style of Wanda Jackson, replete with chicken-picked guitars on the lead break.

~ Henry Carrigan http://www.countrystandardtime.com/d/cdreview.asp?xid=5255http://www.countrystandardtime.com/d/cdreview.asp?xid=525

I Can’t Stop Loving You: The Songs Of Don Gibson

Eddie Metz And His Gang - Tough Assignment : A Tribute To Davie Tough

Styles: Swing, Contemporary jazz
Year: 1999
File: MP3@320K/s
Time: 70:46
Size: 162,9 MB
Art: Front

(4:07) 1. Smiles
(4:18) 2. It All Belongs To Me
(6:46) 3. Moanin' Low
(4:34) 4. Waiting At The End Of The Road
(5:39) 5. Beale Street Blues
(5:57) 6. It's Been So Long
(3:26) 7. Sophisticated Swing
(5:06) 8. At The Codfish Ball
(5:28) 9. Why Begin Again
(4:17) 10. I Hadn't Anyone 'Till You
(4:45) 11. Lover Come Back To Me
(6:05) 12. Hindustan
(4:48) 13. Not Too Tough
(5:24) 14. Tough Sledding

The drumming son of pianist Ed Metz, Ed Metz, Jr. plays music that was interpreted by early swing and big-band drummer Dave Tough, a stalwart with the bands of Red Nichols, Claude Thornhill, the Dorseys, Artie Shaw, and Woody Herman. While Metz, 41, is no doubt an engaging, literate, standout drummer, he's picked a backup band truly capable of fueling his swinging fire: Trumpeter Randy Sandke, trombonist John Allred, tenor saxophonist Harry Allen, clarinetist Allan Vaché, pianist Johnny Varro, and bassist Phil Flanigan take this music to heart and swing their collective butt off. This CD is neatly programmed into four sections. The first four pieces are culled from Tough's associations with bands in the '20s. "Smiles" is a good, hard swinger saturated with counterpoint (as are many of these tunes). The joy of this call-and-response approach is infectious, as is evident on the head of "It All Belongs to Me." Vaché, Allred, Sandke, and Allen each leads his own melody line for "Moanin' Low," while Sandke and Varro stand out as Metz trades fours on a rousing "Waiting at the End of the Road."

The next five pieces are from the Dorsey era. The delicate swing of "Beale Street Blues" gets deeper into royal hues as it goes along; "It's Been So Long" is a real fine swinger, with the horns inspiring a rippling drum solo; "Sophisticated Swing" is a feature for young Allen in an Ellington-type motif; "At the Codfish Ball" has more interplay on the head, and solos by all the participants; the ballad blues "Why Begin Again?" (which is probably closest to the Tommy Dorsey style), showcases Allred's trombone. In the third section of the program, Benny Goodman is feted by the always right-on Vaché on the easy swinger "I Hadn't Anyone 'Til You." Allen and Varro are in an upbeat mood for the classic "Lover, Come Back to Me," and Vaché's Artie Shaw inflections fire up the ripsnorting Metz on "Hindustan." The sole unison melody of the date, "Not Too Tough" comes from the Herman book and is a simple, enjoyable number charted by Allred. "Tough Sledding," written by Metz Jr. and his father, is an original blues swing with plenty of holes for drum fills. Though led by a drummer, this session is not obviously a drummer's date, which is a tribute to the importance that Tough placed on being a team player. Metz Jr. and crew have done Dave Tough proud with this fine date. ~ Michael G.Nastos http://www.allmusic.com/album/tough-assignment-tribute-to-dave-tough-mw0000053470

Personnel: Eddie Metz (drums); Harry Allen (tenor saxophone); Randy Sandke (trumpet); John Allred (trombone); Alan Vache (clarinet); Johnny Varo (piano); Phil Flanigan (bass).

Tough Assignment

Jonathan Kreisberg - One

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 46:10
Size: 107,2 MB
Art: Front

(5:11) 1. Canto De Ossanha
(6:02) 2. Summertime
(1:21) 3. Without Shadow
(5:23) 4. Skylark
(5:04) 5. Caravan
(2:02) 6. Tenderly
(4:04) 7. My Favorite Things
(5:26) 8. Hallelujah
(4:17) 9. E.S.P.
(4:42) 10. I Thought About You
(2:33) 11. Escape From Lower Formant Shift

The liner notes may say no overdubs or loops were used, but Jonathan Kreisberg might just as easily have included that "No guitars were harmed in the making of ONE." Beyond work with artists like vibraphonist Joe Locke on Sticks and Strings (Music Eyes, 2007) and organist Dr. Lonnie Smith on Spiral (Palmetto, 2010), the guitarist has slowly built a personal discography that includes the particularly impressive The South of Everywhere (Mel Bay, 2007) and Shadowless (New for Now, 2011). Kreisberg may come from a progressive rock background but has, over the past fifteen years, evolved into a virtuoso guitarist who, nevertheless, never substitutes style for substance. Still, it's a ballsy move to turn to that most exposed of contexts the solo recital and to do so without the looping and overdubbing so often used to allow others access to more expansive sound worlds. ONE covers considerable territory with nothing more than one man, one guitar and, on a couple tracks, some effects to broaden Kreisberg's palette.

It's hard not to think of seminal solo guitar innovator Joe Pass on Kreisberg's bright take on Juan Tizol's "Caravan," and a set-defining, similarly acoustic look at saxophonist Wayne Shorter's "E.S.P." that combines high-velocity, cascading phrases with ethereal abstractions, only to resolve into an unexpectedly Latin-esque main section. Kreisberg's language is, however, more modernistic, and here and throughout the album Kreisberg creates an impression of multiple guitarists by combining instrumental mastery with sleight-of-hand, effortlessly moving between bass, chordal and melodic roles to simultaneously imply all three. Kreisberg resorts to a clean, warm, hollowbody electric tone on Baden Powell/Vinicius De Moraes's classic "Canto De Ossanha" one of a number of ONE's covers that have been recorded almost ad nauseum, but which Kreisberg makes his own through distinctive arrangements and melodic invention. Kreisberg nails Leonard Cohen's often-covered "Hallelujah," combining respect and irreverence as, in an extended coda, he layers dissonances that, nevertheless, remain completely in context Cohen's melody lines are largely intact but moved a half step or three away from the tune's harmonic center, their tension finally resolved as Kreisberg returns to consonance to finish the tune with some impressive finger-picking.

Kreisberg kicks in more overt effects on ONE's two originals. On the serpentine "Without Shadow," his guitar sounds more like an organ," while on the dark- hued "Escape From Lower Formant Shift," Kreisberg's heavily overdriven tone harkens back to his pre-jazz days. But in a set that also includes other chestnuts like "Skylark" and "Summertime," Kreisberg's originals serve notice of his broader concerns. Kreisberg may love standards like "Tenderly" and "My Favorite Things," but what he does with them is never less than thoroughly contemporary. ONE may be 46 minutes of one man, one guitar, but in Kreisberg's hands it becomes a master class in just how unlimited that seemingly reductionist context can be. Truly solo jazz guitar recordings are few and far between, but with ONE, Kreisberg not only pays homage to past masters like Pass, George Van Eps and Lenny Breau, he makes clear that here, in the new millennium, he's unequivocally worthy of being mentioned in the same breath. ~ John Kelman

http://www.allaboutjazz.com/one-jonathan-kreisberg-new-for-now-music-review-by-john-kelman.php#.U2mKkihvCPM

Personnel: Jonathan Kreisberg: guitar.

One