The Al Nicholls Quartet - That Swing Thing

Size: 124,0 MB
Time: 53:34
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Swing Jazz
Art: Full

01. Zing! Went The Strings Of My Heart (5:12)
02. God Bless The Child (7:04)
03. Love For Sale (6:55)
04. I've Got A Crush On You (5:31)
05. Night And Day (6:12)
06. The Man I Love (6:21)
07. Last Train's Gone (4:45)
08. Time After Time (5:24)
09. Tea For Two (4:50)
10. Too Close For Comfort (1:15)

A Modern recording of (mostly) swing standards of the 1940's and 50's played with aplomb by four masters of their craft.

Stylish small group swing of the kind that became popular alongside the big band music of the late 1930's and 1940's. There are ten tracks here - some well known standards, plus a few less frequently heard. The playing is superb - 4 guys who have obviously learnt their craft well through years of playing "on the road" as well as in the studio. The arrangements are intelligent and well thought out, and throw up quite a few surprises. The sound quality is excellent - crisp and modern, considering this was recorded in the "live" environment of the excellent Goldtop Studios.

That Swing Thing

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Geila Zilkha - Day Dreaming

Size: 162,1 MB
Time: 69:48
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Vocals
Art: Front

01. Phoebe (4:34)
02. Love For Sale (6:06)
03. Come Fly With Me (3:59)
04. Dray Dreaming (6:28)
05. My Funny Valentine (6:03)
06. The First Time Ever I Saw Your Face (7:17)
07. Summertime (5:45)
08. Sleeping With An Angel Who Broke My Heart (7:43)
09. Fate & Promises (4:09)
10. Moonlight Serenade (4:34)
11. What A Wonderful World (6:01)
12. When The Party's Over (7:04)

Geila Zilkha is a successful and highly recognized singer in Japan. With a solid background in jazz and additional essence of strong soul music, her vocal performances delight the audiences’ ears and hearts wherever she sings.

Born and raised in Kobe to an Israeli father and Japanese mother, Geila attended the international school Canadian Academy from kindergarten through high school and is fluent in both English and Japanese. She showed a strong interest in the arts and music from an early age, and studied ballet from the age of three. When Geila was nine years old, she was diagnosed with scoliosis and underwent surgery during which a metal rod was implanted in her back. This operation meant that she could no longer dance or play sports, and ever since then Geila knew that she would pursue a career in music.

Soon after the operation, Geila began learning how to play the alto saxophone. When she felt the need to deepen her understanding of music, she also began playing the keyboard. She played in bands in high school and led a jazz big band. Geila was then accepted to Berklee College of Music in Boston to study the alto saxophone. Shortly afterwards, she realized that her voice was the instrument she should pursue, and changed her major to singing from her second year.

During her time at Berklee, she participated in Vocal Jazz Ensemble taught by her vocal mentor April Arabian, Vocal Summit taught by Bob Stoloff, and Reverence Gospel Choir led by Orville Wright and Dennis Montgomery III. She graduated from Berklee in 1991.

Geila returned to her hometown of Kobe following graduation and worked as a TV and radio personality. At FM802, a leading Osaka radio station, she hosted her own program for almost three years. She also co-hosted a morning show for ABC Television.

In 1995, the great Hanshin-Awaji Earthquake occurred and interrupted the course of her career as a well-known personality and singer, forcing her to take a leave of absence.

However, Geila was not ready to give up her dreams of becoming a successful musician. She moved to Tokyo, the cultural center of Japan. There, she sang in TV commercials and worked as a radio personality for InterFM. She worked as a voice actor for Benesse, a major correspondence education and publishing company, which earned her more spots narrating and singing in TV commercials for companies such as Mazda, All Nippon Airways (ANA) and Haagen Dazs. In the case of ANA, the commercial was so popular that audiences requested the company disclose the singer's name.

In 2002, she began an all-female gospel choir named Voissalot Choir. The group released three albums, sang in TV commercials and performed at Tokyo Disney Sea, JZ Brat and Sweet Basil as well as other renowned clubs. In 2004, Geila gave birth to a son. Six months later, she started singing again. In 2006, she was invited to teach at a high-ranking jazz school. In 2007, she met the highly acclaimed male vocalist Ayumu Yahaba, and they started singing duo shows entitled SOLO-DUO.

In 2009, after successfully leading Voissalot Choir to the Apollo Theater in New York, Geila decided to concentrate her efforts on solo shows. In 2010, she earned the Grand-Prix title for the annual Kobe Jazz Vocal Queen Contest which entitled her to sing a highly acclaimed show at the renowned jazz club Jazz Alley in Seattle. In October of the same year, she released her first solo album, all Me, which surprisingly became a megahit among jazz audiences although many people had never heard of her before. Print media feedback has also been very positive: the top jazz magazines in Japan, Jazz Japan, Jazz Life and Jazz Hihyo [Jazz Review], gave high praise, and the national newspaper Asahi Shimbun dedicated two feature articles.

Day Dreaming

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Smooth Jazz All Stars - Smooth Jazz Tribute To Richard Marx

Size: 105,4 MB
Time: 45:07
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Smooth Jazz
Art: Front

01. Right Here Waiting (4:27)
02. Now & Forever (4:56)
03. This I Promise You (4:09)
04. Endless Summer Nights (4:30)
05. Hold On To The Nights (5:10)
06. Keep Coming Back (4:53)
07. Until I Find You Again (4:13)
08. Heaven Only Knows (4:55)
09. Chains Around My Heart (3:40)
10. Hazard (4:09)

A nice collection of well known contemporary songs played with a rich sax, comfortable bass, keyboard, and drums. May be the perfect fusion of contemporary music and jazz.

Smooth Jazz All Stars

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The Cookers - Time And Time Again

Size: 143,2 MB
Time: 61:27
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. Sir Galahad (7:54)
02. Reneda (6:12)
03. Slippin' And Slidin' (7:00)
04. Double Or Nothing (6:43)
05. Farewell Mulgrew (6:44)
06. Three Fall (6:36)
07. Time And Time Again (6:35)
08. Dance Of The Invisable Nymph (9:17)
09. Dance Eternal Spirits Dance (4:22)

Celebrating seven years together, Time and Time Again is the fourth release by The Cookers since the group's recording debut, Warriors (Jazz Legacy Productions, 2010). The band's all-star lineup, who first rose to prominence in the late '60s and early '70s, was initially formed by trumpet player David Weiss, who also serves as musical director. In addition to Weiss, the septet features the muscular frontline of trumpeter Eddie Henderson, tenor saxophonist Billy Harper and alto saxophonist Donald Harrison (replacing Craig Handy), with pianist George Cables, bassist Cecil McBee and drummer Billy Hart manning the blue chip rhythm section.

Drawing upon their varied experiences, the ensemble members split writing duties, effectively summarizing the entire spectrum of the jazz continuum in the process. Although hard bop-influenced post-bop is the unit's forte, most of these musicians have also worked in cutting-edge avant-garde settings; their forward-looking tendencies imbue the project's straight-ahead sensibility with a bold, modernistic aesthetic.

With five of the seven members contributing tunes to the session, there is ample stylistic diversity on display, ranging from breakneck swingers ("Double or Nothing") and swaggering blues ("Slippin' and Slidin'") to majestic waltzes ("Three Fall") and opulent ballads ("Farewell Mulgrew"). As seasoned veterans, their spirited performances convey the informality of an old school blowing session, tempered by an awareness of formalized song-craft. The arrangements are rhythmically tight and harmonically sophisticated, but supple enough to demonstrate the band's freewheeling rapport, with ample room for each member to shine.

Working as a true collective, no one player dominates the session, although Harper's commanding tone and assured phrasing lifts the bandstand when he takes center stage, with quicksilver cadences underscored by the nimble rhythm section, whose fluid interplay is a marvel of triadic interaction. Lending credence to its title, Time And Time Again expertly conveys the palpable commitment of these elder statesmen to push beyond preconceived boundaries and move the music forward, while acknowledging the innovations of the past. ~by Troy Collins

Personnel: Billy Harper: tenor saxophone; Eddie Henderson: trumpet; David Weiss: trumpet; Donald Harrison: alto saxophone; George Cables: piano; Cecil McBee: bass; Billy Hart: drums.

Time And Time Again

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The Dave Brubeck Quartet Feat. Paul Desmond - Stardust

Bitrate: 320K/s
Time: 67:16
Size: 154.0 MB
Styles: West Coast jazz, Piano jazz
Year: 1954/1983/2006
Art: Front

[ 2:49] 1. Mam'selle
[ 6:56] 2. Stardust
[ 2:33] 3. Frenesi
[ 2:26] 4. Me And My Shadow
[ 2:51] 5. At A Perfume Counter
[ 3:20] 6. Crazy Chris
[ 3:06] 7. A Foggy Day
[ 3:18] 8. Somebody Loves Me
[ 3:12] 9. Lyons Busy
[ 3:40] 10. Look For The Silver Lining
[ 3:01] 11. Stardust
[15:01] 12. At A Perfume Counter
[ 3:32] 13. Alice In Wonderland
[ 3:17] 14. All The Things You Are
[ 2:19] 15. Lulu's Back In Town
[ 2:35] 16. My Romance
[ 3:12] 17. Just One Of Those Things

This CD features the Dave Brubeck Quartet in its early days. Although the dates are unaccountably left off of this two-fer, most of the music is from 1951-52 and features such short-term sidemen as bassists Norm Bates, Fred Dutton (who doubled on bassoon) and Wyatt "Bull" Reuther and drummers Herb Barman and Lloyd Davis in addition to pianist Brubeck and altoist Paul Desmond. Highlights include "Crazy Chris," "Lyons Busy," "Look for the Silver Lining" and "Alice in Wonderland." Two later selections ("Stardust" and a 14-1/2-minute version of "At a Perfume Counter") are from 1954-55 when the personnel stabilized with bassist Bob Bates and drummer Joe Dodge. ~Scott Yanow

Stardust

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Molly Johnson - Because Of Billie

Bitrate: 320K/s
Time: 59:17
Size: 135.7 MB
Styles: Vocal jazz
Year: 2014
Art: Front

[4:36] 1. Body And Soul
[3:21] 2. What A Little Moonlight Can Do
[5:04] 3. Fine And Mellow
[3:44] 4. Them There Eyes
[4:27] 5. You've Changed
[5:31] 6. God Bless The Child
[4:25] 7. How Deep Is The Ocean
[3:17] 8. Strange Fruit
[4:00] 9. Lady Sings The Blues
[4:19] 10. Do Nothing 'til You Hear From Me
[4:00] 11. You Go To My Head
[3:41] 12. They Can't Take That Away From Me
[3:30] 13. Now Or Never
[5:14] 14. Don't Explain

Renowned Canadian multi-genre chanteuse Molly Johnson has just released her sixth studio album, Because Of Billie!

“For years, people have said to me, ‘You are so much like Billie Holliday,’” says Johnson by way of explanation for this ambitious and also deeply personal project, presenting 14 songs of Lady Day’s cherished standards. “My response has been ‘No, I am because of Billie.” During the recording, Molly looked to infuse this project with her idol’s spirit, preparing the songs emotionally and technically so many could be recorded in one take. “Billie and her generation were the civil rights movement, they moved forward. That generation sacrificed and died for my privilege. I am honour-bound to that idea. I love history. I love to look back while pulling forward.” In keeping with the album’s theme, Johnson will also be donating a portion of sales to the Boys & Girls Clubs.

Recorded in Toronto with producers John Bailey and Mike Downes, the album features a stellar cast of musicians that include Robi Botos (Piano), Terry Clarke (Drums), Mike Downes (Bass and Trombone), John Johnson (Tenor Saxophone), Bryden Baird (Flugelhorn and Trumpet) & Colleen Allen (Alto Saxophone and Clarinet).

As singer-songwriter, artist, broadcaster, and philanthropist, her roots are Canadian while her reach is worldwide. Johnson has performed with such diverse artists as Tom Jones, Anne Murray & Lenny Kravitz and has performed for the legendary Quincy Jones, the late Princess of Wales and Nelson Mandela. Molly was awarded the JUNO Award for Best Vocal Jazz Album, and is recipient of the Queen’s Jubilee Medal and The Officer of the Order of Canada in recognition of her charitable work and contributions to the arts.

Because Of Billie

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George Braith - Bop Rock Blues

Bitrate: 320K/s
Time: 51:01
Size: 116.8 MB
Styles: Bop, Blues
Year: 2007
Art: Front

[4:01] 1. Car Tune
[3:49] 2. Double Clutch
[4:01] 3. Capital Dive
[4:27] 4. Bishkabash
[4:18] 5. Metwo
[5:05] 6. Sweet Salt
[6:27] 7. You Know I Love You
[4:23] 8. Green Beats
[2:53] 9. High Beam
[5:11] 10. Hoagies & Wings
[3:01] 11. Pick & Roll
[3:18] 12. Cane Walk

Jazz musicians play multiple styles of music through their careers. Most of the time, the kind of music presented depends on who is listening. A tremendous audience has accumulated to Rock and Blues Styles. Bop Rock Blues contains the musical ingredients of Bop, Rock and Jazz with an emphasis on dance rhythms.

BOPTRONICS, developed by George Braith, is a method of using modern recording techniques to produce any kind of instrumentation. Unlike Midi, BOPTRONICS is played in real time. The BRAITHOPHONE is an invention of George Braith. it is a woodwind instrument that is played by producing two sounds at once.

George Braith - Vocals, Braithophone, Tenor Sax; Space Island Singers - Vocals; Earl Davis - Vocals, Trumpet; Bernard Wright - Piano; Charles Smith - Guitar; Reggie Bordeaux - Drums & Percussion.

Bop Rock Blues

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Leon Redbone - Champagne Charlie

Bitrate: 320K/s
Time: 32:02
Size: 73.3 MB
Styles: Ragtime, Dixieland, Texas Blues
Year: 1979/1995
Art: Front

[2:56] 1. Champagne Charlie
[2:52] 2. Please Don't Talk About Me When I'm Gone
[2:41] 3. Sweet Sue, Just You
[4:32] 4. The One Rose (That's Left In My Heart)
[1:42] 5. Alabama Jubilee
[3:19] 6. Big Bad Bill (Is Sweet William Now)
[2:48] 7. Yearning (Just For You)
[3:31] 8. If Someone Would Only Love Me
[3:40] 9. I Hate A Man Like You
[3:55] 10. T.B. Blues

From the opening track, "Champagne Charlie," to the dazzling finale, "T.B. Blues," Leon Redbone presents an introspective collection of blues and big band melodies in timeless fashion, a rare feat because of its release date in 1978. The record was highly acclaimed and regarded as the purest of jazz and classic blues by a remarkable legend and icon in this musical form. Most of the record, like the amiable "Sweet Sue (Just You)" and memorable "Big Bad Bill (Is Sweet William Now)," is filled with the best that blues and ragtime has to offer. The music itself is quite light and jolly during the more uplifting moments, with others such as "I Hate a Man Like You" very depressing and sorrowful. The band backing up Redbone is delightful, filled with jubilant horns, oboes, and trumpets. "T.B. Blues" closes out this record as a charming look back into the world of blues via pioneer Jimmie Rodgers. Two melodies written and composed by giant Jelly Roll Morton are featured here, with fresh and stunning new arrangements by Leon Redbone and company, "If Someone Would Only Love Me" and "I Hate a Man Like You." The record is somewhat poorly recorded, losing its listening ability though still portraying its exuberant style and antique mysteriousness. A charming and romantic listen and study of this period of ragtime and blues that will surely not disappoint the average listener. ~Shawn M. Haney

Champagne Charlie

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Leann Rimes - Lady & Gentlemen

Styles: Country
Year: 2011
File: MP3@320K/s
Time: 46:20
Size: 106,8 MB
Art: Front

(2:59)  1. Swingin'
(4:04)  2. Wasted Days And Wasted Nights
(2:36)  3. The Only Mama That’ll Walk The Line
(3:09)  4. I Can't Be Myself
(2:38)  5. 16 Tons
(2:58)  6. Help Me Make It Through The Night
(3:03)  7. Rose Colored Glasses
(3:38)  8. A Good Hearted Woman
(3:37)  9. When I Call Your Name
(3:48) 10. He Stopped Loving Her Today
(2:26) 11. Blue
(3:27) 12. The Bottle Let Me Down
(3:21) 13. Crazy Women
(4:31) 14. Give

As concept albums go, LeAnn Rimes’ 2011 album Lady & Gentlemen is a good one: a collection of masculine country classics reinterpreted by a female singer. Sometimes, this reinterpretation amounts to little more than swapping a gender “The Only Daddy That’ll Walk the Line” becomes “The Only Mama That’ll Walk the Line,” Charlotte in John Anderson’s “Swingin'” becomes Charlie and some of these songs are standards that have often been sung by either gender (“Help Me Make It Through the Night”), but there are a few songs that do feel slightly different when sung by Rimes, including “A Good Hearted Woman” and “He Stopped Loving Her Today,” neither given a gender switch yet changing slightly with the perspective shift.

Generally, though, Lady & Gentlemen isn’t much more than a good straight-ahead covers album, given grit and tradition from co-producers Vince Gill and Darrell Brown, who give John Conlee’s “Rose Colored Glasses” a dusty beer joint kick and Gill’s own “When I Call Your Name” a soulful sway, and transform Merle Haggard’s “Tonight the Bottle Let Me Down” into a slow, spooky crawl, all moves that more than compensate for the too frenetic take on “Swingin'.” Throughout it all, Rimes hits her marks with ease, and the new version of her breakthrough hit “Blue” illustrates just how far she’s come how she’s become a stronger, more nuanced singer over the years. ~ Thomas Erlewine  http://www.allmusic.com/album/lady-gentlemen-mw0002203135

Lady & Gentlemen

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Nancy Kelly - B That Way

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 60:50
Size: 139,5 MB
Art: Front

(4:04)  1. Come Back to Me
(5:09)  2. Don't Explain
(5:28)  3. Common Touch
(5:06)  4. Billie's Bounce
(5:31)  5. Here's Looking at You
(4:39)  6. The Great City
(5:32)  7. Don't Go to Strangers
(3:57)  8. Day In Day Out
(4:47)  9. Don't Worry 'Bout Me
(4:24) 10. Please Don't Talk About Me Whe
(6:10) 11. The Very Thought of You
(5:59) 12. Good Morning Heartache

The Hammond B-3 organ has been in my life from the very early days of my career. It was there throughout my musical evolution from Rock to R&B and on to jazz. In the early Eighties, I moved to Philly and began singing at the “salt and mostly pepper” jazz club Jewel’s on Broad St., where for 4 years I was the house singer with an organ trio made up of local Philly cats. At the time I didn’t know it, but I was at B-3 jazz ground zero. Jewel’s was host to headliners such as Groove Holmes, Jack McDuff, Jimmy McGriff, Shirley Scott, local favorite Trudy Pitts and a very young Joey DeFrancesco. I was in heaven. The organ trio sound had now become a major part of my musical fiber. We had a good long run at Jewel’s. Sadly, years later the club closed and, for various reasons, I moved back to upstate New York.

I spent the next era with piano. One day on a trio gig, Dino Losito used the organ sound on his keyboard and we both knew where we were headed. We loved it and dove into the sound, working solely as an organ trio for the past 6 years, and it led to this recording.  http://www.cdbaby.com/cd/nancykelly22

Personnel: Nancy Kelly - Vocals;  Jerry Weldon - Tenor Sax;  Dino Losito - Hammond Organ;  Peter Bernstein – Guitar;  Carmen Intorre Drums

B That Way

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Louis Sclavis Quartet - Silk and Salt Melodies

Styles: Clarinet Jazz
Year: 2014
File: MP3@320K/s
Time: 62:40
Size: 144,1 MB
Art: Front

(9:00)  1. Le parfum de l'éxil
(9:22)  2. L'homme sud
(8:15)  3. L'autre rive
(7:36)  4. Sel et soie
(6:59)  5. Dance for Horses
(5:49)  6. Des feux lointains
(8:40)  7. Cortège
(5:50)  8. Dust and Dogs
(1:05)  9. Prato plage

With its ancient roots and latter-day association with New Orleans, Dixieland and swing, the clarinet isn't often a frontline instrument in modern jazz let alone avant-garde. A handful of players such as Don Byron and Marty Ehrlich have aided in its prominence but not many. In the hands of Louis Sclavis the bass clarinet is not only a deterrent against conformist thinking; it is an instrument with greatly expanded borders and characteristics. Sclavis incorporates European chamber music, Middle-Eastern samazens and free jazz in his ambitious and literate compositions. Silk and Salt Melodies speaks to Sclavis' years of shaping a world view, unique stylization and his belief that improvisation is not a free-for-all but a discipline integral to telling a story. Almost twenty years ago Sclavis with bassist Henri Texier and drummer Aldo Romaro boldly experimented with blending components of European and West African folk tunes and jazz on Carnet de routes (Label Bleu, 1995). Sclavis, working with continually evolving lineups, has never fallen back on a purely mainstream approach.

Now reunited with the Atlas Trio partners who created the excellent Sources (ECM, 2012), guitarist Gilles Coronado and pianist Benjamin Moussay are joined by percussionist Keyvan Chemirani on Silk and Salt Melodies. The Iranian native conveys a new aspect not only in his use of some unusual regional instruments but in his distinctive approach to beat cycles and rhythms. Chemirani's presence is a good fit with Sclavis' proclivity for pursuing global inspirations. The leisurely pacing of Sclavis' long expressive lines unfold dramatically on "Le parfum de l'éxil" allowing time for Coronado take a more angular route as together they cautiously accelerate the pace. Aided by Chemirani's intricate pacing and Moussay's late arriving countermelody, the piece adds multiple layers while maintaining a pastoral air. Coronado injects some jagged edges into "L'homme sud" complimented by Sclavis and Moussay almost speaking in one voice until the pianist takes off on a particularly nice solo.

Chemirani and Sclavis turn the piece around with an injection of Middle-Eastern flavor. Moussay's beautiful and extended solo opens "L'autre rive," eventually joined by Sclavis and again upended by Coronado with a turn toward a darker, more mysterious side. A more rough and tumble "Sel et soie" has Sclavis wailing and Coronado assuming the more expressive role ; his lyrical and limpid notes bringing to mind guitarist Bill Frisell. Silk and Salt Melodies is the manifestation of Sclavis' vision of a surreal and exotic journey but on a less analytical level it is an appreciation of musicianship. Sclavis' clarinet can sound as deep and resonant as a double bass. He can uncannily mimic the folky sound of an accordion or play as boisterously as reed player Peter Brötzmann. Putting Silk and Salt Melodies in the context of Sclavis' larger body of work is somewhat irrelevant; he builds, incorporates and moves on. It's a good philosophy for listening as well. ~ Karl Ackermann  http://www.allaboutjazz.com/silk-and-salt-melodies-louis-sclavis-ecm-records-review-by-karl-ackermann.php#.VCXsmRawTP8
 

Personnel: Louis Sclavis: clarinet; Gilles Coronado: guitar; Benjamin Moussay: piano, keyboard; Keyvan Chemirani: percussion.

Silk and Salt Melodies

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Bobby Bryant - Swahili Strut

Styles: Trumpet Jazz
Year: 1971
File: MP3@320K/s
Time: 42:11
Size: 97,1 MB
Art: Front

(5:46)  1. Swahili Strut
(8:20)  2. A Prayer For Peace
(5:49)  3. Peace
(4:57)  4. Kriss Kross
(4:25)  5. We've Only Just Begun
(6:34)  6. The Beauty of Her Soul
(6:18)  7. Nite Crawlers

I’m not sure whether I’m familiar with Bobby Bryant’s work. What I do know is that I found this record after a random listen through some jazz albums. The title song is a nice soulful jazz opener, but the real gem on here is A Prayer For Peace. This searing bit of funk sounds like it walked right off the set of a 70s cop show like Streets Of San Francisco or Hawaii Five-O right onto this slab of vinyl. A fast paced walking bass line, guitar and stabbing and screeching horn lines drive the song. The second side is just as good with songs like Kriss Kross, Nite Crawlers and probably the only version of We’ve Only Just Begun I’ve heard that I actually like.  http://www.soulstrut.com/index.php?/reviews/indepth/Swahili%20Strut/

An excellent bit of funky stuff from LA trumpeter Bobby Bryant. The set was recorded for Cadet in LA, features tight arangements by Bryant, and a lot of nice long cuts that have a bit more of a groove than some of his other recordings (although most of them are pretty great). Tracks include "Swahili Strut", "Prayer For Peace", "Kriss Kross", and "Nite Crawlers". (Blue label pressing. Cover has a split top seam, some wear, and remnants of a sticker.)  http://www.dustygroove.com/item/12331

Personnel: Arranged By, Conductor – Bobby Bryant; Bass – Max Bennett, Willie Allen; Congas – Bob Norris; Drums – Carl Lott; Guitar – Arthur Adams, David T. Walker; Organ – Henry Cain; Tenor Saxophone – Charles Owens, Herman Riley; Trumpet – Bobby Bryant

Swahili Strut

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