Hanna Richardson & Phil Flanigan - Simply... With Spirit

Size: 151,2 MB
Time: 64:32
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Vocals
Art: Front

01. I Got The Sun In The Morning (3:03)
02. Don't Let It Bother You (3:38)
03. I Told Ya I Love Ya, Now Get Out (5:16)
04. Love Is The Tender Trap (3:30)
05. Detour Ahead (5:31)
06. Love You Madly (4:49)
07. Oh! Look At Me Now (3:51)
08. Are You Havin' Any Fun (2:58)
09. Stardust (5:18)
10. A Brown Bird Singing (2:56)
11. Slap That Bass (2:00)
12. It's A Lovely Day Today (3:45)
13. A Hundred Years From Today (4:26)
14. They All Laughed (5:31)
15. I'm Walkin' (4:18)
16. We Three (3:35)

Bassist Phil Flanigan and his compatriots (guitarists Chris Flory and Bob Sneider, violinist Johnny Frigo and drummer Mike Melito) have the bounce of Tigger on a sugar high, providing an ideal set of springs for cocoa-voiced Hanna Richardson as she winds her way through 16 soft-swingin' standards.

Richardson's warm/cool dichotomy, simultaneously suggesting the frosted richness of Chris Connor and tousled sexiness of Julie London, gets quite a workout as she enlivens the already peppy likes of "I Got the Sun in the Morning," "I Told Ya I Love Ya, Now Get Out," "Don't Let It Bother You," "Oh!ww Look at Me Now" and "Slap That Bass."

Even when she (and the boys) moderate the tempo on such comparatively delicate delights as "A Hundred Years From Today" and "Detour Ahead," there's no missing how much energy is percolating right below the surface. Fans of Montreal's retro-hip Susie Arioli will delight in Richardson, Flanigan and company's ability to harness a similarly enervating liveliness. ~Christopher Loudon

Simply... With Spirit

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Bobby Broom - My Shining Hour

Size: 132,4 MB
Time: 56:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Soul Jazz, Bebop, Post-bop
Art: Front

01. Sweet And Lovely (5:52)
02. My Ideal (7:30)
03. Just One Of Those Things (6:56)
04. My Shining Hour (6:04)
05. Sweet Georgia Brown (6:01)
06. The Heather On The Hill (6:36)
07. The Jitterbug Waltz (6:54)
08. Oh, Lady Be Good (6:30)
09. The Tennessee Waltz (4:13)

Personnel:
Bobby Broom - guitar
Dennis Carroll - bass
Makaya McCraven - drums

If you’ve showed up for Steely Dan’s continuing Jamalot Ever After tour on time, then you are already familiar with the great tone and texture of opening act Bobby Broom, the Chicago-based guitarist. Curious to hear more? Here’s your chance.

With his largest release, My Shining Hour, Broom forgoes expressive original compositions like those on his most recent album, 2012’s Upper West Side Story — focusing instead on jazz standards. A jazzer with a wide musical vocabulary, Broom deploys his stellar and versatile band of bassist Dennis Carroll and drummer Makaya McCraven with the cunning of an insane genius. The results are gorgeous, respectful of the originals and often jaw dropping in their emotional punch. Amazing, considering the album was recorded in three days at Shirk studios in Chicago by engineers Anthony Gravino and Jonathan Horwich.

My Shining Hour kicks off with “Sweet and Lovely,” and it’s easy to be captivated by McCraven expert stick work. But then you’d miss the elegant tone and phrasing of Broom’s hollow-bodied guitar. It’s also easy take for granted the way Carroll holds the bottom down, while the band glides from 5/4 to 7/4 time signatures. Subtle and captivating. On the song “My Ideal,” Carroll likewise provides a perfect foil to Broom’s guitar work with his mid-song solo. Then McCraven steps in with an all-too-brief drum break, demonstrating in a few bars why he’s one of the best in the business.

The pace picks up with Cole Porter’s “Just One Of Those Things,” as the three musicians toying with each other to create tension. Broom’s fleet-fingered solo dances effectively around the song’s main theme, yet still fits perfectly. The title track continues the album’s concept. Hinting of East Coast jazz traditions, and creating visions of jazz greats like Ella Fitzgerald, the song effectively casts a spell over the listener. Then “Sweet Georgia Brown,” a joyous shuffle that provides the perfect opportunity for Brown to show off his be-bop, cleanses the palette.

In the end, this group has cast a perfect set of American standards, and the concluding “Tennessee Waltz” is no exception. Bouyed by McCraven’s stellar cymbal work, Carroll’s growling walking bass and Broom’s impressive phrasing — he impressively dances around the song’s main theme — “Tennessee Waltz” continues the spell cast from the first note on My Shining Hour. By Preston Frazier

My Shining Hour

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Steve Lawrence - Take It On Home

Size: 91,0 MB
Time: 38:36
File: MP3 @ 320K/s
Released: 1981/2014
Styles: Jazz/Pop Vocals
Art: Front

01. New York, New York (3:23)
02. She's Out Of My Life (4:01)
03. I'd Rather Leave While I'm In Love (3:11)
04. You Had To Be There (3:51)
05. I Won't Break (4:00)
06. I Take It On Home (3:29)
07. I Still Believe In Love (2:50)
08. We're All Alone (3:56)
09. One Word (3:17)
10. Maybe This Time (3:29)
11. Welcome To Paradise (3:04)

By 1981, Steve Lawrence was only in his mid-40s, but he was eight years removed from the status of a major label recording artist, having been swept out of record company corridors along with his peers when the bottom finally dropped out of pre-rock pop music in the early 1970s. Of course, he hadn't hung up his tux in the interim, and if Take It on Home -- the premiere release on Beverly Hills, CA, independent label Applause Records -- was any indication, he had kept his pipes in prime shape. Only a year after his mentor, Frank Sinatra, had scored a surprising success with John Kander and Fred Ebb's theme from the film New York, New York, Lawrence had the chutzpah to commission Don Costa to do a different arrangement and then led off the album with it, first teasing "Chicago" and then "I Left My Heart in San Francisco." And his version is credible; he even got the words right, which the Chairman of the Board never did. After that, it was a short step to besting Michael Jackson's then recent Top Ten version of "She's Out of My Life"; Lawrence demonstrates that it was possible -- and preferable -- to get through the song without crying. He is equally effective on such 1970s songs as the Rita Coolidge hits "We're All Alone" and "I'd Rather Leave While I'm in Love," Charlie Rich's "I Take It On Home," "Maybe This Time" from the film version of Cabaret, and "I Still Believe in Love" from the Broadway musical They're Playing Our Song. (It seemed like he'd been keeping his ears open throughout the decade, waiting for his chance.) But more interesting are the songs that weren't well-known previously, such as the break-up ballad "I Won't Break," written by Burt Bacharach, Carole Bayer Sager, and Peter Allen, and the Michel Legrand/Dennis Lambert tribute to New York "You Had to Be There." Taken together, the collection demonstrates that if record companies were no longer interested in Steve Lawrence, it was their loss (and, of course, his fans'). ~ William Ruhlmann

Take It On Home

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Rhoda Scott - Les Orgues De Noel

Size: 131,7 MB
Time: 55:28
File: MP3 @ 320K/s
Released: 1998
Styles: Jazz: Soul Jazz, Holiday
Art: Front

01. Jingle Bells (2:26)
02. Petit Papa Noel (2:35)
03. Douce Nuit, Sainte Nuit (2:47)
04. The Little Drummer Boy (2:28)
05. There Is A Balm In Gilead (5:39)
06. Ave Maria (2:09)
07. C'est Noel (2:57)
08. I Wonder As I Wander (3:24)
09. Ave Maria (2:34)
10. Medley De Noel (6:22)
11. Let It Snow! Let It Snow! Let It Snow! (3:10)
12. Every Time I Feel The Spirit (3:47)
13. Winter Wonderland (2:56)
14. Green Sleeves (3:55)
15. God Rest Ye Merry Gentlemen (2:14)
16. Les Orgues De Noel (2:38)
17. Minuit Chretiens (3:18)

Rhoda Scott (b. July 3, 1938, Dorothy, New Jersey) is an African-American hard bop and soul jazz organist.

The daughter of an AME minister, Scott spent much of her childhood in New Jersey, where she learned to play organ in the churches where her father served. Soon she herself was serving frequently as organist for youth and gospel choirs at her father's and other churches. Scott later studied classical piano, but she concentrated on the organ, eventually earning a Masters' degree in music theory from the Manhattan School of Music.

By this time she had been asked by a choir member to fill in with a small band as a jazz pianist. Enjoying the music, she agreed to stay on with the band on condition that she be allowed to play organ instead of piano. Choosing as her instrument the Hammond organ, she soon became a preeminent jazz musician and is considered by many to be the top female jazz organist.

Scott was first attracted to the organ in her father’s church at age seven. "It's really the most beautiful instrument in the world," she stated in a recent interview. "The first thing I did was take my shoes off and work the pedals." From then on she always played her church organ in her bare feet, and to this date she has continued the practice, earning her nicknames such as "The Barefoot Lady" and "The Barefoot Contessa".

In 1967 Scott moved to France, where she has since spent most of her career and earned recognition far greater than that accorded to her in the United States, though she often performs in the latter country as well.

She has many famous standards in her repertoire, like In the Mood, Theme from New York, New York, Summertime, Mack the Knife, Take Five, Hit the Road Jack, Greensleeves, Tico-Tico no Fubá, Let it Snow, and Delilah. In May 2011 in a context of Versailles Jazz Festival she gave a significant performance together with a classical organist Francis Vidil, combining sonic palettes of classical organs with jazz and Hammond organs.

Les Orgues De Noel

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Penelope Sai - Some Kind Of Dream

Size: 116,3 MB
Time: 49:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Let's Get Lost (4:57)
02. How It Ends (4:44)
03. Blue Champagne (3:58)
04. Melt Away (3:01)
05. Some Kind Of Dream (5:14)
06. Neon Nights (2:37)
07. Ave Guynemer (3:56)
08. I Guess I'll Have To Change My Plan (3:40)
09. Spring Will Be A Little Late This Year (4:20)
10. Diamonds Are Forever (3:39)
11. Adrien's Imaginings (3:53)
12. 12eme (5:50)

Some Kind of Dream captures the exquisite fleeting moments between sleep and wakefulness - the midnight borderland of a lover’s whisper and star-shot skies. The melting ballad and title track sets the tone for the 3rd album from singer / songwriter Penelope Sai, who has joined once again with Sean Mackenzie (piano), Jonathan Zwartz (bass) and Nic Cecire (drums), and the much acclaimed American artist Scotty Barnhart on horns. The 12 tracks include 7 stunning original compositions and 5 jazz standards. From the smooth cascades of Melt Away to the playful lines of Ave Guynemer this lush album curls up and unfurls with a delicious sway and verve.

Some Kind Of Dream

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The Vanguard Jazz Orchestra - Overtime: Music Of Bob Brookmeyer

Size: 152,0 MB
Time: 66:02
File: MP3 @ 320K/s
Released: 2014
Art: Front

01. The Big Time ( 3:58)
02. Suite For Three, Oatts ( 5:57)
03. Suite For Three, Scott ( 6:38)
04. Suite For Three, Rich ( 5:36)
05. Xyz (14:29)
06. Skylark ( 7:44)
07. At The Corner Of Ralph And Gary (11:07)
08. Sad Song (10:30)

Trumpeter Thad Jones and drummer extraordinaire Mel Lewis may have given birth to the band that's now known as The Vanguard Jazz Orchestra, but the late Bob Brookmeyer gave the group artistic independence at a time when it was sorely needed.

When Jones left the fold and departed for Europe at the tail end of the '70s, things could've gone a very different way for this storied outfit: it could've simply carried on as a pretty good band that covered Thad Jones' music, endlessly recycling songs of the then-recent past. The Mel Lewis Jazz Orchestra, né Thad Jones/Mel Lewis Jazz Orchestra, was certainly headed in that direction at that point in time, but Brookmeyer was the game-changer. He took the reins, ushering in a new era of creativity for this organization.

Brookmeyer tightened and polished up the band's interpretations of the Jones charts, brought in new music, and allowed the organization to stand as a creative force that's forever connected to its founders, but constantly evolving. In the process, he also got his own creative juices flowing again, as this band served as his laboratory for compositional and arranging experimentation. Brookmeyer eventually followed in Jones' footsteps, leaving America and setting up shop in Europe, but he never completely severed his ties with this organization. He played with the band on occasion and, in 2008, he finally brought up the idea about making a new recording with The Vanguard Jazz Orchestra.

While Brookmeyer didn't live long enough to see this album to completion, he was around long enough to shape it. He delivered four new pieces—all homages to various members of the band—that share space with some of his older compositions. "Suite For Three" focuses in on the sound of longtime VJO alto hero Dick Oatts, who works atop fragmented rhythms on his namesake movement, trumpeter Scott Wendholt, whose horn brings warmth and brightness to the sensitive setting made in his honor, and tenor saxophonist Rich Perry, who uncorks one brilliant phrase after another on his lively showcase number. The fourth new one—"At The Corner Of Ralph And Gary"—is a sly swinger that gives pause to admire the interactive spirit of band with soloist(s); the handiwork of the two soloists—baritone saxophonist Gary Smulyan and tenor saxophonist Ralph Lalama—lines up perfectly with the movements of the whole apparatus here.

The four remaining selections on the album were culled from the Brookmeyer book that took shape between 1979 and 1981. Oatts gets to revisit Brookmeyer's landmark "Skylark" arrangement more than three decades after he originally recorded it with this group; a parade of soloists shine during "XYZ"; rapidly shifting ideas and chromatic pathways are explored during "The Big Time," a previously unrecorded Brookmeyer chart from said time period; and the powers of space and suggestion are on display as Oatts' flute casts spells during the haunting "Sad Song."

Most composers that are blessed with long life tend to outlive their inventiveness, but the opposite seems to be true in the case of Bob Brookmeyer: his body left this world in 2011, but his body of work is still turning heads. ~Dan Bilawsky

Personnel: John Mosca: trombone; Luis Bonilla: trombone; Jason Jackson: trombone, bass trombone; Douglas Purviance: bass trombone; Nick Marchione: trumpet, flugelhorn; Tanya Darby: trumpet, flugelhorn; Terell Stafford: trumpet, flugelhorn; Scott Wendholt: trumpet, flugelhorn; Dick Oatts: alto saxophone, soprano saxophone, flute; Billy Drewes: alto saxophone, soprano saxophone, flute; Rich Perry: tenor saxophone, flute; Ralph Lalama: tenor saxophone, clarinet, flute; Gary Smulyan: baritone saxophone; Jim McNeely: piano; John Riley: drums; David Wong: bass; Frank Basile: bass clarinet (3, 5, 8); David Peel: French horn (1, 5, 6, 8); Michael Truesdell: percussion (1, 5, 8).

Overtime

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Aurielle Sciorilli - Live In Paris

Size: 158,7 MB
Time: 68:36
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Inganno (4:55)
02. Why Don't You Do Right (5:01)
03. How Insensitive (7:48)
04. My Funny Valentine (8:41)
05. Ispirazione (5:29)
06. Let's Do It (5:24)
07. Cry Me A River (7:52)
08. Danny Boy (5:16)
09. In Cerca Di Te (5:01)
10. Non Si Fa L'amore (4:55)
11. Makin' Whoopee (8:10)

A Paris based singer-songwriter with Australian-Italian origins, for her 15th birthday Aurielle was given the album 'Blue' by Joni Mitchell. Inspired by this she bought herself a guitar and taught herself to play. She began writing songs and playing in coffee houses. During this time Aurielle also attended the Sydney conservatorium of music part time to study Jazz vocals. Between her folk roots and her new love of Jazz the delicate fusion of Aurielles signature sound began to evolve. In 2011, she recorded her first studio album of her own compositions titled 'Send the wandering girl home' .

At age 22, Aurielle moved to Milan where she secured a publishing contract with Sony music. There she began learning to speak and sing in Italian and discovered much about her own Italian families rich musical history. Her father Ettore Sciorilli was a popular singer-songwriter and her grandfather Eros Sciorilli a renowned composer and director or orchestra. " I delved into the history of my grandfather and found he published more than 500 songs performed by some of the best singers in Italy. His song 'non pensare a me' performed by Claudio Villa won the Sanremo festival in 1967. It became clear to me that his music was still relevant today and so I decided to present it to a new audience with new jazz arrangements ."

"With a voice that is as sensual as it is sweet and an aura of fragility combined with unaffected song delivery, Aurielle Sciorilli is truly an enigma. Australian born into a family of renowned Italian musicians, she follows in their footsteps whilst carving her own unique sound; slinky and sultry with a beautiful velvety voice, performing an adult contemporary blend of jazz interpretations of her grandfathers compositions in her up-coming album 'Eros Blues'." -Drum media

Live In Paris

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Tara Hofman - Almost There

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 23:18
Size: 53,6 MB
Art: Front

(2:26)  1. One Fine Day
(1:59)  2. Twisted
(4:29)  3. Cry Me A River
(3:03)  4. Is Your Is Or Is You Ain't My Baby
(6:04)  5. Stormy Monday
(5:14)  6. Moondance/Summertime

Sophisticated jazz, blues and pop: Tara Hofmann delivers all with sultry soul ranging from a smoking "Stormy Monday" to a hip rendition of Joni Mitchell's "Twisted." Since 1997, Tara Hofmann has been entertaining jazz and blues audiences all over the DC Metro area. From concerts to coffeehouses, she has performed to acclaim in many venues including big bashes at the Ronald Reagan Building in DC, private parties on chartered cruises on the Chesapeake Bay and intimate restaurants in Northern Virginia such as Icehouse Café and Laporta’s. She sings blues from the depths of her soul and adds a twist to her arrangements of jazz classics and pop tunes.

Tara holds a BA in music from St. Mary’s College of Maryland,a MA in Education from George Mason University and teaches music for Fairfax County Public Schools in Virginia. Tara has been accompanied by some of the best musicians in the DC area, including Tom Lagana, Wade Beach, and Larry Brown and at any given performance her “friends” may vary.Her alto sound is thick and rich in her new CD, “Almost There”, a potpourri of songs that demonstrate Tara’s ability to sing steaming blues, jazz classics and pop tunes. The instrumentation varies from quintets to trios and the arrangements show her many musical colors. More ~ http://www.cdbaby.com/cd/tarahofmann

Almost There

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Vito Di Modugno - East Side

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 64:31
Size: 148,3 MB
Art: Front

(8:47)  1. East Side Blue
(6:35)  2. Zoltan
(6:56)  3. Jury's Bite
(6:45)  4. Sidran
(7:13)  5. Sidran (Nardis)
(6:46)  6. Softly As In a Morning Sunrise
(4:21)  7. The Moontrane
(6:26)  8. Clemmy
(6:08)  9. Unity
(4:29  10. The Incredible Truth

To affect this record Vito Di Modugno added to his usual partners two musicians of international standing, particularly close to his aesthetic vision: Jerry Bergonzi and Fabio Morgera . Jerry Bergonzi is a tenor with a remarkable personality. His soloing builds models of Joe Henderson and Wayne Shorter , but shows a well-defined approach, which shifts the discussion forward, resulting in a synthesis of avant-garde saxophonist tradition. And this statement is not an oxymoron. Fabio Morgera was labeled with a little 'of carelessness as a pure hardbopper. In fact his artistic career is quite similar to that of Roy Hargrove, for example. And 'passed from bop to funk with experience in a jazz border, showing curiosity and desire to get involved, while maintaining its specificity. What it does have a first-class technical, gained in the long stay in the US, which allows him to do what he wants with his instrument. 

Next to the two guests Massimo Manzi , the column of '"Organ combo", confirms drummer sensitive and attentive, with a great sense of rhythm and ability to "bite" the soloists always pushing them into situations never easy to master and inviting them to successive challenges to fight and win. Michele Carrabba , for its part, is saxophonist energetic, solid training that is not afraid of confrontation with the US colleague. Its use in the disc, however, is limited to only three tracks, where it says its also with soprano. Pietro Condorelli , winner of a top jazz as new talent, adds the exact phrasing, but a little 'anemic, its guitar to the overall sound of the group. Would not spoiled a greater focus, a different intensity in its administrative attention and language more "rocking" in short. Vito Di Modugno characterizes, for his part, with the stamp of his Hammond organ entire album, even if the spaces that reserve an electric piano very "fusion", do you recommend even more.

The CD features songs definitely appreciable, alternated with other less convincing. In some pieces the band leader, in fact, leaves too much scope to the initiative of the soloists, only to realize traces schematic, with a structure and a trend a bit 'stiff. In the best parts, however, there is more unpredictability in the arrangements, the voices of the various instruments alternate with a question and answer almost antagonistic, while "under" the rhythm machine travels at speed really considerable. And 'the case, for example, of " East Side blue"introduced the organ and then played on a chase between the three wind instruments aimed at the red-hot atmosphere of the song, which becomes more and more glowing with a few moments of relative rest. Here Fabio Morgera takes a solo decision, vehemently and "groove" really remarkable. Even " The incredible truth "is a funky rhythm contagious and conquest for the beauty of the solos, yet lyrical and flaming trumpet player, as well as author and fender warm floor more than ever Di Modugno.

In conclusion " East side "is overall a disk modern jazz played well by a staff that takes advantage of the presence of the two distinguished guests. In certain situations, however, Vito Di Modugno is content to hear them play, not organizing an increasingly appropriate to come out in all circumstances his role as leader and composer. When it does, when it does not rely primarily on the virtues of the soloists to carry on the conversation, but build structures more defined, the level of expression of the various songs grows considerably. Gianni Montano for Jazzitalia.  Translate by google  http://www.jazzitalia.net/recensioni/eastside.asp#.VI4OUnuaWmA

Personnel:  Pietro Condorelli – Guitar; Massimo Manzi – Drums; Michele Carrabba - Soprano Saxes & T.; Jerry Bergonzi - T. Sax; Fabio Morgera - Trumpet

East Side

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Tony Williams - Foreign Intrigue

Styles: Jazz, Fusion
Year: 1985
File: MP3@320K/s
Time: 43:14
Size: 99,3 MB
Art: Front

(5:27)  1. Foreign Intrigue
(6:53)  2. My Michelle
(6:06)  3. Life Of The Party
(6:43)  4. Takin' My Time
(5:06)  5. Clearways
(7:00)  6. Sister Cheryl
(5:58)  7. Arboretum

Tony Williams had never led a straightahead recording session before and is a little higher in the mix than drummers usually rate. But despite the fact that he almost drowns out Bobby Hutcherson's vibes at times, Williams's playing is consistently colorful and would hold one's interest even if he were under-recorded. ~ Scott Yanow  http://www.allmusic.com/album/foreign-intrigue-mw0000188845

Personnel: Tony Williams (drums); Donald Harrison (alto saxophone); Bobby Hutcherson (vibraphone); Mulgrew Miller (piano); Ron Carter (bass).

Foreign Intrigue

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Various Artists - Quand Le Jazz Est La - Les Coups De Coeur De Stanley Pean

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 73:39
Size: 168,8 MB
Art:  Front

( 5:24)  1. Oliver Jones - Place Saint-Henri
( 5:53)  2. Lorraine Desmarais - Bossa del Niño
( 7:30)  3. Kyle Eastwood - I Beg Your Pardon
( 6:34)  4. Richard Galliano - New York Tango
( 3:52)  5. Carol Welsman - Remind Me
(11:51)  6. Palatino Quartet - Calabrian Nights
( 6:05)  7. Baptiste Trotignon - Not for Debby
( 7:01)  8. François Bourassa - Vequechieun
( 6:50)  9. Jean Vanasse - La Gueuse
( 7:46) 10. Christine Jensen - Capers Papers
( 4:47) 11. Sylvain Lelièvre - Pantalon Gris Et Veston Bleu

The favorites of Stanley Péan is a compilation of 11 pieces Jazz which are linked into a sort of extension of appointment radio When the Jazz is in the air Espace musique. Find the dazzling virtuosity of Oliver Jones on a classic of his friend and mentor Oscar Peterson ("Place St. Henri"); the spellbinding fantasy of Vanassextet Jean Vanasse ("the pig"); through the tropical languor distilled by Lorraine Desmarais ("Bossa del niño"). Translate by google  http://www.archambault.ca/artistes-varies-quand-le-jazz-est-la-les-coups-de-coeur-de-stanley-pean-ACH003470271-fr-pr

Quand Le Jazz Est La - Les Coups De Coeur De Stanley Pean

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