Dave Brubeck Trio - Distinctive Rhythm Instrumentals

Bitrate: MP3@320K/s
Time: 68:15
Size: 156.3 MB
Styles: West Coast jazz, Piano jazz
Year: 1953/1982
Art: Front

[2:54] 1. You Stepped Out Of A Dream
[3:30] 2. Lullaby In Rhythm
[2:35] 3. Singin' In The Rain
[3:22] 4. I'll Remember April
[3:43] 5. Body And Soul
[2:41] 6. Let's Fall In Love
[2:42] 7. Laura
[2:33] 8. Indiana
[2:56] 9. Blue Moon
[2:45] 10. Tea For Two
[2:28] 11. Undecided
[2:38] 12. That Old Black Magic
[3:25] 13. September Song
[2:43] 14. Sweet Georgia Brown
[2:28] 15. Spring Is Here
[2:40] 16. 's Wonderful
[2:18] 17. Perfidia
[2:06] 18. Avalon
[2:33] 19. I Didn't Know What Time It Was
[2:47] 20. Always
[3:03] 21. How High The Moon
[3:44] 22. Squeeze Me
[2:19] 23. Heart And Soul
[3:10] 24. Too Marvellous For Words

Bass – Ron Crotty; Drums, Vibraphone [Vibes] – Callen Tjader; Piano – Dave Brubeck. Recorded between September, 1949 & November, 1950

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

Distinctive Rhythm Instrumentals

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Avi Lebo Double Trombone Quartet - Shades Of Brass

Bitrate: MP3@320K/s
Time: 56:56
Size: 130.4 MB
Styles: Trombone jazz
Year: 2010
Art: Front

[ 9:24] 1. Today's Nights
[ 4:19] 2. 24e
[10:22] 3. Let's Play
[ 9:06] 4. Everything Happens To Me
[ 4:48] 5. Our Delight
[ 8:01] 6. To Wisdom The Prize
[ 6:38] 7. Wait
[ 4:15] 8. I'm Gonna Laugh You Right Out Of My Life

Avi Lebo, trombone; Slide Hampton, trombone; Larry Willis, piano; Steve Novosel, bass; Jimmy Cobb, drums .

For the sonic glories of purely acoustic jazz, it's back to Mapleshade, with Shades Of Brass by the Avi Lebo Double Trombone Quintet. Lebo hails from Tel Aviv, a classically trained trombonist who, after hearing a Slide Hampton record, shifted to jazz, moved to New York, tracked down Hampton himself for lessons, and now features the master as a sideman on his own debut disc. The other sidemen aren't chopped liver, either: pianist Larry Willis, bassist Steve Novosel, and drummer Jimmy Cobb, whose sound and cadences you'll clearly recognize as the same Cobb who played on Miles Davis' Kind of Blue. Talk about ride cymbals: nobody rides with more grace, or sense of time and tune, than Cobb. He shuffles rhythms with supreme subtlety. On 24E, snap your fingers to the beat and listen to how many counterbeats Cobb's got going at the same time.

Percussion is something of engineer Sprey's specialty, as well. I can't think of another CD, except possibly another Mapleshade, on which so many bushels of air billow forth from a trapset. The bass (unplugged) sounds naturally woody and plucky. Willis' piano chords waft richly. And the dual trombones -- well, there they are, right in front of you. Lebo is quite a discovery. He plays with astonishing precision, hitting eighth and sixteenth notes without a smidgen of overhang, yet there's no coldness to his tone. He gets a burnished-bronze tone out of the 'bone, "like a dark, soulful French horn," just as the liner says. Hampton has a brasher sound and, when they mix it up the electricity sparkles (though, on Today's Nights, their playing is marred by saturation on the tape). Lovely stuff. ~FredKaplan

Shades Of Brass

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Nancy Wilson - Someday You'll Want Me To Want You

Bitrate: MP3@320K/s

Time: 72:23

Size: 165.7 MB

Styles: Soul-jazz vocals

Year: 2015

Art: Front

[2:18] 1. Let's Love Again

[2:46] 2. Something Wonderful Happens

[2:58] 3. The Old Country

[2:37] 4. You Don't Know What Love Is

[2:24] 5. Call It Stormy Monday

[4:15] 6. The Masquerade Is Over

[2:32] 7. My Foolish Heart

[2:26] 8. He's My Guy

[2:41] 9. The Things We Did Last Summer

[3:23] 10. The More I See You

[2:13] 11. Little Unhappy Boy

[2:41] 12. Save Your Love For Me

[2:20] 13. Green Dolphin Street

[2:49] 14. Don't Tell Me

[1:46] 15. If Dreams Come True

[2:56] 16. The Nearness Of You

[2:24] 17. What A Little Moonlight Can Do

[2:10] 18. Born To Be Blue

[2:40] 19. The Great City

[1:57] 20. I Wish You Love

[3:03] 21. All Night Long

[2:22] 22. Happy Talk

[2:32] 23. A Sleepin' Bee

[2:22] 24. The Seventh Son

[2:13] 25. Ghost Of Yesterday

[2:17] 26. This Time The Dream's On Me

[2:16] 27. Never Will I Marry

[2:48] 28. Teach Me Tonight

She was among contemporary music’s most stylish and sultry vocalists; while often crossing over into the pop and R&B markets – and even hosting her own television variety program – she remained best known as a jazz performer, renowned for her work alongside figures including Cannonball Adderley and George Shearing. Wilson first attracted notice performing the club circuit in nearby Columbus; she quickly earned a growing reputation among jazz players and fans, and she was recording regularly by the late ’50s, eventually signing to Capitol and issuing LPs including 1959’s Like in Love and Nancy Wilson with Billy May’s Orchestra.

Someday You'll Want Me to Want You    

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Jimmy Smith - Jimmy Smith Plays Fats Waller

Bitrate: MP3@320K/s
Time: 34:33
Size: 79.1 MB
Styles: B-3 Organ jazz, Hard bop, Soul jazz
Year: 1962/2008
Art: Front

[3:42] 1. Everybody Loves My Baby
[5:27] 2. Squeeze Me
[3:32] 3. Ain't She Sweet
[3:40] 4. Ain't Misbehavin'
[5:14] 5. Lulu's Back In Town
[6:55] 6. Honeysuckle Rose
[6:01] 7. I've Found A New Baby

Recording Date: January 23, 1962. Drums – Donald Bailey; Guitar – Quentin Warren; Organ – Jimmy Smith.

Playing piano-style single-note lines on his Hammond B-3 organ, Jimmy Smith revolutionized the use of the instrument in a jazz combo setting in the mid-'50s and early '60s, and this piano approach makes him a natural to adapt the piano tunes associated with Fats Waller to the B-3, which is what he did at the January 23, 1962, session that is represented here (Waller, by the way, was no stranger to the organ himself, and recorded several sides on the instrument). Working with guitarist Quentin Warren and his longtime drummer Donald Bailey (who worked with Smith throughout his Blue Note years), Smith brings his amazing rapid runs to Waller standards "Ain't Misbehavin'" and "Honeysuckle Rose," and gives "Ain't She Sweet" a wonderfully warm and soulful groove. It's fairly typical Smith, who careens, bolts, stutters, glides, and flashes notes all over the place at a frequently breathless pace, doing what he always does, which is being Jimmy Smith at the organ. That's what you want, and that's what you get here. ~Steve Leggett

Jimmy Smith Plays Fats Waller

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The Anita Kerr Singers - The Great Days Of The Big Bands

Bitrate: MP3@320K/s
Time: 48:29
Size: 111.0 MB
Styles: Swing, Vocal harmony group
Year: 2003
Art: Front

[2:10] 1. Take The A Train
[3:47] 2. Begin The Beguine
[3:08] 3. 'round Midnight
[3:29] 4. Sunny Side Of The Street
[3:35] 5. Sentimental Journey
[2:50] 6. Hot Toddy
[3:41] 7. Stompin' At The Savoy
[2:31] 8. I'll Never Smile Again
[2:41] 9. String Of Pearls
[3:48] 10. Mood Indigo
[4:15] 11. Don't Get Around Much Anymore
[2:29] 12. Happiness Is A Thing Called Joe
[3:13] 13. I'm Getting Sentimental Over You
[3:23] 14. I've Got My Love To Keep Me Warm
[3:23] 15. Early Autumn

The Great Days Of The Big Bands

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Charlie Haden - The Private Collection (2-Disc Set)

Originally released as limited edition single discs sets, bass icon Charlie Haden and specialty audiophile label Naim Audio finally give The Private Collection broader release.

Two CDs documenting two concerts with his then relatively nascent Quartet West from 1987 and 1988, it's also a dovetail to The Best of Quartet West (Verve, 2007), prefacing Haden's 2008 summer tour with founding members Alan Broadbent (piano), Ernie Watts (saxophones) and newcomer Rodney Green (drums).

The 1987 show was in celebration of Haden's fiftieth birthday, and features the original Quartet West line-up with the late Billy Higgins on drums. Paul Motian is in the drum seat for the 1988 performance, prior to Larence Marable joining the band and remaining until it's sixth and (so far) final studio disc, The Art of the Song (Verve, 1999). Initially conceived as a West Coast, film noir homage, Quartet West's origins were as more of a playing band, in contrast with later projects, where Haden would paste archival recordings, Zeilig-like, from artists including Coleman Hawkins, Chet Baker and Duke Ellington.

With a handful of tracks from its first two releases, the group takes liberties with tunes like Pat Metheny's "Hermitage"—originally a lyrical tune from the guitarist's folkloric New Chautauqua (ECM, 1979)—that recall just how exciting the group was in its early years, before a stronger nostalgic penchant set in. Firmly planted in the mainstream, Charlie Parker's "Passport" is still a thrilling fifteen minute ride, with fiery solos from everyone, most notably Higgins, whose brushwork remains an unparalleled thing of beauty to this day.

Motian's set makes clear, on Charlie Parker's "Lisa," that despite a lifelong predilection for color he's just as capable of swinging hard. But it's the 23-minute version of Ornette Coleman's "Lonely Woman" that's a high point on two-and-a-half hours of music where the bar is set extremely high from the outset. More open-ended than anything the group's recorded before or since, its unbridled bursts of energy prove Broadbent and Watts two players largely associated with the mainstream to be more widely versed than their discographies suggest. Haden's solo returns to the country roots of his younger days, but feels completely natural in the context of Quartet West's no-boundaries approach to this Coleman classic.

Two versions of Metheny's poignantly balladic "Farmer's Trust" shed light, not only on how each performance is different for Quartet West, but on the difference two drummers can make. With Higgins it's taken at a brighter tempo, swinging in ways that Metheny's original on Travels (ECM, 1983) never did. With Motian the tempo is slower, the drummer providing a more texturally driven, implicit pulse. Still, as the tune intensifies during Watts' fluid solo, Motian doesn't steer clear of explicit rhythm, making it the more dramatic and, ultimately, satisfying take. Surpassing its Best of collection, The Private Collection finds Haden and Quartet West at its true best, with material spanning four decades but still sounding, twenty years later, as if it had been written yesterday. ~Joe Kelman

Charlie Haden: bass; Ernie Watts: saxophones; Alan Broadbent: piano; Billy Higgins: drums (CD1); Paul Motian: drums (CD2).

Album: The Private Collection (Disc 1)
Bitrate: MP3@320K/s
Time: 71:19
Size: 163.3 MB
Styles: Contemporary jazz
Year: 2009

[12:44] 1. Hermitage
[15:34] 2. Passport
[ 8:09] 3. Misery
[13:01] 4. Nardis
[11:00] 5. Segment
[ 3:29] 6. Etudes
[ 7:19] 7. Farmer's Trust

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Album: The Private Collection (Disc 2)
Bitrate: MP3@320K/s
Time: 75:14
Size: 172.2 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[13:28] 1. Billy Bay City
[ 9:14] 2. Farmer's Trust
[22:45] 3. Lonely Woman
[ 8:48] 4. Silence
[ 8:39] 5. Body And Soul
[12:17] 6. Lisa


The Private Collection (Disc 1),(Disc 2)                

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Barbara Montgomery - Dakini Land

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 63:16
Size: 145,5 MB
Art: Front

(5:53)  1. What Game Shall We Play
(6:31)  2. The Reason Why
(5:58)  3. Miles To Go
(7:37)  4. Crystal Silence
(7:17)  5. Carousel
(4:35)  6. High Wire
(5:11)  7. 500 Miles High
(4:46)  8. You're Everything
(7:05)  9. Like A Lover
(8:18) 10. Sometime Ago

Barbara Montgomery’s recordings may not be retailed in vast quantities, and thus they may not be immediately available to listeners who enjoy enlightening jazz singing. But her latest recording, Dakini Land, is worth seeking. Perhaps suffering the ironic plight of Diana Krall that is, that her physical appeal distracts from the perception of her inherent vocal talent Montgomery leaves no doubt about the depth of her insight or commitment in this album, which focuses on the often overlooked vocal potential of Chick Corea’s music. No, “Spain” doesn’t appear on Dakini Land. Rather, Montgomery investigates Corea’s tunes that have a personal significance for her. A practicing Buddhist who adopted the religion as a witness to Viet Nam’s social upheaval when she lived there as a girl, Montgomery has deepened the expression of her religious commitment through her music. Corea’s compositions, and especially “Crystal Silence,” had a spiritual and therapeutic effect on her when she was recovering from Lyme Disease. In fact, some of the sales of Dakini Land are donated to the Lyme Disease Foundation.

While philanthrophy is all well and good, in the end, it’s the music that makes the album. And it’s a pleasure to report that Montgomery interprets sometimes difficult melodies with ease and a huskiness that lure the listener into her realm of deep inner feeling released through music. Surrounded by a group of friends who happen to be Philadelphia musicians as well, Montgomery takes advantage of the camaraderie evident in the spirit of the CD to create a fully realized statement of her beliefs. Even the first tune, “What Game Shall We Play Today,” evokes Buddhist symbolisms of playfulness and immediacy. Dakini Land itself refers to Buddhist angelic entities with sprightly, overseeing characteristics. In spite of the profound meanings of the tunes, Montgomery’s music is entirely approachable, particularly as it comes to life through the skills of musicians like lyrical saxophonist Chris Farr, inspiring electric bassist Chico Huff or Montgomery’s co-producer and pianist Barry Sames.

Montgomery diverges from her presentation of the influence of Corea’s music in her composition of three tunes on the album, one of which, the clavé-driven “The Reason Why,” she sings in Portuguese. A special delight on that track includes violinist John Blake’s energetic violin solo over several choruses. Montgomery ends Dakini Land in the same consistent spirit of joy and extroversion. Corea’s “Sometime Ago,” long sung tones over percolating percussion, emphasizes ever-lasting child-like hope sustained through wonder, appreciation and play. ~ AAJ Staff     http://www.allaboutjazz.com/dakini-land-barbara-montgomery-review-by-aaj-staff.php

Personnel: Barbara Montgomery - Vocals; Tyrone Brown, Lee Smith - Acoustic Bass; "Father John" D'Amico, Barry Sames - Piano; Kenny Davis, Chico Huff - Electric Bass; Craig Ebner - Guitar; Chris Farr - Tenor Saxophone; Glenn Ferracone, Gregory McDonald - Drums; Doc Gibbs - Percussion; Bob Meashey - Trumpet/Flugelhorn; Marlon Simon - Drums/ Percussion; Terell Stafford - Trumpet/Flugelhorn; John Blake - Violin

Dakini Land

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Mike Melvoin, Kim Park - The Art Of Conversation

Styles: Piano And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 67:07
Size: 154,0 MB
Art: Front

(8:44)  1. Speak Low
(7:59)  2. When I Fall in Love
(6:04)  3. I Remember You
(7:19)  4. Danny Boy
(6:44)  5. Tangerine
(8:09)  6. For All We Know
(6:48)  7. You'd Be So Nice To Come Home To
(7:27)  8. A Time For Love
(7:49)  9. Emily

Leading off is The Art Of Conversation, by pianist Mike Melvoin and alto saxophonist Kim Park.  Minus the familiar timekeeping of bass and drums,  a duet album might challenge the listener’s attention, but Melvoin, a stellar first-call player here in LA, and the lesser heard Park,  son of the late Stan Kenton soloist John Park, reward the listener at every turn.  On Tangerine, the spirit of  fellow Kansas City native Charlie Parker is evoked as Park explores the breadth of the instrument in exhilarating style, with Melvoin deftly filling in underneath, ending up with a quote from Sweet Georgia Brown.   A Time For Love features Park caressing the melody, exploring the lower register of the instrument, leaving it for Melvoin to seamlessly bring up the pace. When you listen to this album you can’t help but recall Stan Getz and Kenny Barron’s People Time.

Park was an artist-in-residence with Getz at Stanford in 1988, and demonstrates a striking lyricism throughout. Melvoin’s contributions are more complex, providing the rhythmic underpinnings for Park’s solos, while blending his own unaccompanied dialogue into the conversation. From the first pensive notes of Danny Boy to the sprightly upbeat rhythms of You’d Be So Nice To Come Home To and Speak Low, it’s a gorgeous set throughout. ~ Michael Katz  https://irom.wordpress.com/2009/02/17/cd-reviews-melvoin-park-cunliffe-and-wolff/

Personnel:  Mike Melvoin – piano; Kim Park - alto sax

The Art Of Conversation

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Matt Belsante - When You're Smiling

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 46:49
Size: 107,7 MB
Art: Front

(2:56)  1. When You're Smiling
(3:25)  2. Nothing But the Best
(4:37)  3. Bewitched, Bothered and Bewildered
(3:01)  4. On the Sunny Side of the Street
(4:01)  5. The Nearness of You
(3:08)  6. It's Only a Paper Moon
(3:18)  7. Make You Feel My Love
(3:00)  8. They Didn't Believe Me
(2:32)  9. Exactly Like You
(4:59) 10. Skylark
(3:47) 11. Nothing Can Change This Love
(3:25) 12. More
(4:32) 13. Angel Eyes

Matt Belsante performs like a seasoned entertainer well beyond his years. An old soul with a distinctly modern sound, you can hear the respect and appreciation for the material in his smooth as silk voice.
Maybe it was the old Sinatra records that he used to listen to with his Grandfather. Or maybe it was the steady diet of Coltrane, Ellington, Basie and Fitzgerald that he was fed at home. Whatever it was, Matt knew it was in his bones, a part of his DNA that would ultimately lead this young artist to pursue a dream of his own. Just out of grade school, Matt picked up the tenor sax at the age of twelve and became a standard fixture in his middle school and high school jazz bands. But the sax wasn't his only instrument: he soon found he had a talent for using his voice. By his senior year of High School, Matt had won the prestigious Louis Armstrong Jazz Award in both the vocal and instrumental categories, the first student from his school to achieve such a feat.

That affirmation was a turning point for Matt, as he realized that his true passion was for using his voice to interpret a song. He grabbed a guitar, taught himself to play and began composing his own music the summer before he entered Nashville's Vanderbilt University. Before the first day of class commenced, the late Vanderbilt/Blair school of Music director, Billy Adair, had already recruited Matt to sing for the Blair Big Band. Soon, Matt was directing himself, leading the Dodecaphonics, an all-male a cappella group on campus. The rising star eventually came to the attention of Nashville's well-heeled music industry following a performance of the Nashville Jazz Orchestra. That night, the NJO performed a Sinatra tribute, and Matt sang many as if he was channeling Sinatra himself. That performance landed him a televised appearance as a featured entertainer for the Miss Tennessee Scholarship Pageant 2006, which eventually lead him to Green Hill Music, where he recorded an album of Christmas classic (White Christmas), and followed that with a spectacular non-seasonal collection of standards (Blame It On My Youth). The titles quickly became two of the label's top selling releases.

CBL Properties and KMT Creative Group tapped Matt to become both the voice and the face of the campaign. As a result, Matt was featured in a series of spots on television, radio and internet. Matt's latest collaboration with Green Hill, teams him with GRAMMY nominated producer, Jack Jezzro, acclaimed arranger and orchestrator, Jeff Steinberg and the exciting new jazz pianist, Mason Embry. A collection of traditional jazz and Big Band standards, as well a couple of pop and R&B classics, When You're Smiling boasts Matt's best vocal work to date. ~ Editorial Reviews  http://www.amazon.com/When-Youre-Smiling-Matt-Belsante/dp/B00QTVKD2Y

Personnel: Jack Jezzro (guitar); Janet Darnall, Conni Ellisor, Mary Kathryn Van Osdale, David Davidson , David Angell (violin); Chris Farrell , Elizabeth Lamb (viola); Sari Reist, Anthony LaMarchina (cello); Denis Solee (flute, alto saxophone); Sam Levine (flute, tenor saxophone); Matt Davich (clarinet, tenor saxophone); Doug Moffett (clarinet, baritone saxophone); Ellen Menking (oboe, English horn); Mike Haynes , Jeff Bailey , Steve Patrick (trumpet); Barry Greene, Roy Agee (trombone); Mason Embry (piano); Joshua Hunt (drums).

When You're Smiling

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Wolfgang Haffner - Kind of Cool

Styles: Contemporary Jazz, Crossover
Year: 2015
File: MP3@320K/s
Time: 60:04
Size: 138,2 MB
Art: Front

(5:37)  1. Hippie
(7:20)  2. So What
(5:02)  3. Piano Man
(4:03)  4. Autumn Leaves
(3:18)  5. Tantricity
(5:23)  6. Summertime
(7:00)  7. My Funny Valentine
(6:26)  8. One for Daddy O
(5:55)  9. I Fall in Love Too Easily
(5:00) 10. Django
(4:56) 11. Remembrance

Drummer Wolfgang Haffner is one of Germany's most respected and experienced jazz musicians: his 30 year career features recordings with Al Cohn, Joe Pass and Till Bronner as well as numerous albums as leader. On Kind Of Cool he's joined by an excellent line-up of European jazzers, including pianist Jan Lundgren and trombonist Nils Landgren: their mix of classics and Haffner originals is a delight from first note to last. Haffner and bassist Dan Berglund open "Hippie" (one of the drummer's own compositions) with a relaxed groove that immediately establishes the inaccuracy of the album title: this music isn't kind of cool, this is cool. The tune's title is also rather inaccurate: this melodic number, thanks especially to Jukka Perko's breathy alto sax, is redolent of the '50s not so much "Hippie" as "Beatnikie." 

Haffner contributes two more numbers. "Tantricity" is another relaxed tune that fits neatly into the cool school Perko's long, fragile, notes give it added grace. The lovely "Remembrance" gives the spotlight to 83-year-old trumpeter Dusko Goykovich (who's played with icons of cool, Miles Davis and Chet Baker). His languid, romantic playing on this tune is some of the finest on the record, although Lundgren's piano solo almost matches Goykovich for emotional depth. One of the striking things about Kind Of Cool is the presence of so many classic, world famous, tunes. Davis' "So What," Rogers and Hart's "My Funny Valentine," George Gershwin's "Summertime" are all iconic compositions. Most of them, in the right hands, have come to epitomise cool jazz one reason for Haffner's decision to include them here and these interpretations carry on that fine tradition. 

John Lewis' "Django," a Modern Jazz Quartet classic, is given a fresh tonal quality by the sax and trumpet of Perko and Goykovich "So What" gets its own shift in feel thanks to Christopher Dell's vibes and Berglund's subtle variation on Paul Chambers' bass line, "Summertime" is a beautiful mix of a gently swinging rhythm section and Goykovich's heartfelt muted trumpet. Two numbers deviate somewhat from the predominant cool sound. {Billy Eckstein}}'s "Piano Man" is a late-night story of lost love ..."that can only be told by the blues." Vocalist Max Mutzke tells the tale with just the right mix of self-pity and melancholy it's easy to imagine the empty bar-room, the tired bartender and the spurned lover as they listen to Frank Chastenier's piano. Nat Adderley's "One For Daddy O," featuring guest trombonist Landgren, is another blues, but this time swing and good vibes replace Mutzke's melancholy. So what kind of cool is Kind Of Cool? The good kind, the cool kind that's the kind of cool to be found on Kind Of Cool. ~ Bruce Lindsay  http://www.allaboutjazz.com/kind-of-cool-wolfgang-haffner-act-music-review-by-bruce-lindsay.php

Personnel: Wolfgang Haffner: drums; Dusko Goykovich: trumpet; Jukka Perko: alto saxophone; Christopher Dell: vibraphone; Jan Lundgren: piano; Dan Berglund: bass; Max Mutzke: vocals (3); Frank Chasteniere: piano (3); Christian von Kaphengst: bass (3); Nils Landgren: trombone (8).

Kind of Cool

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