Annie Ross, The Gerry Mulligan Quartet - Annie Ross Sings A Song With Mulligan

Bitrate: MP3@320K/s
Time: 31:37
Size: 72.4 MB
Styles: Vocal jazz
Year: 1959/2010
Art: Front

[3:29] 1. I Feel Pretty
[2:47] 2. How About You
[2:58] 3. I've Grown Accustomed To Your Face
[3:20] 4. This Time The Dream's On Me
[3:40] 5. Let There Be Love
[2:16] 6. All Of You
[3:31] 7. Give Me The Simple Life
[4:17] 8. This Is Always
[3:37] 9. Between The Devil And The Deep Blue Sea
[1:38] 10. It Don't Mean A Thing

Baritone Saxophone – Gerry Mulligan; Bass – Bill Crow, Henry Grimes; Drums – Dave Bailey; Trumpet – Art Farmer, Chet Baker; Vocals – Annie Ross.

Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass, and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on "I've Grown Accustomed to Your Face," "Give Me the Simple Life," "How About You," and "The Lady's in Love With You," but all the selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable. This date plus its follow-up A Gasser are both essential. ~Scott Yanow

Annie Ross Sings A Song With Mulligan

---

Edgar Pagán - What A Feeling!

Bitrate: MP3@320K/s
Time: 69:04
Size: 158.1 MB
Styles: World beat
Year: 2016
Art: Front

[4:36] 1. What A Feeling!
[3:51] 2. Tito
[4:27] 3. Won't Let It Go
[4:23] 4. Sazon
[5:04] 5. Show The World
[3:16] 6. Serenade Of The Cuckoo
[5:38] 7. Respect
[1:56] 8. Colors Of The Rainforest
[5:25] 9. Dance Of The Rainforest
[3:29] 10. Not So Sudden
[5:02] 11. Groovin'
[5:55] 12. Bésame Mucho
[3:25] 13. Sunny
[1:32] 14. Corazon
[4:51] 15. Before Its Too Late
[6:07] 16. Please Let Me

After many years of leading the Latin flavored band 'Grupo Pagán', Edgar has ventured out on a solo project. With the help of his encouraging musical friends and legendary producer/bassist Jimmy Haslip he presents some powerful originals and a unique take on a few covers. Some will move you physically and others emotionally. Guest appearances by Robben Ford, Jimmy Haslip, Jeff Lorber, Luis Conte, Mark Doyle, Joe Driscoll, Bob Halligan Jr., Beledo, Melissa Gardiner, and Jeff Richman make for a special and unique musical journey. Thanks so much for the support! Peace and Love!

What A Feeling!

---

Joe Escobar Quartet - It's My Turn

Bitrate: MP3@320K/s
Time: 43:09
Size: 98.8 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[3:20] 1. Summer Wind
[3:01] 2. Steppin' Out With My Baby
[3:38] 3. I've Got A Crush On You
[4:41] 4. Emily
[2:53] 5. Sway
[3:18] 6. Beyond The Sea
[4:40] 7. Wonderful World
[3:13] 8. Too Close For Comfort
[3:07] 9. Come Fly With Me
[4:53] 10. S'wonderful
[4:27] 11. The Way You Look Tonight
[1:52] 12. Fly Me To The Moon

The Joe Escobar Quartet is made up of seasoned San Francisco Bay Area musicians. Joe Escobar has become known locally for his smooth voice and excellent renditions of the old Sinatra style classics. While many male vocalists in this genre try to impersonate the likes of Frank Sinatra and Bobby Darin, Joe just sings the tunes his own way with just the right touch of those classic singers. The rhythm section is made up of John Quam on piano, Bob Chandler on bass, and Bill Belasco on drums, all well known for their excellent musicianship. The group generally performs a variety of high-end restaurants and corporate/wedding events which led to this recording. Originally, the band went into the studio to record some demos for booking purposes. They decided to record the songs full length and just ran an 8 hour session at the Expression College for Digital Arts in Emeryville California. Expression, like many music colleges, offers musicians free studio time to give their students the opportunity to record all styles of music. After doing the recordings, Joe Escobar thought that for a quick session, they came up with some really great tracks, so he decided to make an album from them. The entire album was self-produced by Joe Escobar. All the vocal tracks and trombone/trumpet tracks were recorded later at Joe's personal studio, where he used Cubase and Wavelab software for the final mix and mastering.

It's My Turn

---

Carol Robbins - Jazz Play

Bitrate: MP3@320K/s
Time: 71:31
Size: 163.7 MB
Styles: Harp jazz
Year: 2005
Art: Front

[5:27] 1. Buddy's Bite
[3:48] 2. O Grande Amor
[5:48] 3. Still Light
[5:48] 4. The Meaning Of The Blues
[5:49] 5. Darcy's Waltz
[5:32] 6. Tangier
[7:57] 7. Emilia
[4:17] 8. Don't Look Back
[6:05] 9. The Cribbler
[5:22] 10. Skating In Central Park
[4:09] 11. Sollevare
[7:03] 12. I'm Old Fashioned
[4:19] 13. Sambolero

One of the best (and the few) jazz harp soloists, Carol Robbins on Jazz Play also proves to be a talented songwriter. Several of her originals, particularly such lyrical ballads as "Still Light," "Darcy's Waltz," and "Emilia," deserve to catch on as standards. Her harp playing is as fluent as any harpist alive (and any harpist since Dorothy Ashby), and she blends in well on various selections with tenor and soprano saxophonist Bob Sheppard, trumpeter Steve Huffsteter, guitarist Larry Koonse, and the rhythm section. The standards are well chosen, too, with John Lewis' "Skating in Central Park" being a highlight. This set is a delight and arguably Carol Robbins' finest recording to date. ~Scott Yanow

Jazz Play

---

Monica Zetterlund, Bill Evans Trio - Waltz For Debbie

Bitrate: MP3@320K/s
Time: 33:50
Size: 77.5 MB
Styles: Vocal jazz
Year: 1964/2013
Art: Front

[4:38] 1. Come Rain Or Come Shine
[2:51] 2. Jag Vet En Dejlig Rosa
[3:00] 3. Once Upon A Summertime
[3:46] 4. So Long Big Time
[2:45] 5. Monicas Vals
[3:33] 6. Lucky To Be Me
[3:01] 7. Vindarna Sucka Uti Skogarna
[2:58] 8. It Could Happen To You
[5:33] 9. Some Other Time
[1:40] 10. Om Natten

Bass – Chuck Israels; Drums – Larry Bunker; Piano – Bill Evans; Vocals – Monica Zetterlund. Recorded at Sweden's Europa Film Studio August 23, 1964.

An oddity in Bill Evans' catalog, this 1964 date places the Swedish jazz vocalist Monica Zetterlund alongside the Evans Trio (with Chuck Israels on bass and Larry Bunker on drums). Still, the match is seemingly perfect. Evans' lyricism is well suited to a breezy, sophisticated songstress like Zetterlund. There is an iciness on this recording, but it is difficult to decipher if it is in the performance or in the engineering where she seems to be way out in front of the band, when she was really in the middle of all the musicians in the studio. This is a minor complaint, however, as the tune selection and decorum of these sessions are quite lovely. From the opener "Come Rain or Come Shine" through the Swedish ballad "A Beautiful Rose" and the achingly gorgeous delivery of "Once Upon a Summertime," it's as if Zetterlund were destined to sing with Evans for a career instead of an album. For his part, Evans is very relaxed, allowing the lyrics to feed his musing on the simple, yet elegant harmonics. The Swedish version of "Waltz for Debbie" is a true delight because Zetterlund's voice becomes another instrument, soloing over the top of Evans' stunning selection of comping chords. In all this is an odd but special item, one that is necessary -- for at least one listen -- by any serious fan of the pianist and composer. ~Thom Jurek

Waltz For Debbie

---

Sonny Clark - Oakland, 1955

Bitrate: MP3@320K/s
Time: 71:56
Size: 164.7 MB
Styles: Bop, Piano jazz
Year: 1955/1995
Art: Front

[7:10] 1. What's New
[6:25] 2. Willow Weep For Me
[6:45] 3. There Will Never Be Another You
[5:18] 4. D & E
[4:12] 5. All The Things You Are
[5:13] 6. But Not For Me
[5:12] 7. Bags' Groove
[5:47] 8. You Go To My Head
[7:47] 9. Between The Devil And The Deep Blue Sea
[8:46] 10. A Night In Tunisia
[6:06] 11. Ow!
[3:10] 12. Theme

Bass, Recorded By – Jerry Good; Drums – Al Randall; Piano – Sonny Clark. Recorded Jan. 13, 1955, Mocambo Club, Oakland, CA.

The first officially recorded date from an ensemble led by the brilliant jazz pianist Sonny Clark is an interesting prelude to his subsequent classic efforts for the Blue Note label. After leaving his home near Pittsburgh, moving to Los Angeles and finishing work as a sideman with Wardell Gray, Oscar Pettiford, and Buddy DeFranco, Clark lived in the Northern California Bay area of San Francisco, and led this obscure trio of bassist Jerry Good and drummer Al Randall. Recorded in performance at the Mocambo Club in Oakland in mid-January 1955, it is an historical document for fans of Clark who might want to hear the pianist at a time when he was happy -- not doing the drugs that destroyed his life and career -- and in a freewheeling mood playing standards. Clearly influenced by Bud Powell's virtuosity, Clark shows he has all of the chops, inventiveness, and speed to burn that made him one of the most impressive pianists of the hard bop era. The production values are thin, though, especially Randall's drumming, which hurts the overall quality of the sound, but Clark's piano still reigns supreme, and it takes him little time to warm up. As deft as his fleet lines are, the feeling of the music is relaxed in tempo and development. It is not until the third tune, "There Will Never Be Another You," that the trio brings the beat to a boil, and Clark shows off with flurries of arpeggios, but not staggeringly so. A take of the basic, happy blues of John Lewis' "D & E" lopes along, while "All the Things You Are" sports a slight calypso refrain. The rest of the program is distinguished by classic bop tunes, and Randall's scratchy snare drum. The loose snare is distracting, and sounds like a supplemental percussion instrument. The band does kick into another gear, using tight and frequent stop-start techniques on the melody of "Between the Devil & the Deep Blue Sea," while Clark unleashes his power during "But Not for Me" and Dizzy Gillespie's stretched-out "Night in Tunisia." There's a wow in the tape recording for the intro of "All the Things," some poor microphone placements on the drums causing the sonic imbalance, with Randall sounding tired or less inspired in the second half. Randall died a decade after these recordings, and Clark spent only eight more years playing brilliant jazz before losing his battle with drug addiction, while Good went on to a career in music as a player and accountant for the local musician's union. This LP, while definitely flawed, gives a clear indication of what the pianist had to offer when the moment was somewhat right. ~Michael G. Nastos

Oakland, 1955

---

Ari Ambrose - Talk of the Town

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:29
Size: 136,8 MB
Art: Front

(8:11)  1. I Don't Recall
(7:19)  2. I'll Be Seeing You
(6:29)  3. Goodbye
(8:22)  4. Pennies from Heaven
(7:55)  5. Mala
(8:16)  6. It's the Talk of the Town
(6:31)  7. Ditmas Avenue
(6:21)  8. Let's Call This

Saxophonists have long enjoyed the challenge of working alone with a piano-less rhythm section, as it gives them additional room to improvise. Tenor saxophonist Ari Ambrose has regularly recorded in a trio setting with just bass and drums, on this occasion with Ugonna Okegwo and Mark Ferber, two regular collaborators. He alternates between originals and standards, kicking off with his percolating, midtempo boppish blues "I Don't Recall," which features all three musicians in a good light. "Goodbye" is not the famous theme song played by Benny Goodman but a stunning, gut-wrenching original ballad that suggests a sad parting with a lover. His breezy "Ditmas Avenue" crackles with the energy of a busy urban thoroughfare in the midst of the day. In spite of its age,"Pennies from Heaven" remains one a favorite of modern jazz musicians; Ambrose's staccato phrasing keeps it fresh. His sassy take of Thelonious Monk's "Let's Call This" revives a piece that is generally overlooked in the late pianist's canon, playing it with a looseness that its composer would have likely enjoyed. This is another fine session by the rising young saxophonist. ~ Ken Dryden http://www.allmusic.com/album/talk-of-the-town-mw0001876280

Personnel: Ari Ambrose (tenor saxophone); Mark Ferber (drums); Ugonna Okegwo  (bass).

Talk of the Town

---

Chano Dominguez Trio - Con Alma

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 70:22
Size: 161,9 MB
Art: Front

(4:48)  1. La Tarara
(6:02)  2. No Me Patiques Mas
(5:27)  3. How About You?
(5:51)  4. Dolphin Dance
(5:34)  5. Con Alma
(7:49)  6. El Toro Y La Luna
(7:25)  7. It Could Happen To You
(7:42)  8. Hullo Bolinas
(7:19)  9. Jure
(6:23) 10. Speak Low
(5:59) 11. Darn That Dream

This is a rather different Chano from the one who first enthralled me with Hecho a Mano (Hand-made), his blazing flamenco/jazz mix recorded in Madrid in 1996 and released on Sunnyside a few years ago. On Con Alma he's replaced the handclaps and multilayered percussion with a traditional jazz trio, bringing on world-class band mates George Mraz and Jeff Ballard. But his roots are still very much in evidence from the first track, a dynamic take on a traditional song my dictionary tells me "La Tatara" means "sound of a trumpet as a signal for action." There's no trumpet here, but there's plenty of action.  Dominguez has a lithe, sensitive touch, impeccable time, and terrific sense of spacing; while he has chops to burn, he lets a lot of fresh air into his playing, unlike some of his more bombastic compatriots. "How About You" is bright and playful and his "Dolphin Dance" is a whirl through the clouds rather than a splash in the sea. Dominguez knows how to build excitement, as demonstrated in the title track; "Con Alma," which features one of several fine solos by Mraz, who is justifiably famous for his lyricism and fat, round sound. Meanwhile, Ballard supplies just the right feel throughout: subtle, intricate, and ever-swinging, he gets to break out on a delightful, sparkling "Speak Low." 

It's a terrific trio and beautifully in synch. One of my favorite tracks is "It Could Happen to You," which begins with a solo full of flamenco flair, then takes off for an extended joyride. This is followed by an intriguing meditation on Steve Swallow's "Hullo Bolinas" which is both free and structured, highlighting the group's versatility. The inclusion of strong Spanish compositions makes a nice mix with the familiar standards; Con Alma ia a rich and tasty feast, laced with salsa. Recommended. ~ Dr. Judith Schlesinger https://www.allaboutjazz.com/con-alma-chano-dominguez-venus-records-review-by-dr-judith-schlesinger.php

Personnel: Chano Dominguez: piano; George Mraz: bass; Jeff Ballard: drums.

Con Alma

---

Sabrina Starke - Outside The Box

Styles: Vocal, Soul
Year: 2012
File: MP3@320K/s
Time: 36:58
Size: 89,5 MB
Art: Front

(4:05)  1. All In Line
(3:29)  2. Backseat Driver
(3:38)  3. Toss Me A Dream
(3:45)  4. Sun Settle Down
(3:35)  5. I Cry
(3:59)  6. Simplest Way
(3:40)  7. Goldest Gold
(3:11)  8. This Time Around
(3:29)  9. Say Whatcha Wanna
(4:04) 10. Don't Let Me Be Misunderstood

Born in Paramaribo, Suriname, the singer-songwriter Sabrina Starke based in Rotterdam made her recording debut with the single "Do for Love" at the Star-K label. This single, produced by the Dutch team beat Royalty producers, and co-written by Starke itself eventually became a top 10 hit in the Netherlands. This makes them attracted the attention of EMI who signed Starke for a major-label contract through their Blue Note Records Department. Starke's debut album, Yellow Brick Road (2008), was again produced by Beat Royalty and is a mix of soul, jazz, folk and R & B influences. Thanks to the follow-up singles "Foolish" and "A Woman's Gonna Try" in the top 10 album charts came up. Starke's second album, Bags & Suitcases, arrived in 2010, followed by Outside the Box in 2012. ~ Jason Birchmeier  https://itunes.apple.com/nl/album/outside-the-box/id527189943

Outside The Box

---

Mike Richmond & Andy LaVerne - For Us

Styles: Jazz, Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 45:12
Size: 107,2 MB
Art: Front

(6:17)  1. For Us
(3:43)  2. Peace And Happiness
(4:13)  3. Prism
(7:45)  4. Skies
(9:32)  5. Bolero
(7:30)  6. Reflections
(6:09)  7. Air

Mike Richmond has expressed his love of music on a global level. In addition to accompanying such stellar jazz musicians as Miles Davis and Stan Getz and folk/blues singer/songwriter Richie Havens, the Philadelphia-born bass player has performed in concert with Indian sitar player Ravi Shankar and the South Indian Orchestra and has served as chief instructor for the National German Jazz Orchestra. Initially a guitar player, Richmond was inspired by a Bill Haley and the Comets show that he attended with his parents in the mid-'50s. He switched to the bass after joining his high school orchestra. Richmond's understanding of world music developed at an early age. His mother frequently played Middle Eastern records in the family home. His interests in Indian music were sparked by the soundtrack of the late-'40s television series Ramar of the Jungle and the Beatles' involvement with Indian music. Richmond has been involved in some of jazz's most impressive projects. He participated in the Miles Davis and Quincy Jones-collaborative concert in Montreux, Switzerland, which became Davis's final performance. He subsequently replaced Charles Mingus in the Mingus Dynasty. On his debut solo album Basic Tendencies, Richmond was accompanied by harp player Lois Colin, percussionists Glen Velez and Joe Passaro, and oud player Simon Shaheen. Richmond received a Teacher of the Year award in 1994 for his teaching at New York University. ~ Craig Harris http://www.allmusic.com/artist/mike-richmond-mn0000491554/biography

Personnel:  Bass – Mike Richmond;  Piano – Andy Laverne

For Us

---

Julia Hülsmann Quartet With Theo Bleckmann - A Clear Midnight

Styles: Vocal And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 68:05
Size: 156,2 MB
Art: Front

(4:31)  1. Mack the Knife
(4:06)  2. Alabama Song
(4:52)  3. Your Technique
(6:50)  4. September Song
(5:31)  5. This Is New
(4:48)  6. River Chanty
(5:47)  7. A Clear Midnight
(7:03)  8. A Noisless Patient Spider
(4:19)  9. Beat! Beat! Drums!
(6:37) 10. Little Tin God
(8:50) 11. Speak Low
(4:46) 12. Great Big Sky

Given enough time, things in life often come around full circle. Julia Hülsmann's three recordings for Munich's Act label were all vocal affairs, where the German pianist's core trio with bassist Marc Muellbauer and drummer Heinrich Köbberling were joined by singers ranging from Norway's Rebekka Bakken to Germany's Roger Cicero. Since moving to another Munich label, the more heralded ECM Records, Hülsmann has demonstrated a more careful approach to expanding and evolving her work. Her first two recordings for the label—2008's The End of a Summer and 2011 followup, Imprint pared things back to her core trio as if to signal a new beginning, adopting a wholly acoustic approach. Rather than returning to singers, Hülsmann expanded her 14 year-old trio to a quartet on 2013's In Full View by recruiting British trumpeter Tom Arthurs—a terrific choice that facilitated the pianist's ongoing migration towards a more evenly balanced blend of elegant lyricism with a more outgoing approach. But, clearly, Hülsmann has enjoyed working with singers and, perhaps just as importantly, with songs. And so, for her fifth ECM date (including a 2009 collaboration with guitarist Marc Sinan, Fasil), Hülsmann has paired her quartet with Theo Bleckmann, a German singer who, since relocating to New York City in 1989 and collaborating with the likes of über-guitarist Ben Monder and drummer/composer John Hollenbeck, has garnered a reputation for fearless improvisational élan that often includes the use of electronics and a penchant for unpredictable musical choices for jazz interpretation, like his Hello Earth! (Winter & Winter, 2012) project which, brought to the 2011 edition of Heidelberg, Germany's Enjoy Jazz festival, took the music of Kate Bush into territory even the intrepid British prog-pop goddess could never have envisaged. If A Clear Midnight -Kurt Weill and America largely dispenses with Bleckmann's electronics and, on paper at least, draws from a songbook that's long held a more direct tie to the jazz world, one listen to what may be Weill's best-known song, "Mack the Knife," makes clear that this is not going to be a conventional set of readings.

Bleckmann is faithful to Weill's melody and Bertolt Brecht's lyrics his purity of tone and subtle embellishments far more effective than anything more extravagant could ever be but there the similarities end. Hülsmann's arrangement revolving around a deceptively simple two-note, two-chord motif of fifths on her left hand, her right adding colours that add just the right balance of consonance and dissonance is largely a solo piano accompaniment that's augmented, when the music finally modulates, by Arthurs' simple but perfect flugelhorn lines, weaving in and around both Hülsmann and Bleckmann. It's a brilliant choice to open an album that doesn't just pay tribute to Weill  and, on three consecutive tracks that act as a conceptual breather, poems by Walt Whitman set to Hülsmann's music it reinvents them. The chemistry of Hülsmann's trio is inescapable, but after more time playing together as a quartet and rendering Arthurs a more fully integrated member, much of A Clear Midnight was road-tested after first being instigated by Dessau's Kurt Weill Festival in 2013, before heading to Oslo's Rainbow Studios a little less than year ago, where the music was further honed in collaboration with the quintet's sixth member, label head/producer Manfred Eicher. Not all of the arrangements are as radical as "Mack the Knife," but a song so iconic simply had to be reinvented so that when lesser-known Weill songs like "Your Technique" come around, with its original changes more dominant (albeit still reharmonized), it becomes clear that the group's interpretive skills are as key to the freshness of its approach as the predetermined arrangements by almost everyone in the group. Only Arthurs' contributions to the record are solely instrumental; still, they demonstrate such an exacting perfection in both accompaniment and as a front line instrument that it's a wonder he's not better known. With a warm tone juxtaposed, at times, with a Harmon-muted tone that renders his playing as vulnerable as Miles Davis at his fragile best, he's at his most impressive on Hülsmann and Bleckmann's co-arrangement of "Little Tin God," where the singer's electronically layered and looped choral introductory cushion provides a context for Arthurs to wax more burnished.

When the group finally enters over Hülsmann's repetitive upper register motif, the song assumes more conventional form; but when it comes time for Arthurs to solo, the group dissolves into complete and unpredictable freedom, as Hülsmann takes over with an unexpectedly jagged approach. It's the most surprising song of the set, and one that, perhaps, is a portent of things to come. Either way, it's certainly a sign that this quartet is evolving...and at a rather rapid pace at that. Elsewhere, Hülsmann's three compositional contributions demonstrate similar growth, in particular "A Noisless Patient Spider," where Bleckmann's oblique melody is mirrored by the pianist's sparse but equally skewed harmonies...until, that is, she takes a solo that once again finds a nexus where lyricism and more skewed tendencies seem to work wonderfully together. Muellbauer and Köbberling a simpatico team whose empathic elasticity gives every song on A Clear Midnight both its anchor and its unpredictability bolster Hülsmann with simmering intensity; first Arthurs' muted horn and then Bleckmann (wordlessly and in falsetto) re-enter, delivering a repeated line atop the trio that gradually gains dominance until, as the trio fades to black, there's nothing left but this line...slowly decelerating to silence, only for Bleckmann and the quartet to return for a brief final verse that ends almost mid- thought. Bleckmann has never been one for unnecessary gymnastics; instead, he demonstrates his effortless virtuosity in less overt ways, like at the end of the closing, arpeggio-driven "Great Big Sky," where he holds a vibrato-less note, with perfect intonation, for a full ten seconds. It's this kind of purity of intent and execution that makes Bleckmann such a perfect fit for Hülsmann without question the best vocal pairing of her recorded career and the pianist's group, which seems to be getting stronger, more telepathic and increasingly experimental with each record. If Hülsmann's three ACT recordings demonstrated a pianist and trio with great promise, it's been with her series of ECM sessions upon which this promise has been delivered, with A Clear Midnight her most fulfilling and fully reaized yet. ~ John Kelman https://www.allaboutjazz.com/julia-hulsmann-quartet-w-theo-bleckmann-a-clear-midnight-weill-and-america-by-john-kelman.php

Personnel: Theo Bleckmann: vocals; Julia Hülsmann: piano; Tom Arthurs: trumpet, flugelhorn; Marc Muellbauer: double bass; Heinrich Köbberling: drums.

A Clear Midnight

---