Taylor Swift - Folklore

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 63:37
Size: 154,7 MB
Art: Front

(3:30) 1. The 1
(3:59) 2. Cardigan
(3:51) 3. The Last Great American Dynasty
(4:45) 4. Exile
(4:15) 5. My Tears Ricochet
(3:29) 6. Mirrorball
(3:28) 7. Seven
(4:21) 8. August
(3:15) 9. This Is Me Trying
(3:10) 10. Illicit Affairs
(4:12) 11. Invisible String
(3:57) 12. Mad Woman
(4:49) 13. Epiphany
(4:54) 14. Betty
(3:54) 15. Peace
(3:40) 16. Hoax

Folklore was contextualized as a lockdown project instantly upon release, and earned a reputation as the archetypal quarantine album. Los Angeles Times thought that the album was ruminative and dreamy, displaying the work of an artist "cut off from the everyday world, turned inward". The Guardian opined that Folklore was a respite from chaotic global events, converting dark emotions into something beautiful, while The Daily Telegraph called it "an exquisite, empathetic lockdown triumph".

NME wrote the album will be remembered as "the quintessential lockdown album" that acted as a soothing balm during lockdown, and while many artists created quarantine albums, it was Folklore that "felt like the perfect accompaniment for the weird loneliness" of 2020. Echoing similar sentiments, Insider stated that Folklore would be known as "lockdown's one true masterpiece", out of the works released by artists during the pandemic.

Rolling Stone predicted that the album may go down in history as "the definitive quarantine album" for providing comfort and catharsis "just when we needed it most". Billboard proclaimed that it would be cherished as one of Swift's most influential albums for transcending the unprecedented times and freeing listeners from a monotonous, socially distant life.

Uproxx noted how Folklore changed the tone of music in 2020, and added that its impact on the year's cultural landscape "can't be measured", owing to how it erased "all the pain and anguish and anxiety" in the world when music fans fled to social media to celebrate the album.

Clash credited Swift with softening the tragic start of 2020s which was shaping up to become a tumultuous decade, by using a "wintery album released smack in the middle of summer" that "forces us to slow down and take stock of where we are now in love and life".

In a list awarding the most creative works that shaped quarantine, Vulture labeled Folklore as 2020's "Best Breakdown in Musical Form": An album that speaks to loneliness, rich with "the kinds of thoughts we try to keep to ourselves". Vogue also listed the album amongst the best moments of lockdown culture.

The Week called it "the first great pandemic art" for being the first prominent body of work to emerge from popular culture that is "almost exclusively a product of the quarantine", and added that Swift set high standards for future pandemic projects.

In agreement, Financial Times named Swift one of the most influential women of 2020, calling Folklore "the first great lockdown album", while Hot Press termed it "the first great album of the lockdown era".

Judging from its acclaim and commercial success, music critic Tom Hull concluded that Swift "caught the spirit of the times" with Folklore's "long, pleasant, intricate songs". Billboard named Folklore and Evermore as the best examples of innovative albums from artists who were compelled to amend their creative process during the pandemic.

The magazine highlighted how Swift created Folklore in an unconventional approach, by forwarding song files back-and-forth with her producers while working remotely on FaceTime, achieving "massive" chart success and Grammy Award nominations with it, and adapted to the pandemic by performing the album live in an isolated recording studio.

Yahoo! wrote Swift became the voice of 2020 by touching "the core of a cultural crisis" with two albums that embody the sensation of a historic pandemic, and pondered whether "we will be able to listen to Folklore and Evermore without being reminded of 2020, and a pandemic that those who come after us will never quite understand".

According to SEMrush, 50% of 2020's top trending albums were released after the lockdowns in mid-March, and Folklore was one of the year's three most googled albums, garnering 1.2 million monthly searches after its release in July; the other two are J Balvin's Colores and Selena Gomez's Rare. Folklore was also the most popular album of 2020 on Genius, earning an average total of 1.174 million views per track the only album to achieve the feat. It was followed by The Weeknd's After Hours (749,000 average views per track). "Cardigan", "Exile" and "The 1", were among the year's top 20 popular songs on the websitethe most for any artist.

Swift was also 2020's top searched artist on Genius, with her lyrics amassing 31 million total views. Hayley Williams of Paramore revealed that she is recording her own record equivalent of Folklore. Phoebe Bridgers suggested that her next record could be inspired by the album. Critics noted influences of Folklore on Olivia Rodrigo's debut single "Drivers License"
https://taylorswift.fandom.com/wiki/Folklore

Folklore

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Ella Fitzgerald - The Last Decca Years 1949-1954

Styles: Vocal
Year: 1999
File: MP3@128K/s
Time: 62:43
Size: 63,1 MB
Art: Front

(2:41) 1. In The Evening (When The Sun Goes Down)
(3:10) 2. Basin Street Blues
(3:01) 3. Solid As A Rock
(3:19) 4. I've Got The World On A String
(3:08) 5. Dream A Little Dream Of Me
(3:14) 6. Can Anyone Explain?
(3:12) 7. Because Of Rain
(3:17) 8. I Don't Want To Take A Chance
(2:51) 9. There Never Was A Baby Like My Baby
(3:22) 10. Give A Little, Get A Little
(2:54) 11. A Guy Is A Guy
(2:26) 12. Goody, Goody
(5:13) 13. You'll Have To Swing It (Mr. Paganini) (Pt. 1 & 2)
(3:16) 14. Early Autumn
(2:57) 15. Angel Eyes
(3:05) 16. Prevue
(2:53) 17. Careless
(2:50) 18. Blue Lou
(2:55) 19. Melancholy Me
(2:50) 20. Lullaby Of Birdland

Ella Fitzgerald's tenure at Decca Records has been criticized, especially in comparison to her subsequent stay at Verve, for the mediocrity of the material she recorded and her late-blooming maturity as a singer. By selecting 20 tracks from among the sessions she did late in her Decca period with arranger/conductor Sy Oliver, this album makes the best of that era, though the results still do not rank with Fitzgerald's later triumphs.

The punchy Oliver style, heard in everything from the works of Jimmie Lunceford to those of Tommy Dorsey and Frank Sinatra, has a Dixieland flavor, especially in its blaring horns, that Fitzgerald seems to find stimulating. But the quality of the material is still the key: when singer and arranger have something like "Basin Street Blues" to work with, they do fine (Fitzgerald even breaks into her first recorded Louis Armstrong imitation), and there are enough such examples "I've Got the World on a String," "Angel Eyes," "Blue Lou," and Fitzgerald's scat showcase "You'll Have to Swing It (Mr. Paganini)" to raise the album to worthwhile status, especially when you throw in a duet session with Armstrong himself on "Dream a Little Dream of Me" and "Can Anyone Explain?."

But there are also many second-rate songs that Fitzgerald dutifully sings as though they were something better, and that keeps this album from countering the usual impression of the Decca years.By William Ruhlmann.https://www.allmusic.com/album/the-last-decca-years-1949-1954-mw0000602836

The Last Decca Years 1949-1954

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Sherrie Maricle - Live Concert

Styles: Swing, Bop
Year: 1993
File: MP3@320K/s
Time: 77:16
Size: 183,5 MB
Art: Front

( 7:47) 1. Cherokee
( 6:48) 2. Day Dream
( 7:53) 3. I Wanna Be Happy
( 6:40) 4. Zoom Blewz
(10:28) 5. Django
( 6:46) 6. Air Mail Special
( 7:01) 7. If I Had You
( 7:29) 8. Perdido
( 8:01) 9. Blues For Dear Bobby
( 8:20) 10. Fascinating Rhythm

From the drum set Sherrie leads The DIVA Jazz Orchestra, her quintet FIVE PLAY and co-leads the 3Divas. From Carnegie Hall, she performs with The New York Pops and from celebrated stages everywhere, she is music director and drummer for Broadway star Maurice Hines. Sherrie is also a busy freelance performer and a published composer/arranger.

With her bands Sherrie has performed at many of the world’s most acclaimed music venues and festivals; from Lincoln Center to the Kennedy Center and the Hollywood Bowl, to Jazz Festivals in Germany, Switzerland, France, Portugal, Ireland, England, Croatia, Japan, Vietnam and Israel and beyond. Additionally, DIVA was featured at the 2017 NEA Jazz Master’s Awards Ceremony, the soundtrack for the NBC-Macy’s Fireworks Spectacular; on CBS Sunday Morning with Charles Osgood, on TCM’s televised broadcast of the 25th Anniversary of the Kennedy Center and NHK Japan’s New York Jazz. The band also co-stars in the award-winning documentary film The Girls in the Band.

Sherrie has received several awards and honors which include a 2016 Audelco Award for “Best Musical” – Tappin’ Thru Life; a 2014 Ovation award for “Best Music Direction” in Tappin’ Through Life; the 2009 Mary Lou Williams-Kennedy Center Lifetime Achievement Award, a 2013 State Department grant for FIVE PLAY to tour Vietnam, a tour grant from Arts International, The Kennedy Center Alliance Award for Outstanding Achievements in the Arts, a grant from Meet the Composer, a Doctoral Fellowship from New York University, the New York City Music Educator’s Award for Outstanding Contributions to Education and was twice selected New York University “Music Teacher of the Year.”

As an educator, Sherrie runs a private drum set and percussion studio. She is also a clinician for Yamaha Drums, Sabian Cymbals, Aquarian Drum Heads and Vic Firth Drum Sticks. On a national level, she has served as guest conductor, soloist and adjudicator for many collegiate and high school jazz and All-State festivals. Sherrie also created and directs Musical Magic, a hospital outreach program for The Ronald McDonald House New York.

After earning her Bachelor of Arts degree in 1985 from Binghamton University Sherrie moved to New York City and attended New York University, where she completed a Masters of Arts in Jazz Performance in 1986 and a Doctorate of Philosophy in Jazz Performance/Composition in 2000.

The DIVA Jazz Orchestra’s 25th Anniversary Project (2018, ArtistShare) is the band’s most recent Cd, featuring original music composed by band members. In 2019 FIVE PLAY released “LIVE” at The Firehouse Stage (independent) and in 2016 the 3Divas recorded their self-titled inaugural Cd (independent) “LIVE” at WVIA Radi0.https://maestramusic.org/profile/sherrie-maricle/

Live Concert

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Chihiro Yamanaka - After Hours 2

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:27
Size: 122,4 MB
Art: Front

(4:35) 1. Fly Me To The Moon
(4:03) 2. Wakey, Wakey
(4:09) 3. Drift Apart
(4:11) 4. Just One Of Those Things
(4:52) 5. Georgia On My Mind
(5:05) 6. I'll Close My Eyes
(4:08) 7. Moanin'
(4:09) 8. Beautiful Love
(6:14) 9. Skating In Central Park
(6:07) 10. Autumn Leaves
(5:48) 11. I Didn't Know What Time It Was

Chihiro Yamanaka, Universal Music/Blue Note recording artist, is one of the most exciting jazz pianists and composers of her generation, and the leader of the Chihiro Yamanaka Trio. The new Chihiro Yamanaka CD, Somethin' Blue, is her Blue Note Records debut.

Chihiro has been a Universal Music/Verve recording artist since 2005, the same year in which she was named Swing Journal’s “Best New Artist." On the occasion of Universal's recent acquisition of Blue Note Records in time for Blue Note’s 75th anniversary Chihiro made the move to Blue Note. As a newly minted Blue Note artist, she has been a big part of the 75th anniversary celebrations, including a concert at the Blue Note Tokyo in which she performed with all-stars including bassist Ron Carter.

Chihiro, who most often performs and records in trio format, assembled a sextet for the Somethin' Blue sessions and created a new compositional universe that places this 2014 album in the lineage of classic Blue Note recordings. Her impressive technical mastery of the piano combines with her improvisational command to make her a member of the pantheon of great pianists who have recorded for Blue Note throughout its history.

Chihiro’s music pivots between her strikingly original compositions and her unique arrangements in which she accomplishes the impressive feat of introducing the element of surprise into some of the most famous songs in the jazz repertoire, contemporary popular music, and even the works of classical composers.

On Chihiro's 2013 CD, Molto Cantabile, she lovingly fractures classical gems, including one that has become a staple of her live shows, Beethoven's "Für Elise," which is exposed to an improbable series of kaleidoscopic variations which could withstand the involvement of knuckles and which let loose a torrent of effects that could lead the listener to wonder whether it's the music of Beethoven or of Thelonious Monk. As this unusual music unfolds, one could easily imagine both Beethoven and Monk looking on with astonishment and, ultimately, complete approval.

Chihiro took this concept in a different direction with her Beatles tribute, the 2012 CD Because, a groundbreaking disc that features some of the most creative reworkings of Beatles classics ever recorded. Along with the title track, “Because” (from Abbey Road), Chihiro transforms such great songs as “Yesterday” and “Michelle” into glittering vistas of her musical imagination.

Chihiro does all of her studio recording in New York City, working with some of the greatest talent in jazz. Her recordings have featured prominent artists such as Jaleel Shaw, Ben Williams, Jeff "Tain" Watts, Larry Grenadier, Jeff Ballard, Kendrick Scott, Gene Jackson, Vicente Archer, Robert Hurst, Yasushi Nakamura, Yoshi Waki, John Davis and Bernard “Pretty” Purdie.

Chihiro performs regularly on three continents. In New York City, Chihiro’s home base, her latest appearance was a spectacular March, 2015 concert with her trio at Dizzy's Club Coca-Cola at Jazz at Lincoln Center, where she played to a sellout crowd. Her New York appearances in recent years have also included Iridium Jazz Club, the Blue Note and Carnegie Hall.

Chihiro is active on the west coast (with repeat appearances at Yoshi’s San Francisco, Kuumbwa Jazz Center in Santa Cruz, and Dizzy's in San Diego), in Boston (Café 939, Regattabar), where her popularity is influenced by her status as a Berklee graduate, and in the Washington/Baltimore area (Blues Alley, Kennedy Center, An die Musik, Warner Theater). Among the highlights was her concert that opened the Mary Lou Williams Women In Jazz Festival at the John F. Kennedy Center in Washington, DC, a set that was selected for broadcast on National Public Radio's "JazzSet with Dee Dee Bridgewater."

In Japan, Chihiro performs to sellout audiences at large venues across the country, and all of her Universal CDs have topped the Japanese jazz charts. As a classical pianist, she has performed Gershwin’s Rhapsody In Blue with major symphony orchestras. She has become a multimedia celebrity in Japan, hosting her own radio show, making TV appearances, and authoring a book, The Landscape With Jazz.

Europe is fertile ground for Chihiro’s tours, which have included the Umbria Jazz Festival, Bologna Jazz Festival, Sunset-Sunside in Paris, Blue Note Milan, A-Trane in Berlin, the major venues and festivals in Rome including Auditorium Parco Della Musica, Roma Jazz Festival and Alexanderplatz, and a recent weeklong engagement at Marians Jazzroom in Bern, Switzerland.

Keeping pace with Chihiro’s whirlwind touring schedule is her prolific international recording career with Universal Music and Blue Note Records. In the past three years she has had six CD releases. Besides Somethin' Blue, Molto Cantabile and Because, they include After Hours 2, the U.S. release of Reminiscence, and a compilation, My Favorite Blue Note, on which Chihiro served as producer and contributed original music. In the same period Chihiro and Universal also have released an EP, Still Working, and two DVDs, Live In New York, videotaped at Iridium Jazz Club, and Live at Blue Note Tokyo. A Chihiro Yamanaka DVD gives her fans the opportunity to experience on video the spectacular visual presentation that has been seen by anyone who has witnessed the fireball of energy and virtuosity on display at a live Chihiro concert appearance.

Chihiro has received numerous awards, including Jazz Japan’s “Album of the Year” and the Japan Gold Disc Award for best-selling jazz record of the year, along with acknowledgments from critics, fans and musicians for her recordings and live performances. Jazz Life Magazine called Chihiro “one of the greatest jazz talents in decades,” and the late George Russell hailed her as “a very gifted and imaginative musician.”

In JazzTimes Magazine, Giovanni Russonello wrote an enthusiastic review of Chihiro's set at the 2011 Umbria Jazz Festival, opening for Herbie Hancock, Wayne Shorter and Marcus Miller. “Opening for the Tribute to Miles band with her trio, the Japanese pianist tore into two originals at the top of her set…When she announced ‘Take Five,’ the crowd let out a gleeful 'ahh' but they weren’t ready for the voracious reharmonization, full of upward-creeping bass lines and chromatic descents, or her mid-song interpolation of 'In Your Own Sweet Way,' retrofitted in 5/4 time. Right and left, jaws were dropping."Chihiro Yamanaka, Universal Music/Blue Note recording artist, is one of the most exciting jazz pianists and composers of her generation, and the leader of the Chihiro Yamanaka Trio. The new Chihiro Yamanaka CD, Somethin' Blue, is her Blue Note Records debut.
https://www.allaboutjazz.com/musicians/chihiro-yamanaka/

Personnel: Chihiro Yamanaka - piano; Avi Rothbard - guitar; Yasushi Nakamura - bass; Yoshi Waki - bass

After Hours 2

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JoosTVD - Just Say kNOw

Styles: Jazz Funk
Year: 2018
File: MP3@320K/s
Time: 34:35
Size: 81,1 MB
Art: Front

(3:04) 1. Not Now
(3:48) 2. The Vanished Romeo
(2:48) 3. Indie
(1:48) 4. My Cat Is Stoned
(2:56) 5. Loaded
(4:38) 6. Gameface
(3:09) 7. Rottendance
(3:28) 8. Crest Of A Wave
(3:51) 9. There's No Sense In Making Sense
(1:35) 10. All The Way
(3:20) 11. Not Ever

When you are a really competent musician who just wants to have fun, the result is JoosTVD. Just Say Know is 11 songs worth of expertly played, groovy, smooth progressive funk. The project’s style is very interesting and out there, not conforming to traditional songwriting and instrumentation.

There’s a playful mood to the record there’s a song about one’s cat partaking in weed, for goodness’ sake! But what strikes us most is how much fun JoosTVD is having performing such tricky, jazzy, funky parts. It’s a lovely thing to observe and hear, yet JoosTVD is never comical or goofy.

Just Say Know is clearly a labor of love and that shows through the masterful songwriting, tight performance, and challenging, compelling song structures. This is a progressive project, after all, and the person behind it did one hell of a job!

If you ever wondered how Faith No More may sound if they dialed back the edginess, give Just Say Know a spin.https://blog.drooble.com/joostvd-want-you-to-just-say-know-to-progressive-funk/

Just Say kNOw

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Simon Spillett Big Band - Dear Tubby H

Styles: Jazz, Big Band
Year: 2023
File: MP3@128K/s
Time: 68:13
Size: 63,2 MB
Art: Front

(6:28) 1. Dear Johnny B
(5:44) 2. As Close As You Are
(5:46) 3. Take Your Partners For The Blues
(6:21) 4. Fish Soup
(4:04) 5. Star Eyes
(4:56) 6. Soft And Supple
(6:44) 7. Rumpus
(5:15) 8. Peace
(5:22) 9. Seven Steps To Heaven
(3:35) 10. Solweig
(6:33) 11. Blues For Pipkins
(7:19) 12. She Insulted Me In Marrakech

Superlatives along the lines of ‘tour de force’ do little justice to this new recording by the Simon Spillett Big Band; an album of rarely heard, newly rediscovered arrangements from the library of the Little Giant himself ~ Tubby Hayes.

Simon Spillett has long been recognised as the keeper of the Tubby Hayes flame. His life, his work and his legacy may well be residing only in the distant memories of those that were there were it not for Spillett’s tireless efforts to remind the jazz public of his immense contribution to British jazz.

The story of how a pile of dog-eared, yellowing manuscript was ultimately rescued and restored after 50 years is fascinating in itself. The mere fact that these wonderful charts weren’t, at some point along the line, thrown in the bin is a minor miracle! Let’s not think about that. Instead let’s concentrate on this heroic feat of musical archeology.

Spillett’s enthusiasm for Tubby’s work led to him being sent, over the years, all manner of Hayes-related artefacts, information, lost recordings and, eventually, lost big band charts. Enough, as it turned out, to record a full albums-worth of material separate to that found on Tubby’s two recorded large ensemble outings Tubbs Tours and 100% Proof.

Enter Mark Nightingale who not only takes his place in the trombone section but also assumed the Dr Frankenstein role of bringing the scores to life. There were missing parts to consider, various copyist errors and the small matter of the poor quality of the original paper after having languished in a dark corner for so many years. One can only imagine the “it’s alive” moment as the band played the opening bars of the first chart at the first rehearsal.

Enter Pete Cater, ace drummer and bandleader in his own right. Also a permanent member of Simon Spillett’s quartet, Cater’s passion for the project has found him wearing several hats at once – producer, executive producer, record company boss as well as percussionist!

Sixteen of Britain’s finest section players, soloists, bandleaders and arrangers make up the Simon Spillett Big Band. It’s as it should be. Tubby’s band was an equally all-star outfit.

This is not an album that features a solitary star soloist (Spillett) endlessly blowing over a series of brass and reed backing figures. Solo’s are distributed equally and skilfully among the band personnel with Spillett featuring himself on just two of the twelve tracks choosing, instead, to fill the role of conductor and catalyst.

From start to finish the whole album crackles with an infectious energy. The reed passages, at times intricate and snakelike, are delivered flawlessly. The brass offer knockout punches with expert precision one minute and beautifully gentle melodic lines the next. The rhythm section swings relentlessly accenting the brass, at times, for even more impact. Each soloist positively shines. This band sounds like a happy band! The feeling of camaraderie and mutual respect is plainly evident on each and every track.

The music itself manages to sound contemporary and yet ‘of its time’, and in equal measure. Post Swing-era the big band was presented with a challenge and an opportunity. The challenge was to stay as a relevant and vibrant art form outside of the dancehalls that had created it in the first place. The opportunity was to see, free of the shackles of commercialism, how the recent developments in small group jazz could be incorporated into the large ensemble. Many established bandleaders that had enjoyed enormous success during the 1940’s fell into obscurity; left behind by a new generation that grabbed the big band from the brink and reinvented it. Twenty years later the original Tubby Hayes big band began performing these arrangements. Over fifty years later, Spillett and his crew resurrect them; breathing new life into them. There’s something in this story that connects all the dots, completes a chapter in British jazz history and, hopefully, opens up a new one.

Dear Tubby H reminds us of how so many great jazz musicians revelled in a big band setting. None less so than Tubby Hayes himself. Simon Spillett and his orchestra have created something way beyond a tribute or homage to Tubby. It serves more as a love letter to the continuing vibrancy of great big band jazz as much as it honours Hayes himself. It’s an album that is beautifully played and beautifully recorded by all involved; one which deserves to sit proudly on the record shelves of any discerning jazz lover.By Denny Ilett
https://londonjazznews.com/2023/10/07/simon-spillett-big-band-dear-tubby-h/

Personnel: Simon Spillett – musical director and tenor saxophone; Sammy Mayne – alto saxophone/flute; Pete Long – alto saxophone/flute; Alex Garnett – tenor saxophone/clarinet; Simon Allen – tenor saxophone/clarinet; Alan Barnes – baritone saxophone/bass clarinet; Nathan Bray – trumpet/flugelhorn; George Hogg – trumpet/flugelhorn; Freddie Gavita – trumpet/flugelhorn; Steve Fishwick – trumpet/flugelhorn; Jon Stokes – trombone; Mark Nightingale – trombone; Ian Bateman – trombone; Pete North – trombone; Rob Barron – piano; Alec Dankworth – bass; Pete Cater – drums

Dear Tubby H

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Linda Woodson - Come A Little Closer

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 37:30
Size: 88,5 MB
Art: Front

(5:05) 1. Stolen Moments
(4:34) 2. FHJ
(4:38) 3. Feeling Coy
(2:34) 4. I'm In
(4:35) 5. All Roads Lead To Nashville
(5:23) 6. You Are Something Special
(6:03) 7. La Costa
(4:35) 8. Come A Little Closer

Linda Woodson is a US singer songwriter with a penchant for soulful, lounge jazz. She’s been making music since 2006 and she’s just released her fourth album, ‘Come A Little Closer’. The paucity of her releases is probably down to the fact that Ms Woodson also has another ”career”; she’s a fully qualified dermatologist!

The new 8 tracker is named for Linda’s version of the Broadway show tune and easy to hear why its name’s out there. It’s a big production (gorgeous strings) and showcases the purity of the singer’s voice. The album’s other covers are the Latino ‘La Costa’ (an Aziza Miller song best known in its Natalie Cole version) and ‘Stolen Moments’ (a jazz standard written by Oliver Nelson, to which Linda has added lyrics).

The remaining five songs are Woodson originals which she says: “reflect the diversity in my music and through this journey I was able to weave the many facets of my life.” Amongst the highlights are ‘FJH’(Faith, Hope, Joy’) a sweet and precise item; the busy, bustling ‘I’m In’ and ‘All Roads Lead To Nashville’ which, you won’t be surprised to learn, has a country flavour. By Bill Buckley
https://www.soulandjazzandfunk.com/news/come-a-little-closer/

Come A Little Closer

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