Renee Olstead - Renee Olstead

Styles: Jazz, Vocal

Year: 2004
File: MP3@320K/s
Time: 44:24
Size: 106,0 MB
Art: Front

(4:12)  1. Summertime
(3:31)  2. Taking A Chance On Love
(3:20)  3. Is You Or Is You Ain't My Baby?
(4:26)  4. Someone To Watch Over Me
(4:11)  5. Breaking Up Is Hard To Do
(3:32)  6. A Love That Will Last
(2:56)  7. Meet Me, Midnight
(4:34)  8. Sunday Kind Of Love
(3:16)  9. On A Slow Boat To China
(3:27) 10. What A Difference A Day Makes
(3:21) 11. Midnight At The Oasis
(3:32) 12. Sentimental Journey

With a seriously bluesy jazz voice, Olstead wows everyone who hears her, including the renowned David Foster who co-produced this album of classics. Unless someone told you, you might never suspect that Olstead is only in high school! Renee Olstead...hear her...you won't believe your ears. 

No less an expert on pop affairs than Neil Sedaka likens the impossibly mature voice of 14-year-old vocalist/TV star (CBS' Still Standing) Renee Olstead to "Patsy Cline, Ella Fitzgerald and Billie Holiday all wrapped in one." There's no disputing the sultry vocal talents showcased on this debut that balances familiar chestnuts from the great American songbook ("Summertime," "Someone to Watch Over Me," "Sentimental Journey") with more recent fare that veers from R 'n' B sass ("Is You Is Or Is You Ain't My Baby") to 70s chart hits like Sedaka's own "Breaking Up Is Hard to Do" and Maria Muldaur's "Midnight at the Oasis." 

A cynical ear might question how much of Olmstead's own life informs these bluesy performances: how trying can eigth grade be for an attractive redhead with a major label contract? Indeed, the tagline for at least one latter-day Ella Fitzgerald project comes frequently to mind here: "Is it real, or it Memorex?" Olmstead is yet another teen protege of hugely successful producer David Foster (who's midwifed the careers of Josh Groban and Michael Buble in recent years), and he provides her with some sturdy jazz arrangements to riff emotively on here even if his production is as slick and bloodless as ever. Still, Foster's penchant for overwrought melodrama is kept mercifully in check on his own composition "I Want a Love to Last," while his shrewd teaming of the young chanteuse with fellow teen pop phenom Peter Cincotti on Sedaka's "Breaking Up.." deftly underscores the promising talents of both. ~ Jerry McCulley - Editorial Reviews  http://www.amazon.com/Renee-Olstead-RENEE-OLSTEAD/dp/B00020HEL6

Personnel: Reneé Olstead (vocals); Carol Weisman (vocals); Dean Parks (guitar, acoustic guitar); Don Shelton (clarinet, alto saxophone, tenor saxophone);  Warren Luening (trumpet); Alan Broadbent, Billy Childs, Billy Childs Trio, Gerald Clayton (piano); Brian Bromberg (bass instrument); Jeff Hamilton , David Tull (drums); Neil Devor (programming); Peter Cincotti (vocals, piano); Dennis Budimir (guitar); Chris Botti, Rick Baptist (trumpet); Chris Dawson (piano); Joe La Barbera, Vinnie Colaiuta (drums).

Renee Olstead

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Doug Webb Quartet - Sets the Standard

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 64:35
Size: 148,8 MB
Art: Front

(4:18)  1. My Shining Hour (Master)
(5:08)  2. Trouble Is a Man
(6:09)  3. Star Eyes
(5:30)  4. Little Girl Blue
(6:39)  5. These Things
(8:45)  6. Gone with the Wind
(6:13)  7. Jitterbug Waltz
(6:20)  8. Chelsea Bridge
(4:33)  9. Ask Me Now
(5:14) 10. I Remember You
(5:41) 11. My Shining Hour (Alternate)

On May 26, 2014 Doug Webb brought together Alan Broadbent, Putter Smith and Paul Kreibich to record this set at Nolan Shaheed's studio in Pasadena, CA. This was a rare opportunity to record Alan Broadbent playing a set of all improvised music on the West Coast in a small group . The music chosen had to be standards that all the participants knew well. It was also understood that Alan's wonderful approach to ballads had to be a focal point. Doug also wanted to get a chance to play more lyrically than on previous recordings. The result is this engrossing set of standards that effectively sets the standard of good taste and musicality for any quartet session. ~ Editorial Reviews  http://www.amazon.com/The-Doug-Webb-Quartet-Standard/dp/B019KDX9K0

Personnel:  Doug Webb (tenor, stritch, soprano sax);  Alan Broadbent (piano);  Putter Smith (bass);  Paul Kreibich (drums).

Sets the Standard

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Charles McPherson Group - Follow the Bouncing Ball

Styles: Saxophone Jazz
Year: 1989
Time: 67:14
File: MP3 @ 320K/s
Size: 153,9 MB
Art: Front

(6:24) 1. Passport
(4:59) 2. Where Are You
(4:33) 3. Follow the Bouncing Ball
(6:33) 4. Blues for Mac
(4:18) 5. Starburst
(5:59) 6. The Prophet
(8:00) 7. Dearly Beloved
(4:21) 8. Fun and Games
(8:52) 9. Mantra
(7:23) 10. Prelude to a Kiss
(5:47) 11. An Oscar for Treadwell

A musical descendant of Charlie Parker, alto saxophonist Charles McPherson leads two separate groups in this compilation. The first few selections, from an evidently otherwise unissued session in 1989, feature a quartet with pianist Alan Broadbent, bassist Jeffrey Littleton, and drummer Charles McPherson, Jr. The leader and Broadbent both inject fiery solos into the brisk interpretation of Parker's infrequently played blues "Passport." The easygoing bossa nova treatment of the standard "Where Are You" proves no less dazzling, followed by two potent McPherson originals, the spirited bop vehicle "Follow the Bouncing Ball" (based on the changes to "Lover") and the late-night-themed "Blues for Mac."

The final seven tracks made up the contents of the Discovery LP The Prophet, but this 1983 session features pianist Mike Wofford, bassist Andy Simpkins, drummer Donald Bailey, Sr., and trombonist Kevin Quail, with conga player Hayward Brown, Jr. added on some tracks. McPherson is clearly enthusiastic about his rhythm section and gives it plenty of space, while the somewhat obscure Quail holds his own. The interplay in the leader's uptempo cooker "Starburst" is an obvious highlight, though the lush interpretation of Duke Ellington's "Prelude to a Kiss" also proves masterful. Sadly, this CD disappeared from print when the label folded after producer Albert Marx's death, and hopes of a reissue remain slim.By Ken Dryden https://www.allmusic.com/album/follow-the-bouncing-ball-mw0000078357

Personnel: Alto Saxophone – Charles McPherson; Bass – Andy Simpkins, Jeffery Littleton; Congas – Hayward Brown, Jr.; Drums – Charles McPherson, Jr., Donald Bailey, Sr.; Piano – Alan Broadbent, Mike Wofford; Trombone – Kevin Quail

Follow the Bouncing Ball

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Scott Hamilton - Ballad Essentials

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 58:35
Size: 152,9 MB
Art: Front

(4:57)  1. Skylark
(3:40)  2. Everything Happens to Me
(5:26)  3. My Foolish Heart
(3:47)  4. That's All
(4:59)  5. In a Sentimental Mood
(4:44)  6. I Should Care
(5:39)  7. Body and Soul
(5:57)  8. 'Round Midnight
(5:33)  9. My Romance
(4:01) 10. Stardust
(4:26) 11. I'll Be Around
(5:24) 12. Tonight I Shall Sleep (With a Smile on My Face)

The musical line leading up to tenor saxophonist Scott Hamilton is not confusing. He wears his influences on his sleeve. You hear Lester Young's phrasing, Ben Webster's languid tone, and more than a dash of Zoot Sims's overall presentation. And while 1989's Scott Hamilton Plays Ballads is a gorgeous showing off of these influences, Ballad Essentials is a magnificent overview of his smoldering command of the genre. There's a pair of tracks from Plays Ballads ("In a Sentimental Mood" played as limber, late-night swing and "Round Midnight" given a robust, big-hearted embrace) and a pair from With Strings. The other eight pieces come from all over Hamilton's catalog, and describing any particular tune would tax the vocabulary "aching" and "tender" have only so many synonyms. Hamilton's sense of swing is easy to love, as is his brawny tone even when it slips into whispering mode. Ballad Essentials is meant as a themed collection, and it not only succeeds as such, it also serves as a primer for Hamilton's whole output. Editorial Reviews ~ Andrew Bartlett  http://www.amazon.com/Ballad-Essentials-Scott-Hamilton/dp/B00004NRVM

Personnel: Scott Hamilton (tenor saxophone); Chris Flory, Howard Alden, Cal Collins (guitar); Ken Peplowski, Spike Robinson (tenor saxophone); Dave McKenna, Gerry Wiggins, John Bunch, Alan Broadbent, Nat Pierce, Norman Simmons, Brian Lemon (piano); Connie Kay, Jake Hanna, Jeff Hamilton , Allan Ganley, Roy McCurdy, Chuck Riggs (drums).

Ballad Essentials

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Franco Ambrosetti - Nora

Styles: Flugelhorn and Guitar Jazz
File: MP3@320K/s
Time: 54:03
Size: 127,2 MB
Art: Front

(6:38) 1. Nora's Theme
(7:05) 2. Morning Song
(7:48) 3. All Blues
(5:32) 4. Falling in Love
(5:55) 5. Autumn Leaves
(6:37) 6. Sweet Journey
(6:04) 7. It Happened Quitetly
(8:23) 8. After the Rain

When Alan Broadbent isn't playing extraordinary jazz piano with his trio, he's typically hard at work arranging and conducting a large orchestra for a jazz artist or vocalist. In the case of Swiss flugelhornist Franco Ambrosetti's new album, Nora (Enja), Alan is at the helm of a 22-piece string orchestra, and the result is gorgeous, reflective and perfect for this time of year. The album also features guitarist John Scofield, bassist Scott Colley, pianist Uri Caine and drummer Peter Erskine.

Ambrosetti began his recording career as a leader on trumpet in Milan in 1965 with A Jazz Portrait of Franco Ambrosetti, featuring Franco D'Andrea (p) Giorgio Azzolini (b) and Franco Mondini (d). Remarkably, he is self-taught, and his tone is deliciously embracing. Coming up in Italy over the years, he played with a long list of touring American jazz greats, including Kenny Clarke, Dexter Gordon, Phil Woods, Cannonball Adderley, Geri Allen, Joe Henderson, Michael Brecker and Mike Stern.

John Scofield has recorded with Ambrosetti multiple times. The first was in 1978 on The George Gruntz Concert Jazz Band in Germany, followed by Movies in 1986, Movies, Take 2 in 1988, Cheers in 2017, Long Waves in 2019 and Lost Within You in 2020. For Alan, this is his first Ambrosetti collaboration. And what a score he has written. Ambrosetti was looking for a project on the same scale as Bird With Strings and Clifford Brown With Strings two of his favorite albums that marry a strong soloist and an understanding orchestral background. Mission accomplished on Nora.

The opening track is Nora's Theme by Ambrosetti, which sets the mood. Nora is Nora Helmer, the lead character in Ibsen's A Doll's House. Ambrosetti wrote the theme for a 1997 production of the play that starred his wife, Silli, in the Nora role. So in truth, Nora's Theme is a deep, passionate love song for his wife.

Moving forward, the album feels like the soundtrack to a romantic suspense movie set in Malibu, starring Kim Novak or Sandy Dennis. It's soft and panoramic, but there are undertones of psychological drama to come. The songs that follow Nora's Theme are George Gruntz's Morning Song of a Spring Flower, Miles Davis's All Blues, Victor Feldman's Falling in Love, the standard Autumn Leaves, Ambrosetti's Sweet Journey, Johnny Dankworth's It Happens Quietly and John Coltrane's After the Rain. Alan's arrangements remain wonderfully atmospheric and Ambrosetti's flugelhorn soars gracefully through the mist birdlike, but with strength and purpose.

Ambrosetti's tone throughout has a melancholy, sunny afternoon feel as if you're driving along country roads this fall with the trees ablaze in color. You can't help but think things over as you listen. The combination of Ambrosetti's soulful flugelhorn and Alan's empathetic and ruminative strings pull you in deeper on each track. [Photo above of Alan Broadbent conducting by Joe Vella]

Also unbeatable is the new 3D sound technology used to record the music. The fidelity creates the sensation that you're seated in the middle of the recording studio. As you listen, all that's missing are snapping logs in a fireplace. This album and Alan deserve a Grammy for Best Large Jazz Ensemble Album and another for Ambrosetti for Best Improvised Jazz Solo.By Marc Myers https://www.jazzwax.com/2022/10/franco-ambrosetti-nora.html

Personnel: Franco Ambrosetti, flugelhorn; John Scofield, guitar; Scott Colley, bass; Uri Caine, piano; Peter Erskine, drums; Sara Caswell, violin, concertmaster; Alan Broadbent, arranger, conductor

Nora

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Lee Konitz, Alan Broadbent - More Live-Lee

Styles: Saxophone And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 66:06
Size: 151,9 MB
Art: Front

(7:34) 1. Invitation
(6:21) 2. Body and Soul
(6:47) 3. Thingin'
(5:40) 4. You Stepped Out Of A Dream
(4:10) 5. Nothin'
(8:03) 6. I Can't Get Started
(6:53) 7. Lennie's
(7:18) 8. How Deep Is The Ocean?
(4:31) 9. You Go To My Head
(2:55) 10. Bending Broadly
(5:52) 11. Just Friends

Tristano disciples Lee Konitz and Alan Broadbent paired together back in 2000 at the Jazz Bakery for two nights of improvisational wizardry. Their first release, Live-Lee, was of such high quality that the remaining tracks have been assembled on the encore release. If anyone knows anything about these two souls, there is no such thing as a "leftover" performance; each song has here has the same merits and magic as the initial Live-Lee.

Broadbent and Konitz paint quite the picture as they cruise around and under the melody. Broadbent, with his spacious support, lays a gentle foundation for Konitz' airy tone to float over. Broadbent also knows when to swing and push, as demonstrated on the assertive and fiendishly arranged "Bending Broadly." Rhythm is always implied and well stated on the pieces like the supple "Thingin'" and "You Stepped Out of a Dream." Broadbent is even allowed to demonstrate his prowess and reception of the Bill Evans baton on the effusive "You Go to My Head."

The focus of More Live-Lee, however, is Konitz, who seems to shine in settings with minimal accompaniment. His treatment of "I Can't Get Started" is as definitive as Lester Young's and just as mournful, wistful and yearning. His dry tone is immediately identifiable and elicits emotional and visceral reactions like few musicians can. As a music teacher once said, "If you have a good tone, your audience will hang in with you wherever you take them." Konitz and Broadbent have added another path for us to follow.By AAJ Staff https://www.allaboutjazz.com/more-live-lee-lee-konitz-review-by-aaj-staff

Personnel: Lee Konitz- alto sax; Alan Broadbent- piano.

More Live-Lee

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Sheila Jordan - Live at Mezzrow

Styles: Vocal
File: MP3@320K/s
Time: 65:33
Size: 150,5 MB
Art: Front

(3:10) 1. Bird Alone (Live)
(8:25) 2. Touch of Your Lips (Live)
(6:53) 3. What is This Thing Called Love (Live)
(7:53) 4. The Bird and Confirmation (Live)
(4:38) 5. Silver Lining (Live)
(5:52) 6. Falling in Love with Love (Live)
(9:58) 7. Baltimore Oriole (Live)
(3:50) 8. Blue and Green (Live)
(7:52) 9. Autumn in NY (Live)
(6:56) 10. Lucky to Be Me (Live)

Sheila Jordan is a living jazz legend. Since coming to New York City in 1950 at the encouragement of Charlie Parker, she is one of, if not the last, living link to a time and a place in the jazz world that is the subject of hagiography, myth and occasionally reality. With a voice that is uniquely her own, it is possible that in the course of a single song interpretation, Jordan's voice can sound morose and honeyed, supple and compelling, along with her usual spontaneity. Over the course of her long career, there is very little she has not seen, and probably more than she cares to remember.

The session Live At Mezzrow was recorded on October 25, 2021 at the New York jazz club, with Jordan accompanied by the always imaginative pianist Alan Broadbent and her bassist of choice, Harvie S. The live session covers standards from the Great American Songbook as well as a couple of bop oriented songs. Additionally the duo of Broadbent and Harvie S are given space to do their thing on Cole Porter's " What Is This Thing Called Love " and Miles Davis's "Blue In Green."

Jordan begins this recital with the Abbey Lincoln number "Bird Alone." That tune along with "The Bird & Confirmation" are gifts that just keep on giving as she delivers on that cross section of vocal skills from ballad intensity to scat that is swinging and sturdy. The songbook standards cover readily recognizable numbers starting with the Ray Noble composition "The Touch Of Your Lips." This begins with the little heard opening verse, Jordan then swings into a run through of the melody, before scatting effortlessly.

The Hoagy Carmichael composition "Baltimore Oriole," although perhaps not an American standard, has some interesting quirky lyrics such as: "Baltimore Oriole/ Took a look at the mercury, forty below/ No life for a lady/ To be draggin' her feathers around in the snow." These are a perfect fit for Jordan as she can imbue them with her unique vocal style and interpretation. Although uncredited on the liner notes, this number segues to Cole Porter's "I Concentrate On You" on which she delivers a wonderfully fresh reading.

The closing track "Lucky To Be Me" is a composition by Green/Comden/Bernstein written for the 1944 Broadway musical . After a regular run through of the lyrics, Jordan closes out the session with musical acknowledgement of the fine work of Broadbent and Harvie S, which is a fitting ending to a special evening.By Pierre Giroux https://www.allaboutjazz.com/live-at-mezzrow-sheila-jordan-sheila-jordan-cellar-records

Personnel: Sheila Jordan: voice / vocals; Alan Broadbent: piano; Harvie S: bass, acoustic.

Live at Mezzrow

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Alan Broadbent - Hot Club

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 58:17
Size: 135,2 MB
Art: Front

(4:08) 1. Aurevoir
(3:04) 2. Bon Chance
(3:08) 3. Red Roses
(3:34) 4. Good Days
(4:59) 5. Le Duc
(2:33) 6. Sunlight
(3:06) 7. Evening Light
(5:04) 8. Enchante
(5:12) 9. St Jacques
(4:26) 10. Cherie
(3:11) 11. Good Times
(3:10) 12. Midnight
(3:15) 13. Hot Sauce
(3:14) 14. Hop Hoppin
(2:37) 15. Champs Elysee
(3:28) 16. Black Pearl

The Alan Broadbent Trio’s previous Savant release, New York Notes, received rave reviews in the international press. The Guardian (UK) wrote, “The bubbling stream of notes is both unpredictable and inevitable, and following it’s twists and turns is a joy.” 

Couleurs Jazz (France) proclaimed, “Behold! A precious gem of a jazz recording.” “Trio in Motion” finds Broadbent, Billy Mintz and Harvie S reunited in the pianist’s New York apartment-studio recording music that is spontaneous, surprising, possessing a sly humor and emotionally involving. Broadbent received two Grammy awards and has collaborated with Natalie Cole (Unforgettable), Herbie Hancock, Sonny Rollins, Diana Krall and Paul McCartney. Each tune on the setlist is imbued with a warm intimacy and the refreshing, slightly piquant glow of intensity which warms both the listener’s heart and mind.

When listening to this, you may imagine that your ears have become just a little sharper. That’s how hearing Alan Broadbent’s piano playing often strikes me anyway. It’s because of the briskness and clarity of his technique, of course, but also the rhythmic suppleness. It’s hard to describe this without seeming hideously pretentious, but it’s real nonetheless. The bubbling stream of notes is both unpredictable and inevitable, and following its twists and turns is a joy.

If this album sounds especially ear-sharpening, that may be because Broadbent is playing his own piano, in his home studio, with two of his closest musical friends: bassist Harvie S and drummer Billy Mintz. The style is mainly classic bebop, which hasn’t changed in its essentials since Charlie Parker and his pianist contemporary, Bud Powell. There’s a gorgeous ballad too (I Fall in Love Too Easily), packed with so much fine detail I can’t stop playing it.

New Zealand-born Broadbent is also a composer, arranger, conductor and the double Grammy-winning creator of orchestral accompaniments for singers, from Natalie Cole to Paul McCartney. Why he isn’t among the world’s most famous musicians beats me. http://jazzbluesnews.com/2021/01/24/cd-review-alan-broadbent-trio-hot-club-2021-video-cd-cover/

Alan Broadbent – piano

Harvie S – bass

Billy Mintz – drums

Hot Club

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Alan Broadbent Trio - Like Minds

Styles: Piano Jazz
File: MP3@320K/s
Time: 59:34
Size: 136,9 MB
Art: Front

(6:24) 1. This I Dig of You
(8:25) 2. Prelude to Peace
(7:18) 3. With the Wind and the Rain in Your Hair
(5:16) 4. Dance Only with Me
(5:58) 5. Airegin
(8:19) 6. Stairway to the Stars
(4:45) 7. Blue Pearl
(6:42) 8. This Is New
(6:25) 9. Yardbird Suite

Out today is Alan Broadbent's new trio album, Like Minds (Savant), with Harvie S on bass and Billy Mintz on drums. It's a terrific trio recording, featuring Alan's elegant piano and superb conversational interactions with Harvie and Billy. I've known Alan for many years, and it's always a joy to hear his new releases, see him live and catch up. I first fell in love with his playing on his duo albums backing vocalist Irene Kral Where Is Love (1974) and Gentle Rain (1977). By then, my ear was grooved to the piano articulation of Bill Evans, and Alan's playing shared many similar traits, including the swing, the gentle quality, the pedal tones and chord voicings.

Alan's new album is terrific, with songs ranging from Hank Mobley's This I Dig of You, Bud Powell's Blue Pearl and Sonny Rollins's Airegin to Clara Edwards and Jack Lawrence's With the Wind and the Rain in Your Hair and Jule Styne, Betty Comden and Adolph Green's Dance Only With Me. Harvie S is also such a gorgeous player, running sensitive, meaty lines behind Alan while Billy is right there with splashy but tender cymbals and drum figures. So great to hear a trio that's so in sync and in the pocket. https://www.jazzwax.com/2022/05/alan-broadbent-like-minds.html

Personnel: Alan Broadbent, piano; Harvie S, bass; Billy Mintz, drums.

Like Minds

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Diane Schuur - Midnight

Styles: Vocal And Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 48:30
Size: 111,2 MB
Art: Front

(2:58)  1. Meet Me, Midnight
(4:49)  2. When October Goes
(3:49)  3. Stay Away From Bill
(4:18)  4. I'll Be There
(4:12)  5. Consider The Point From Both Ends
(3:31)  6. What Is Love?
(4:06)  7. He Loved Me
(2:39)  8. Southwind
(3:31)  9. Our Love Will Always Be There
(3:32) 10. No Heartache Tonight
(3:58) 11. Good-bye My Love
(4:02) 12. Life Is Good
(2:59) 13. Anytime

Diane Schuur has been singing for an adoring public since the age of nine. Those who have praised and supported her talent include Count Basie, Dizzy Gillespie, B.B. King, Stan Getz and Leonard Feather. She has been nominated five times for Grammy Awards and has received two, for Timeless in 1986 and Diane Schuur with the Count Basie Orchestra in 1987.  Midnight is a video-enhanced CD, Schuur’s third release for Concord Records and her first under the tutelage of Barry Manilow and his co-producer, co-writer and arranger, Eddie Arkin. Over the course of a year, Manilow, Arkin and their lyricists Marty Panzer, Bruce Sussman and Adrienne Anderson composed thirteen songs for Schuur; two of the selections feature lyrics by Johnny Mercer.

The attempt to create and maintain a smoky, after-hours ambience is generally successful, with good variety, order and pacing; Dan Higgins’ alto sax solos are especially poignant and communicative. The chemistry between Manilow and Schuur seems felicitous; the CD is produced and polished to a slick sheen, with big-name jazz and soul soloists, well-harmonized arrangements, and an orchestra of glistening strings conducted by Jorge Calandrelli. Schuur’s vocal instrument is in its usual fine form, with good rhythmic and harmonic sensibilities, three-plus octave range, and impeccable intonation (although her emotional intensity sometimes causes her to over-sing and her vibrato to become tremulous). The guest appearances by Allyson, McKnight and Manilow each fit their respective selections and arrangements to a tee. Those who like their music lush, polished, dramatic and emotional are apt to find this CD to their liking. Those who like an edge to their jazz, a spirit of adventure and unpredictability, would probably do well to look elsewhere. ~ J.Robert Bragonier  http://www.allaboutjazz.com/midnight-diane-schuur-concord-music-group-review-by-j-robert-bragonier.php

Personnel: Diane Schuur (vocals, piano); Phillip Ingram, Yvonne Williams (vocals, background vocals); Karrin Allyson, Barry Manilow, Brian McKnight (vocals); Eddie Arkin, Oscar Castro-Neves, Anthony Wilson (guitar); Gayle Levant (harp); Dan Higgins (flute, alto saxophone); Tommy Morgan (harmonica); Bill Liston (clarinet, saxophone, tenor saxophone); Warren Luening (trumpet, flugelhorn); Andy Martin (trombone); Alan Broadbent, Randy Kerber (piano); Alan Estes (vibraphone, percussion); Harvey Mason, Sr. , Peter Erskine (drums); Paulinho Da Costa (percussion).

Midnight

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Georgia Mancio & Alan Broadbent - Quiet Is The Star

Styles: Vocal And Piano Jazz
File: MP3@320K/s
Time: 40:14
Size: 95,4 MB
Art: Front

(4:34) 1. I Can See You Passing By
(5:11) 2. When You're Gone From Me
(4:44) 3. Let Me Whisper To Your Heart
(5:19) 4. Tell The River
(2:46) 5. All My Life
(4:45) 6. If I Think Of You
(4:50) 7. Night After Night
(4:50) 8. If My Heart Should Love Again
(3:11) 9. Quiet Is The Star

Quiet Is The Star is the new album by vocalist/lyricist Georgia Mancio and Grammy-winning pianist/composer Alan Broadbent and the much anticipated companion to their 2017 Songbook. The album spotlights the purity and parity of the duo setting in 9 co-written songs exploring the ties we weave in life: sisterly, maternal, romantic, universal. One voice, one piano, one dialogue. Georgia’s deeply nuanced singing (“sublime, clarity and poise personified, intimate yet dynamic”, Jazzwise) is embraced by Alan’s rhapsodic solo piano, indicating the breadth of his musicianship, from accompanist to Big Band/orchestral leader. Recorded in late 2019, it re-unites with Songbook producer Andrew Cleyndert and artist Simon Manfield, whose bespoke watercolours perfectly accompany the subtle variations of mood. The album will be released 27 March 2021, alongside The Songs Of Alan Broadbent & Georgia Mancio a book of 33 co-written works from both albums (Songbook and Quiet Is The Star) and many more besides. https://www.allaboutjazz.com/album/quiet-is-the-star-georgia-mancio

Personnel: Georgia Mancio (voice & lyrics); Alan Broadbent (piano & music)

Quiet Is The Star

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Alan Broadbent - Broadbent plays Brubeck

Styles: Piano Jazz
File: MP3@320K/s
Time: 62:47
Size: 144,6 MB
Art: Front

(6:00) 1. The Duke
(4:58) 2. One Moment Worth Years
(5:09) 3. Bossa Nova USA
(5:56) 4. Summer Song (feat. London Metropolitan Strings)
(4:55) 5. Blue Rondo A La Turk (feat. London Metropolitan Strings)
(7:20) 6. Strange Meadowlark (feat. London Metropolitan Strings)
(7:48) 7. In Your Own Sweet Way (feat. London Metropolitan Strings)
(4:58) 8. Weep No More (feat. London Metropolitan Strings)
(5:40) 9. When I Was Young (feat. London Metropolitan Strings)
(5:39) 10. Theme for June
(4:21) 11. Home at Last

In 1961 when Alan was 14 he found Howard Brubeck’s transcriptions, in two volumes, of Dave Brubeck’s solo album “Brubeck plays Brubeck” in a music store in Auckland, New Zealand. By this time he was aware of Dave Brubeck as “Take 5” was the rage on the radio, even in the then remote corner of the world where Alan lived. He had no idea how the music was supposed to be played, having no reference to Dave’s LP, which was impossible to find anyway. So being a good sight reader, Alan began to play the pieces as written, without any knowledge of, or feeling for, jazz rhythm. From the first pages, beginning with “The Duke”, to the last, “Swing Bells”, Alan was enthralled with the harmony and melodies. He had never heard such rich and beautiful chord progressions before. So he played his heart out, lingering over passages, savoring a chord here, dwelling on a bar there, finding meaning and expression in the music that Dave probably didn’t know was there. In fact, many years later, before the youtube encyclopedia of music, Broadbent finally got his hands on an old, well-worn, LP and was surprised, shocked really, at how Dave would nonchalantly rush through a bar that he had had a religious experience with.

Then Alan found the music to “Strange Meadowlark” and others that he has included in “Broadbent plays Brubeck”, as well as one by Dave’s brother, Howard; a tribute to him and his hard work (without the aid of digital devices!) that enabled that young fellow down under to revel in the music. Alan Broadbent has sought, in his arrangements, to recreate those feelings about these pieces that have never left him in all these years and to offer another dimension to them through the expressiveness of the peerless musicians of The London Metropolitan String Orchestra. Again “Broadbent plays Brubeck” is a dream come true album for 2-time Grammy Award winner Alan Broadbent, much like Alan’s earlier Album „Developing Story“. Long time partner and close friend Ralf Kemper, a Grammy winning producer, invited Alan again to record „Broadbent plays Brubeck“ at Abbey Road Studios in London. Alan accepted and the recording took place in 2018 at the famous Abbey Road Studio 2. Alan recorded the piano part a little later at Ralf’s Riverside Studios Cologne in Germany.

Alan has received 14 Grammy Award nominations and won 2 Grammy Awards for “Best Orchestral Arrangement Accompanying a Vocal", one for Natalie Cole and one for Shirley Horn. He was nominated for "Best Improvised Jazz Solo" alongside Keith Jarrett, Herbie Hancock and Wayne Shorter. Alan has arranged and conducted for Sir Paul McCartney, Diana Krall, Pat Metheny, Linda Ronstadt, Michael Bublé and many more.

The London Metropolitan Orchestra is one of the best symphonic orchestras in London and is regularly booked by major Hollywood studios and record companies, including live performances with artists such as Paul McCartney, U2, Eric Clapton, Annie Lennox, Sting, Bryan Adams, Quincy Jones, Pink Floyd, Jon Bon Jovi, Vangelis, Simply Red, Pet Shop Boys etc. Ralf Kemper shares mixing and mastering credits with Jonathan Allen. In 2013 Jonathan won the BAFTA Sound Award for the recording and mixing of the movie "Les Misérables". He recently also recorded for Gregory Porter and Eliane Elias. The producer, Ralf Kemper, is himself a Grammy Award winner in 2010 for Best Instrumental Record and Best Producer Of The Year at the Latin Grammys for Arturo Sandoval’s “A Time For Love". His film “Jimmy Scott: I Go Back Home“ premiered at the prestigious SXSW festival, was introduced by Quincy Jones at the 50th Montreux Jazz Festival and has won several awards at international film festivals. All songs composed by Dave Brubeck except „Theme for June“, composed by Howard Brubeck https://riverside-studios-cologne.com/news/detail/broadbent-plays-brubeck

Alan Broadbent – arranger, conductor & piano; Harvie S – bass; Hans Dekker – drums; David Juritz – Concertmaster and Solo Violin on "Strange Meadowlark"; London Metropolitan Strings

Broadbent plays Brubeck

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Alan Broadbent - Burlesque

Styles: Piano Jazz
File: MP3@320K/s
Time: 59:04
Size: 137,0 MB
Art: Front

(4:32) 1. Black Silk
(4:04) 2. Teaser
(4:36) 3. Showtime
(4:09) 4. Slick
(4:13) 5. Please Me
(4:15) 6. Mr Good Time
(4:19) 7. Someday in Spain
(4:09) 8. Opening Line
(4:25) 9. Bump
(5:21) 10. Catwalk
(4:17) 11. Flame
(4:59) 12. Tango Time
(5:39) 13. The Mover

Alan Broadbent was born in Auckland, New Zealand and in 1966, at the age of 19, received a Downbeat Magazine scholarship to attend Berklee College of Music in Boston. In 1969 he was asked to join Woody Herman's band as his pianist and arranger for 3 years. In 1972 he settled in Los Angeles, beginning a musical relationship with the legendary singer Irene Kral (no relation to Diana Krall). Soon he was also invited into the studio scene as a pianist for the great Nelson Riddle, David Rose and Johnny Mandel. In the early 90s he was asked to be a part of Natalie Cole's famous “Unforgettable” cd, at which time he toured as her pianist and, a little while later, as her conductor. At this time he wrote an orchestral arrangement for her second video with her dad, “When I Fall In Love”, which won him his first Grammy for “best orchestral arrangement accompanying a vocal”.

Shortly after, he became a member of Charlie Haden's Quartet West, touring the festivals of Europe, UK and the USA. It was while with this group that he won his second Grammy, an orchestral accompaniment written for Shirley Horn of Leonard Bernstein's “Lonely Town”. As a soloist and with his jazz trio, Broadbent has been nominated for Grammys twice for best instrumental performance, in the company of such artists as Herbie Hancock, Sonny Rollins and Keith Jarrett. In 2007 he was awarded the New Zealand Order of Merit, an honor he holds in high regard.

Broadbent is Diana Krall's conductor for her occasional orchestra concerts and is the conductor on her “Live in Paris” DVD. Recently he has been the arranger on Glenn Frey's cd with strings, “After Hours”, and wrote six string arrangements for Sir Paul McCartney's “Kisses On The Bottom” with the London Symphony. He has just returned from solo piano concerts in the UK, Poland and France. It has been his lifelong goal, through his orchestral arrangements and jazz improvisations, to discover, in popular music and standard songs, deeper feelings of communication and love. https://musicians.allaboutjazz.com/alanbroadbent

Burlesque

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Alan Broadbent - Me Time

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 72:25
Size: 166,6 MB
Art: Front

(6:33)  1. Reflections
(3:16)  2. Waterfalls
(4:47)  3. Oneness
(5:41)  4. New Horizons
(3:34)  5. Inner Harmony
(6:46)  6. Open Spaces
(5:16)  7. Find Your Space
(6:19)  8. Circles
(5:58)  9. My Time
(6:26) 10. Harmony
(3:58) 11. Be Centered
(6:45) 12. Empathy
(7:01) 13. Simple Things

Alan Broadbent was born in Auckland, New Zealand and in 1966, at the age of 19, received a Downbeat Magazine scholarship to attend Berklee College of Music in Boston. In 1969 he was asked to join Woody Herman’s band as his pianist and arranger for 3 years. In 1972 he settled in Los Angeles, beginning a musical relationship with the legendary singer Irene Kral (no relation to Diana Krall). Soon he was also invited into the studio scene as a pianist for the great Nelson Riddle, David Rose and Johnny Mandel. In the early 90s he was asked to be a part of Natalie Cole’s famous “Unforgettable” cd, at which time he toured as her pianist and, a little while later, as her conductor. At this time he wrote an orchestral arrangement for her second video with her dad, “When I Fall In Love”, which won him his first Grammy Award for “best orchestral arrangement accompanying a vocal”.

Turning Points:
Shortly after, he became a member of Charlie Haden’s Quartet West, touring the festivals of Europe, UK and the USA. It was while with this group that he won his second Grammy, an orchestral accompaniment written for Shirley Horn of Leonard Bernstein’s “Lonely Town”. As a soloist and with his jazz trio, Broadbent has been nominated for Grammys twice for best instrumental performance, in the company of such artists as Herbie Hancock, Sonny Rollins and Keith Jarrett. In 2007 he was awarded the New Zealand Order of Merit, an honor he holds in high regard.

The Now:
Broadbent is Diana Krall’s conductor for her occasional orchestra concerts and is the conductor on her “Live in Paris” DVD. Recently he has been the arranger on Glenn Frey’s cd with strings, “After Hours”, and wrote six string arrangements for Sir Paul McCartney’s “Kisses On The Bottom” with the London Symphony. He has just returned from solo piano concerts in the UK, Poland and France. It has been his lifelong goal, through his orchestral arrangements and jazz improvisations, to discover, in popular music and standard songs, deeper feelings of communication and love. https://www.alanbroadbent.com/

Me Time

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Alan Broadbent - To the Evening Star

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 57:04
Size: 132,0 MB
Art: Front

( 7:21)  1. As Morning Breaks (The Prize Song)
(11:50) 2. Amfortas 'Lament (Song of the Flower Maidens)
( 6:13)  3. Song to the Evening Star
( 2:40)  4. Bud Meets Carl
( 5:03)  5. Opus Blue
( 3:48)  6. Full Moon and Empty Arms
( 3:24)  7. Strangers in Paradise
( 4:10)  8. Baubles, Bangles and Beads
( 4:32)  9. Since That Time
( 3:03) 10. Candide (Indeed)
( 4:56) 11. Brother Ralf

Alan Broadbent was born in Auckland, New Zealand and in 1966, at the age of 19, received a Downbeat Magazine scholarship to attend Berklee College of Music in Boston. In 1969 he was asked to join Woody Herman's band as his pianist and arranger for 3 years. In 1972 he settled in Los Angeles, beginning a musical relationship with the legendary singer Irene Kral (no relation to Diana Krall). Soon he was also invited into the studio scene as a pianist for the great Nelson Riddle, David Rose and Johnny Mandel. In the early 90s he was asked to be a part of Natalie Cole's famous “Unforgettable” cd, at which time he toured as her pianist and, a little while later, as her conductor. At this time he wrote an orchestral arrangement for her second video with her dad, “When I Fall In Love”, which won him his first Grammy for “best orchestral arrangement accompanying a vocal”.

Shortly after, he became a member of Charlie Haden's Quartet West, touring the festivals of Europe, UK and the USA. It was while with this group that he won his second Grammy, an orchestral accompaniment written for Shirley Horn of Leonard Bernstein's “Lonely Town”. As a soloist and with his jazz trio, Broadbent has been nominated for Grammys twice for best instrumental performance, in the company of such artists as Herbie Hancock, Sonny Rollins and Keith Jarrett. In 2007 he was awarded the New Zealand Order of Merit, an honor he holds in high regard. Broadbent is Diana Krall's conductor for her occasional orchestra concerts and is the conductor on her “Live in Paris” DVD. Recently he has been the arranger on Glenn Frey's cd with strings, “After Hours”, and wrote six string arrangements for Sir Paul McCartney's “Kisses On The Bottom” with the London Symphony. He has just returned from solo piano concerts in the UK, Poland and France. It has been his lifelong goal, through his orchestral arrangements and jazz improvisations, to discover, in popular music and standard songs, deeper feelings of communication and love. https://musicians.allaboutjazz.com/alanbroadbent

To the Evening Star

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Alan Broadbent Trio - New York Notes

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 62:19
Size: 143,7 MB
Art: Front

(8:44)  1. Clifford Notes
(8:18)  2. Minority
(7:10)  3. I Fall in Love Too Easily
(8:32)  4. Continuity
(5:09)  5. Crazeology
(5:40)  6. On a Misty Night
(6:28)  7. Waltz Prelude
(4:38)  8. 317 East 32nd Street
(7:37)  9. Fine and Dandy

I began paying attention to pianist-arranger Alan Broadbent in 1973, when Woody Herman's Giant Steps came out. It was my senior year in high school, and the wife of the band's drummer, Ed Soph, was one of my teachers. I wasn't much of a student during high school until my last year, when I began acing everything. I have no idea what motivated the turnaround. Perhaps the editorship of the high school newspaper straightened me out. Or maybe it was the new batch of young teachers who were less foreboding than the older ones. Whatever the reason, I loved the Herman album and Alan's arrangements of A Child Is Born and Bebop and Roses. But it was his piano accompaniment on two albums by singer Irene Kral (Where Is Love? and Gentle Rain) in 1974 and 1977, respectively, that won my heart. Alan's way with a piano is still so darn beautiful. His approach has often been compared with the inhaling-exhaling style of Bill Evans, but in truth, Alan is about taste, sensitivity and swing. On his new album, New York Notes (Savant), Alan is backed by his long-time bassist Harvie S and drummer Billy Mintz. Alan has chosen songs with plenty of mood and attitude. There's Gigi Gryce's Minority, Little Benny Harris's Crazeology, Tad Dameron's On a Misty Night and Lennie Tristano's 317 East 32nd Street. 

There are two American songbook classics I Fall in Love Too Easily and Fine and Dandy but both have become part of the jazz vocabulary. Miles Davis recorded the former twice (in 1963 and 1965) and Chet Baker sang and played it. Fine and Dandy has been recorded by many jazz artists since the late 1940s, including Bud Powell and Sonny Stitt. And then there are Alan's gorgeous originals: Clifford Notes, Continuity and Waltz Prelude. Interestingly, On a Misty Night is taken a few ticks slower than most versions of the song, giving it a lusher coloration. Tristano's 317 East 32nd Street also is special. The Out of Nowhere cousin seems to move backward and forward at the same time and becomes a colorful workout for Alan, who spins it gracefully in the air as if making a pizza. If there's a common thread running through all of these songs, it's their sophisticated, breathless quality. It's magical to hear Alan burrow deep inside each one and then marvel at how he works his way back out. An album that shows off Alan's enormous dexterity while giving the beautiful melodies all the attention they deserve. Best of all, it's an album on which Alan dances differently with each song. Here's Fine and Dandy. Alan knew he had to advance the song's story and not play it straight. It's fascinating to hear how he turns the song inside out in the front half...~ Jazzwax By Marc Myers https://news.allaboutjazz.com/alan-broadbent-new-york-notes.php

Personnel: Piano – Alan Broadbent; Bass – Harvie S; Drums – Billy Mintz

New York Notes

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Eddie Daniels - The Five Seasons

Styles: Clarinet Jazz
Year: 1995
File: MP3@320K/s
Time: 65:55
Size: 154,1 MB
Art: Front

(4:02)  1. Spring I
(6:55)  2. Spring II
(4:26)  3. Spring III
(8:16)  4. Summer I
(2:41)  5. Summer II
(4:05)  6. Summer III
(8:14)  7. Autumn I
(2:43)  8. Autumn II
(5:23)  9. Autumn III
(4:40) 10. Winter I
(2:10) 11. Winter II
(6:19) 12. Winter III
(5:54) 13. The Fifth Season

This is an interesting jazz version of Vivaldi's The Four Seasons. The great clarinetist Eddie Daniels performs with the Los Angeles Chamber Orchestra (whose personnel and instrumentation is unidentified) plus pianist Alan Broadbent, bassist Dave Carpenter, and drummer Peter Erskine. The arrangements by Jorge Calandrelli put each of the seasons in three movements, alternating between straight classical interpretations and jazz improvising off of the melodies. 

Calandrelli also contributed a closing "The Fifth Season." Daniels plays brilliantly throughout, but the music comes across as a bit trivial, alternating between two very different idioms and rarely trying to mix them together. Better to get Eddie Daniels' Breakthrough album (which is a better third stream effort) instead. ~ Scott Yanow https://www.allmusic.com/album/the-five-seasons-mw0000184664

Eddie Daniels (Clarinet); Bernard Rubenstein (Conductor); Alan Broadbent (Piano); Dave Carpenter (Bass); Peter Erskine (drums); Los Angeles Chamber Orchestra.

The Five Seasons

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Vic Lewis, West Coast All Stars - Play Bill Holman

Bitrate: MP3@320K/s
Time: 57:35
Size: 131.8 MB
Styles: West Coast jazz
Year: 1993
Art: Front

[7:12] 1. Oleo (First Version)
[7:26] 2. Yesterdays
[6:54] 3. Sizzler Before Lunch
[3:54] 4. When I Fall In Love
[7:35] 5. Easter Parade
[8:43] 6. As We Speak
[8:21] 7. Sizzler After Lunch
[7:26] 8. Oleo (Second Version)

Alto Saxophone – Bud Shank (tracks: 1 to 6 ,8), Lanny Morgan (tracks: 7), Lennie Niehaus (tracks: 7); Baritone Saxophone, Soprano Saxophone, Flute, Flute [Alto], Bass Clarinet – Bill Perkins; Bass – John Clayton; Drums – Jeff Hamilton; French Horn – Ron Loofbourrow; Piano – Alan Broadbent (tracks: 1, 3 to 6), Dudley Moore (tracks: 7), Mike Lang (tracks: 2,8); Tenor Saxophone, Clarinet, Flute – Bob Cooper; Trombone – Andy Martin (tracks: 7), Rob McConnell; Trumpet – Conte Candoli, Jack Sheldon; Vocals – Ruth Price.

Vic has no hesitation in declaring Bill Holman to be the finest big band jazz arranger in the world and in 1988 he satisfied a long held ambition by asking Bill to write arrangements for a complete album by the West Coast All Stars. As can be seen from the personnel listing, the cream of California's jazzmen were assembled for the date.

Play Bill Holman mc
Play Bill Holman zippy

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Alan Broadbent - 'Round Midnight

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Bop, Piano jazz
Year: 2005
Art: Front

[6:25] 1. Groovin' High
[7:22] 2. Serenata
[7:28] 3. Lament
[6:27] 4. Die Vereinbarung
[7:15] 5. Journey Home
[6:44] 6. I'm Old Fashioned
[8:08] 7. 'round Midnight
[5:51] 8. The Man I Love

Long considered a very valuable pianist, arranger, and conductor behind the scenes, whether accompanying singers (including his classic recordings with Irene Kral) or as part of bands (most notably Charlie Haden's Quartet West), Alan Broadbent tends to be underrated as a pianist/leader. In the Los Angeles area he occasionally performs in clubs where his trio work is quite spontaneous. For 'Round Midnight, he simply gathered together two of his favorite players (bassist Brian Bromberg and drummer Joe LaBarbera), decided on a list of tunes (including two of his originals), and played. Although the results are quite logical, nothing was arranged in advance. It just worked out this perfectly on a moment's notice. Whether swinging on bebop standards, digging into J.J. Johnson's "Lament," or transforming "Serenata" into jazz, everything works well on this easily recommended trio outing. ~Scott Yanow

'Round Midnight mc
'Round Midnight zippy

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Seth MacFarlane - Music Is Better Than Words

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 51:42
Size: 121,0 MB
Art: Front

(2:58)  1. It's Anybody's Spring
(3:23)  2. Music Is Better Than Words
(4:03)  3. Anytime, Anywhere
(2:38)  4. The Night They Invented Champagne
(4:28)  5. Two Sleepy People (feat. Norah Jones)
(2:25)  6. You're The Cream In My Coffee
(4:17)  7. Something Good
(3:14)  8. Nine O'Clock
(3:53)  9. Love Won't Let You Get Away (feat. Sara Bareilles)
(5:07) 10. It's Easy To Remember
(2:57) 11. The Sadder But Wiser Girl
(5:30) 12. Laura
(3:44) 13. You And I
(2:59) 14. She's Wonderful Too

A vanity project that evades any rational explanation, as its flights of fancy are so far removed from its creator’s home turf, Music Is Better Than Words is a traditional big-band album from Seth MacFarlane, the self-satisfied wise-ass behind Family Guy. Demonstrating precisely the same amount of imagination that led him to creating no less than three permutations of Wait Till Your Father Gets Home, MacFarlane plays it straight throughout Music Is Better Than Words, hiring American Dad composer Joel McNeely to create approximations of Nelson Riddle, Gordon Jenkins, and Billy May's arrangements for Frank Sinatra's deathless, mid-century records for Capitol. These classic concept albums are clearly the blueprint for Music Is Better Than Words, which was, after all, recorded at Capitol Records' legendary studio with MacFarlane singing into the very same microphone Sinatra used all those years ago, and there is a bit of a concept to this 2011 LP, too, with the cartoonist selecting songs never recorded by any member of the Rat Pack along with a couple recent tunes like “She’s Wonderful Too,” which McNeely originally wrote for The Young Indiana Jones Chronicles for his tribute to that ring-a-ding-ding swing. MacFarlane and McNeely don’t attempt to ape the pizzazz of Frank’s Reprise years, nor do they spend much time with May’s snazzy snap, they stick with Riddle and Jenkins, keeping things sentimental and lush even when the words crackle with wit. Then again, MacFarlane is so concerned about inhabiting Sinatra’s silken suits he doesn’t really care about the meaning of the songs; all that matters is sounding like Ol' Blue Eyes, which MacFarlane does about as well as any number of hotel lounge singers this world over. Sure, it’s a surprise that he can carry a tune, but it’s no surprise that MacFarlane, who came to fame and fortune by telling obvious jokes so slowly a dog could understand, considers his competence as proof of his excellence, his smugness bearing no swagger, his self-satisfaction undercutting his otherwise perfectly pleasant surroundings. ~ Tomas Erlewine https://www.allmusic.com/album/music-is-better-than-words-mw0002154821

Personnel: Larry Koonse (guitar); Jo Ann Turovsky (harp); Joel Pargman, Lorenz Gamma, Alyssa Park, Henry Gronnier, Helen Nightengale, Phillip Levy , Tamara Hatwan , Mark Robertson , Cheryl Norman, Julie Rogers, Sid Page, Richard Altenbach, Roberto Cani, Bruce Dukov, Julie Gigante, Clayton Haslop, Roger Wilkie, Josefina Vergara, Endre Granat, Tereza Stanislav (violin); Victoria Miskolczy, Michael Nowak , Marlow Fisher, Robert Brophy , Brian Dembow, Dave Walther (viola); Steve Kujala, Geri Rotella (flute); David Weiss (oboe); Kenneth Munday (bassoon); Dan Higgins , Brian Scanlon (alto saxophone); Bill Listen, Pete Christlieb (tenor saxophone); Greg Huckins (baritone saxophone); Chuck Findley, Warren Luening, Wayne Bergeron, Bob Summers (trumpet); Alex Iles, Steven Holtman, Andrew Martin , William Frank "Bill" Reichenbach Jr. (trombone); Daniel Kelley , James Thatcher, Dave Everson (horns); Alan Broadbent (piano); Peter Erskine (drums); Alan Estes, Wade Culbreath (percussion).

Music Is Better Than Words

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