Akiko Tsuruga - Beyond Nostalgia

Styles: Jazz, Hard Bop
Year: 2024
File: MP3@320K/s
Time: 65:53
Size: 151,5 MB
Art: Front

( 8:47) 1.Tiger
( 6:31) 2.Happy Blues
( 8:35) 3.Middle Somewhere
(10:38) 4.Back Track
( 6:29) 5.I'll Close My Eyes
( 4:54) 6.Beyond Nostalgia
( 6:13) 7.Mack The Knife
( 6:48) 8.Dancing Cats
( 6:54) 9.What A Diff'rence A Day Makes

Another SteepleChase debut album here by Japanese-born B-3 organist Akiko Tsuruga who hails from Osaka, Japan's second largest city brimming with vitality and keen sense of good life. With her working group including husband trumpeter Joe Magnarelli Akiko leaps out with electrifying energy and at the same time displays her knack for elegant phrasing.

"Tsuruga wraps her own personality around our expectations, bringing out signature ideals of her instrument." - Dan Bilawsky, All About Jazz
https://propermusic.com/products/akikotsuruga-beyondnostalgia

Personnel: Akiko Tsuruga: B3 Hammond organ; Joe Magnarelli: trumpet; Jerry Weldon: tenor saxophone; Byron Landham: drums; Ed Cherry: guitar

Beyond Nostalgia

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Nick Hempton - Catch and Release

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 52:07
Size: 120,0 MB
Art: Front

(6:27)  1. Hanging for Dear Life
(7:39)  2. Change for a Dollar
(7:32)  3. Target Practice
(5:09)  4. Montauk Mosey
(5:44)  5. The Third Degree
(6:18)  6. Nordberg Suite
(6:23)  7. Catch Up
(6:52)  8. Catch and Release

When it come to music release methods, there's nothing more stubborn or persistent than the single. Music has fallen in and out of love with so many different formats over the years, but the one-song-at-a-time method of digestion has weathered every shift, spat, and alteration that life and technology have thrown at it. In fact, it's stronger than ever in this download and post-download age. So what, pray tell, does that have to do with this album? Everything.  In 2014, saxophonist Nick Hempton decided to use a novel concept to tap into the single-seeking listener base. The premise was a simple and familiar one: release one song at a time. But the twist came with the hit-and-run approach behind these singles. Instead of recording an album's worth of music and dropping one song at a time, each song was an island or an album unto itself. A makeshift studio was put together in New York's Smalls Jazz Club on multiple occasions. Then Hempton and company would have a midday session where they would record a single song, later to be mixed and sent on its way all by its lonesome. Each and every part of the process was documented for all to see on a blog. The whole thing was dubbed the "Catch and Release Experiment," and it produced a good number of strong performances that existed as completely separate entities. Now, in a reversal of strategy, Hempton is catering to the album-loving crowd by bundling all of these pieces together on CD. The album opens on the hip "Hanging For Life," a casual swinger that downshifts for a spell before returning to its original feel. Then Hempton welcomes guest tenor saxophonist Jerry Weldon to the party for the lively, bop-leaning "Change For A Dollar." The band sounds tight, the two saxophonists have a chance to bat things around with traded solos, pianist Tadataka Unno gets a chance to shine, and the multiple winks at "Laura" are a smile-inducing cherry on top. Then there's "Target Practice," a number in three that gives drummer Dan Aran a little space to shine; "Montauk Mosey," which finds Hempton and guest pianist Rosanno Sportiello working in a wonderfully relaxed vein together; the Peter Bernstein-enhanced "The Third Degree," a Latin-inflected winner that would've felt right at home on a '60s Blue Note album; and "Nordberg Suite," a cheery, drummer-less small group number that brings trumpeter Bruce Harris into the mix.

The final two pieces on the album dispense with the guests and focus on a core quartet of Hempton, Aran, pianist Jeremy Manasia, and bassist Dave Baron. Together they shift from uncertain terrain to a Coltrane-ish blues feel in five on "Catch Up" before closing out the album with the energetic title track. While this was initially a single-centric project, Catch And Release makes a very favorable impression as a full album. When you consider the facts these tracks were each recorded at different times, personnel changed from number to number, engineer Andrew Swift had to basically rebuild a studio setup each time Hempton wanted to record you start to realize that this could've turned out to be an incredibly inconsistent release in terms of sound quality, vibe, and group dynamics. But it isn't. Hempton's vision and leadership, Swift's skills on the recording side, and the talented individuals on these tracks all help to make Catch And Release a solid and satisfying listen from start to finish. ~ Dan Bilawsky https://www.allaboutjazz.com/catch-and-release-nick-hempton-self-produced-review-by-dan-bilawsky.php

Personnel: Nick Hempton: saxophones; Dan Aran: drums; Dave Baron: bass; Tadataka Unno: piano (1-3); Jeremy Manasia: piano (5-8); Jerry Weldon: tenor saxophone (2); Rossano Sportiello: piano (4); Peter Bernstein: guitar (5); Bruce Harris: trumpet (6).

Catch and Release

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Brother Jack McDuff - That's The Way I Feel About It

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 55:17
Size: 127,9 MB
Art: Front

(5:15)  1. The Age Of Aquarius
(8:49)  2. Blooze In G
(6:14)  3. Theme From Mission Impossible
(8:04)  4. That's The Way I Feel About It
(3:59)  5. Six A.M.
(4:53)  6. Saturday Night Fish Fry
(5:32)  7. Old Folks
(7:46)  8. Flamingo
(4:42)  9. Moody's Mood For Love

At times, McDuff demonstrates how soul-jazz organ stars used to make albums back in their '60s heyday, playing then-current pop hits like "The Age of Aquarius" and the theme from Mission: Impossible (which, thanks to cinema, was a hit all over again in 1996 when this CD was made). We also hear McDuff trying out his vocal cords for the first time on Louis Jordan's "Saturday Night Fish Fry"; actually, he merely talks the lyrics over the rhythm section -- and at 70, he's entitled to this charming lark. Otherwise, this is another fine, home-cookin' soul-jazz session, with McDuff's Hammond B-3 burning at its usual low-intensity, high-blues-content level. Chris Potter dances around the organ on flutes, Andrew Beals and Jerry Weldon offer solid solos on alto and tenor respectively, and the rest of the Heatin' System runs the gamut from Latin to soul-deep grooves. Fans of the genre can buy with peace of mind. ~ Richard S.Ginell https://www.allmusic.com/album/thats-the-way-i-feel-about-it-mw0000024437

Personnel:  Jack McDuff: Hammond B3 (+ vocals on "Saturday Night Fish Fry");  John Hart: Guitar;  Andrew Beals: Alto Sax;  Jerry Weldon: Tenor Sax;  Kip Reed: Electric Bass (except last track);  Rudy Petschauer: Drums

That's The Way I Feel About It

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Jerry Weldon - Those Were The Days

Size: 132,4 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Love Won't Let Me Wait (6:13)
02. Strangers In The Night (5:54)
03. Sunny V (6:39)
04. Where Is Love (4:31)
05. Rosetta (6:38)
06. Walk On By (5:52)
07. This Is Always (4:03)
08. The Sermon (8:33)
09. Those Were The Days (8:29)

It's no longer certain what music cold be classified as "mainstream" jazz. One can argue that the genre (and all others, for that matter) have atomized to the point of each performance being considered a genre in itself (a desirable outcome to the music anarchists among us). That said, some type of classification remains useful in describing music, if for no other reason than to let a listener know that "this sounds a great deal like that." Which brings us to tenor saxophonist Jerry Weldon. Weldon presently serves featured soloist in Harry Connick, Jr.'s long serving big band, who presently provide tafelmusik for Connick's Harry weekday talk show on ABC. The present Those Were the Days is Weldon's debut on Cory Weeds' Cellar Live label. The saxophonist has released seven previous recordings.

The touchstone of Those Were the Days is economy. Everything about this recording smacks of a scrupulous efficiency borne of an extended tenure in a big band like Connick's. This begins with his judicious use of an organ trio format augmented with a percussionist not unlike that employed in the 1950s and '60s Blue Note organ blowing dates. Organist Kyle Koehler is a conservative sort, favoring understated organ stop positions and thoughtful solo excursions. His tone reveals the best of a sepia-tinged style that could have been heard introducing The Edge of Night. Koehler's contribution to this date cannot be understated and is splendidly emotive and orchestral. He is most present introducing the title cut, which closes the recording, framing Weldon's muscular and exacting tenor tone with a soft glow, propelled by the gentle loping rhythm of drummer Colby Inzer.

Weldon favors modern ballads like the full-throated "Strangers in the Night" and the Bacharach/David "Walk on By" played samba style in a breezy and laconic mode. Weldon's own "Sunny V," retaining a bit of samba itself, is bright and inventive. The saxophonist and organist reach a precise critical mass playing Jimmy Smith's "The Sermon," the only blowing blues on the set. Everything comes into relief focus on this tune with all instruments well synced and calibrated. This is an excellent penultimate piece to introduce the closing "Those Were the Days." This could definitely be called "mainstream" jazz, that brand of jazz immediately recognizable, durable and expressive, a joy to behold and listen to. ~C. Michael Bailey

Personnel: Jerry Weldon: tenor saxophone; Kyle Koehler: Hammond B3 Organ; Colby Inzer: drums; Daniel Sadownick: percussion.

Those Were The Days

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Jerry Weldon & Massimo Farao - What's New

Size: 118,7 MB
Time: 50:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. The Gypsy (5:18)
02. My Ship (5:55)
03. We Will Be Together Again (4:17)
04. They Can't Take That Away From Me (6:39)
05. What's New (5:44)
06. What A Difference A Day Made (3:43)
07. Indian Summer (4:09)
08. It's Easy To Remember (5:07)
09. Grace (4:35)
10. For All We Know (5:20)

One of the more beautiful, more subtle settings we've ever heard for the tenor of Jerry Weldon – a very relaxed ballad session cut with pianist Massimo Farao – done with crystal-clear sound, and a very late nite vibe! Over the years, Weldon's developed a really tremendous voice on the tenor – a mode that hearkens back to old giants of mid-century, but which also never does so in any sort of slavish, or easily-retro style – so that although Jerry's blowing at their level, he still really brings a lot of his own phrasing to the horn! This can be especially true on the mellower numbers, which can still have Weldon moving with the deft changes he brings to his work in a more driving setting – and while the piano of Massimo Farao is a perfect balance in terms of modesty and simple tone, it's really Jerry's work on the set that's blowing us away.

What's New

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Jerry Weldon - On The Move!

Size: 114,8 MB
Time: 49:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Soul, Hammond Organ
Art: Front

01. Do You Know A Good Thing When You See One (5:52)
02. Black Velvet (7:21)
03. Donald Duck (5:15)
04. Stringin' The Jug (5:19)
05. You've Changed (7:25)
06. There Are Such Things (6:27)
07. Till There Was You (4:57)
08. On The Move! (6:45)

Jerry Weldon is one of today's leading proponents of Soul Jazz who represents the 'bar-walkin', hard-blowing, tenor legends in our contemporary American Jazz scene. Jerry's tenure with the Lionel Hampton Band in the early 80's gave him the experience of his life: developing his performance skills and creating within him the energy and motivation to perform this great music for discriminating audiences worldwide. Today, Jerry continues his big band showmanship with the Harry Connick, Jr. Band where he is featured as a leading instrumentalist in various tunes and in several stage acts. Rarely heard on the west coast with his own bands, Jerry was brought to the west coast by the Jazz Organ Fellowship organization and teamed for this recording with a former Jimmy Smith guitarist, Steve Homan; the original drummer from Herbie Hancock's 'Head-Hunters', Mike Clark; and the remarkable jazz organist from Columbus, Ohio, once hailed as the 'next great Jazz Organist', Bobby Pierce. This stellar group was assembled at the 25th Street Recording Studio in Oakland, CA on Monday, August 10th 2015 and given ample time to discuss the particulars and experience the camaraderie . Tune selection for this recording was done by Jerry himself, from the Illinois Jacquet classic, 'Black Velvet', to the Meredith Willson classic, 'Till There Was You', made popular by Paul McCartney and the Beatles. The simpatico between these musicians was instantaneous as the groove was there from the onset and the shared love of Soul Jazz was evident in each track. Adding greatness to the ever-increasing list of contemporary jazz organ recordings, Jerry's 'On The Move!' will serve to strengthen his reputation as a top-shelf jazz performer and recording star, as well as, span the love for his music from coast to coast. Whether he is rockin' a room in Harlem or reelin' back his horn in an Oakland club, Jerry Weldon is the real deal with energy to spare while he's On The Move!

On The Move!

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Jerry Weldon, Michael Karn - Head To Head

Bitrate: MP3@320K/s
Time: 65:53
Size: 150.8 MB
Styles: Saxophone jazz
Year: 1999
Art: Front

[7:12] 1. Captain Morgan
[8:01] 2. Sweet And Lovely
[6:25] 3. Who Can I Turn To (When Nobody Needs Me)
[8:39] 4. Big D
[6:17] 5. Late Last Summer
[5:28] 6. All The Way
[6:48] 7. Ow!
[5:49] 8. Far East
[6:21] 9. If Ever I Woild Leave You
[4:48] 10. Koko

Jerry Weldon (Ts); Michael Karn (Ts); Bruce Barth (P); Peter Washington (B); Billy Drummond (D). Recorded June 9, 1998 in Brooklyn, NY, USA by Max Bolleman.

These two guys are great. But put them together and they are FANTASTIC. They are to the tenor sax, what Phil and Quill (Phil Wood and Gene Quill) were to the Alto. Their playing is faultless. The group inculdes Jerry Weldon and Michael Karn on Tenor sax, Bruce Barth on piano, the always great Peter Washington on Bass and Billy Drumond on drums. This CD, recorded in Brooklyn in 1998 sounds like the great sounds of the Bop, Be-Bop and Hard Bop eras. One would never know that it was recorded in the late nineties. I'm a lover of the 1950 to 1963 era of Jazz before all the fusion, avante garde and acid jazz that I can't stomach. It very encouraging to know that guys in this day and age are playing the kind of jazz that was popular back in the Golden Age of post Big Band Jazz. I really feel that these two guys are the best living Tenor sax players living today (along with Joel Frahm of course). I hear shades of Jimmy Griffin, the great tone of Charlie Rouse, the influence of Sonny Rollins and Dexter Gordon when I listen to this CD. The whole album is great, but my favorite is their GREAT version of the immortal Charlie Parker tune "Ko-Ko". You will NOT be disappointed if you like jazz from that era done by two of todays great players. A must have. By the way, the recording quality is great as well. None of that "Bass in your Face" mixing that ruins so many great recording nowadays. Kudo's to the recording engineer Max Bolleman. A Desert Island must ~Tony NYC

Head To Head

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Jack Mcduff & Joey DeFrancesco - It's About Time

Styles: Soul Jazz
Year: 1996
File: MP3@320K/s
Time: 62:55
Size: 144,5 MB
Art: Front

(7:13)  1. Pork Chops and Pasta
(8:20)  2. Please Send Me Someone to Love
(5:58)  3. Secret Love
(6:33)  4. Our Delight
(8:03)  5. Yesterdays
(5:02)  6. The Most Beautiful Girl in the World
(9:14)  7. Rock Candy
(6:06)  8. Funk Pie
(6:22)  9. Black Jack

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest.

They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. https://itunes.apple.com/us/artist/jack-mcduff/id7259239#fullText

Personnel: Jack McDuff (organ); Joey DeFrancesco (organ); John Hart , Paul Bollenback (guitar); Andrew Beals (alto saxophone); Jerry Weldon (tenor saxophone); Byron Landham (drums, percussion); Rudy Petschauer (drums).

It's About Time

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Brother Jack McDuff - Brotherly Love

Styles: Jazz
Year: 2000
File: MP3@320K/s
Time: 66:10
Size: 154,8 MB
Art: Front

( 5:35)  1. Hot Barbecue
( 7:27)  2. Vas Dis
( 5:18)  3. Kettle Of Fish
( 7:57)  4. Georgia
( 5:38)  5. Santa Amalia
( 4:40)  6. April In Paris
( 9:33)  7. Time's Marchin' On
( 8:08)  8. Pork Chops G Pasta
(11:50)  9. Rock Candy

Brotherly Love would have been one of those feel-good Jack McDuff albums that reunites some of his early collaborators and some of the musicians he helped train (dozens of them!)...were it not his last album. Instead, Brotherly Love takes on a double meaning: a reference to the Philadelphians who join him on the album (Pat Martino and Joey DeFrancesco) and an acknowledgement of the fraternity (and, yes, sorority-or, well, camaraderie) of musicians who develop lifelong friendships and instinctive understandings of the music. Working once again with Red Holloway, McDuff leads with his unmistakable style that combines the blues with a melodic approach not only to his solos, but also to his music. 

McDuff wrote six of the tunes on Brotherly Love, and they typically includes his signature titles that imply his unpretentious attitude about life. Titles like "Time's Marchin' On," (a slow down-home blues building to the inevitable climax before fadeout and spoken exclamation), "Kettle Of Fish," (a faster blues that serves as the occasion for inspiring solos from McDuff, Martino and Holloway), "Vas Dis" (a twisting jazz waltz somewhat akin to "Take Five") and McDuff's famous "Rock Candy." "Rock Candy" has personal significance to Joey DeFrancesco, who joined McDuff on this tune in a live performance at the Concord Jazz Festival in 1996 after their duo It's About Time album was released. "Rock Candy" was the first tune that DeFrancesco performed with McDuff at the age of ten. 

Playing "Rock Candy" note-for-note as a child just the way that McDuff recorded it, DeFrancesco remained friends with him for what became a lifetime. Brotherly Love includes two tracks from that live performance, "Rock Candy" and "Pork Chops & Pasta," played by McDuff's touring band of Jerry Weldon, Andrew Beals, John Hart and Rudy Petschauer. The appearance at the jazz festival not only represents a full-circle performance of the tune, but also it's an thrilling performance unto itself when all of the musicians were at their peak. The enthusiastic applause at the end of the performance showed appreciation in person for the musicians' giving-it-their-all. That same applause which ends the recording shows appreciation for McDuff's lifelong success in entertaining thousands of listeners. The more surprising selection on the CD is Chucho Valdes' "Santa Amalia," played by the studio group consisting of Holloway, Martino, bassist Frank Gravis and drummer Grady Tate. 

Even with the Latin tinge laid down by Tate and the festival licks implied by Holloway, McDuff converts the tune into something that would fit right into the organ circuit repertoire. "April In Paris" and "Georgia" are the two other tunes on Brotherly Love that McDuff didn't write. With a nod to Count Basie's classic recording of "April In Paris," McDuff, in an orchestral fashion, fills in for the entire band before Holloway and Martino change the feel into that of an easy swing. That doesn't mean that McDuff leaves out the famous ending; he plays it as dramatically as would be expected. "Georgia" slows down into a languid retelling of the story, allowing for the musicians to fill in the rests with bluesiness and meaning. A hard-driving leader who demanded musical integrity from the people who worked for him, Jack McDuff remained true to the spirit of the music, even as he disdained fast licks for logical solo development. Brotherly Love is yet more proof that he understood the power of music, as he worked to channel that power to his audiences. ~ AAJ Staff  http://www.allaboutjazz.com/brotherly-love-jack-mcduff-concord-music-group-review-by-aaj-staff.php
 

Personnel: Jack McDuff, Joey DeFrancesco, Hammond B-3 organ; Andrew Beals, alto sax; Red Holloway, alto & tenor sax; Jerry Weldon, tenor sax; Pat Martino, John Hart, guitar; Frank Gravis, bass; Grady Tate, Rudy Petschauer, drums

Brotherly Love

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Jerry Weldon & Michael Karn - Head To Head

Bitrate: 320K/s
Time: 65:56
Size: 150.9 MB
Styles: Saxophone jazz
Year: 1999
Art: Front

[7:13] 1. Captain Morgan
[8:02] 2. Sweet And Lovely
[6:26] 3. Who Can I Turn To (When Nobody Needs Me)
[8:39] 4. Big D
[6:18] 5. Late Last Summer
[5:28] 6. All The Way
[6:48] 7. Ow!
[5:49] 8. Far East
[6:21] 9. If Ever I Woild Leave You
[4:48] 10. Koko

There's something magical about the idea of dueling tenor saxophones that has kept it a popular commodity for many years now. Historically, the first memorable pairing was that of Dexter Gordon and Wardell Gray. Then, we had Gene Ammons and Sonny Stitt, and let's not forget that incendiary duo of Johnny Griffin and Eddie "Lockjaw" Davis! Now you can add a modern day equivalent in the likes of tenor men Jerry Weldon and Michael Karn. While certainly not yet household names, both players have established reputations and bring something fresh to the mainstream tradition. Karn, a student of Joe Lovano's, has worked with a number of New York mainstays including organist Charles Earland, while Weldon studied at Rutgers and has recently been heard in Jack McDuff's combo.

Like the best duos, Weldon and Karn share enough differences in sound and approach to provide the contrast needed for an engaging listen. The former has a beefy sound that has a swagger akin to players of the swing era, while the latter possesses that high-register cry that marks such modern players as Lovano and Michael Brecker. The rhythm section that rounds out the group is made up of first-call players. Bruce Barth is one of the few pianists of his generation with that uncanny ability to play just the right thing that will get everyone going, be it a mainstream gig or the avant-garde. And by now it should be known that bassist Peter Washington and drummer Billy Drummond are two of the greatest jazz musicians of this or any era in jazz.

The festivities get underway with Weldon's "Captain Morgan", a catchy number that recalls the up tempo romps of Lockjaw and Griffin. Karn's "Big 'D'" has hints of "Gingerbread Boy" with its stop-time passages and it serves as a perfect springboard to some inspired solos. Aside from one other original apiece from Karn and Weldon, the program is filled out with a choice selection of well- arranged standards, including a solo ballad performance from each tenor man. A brisk "Ko-Ko" wraps up an undeniably swinging and pleasurable date that, like a comfortable and well-worn shirt, will surely become an old favorite. ~C. Andrew Hovan

Head To Head

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Jerry Weldon & Bobby Forrester - The Second Time Around

Bitrate: 320K/s
Time: 44:27
Size: 102.6 MB
Styles: Saxophone jazz, Organ jazz
Year: 1995
Art: Front

[5:35] 1. There Goes My Heart
[5:29] 2. Mr. Lucky
[5:21] 3. One Mint Julep
[6:13] 4. The Things We Did Last Summer
[8:20] 5. Con Alma
[6:47] 6. Bloomdido
[6:39] 7. The Second Time Around

"The little track, 'The Second Time Around' seems to bring everything full circle. The playing is fresh and lively with no one ever stepping further out than needed. John's guitar is fresh and both Jerry and Bobby say what's necessary with confidence and poise. This one fades to a calm finish but certainly not to an ending as I"m sure you'll be pressing the 'play' button soon enough for that 'Second Time Around'." ~Pete Fallico/Jazz Now

"...a fine display of their wares....Forrester plays with rhythmic intensity and lush shadings that mine the full possibilities of the B-3 and make this session a real burner of standard blues and ballads with a nod to bop." ~Jazz Times

Jerry Weldon (tenor saxophone); Bobby Forrester (organ); John Hart (guitar); Tootsie Bean (drums).

The Second Time Around

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