Nora Germain - Little Dipper

Bitrate: 320K/s
Time: 36:20
Size: 83.2 MB
Styles: Violin jazz, Vocal jazz
Year: 2014
Art: Front

[3:28] 1. Swing Is Fun
[2:25] 2. How About You
[6:27] 3. Someone To Watch Over Me
[6:22] 4. How About You (Instrumental)
[2:51] 5. Little Girl Blue
[2:56] 6. Salty Dogs
[1:47] 7. Violin Is Now
[5:01] 8. A Flower Is A Lovesome Thing
[3:29] 9. Thou Swell
[1:29] 10. Tommy

Jazz fiddlers are not exactly household renowned. Joe Venuti, Ray Nance, Stephane Grappelli, Michal Urbaniak, Svend Asmussen, Jean-Luc Ponty and Regina Carter pop to the forefront, but then the list falls off quickly. Presently there emerges one Nora Germain (a name made to be in lights if there ever was one) who not only fiddles but also sings. She might be considered a more mainstream jazz Natalie Cressman, a singer/composer who doubles on trombone. Her voice is all jaunty NYC (perhaps due to time she spent at the New School) despite her originating on the Left Coast.

For her recording Little Dipper, Germain opts for a sturdy piano trio rhythm section led by pianist Ed Kornhauser. Germain's arrangements are straight-ahead mainstream right out of the chute with the original "Swing is Fun," based on the sacred "I Got Rhythm" changes. Her tone and articulation are a beautiful throwback to when tone and articulation were valued along with improvisatory aplomb. Germain is superb on ballads: "Someone to Watch Over Me" shimmers from the beginning obbligato to the falling water coda.

Germain provides two performances of "How About You:" one vocal and one instrumental. They sit well in the programming. She sings again on a strutting "Salty Dogs," the song propelled by bassist Will Pierce and gingerly accented by drummer Ryan Shaw. By the time the brief piece reaches a breakneck 4/4, the temperature has risen markedly. Germain adds another original, "Violin is Now" to "A Flower is a Lovesome Thing" and "Thou Swell." Her big surprise is the hoedown "Tommy," demonstrating that she is not only a prim jazz flower but also a rough-and-tumble country girl. A fine recording by a fine musician. ~C. Michael Bailey

Nora Germain: violin, vocals; Ed Kornhauser: piano; Will Pierce: bass; Ryan Shaw: drums.

Little Dipper

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Anita O'Day - Anita Meets The Rhythm Sections

Bitrate: 320K/s
Time: 72:39
Size: 166.3 MB
Styles: Vocal jazz
Year: 2011
Art: Front

[2:31] 1. No Soap, No Hope Blues
[2:33] 2. Speak Low
[2:37] 3. The Lady Is a Tramp
[3:05] 4. Strawberry Moon
[2:30] 5. Sing Sing Sing
[2:38] 6. Just One of Those Things
[4:10] 7. The Man I Love
[3:34] 8. Frankie and Johnny
[3:23] 9. Anita's Blues
[3:43] 10. I Cover the Waterfront
[3:40] 11. I Didn't Know What Time It Was
[2:23] 12. Let's Fall in Love
[2:42] 13. You're Getting to Be a Habit with Me
[3:09] 14. From This Moment On
[2:53] 15. You Don't Know What Love Is
[3:12] 16. Medley: There Will Never Be Another You/Just Friends
[3:12] 17. Who Cares
[2:24] 18. Fine and Dandy
[3:37] 19. As Long as I Live
[2:36] 20. Beautiful Love
[2:31] 21. Don't Be That Way
[3:14] 22. Let's Face the Music and Dance
[3:03] 23. Pick Yourself Up
[3:06] 24. I Used to Be Color Blind

Anita locks horns with Barney Kessel, Jimmy Rowles, Tal Farlow and other aces on these 1952-56 sessions.

Few vocalists merited the compliment of singer's singer as thoroughly as Anita O Day. This is Miss O Day at her best. On these sides she sings accompanied by some of the finest rhythm sections, with her hotly wailing beat and an intensely personal, jazz-driven phrasing that is an exciting delight. Above all, there is the warm, husky O Day sound, a happiness, a sensual zest in the pleasures of blowing with the voice, that combine into one of the most infectious delights of jazz listening. She is just as convincing on ballads as on up-tempos, proving to be one of the greatest jazz singers of all times. These recordings are gems of jazz singing.

Anita Meets The Rhythm Sections

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John Swana - Bright Moments

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 72:05
Size: 165,5 MB
Art: Front

(4:42)  1. Wilbert
(6:21)  2. Chillin' Out
(6:45)  3. Road Trippin'
(7:44)  4. Ferris Wheel
(5:24)  5. Shrack's Corner II
(8:10)  6. Bright Moments
(8:06)  7. Inevitable Encounter
(6:47)  8. Everything I Have Is Yours
(7:04)  9. KD
(6:27) 10. Open Highway
(4:31) 11. Shrack's Corner I

Trumpeter John Swana's Philadelphia hard bop roots are clearly evident on this set of originals that takes definite cues from the distinctive sound of Art Blakey's Jazz Messengers in bygone days. The title is not a reference to Rahsaan Roland Kirk's classic album, but a concept suggested to the leader by organist Trudy Pitts. With a solid, burnished, and clear tone, Swana and his sextet featuring twin tenor saxes in Eric Alexander and Grant Stewart swing strongly through original mainstream jazz that is lyrically tuneful and harmonically rich. Where tracks like "Wilbert" (for ex-Philadelphia Eagles NFL running back Wilbert Montgomery) and "Road Trippin'" reflect that fleet-foot hard bop image, others tend to be effortlessly bluesy or soulful. This simple but direct approach is a rarity in contrast with modern mainstream, complex jazz, but Swana is not so much looking back as he is keeping the straight-ahead home fires burning. ~ Michael G.Nastos  http://www.allmusic.com/album/bright-moments-mw0000752017

Personnel: John Swana (trumpet, flugelhorn); Eric Alexander, Grant Stewart (tenor saxophone); David Hazeltine (piano); Peter Washington (bass instrument); Kenny Washington (drums).

Bright Moments

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Latin Giants Of Jazz - The Latin Giants Play The Music Of The Palladium Tito Lives

Styles: Latin, Big Band
Year: 2002
File: MP3@320K/s
Time: 51:00
Size: 117,3 MB
Art: Front

(7:11)  1. Bobby & Mario
(5:05)  2. Medo Al Cha Cha Cha
(4:00)  3. Llora Timbero
(2:43)  4. Fue En Santiago
(6:38)  5. La Orquesta
(3:05)  6. Frenzy
(3:32)  7. Lagrimas Negras
(4:55)  8. Blen Blen Medley
(3:58)  9. Tenderly
(5:05) 10. Congo Mulence
(4:43) 11. A Sunny Ray

The Latin Giants of Jazz is one of the most exciting, colorful and authentic orchestras currently on the music scene. It is no surprise that blazing trumpets, swinging saxophones, blaring trombones, melodic vocals and an exciting percussion section comes from the alumni of Tito Puente's orchestra. Led by long time Puente band members John Rodriguez, Jose Madera and CEO Stew Jackson, The Latin Giants of Jazz offer the best of Afro-Cuban and Latin American music. Having toured the world with the late & great Tito Puente for 35 years, these all-star musicians have unparalleled history and experience. Currently having three CD’s released: “The Latin Giants Play the Music of the Palladium…Tito Lives”, “Trip to Mamboland” and "Ven Baila Conmigo". All three recordings underscore why these musicians are recognized as some of the best in their field. They bring swinging perfection to stage with their tremendous sound that lures you from your seat to the dance floor.  http://www.cdbaby.com/cd/latingiantsofjazz

The Latin Giants Play The Music Of The Palladium Tito Lives

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Esther Phillips - Performance

Styles: Vocal, Jazz Pop
Year: 1974
File: MP3@320K/s
Time: 35:32
Size: 83,3 MB
Art: Front

(8:27)  1. I Feel The Same
(5:28)  2. Performance
(3:36)  3. Doing Our Thing
(5:21)  4. Disposable Society
(5:19)  5. Living Alone
(3:24)  6. Such A Night
(3:54)  7. Can't Trust Your Neighbor With Your Baby

The decades-long battle with drug addiction, which ultimately led to her untimely demise, contributed to vocalist Esther Phillips' status as a tragic second-tier figure in the larger annals of popular music history, but her music itself was often a triumph of soul-stirring ecstasy. By the time Phillips arrived at CTI's sister label, Kudu Records, her early career hits made under the name "Little Esther" were a distant memory. A string of albums for Atlantic Records in the late '60s helped bring her back into the spotlight, but she truly found her home under the auspices of the venerable Creed Taylor. Her first album on Kudu, From A Whisper To A Scream (1972), contained a semi-autobiographical performance of Gil Scott-Heron's "Home Is Where The Hatred Is," which earned Phillips her second of four Grammy nominations and the respect of her peers, but it also signaled the start of her most prolific period of recording. While at Kudu, the singer recorded eight albums, cementing her reputation as a vocalist par excellence and establishing her as the Kudu queen of blues, soul and R&B. Any one of Phillips' albums would have been a nice addition to CTI Masterworks' fortieth anniversary feast, but the powers-that-be decided to honor her by reissuing her fourth album on the label 1974's underrated Performance. 

While the personnel list presents an imposing roster of jazz heavyweights, the jazz influences themselves are suppressed in favor of a soul-heavy sound. Notable solos still find their way into the mix, including tenor saxophonist Michael Brecker's extended run on "Disposable Society" and guitarist Jon Sholle's solo spot on "I Feel The Same," but they're rare. Instead, the music is used as it should: to showcase Phillips' voice. Phillips knew how to establish herself when placed in a funky musical environment, whether gritty and urban ("Disposable Society") or friendlier and fun ("Doing Our Thing"), but goes beyond this area on tracks like "Performance," an R&B number with a gospel feel that's augmented by some countrified steel guitar from Eric Weissberg, and "Such A Night," which features some tack piano work from Richard Tee. While the CTI Masterworks reissue campaign is largely a celebration of albums that have always been celebrated, the final wave along with Performance, including efforts from saxophonist Hank Crawford, and organists Lonnie Smith and Johnny Hammond is all about admiring the wrongfully overlooked and giving kudos to Kudu. ~ Dan Bilawsky  http://www.allaboutjazz.com/performance-esther-phillips-cti-masterworks-review-by-dan-bilawsky.php#.VDrnYxawTP8

Personnel: Esther Phillips: vocal; Jerry Dodgion: alto saxophone; Mike Brecker: tenor saxophone; Pepper Adams: baritone saxophone; Jon Faddis: trumpet, flugelhorn; John Gatchell: trumpet, flugelhorn; Marvin Stamm: trumpet, flugelhorn; Urbie Green: trombone; Hubert Laws: flute; Bob James: electric piano (4), piano (5); Richard Tee: piano (3, 7), organ (5), tack piano (6); Richard Wyands: piano; Charlie Brown: guitar; Richie Resnicoff: guitar (4, 5); Jon Sholle: guitar (1, 7); Eric Weissberg: steel guitar (2); Gary King: bass; Gordon Edwards: bass (3); Bernard Purdie: drums; Steve Gadd: drums (4, 5); Ralph McDonald: percussion; Pee Wee Ellis: chimes; Patti Austin: background vocals (2, 6); Lani Groves: background vocals (2, 6); J. Denise Williams: background vocals (2, 6); Carl Caldwell: background vocals (3, 5); Robin Clark: background vocals (3, 5); Tasha Thomas: background vocals (3, 5); Max Ellen: violin; Paul Gershman: violin; Emmanuel Green: violin; Charles Libove: violin; Harry Lookofsky: violin; David Nadien: violin; Matthew Raimondi: violin; Manny Vardi: violin, viola; Al Brown: viola; Harold Coletta: viola; Charles McCracken: cello; George Ricci: cello.

Performance

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Michael Franks - Barefoot on the Beach

Styles: Vocal, Jazz Pop
Year: 1999
File: MP3@320K/s
Time: 62:33
Size: 155,3 MB
Art: Front + Back

(5:04)  1. Barefoot On The Beach
(4:48)  2. Heart Like An Open Book
(6:13)  3. Now Love Has No End
(5:52)  4. The Fountain of Youth
(5:04)  5. When You Smiled At Me
(6:12)  6. Double Talk
(7:24)  7. Every Time She Whispers
(4:27)  8. Why Spring Ain't Here
(6:21)  9. A Walk In The Rain
(4:40) 10. Mr. Smooth
(6:23) 11. Like Moon Behind A Cloud

Countless musical trends have steamrolled by since this wry singer songwriter with the cool and collected, wistful onionskin voice first graced the adult music world in the mid-'70s with The Art of Tea and its cryptic hit, "Popsicle Toes." Yet Franks has stood his ground, growing as an observational lyricist while his relaxed demeanor stays pretty much the same, and charmingly so. While varying his backing instrumental tracks to fall somewhere between classic, subtle brassy Steely Dan ("The Fountain of Youth" features Yellowjacket saxman Bob Mintzer kicking it up with trumpeter Larry Lunetta) and colorful smooth jazz vibes (Bob James, Dave Samuels, and Chuck Loeb crackle behind the bemused frustration story "Double Talk"), the joy of his writing approach is found in his song structure. Franks just doesn't buy into the Top 40 school of "hook or forget it" songwriting. He's more interested in weaving quirky, even esoteric images over solid grooves. "You could jump a DC-8 and probably be here by eight" sets the tone for the frolic of the title track. Everything is fair game from references to Ingrid Bergman and Rhett Butler looks on "Heart Like an Open Book" to congratulating Ponce De Leon for the youthful drive of his lover on "The Fountain of Youth." He's quite the humorist, too, telling a cheating mate on "Double Talk" that "each time you lie your profile grows/it looks just like Pinocchio's." "Mr. Smooth" is a crisp commentary on a stuck-up man who thinks he's a god somehow. So that even when Franks is expressing displeasure, his heart is light. He covers all the aspects of love from the supreme joy of "Now Love Has No End" to "Why Spring Ain't here" but the minute he starts to boil over, he's back to the beach, having a blast. It's the kind of spring in your step music Franks fashioned his career out of.~ Jonathan Widran  http://www.allmusic.com/album/barefoot-on-the-beach-mw0000239499

Personnel: Michael Franks, vocals; Jay Azzolina, guitar; Jim Beard, string synth; Charles Blenzig, keyboards and drum/percussion programming; Michael Brecker, sax; Randy Brecker, trumpet; David Charles, percussion; Brian Dunne, drums; Steve Gadd, drums; Wolfgang Haffner, cymbals; Jimmy Haslip, bass and keyboards; Chris Hunter, alto sax and flute; Jim Hynes, flugelhorn; Bob James, keyboards; Bashiri Johnson, percussion; Birch Johnson, trombone; Steve Khan, guitar; Will Lee, bass and background vocals; Chuck Loeb, guitar; Larry Lunetta, trumpet; David Mann, flute; Bob Mintzer, saxophone; Jeff Mironov, guitar; Chris Palmaro, keyboards; John Patitucci, bass; Shawn Pelton, drums; Mike Ricchiuti, keyboards; Dave Samuels, vibraphone; Valerie Simpson, vocal (duet on "Now Love Has No End"); Andy Snitzer, saxophone; Tawatha Agee, Carmen Cuesta, Lani Groves, backgroung vocals.

Barefoot on the Beach

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Jimmy Cobb Trio - Taking A Chance On Love

Size: 153,4 MB
Time: 65:51
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz: Hard Bop
Art: Front

01. Taking A Chance On Love (4:11)
02. My Ideal (5:03)
03. Relax (7:04)
04. A Nightingale In Berkeley Square (5:29)
05. When The Saints Go Marchin' (5:34)
06. For Minors Only (4:47)
07. You Say You Care (5:22)
08. Polkadots And Moonbeams (4:52)
09. I've Got The World On A String (7:05)
10. Three Little Words (4:58)
11. Autumn Leaves (6:56)
12. All The Things You Are (4:26)

Jimmy Wilbur Cobb (born January 20, 1929, in Washington, D.C.) is an American jazz drummer.
Probably his most famous work is on Miles Davis’ Kind of Blue (1959), considered by many to be the quintessential jazz record. Cobb is the last surviving player from the session. He also played on other famous Davis albums, including Sketches of Spain, Someday My Prince Will Come, Miles Davis at Carnegie Hall, In Person Friday and Saturday Nights at the Blackhawk, Complete, and briefly on Porgy and Bess and Sorcerer.

Jimmy Cobb has worked extensively with a wide range of artists, including Dinah Washington, Pearl Bailey, Clark Terry, Cannonball Adderley, Dizzy Gillespie, John Coltrane, Sarah Vaughan, Billie Holiday, Wynton Kelly, Stan Getz, Wes Montgomery, Gil Evans, Miles Davis, Paul Chambers, Kenny Burrell, J. J. Johnson, Sonny Stitt, Nat Adderley, Hank Jones, Ron Carter, George Coleman, Fathead Newman, Geri Allen, Earl Bostic, Leo Parker, Charlie Rouse, Ernie Royal, Philly Joe Jones, Bobby Timmons, Walter Booker, Jerome Richardson, Keter Betts, Jimmy Cleveland, Sam Jones, Red Garland, Joe Henderson, Eddie Gomez, Bill Evans, Stefan Karlsson, Jeremy Steig, Richard Wyands, Peter Bernstein, Richie Cole, Nancy Wilson, Ricky Ford, David Amram, and many more.
As of 2011, Cobb leads the Jimmy Cobb “So What” Band, a tribute to 50 years of Kind of Blue and the music of Miles Davis.

Taking A Chance On Love

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Igor Butman Big Band - Moscow @ 3 A.M. (Feat. Wynton Marsalis)

Size: 177,8 MB
Time: 76:31
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Big Band
Art: Front

01. Russian Passion (9:43)
02. That's All (6:20)
03. Dirty Dozen (9:16)
04. Nevalyashki (8:09)
05. Take The A Train (6:56)
06. The Bells Rung In Novgorod (9:48)
07. Mirage (5:50)
08. We'll Be Back (8:24)
09. Moscow At 3 A.M (8:38)
10. Little Finale (3:23)

Casting a welcome spotlight on the underexposed Russian jazz scene, star saxophonist Igor Butman reunites with a longtime friend and collaborator, composer/arranger Nick Levinovsky, to co-lead a bright, swinging 16-piece ensemble on Moscow @ 3 A.M. Both men are important figures in their nation’s jazz history: In the 1980s, Butman and Levinovsky formed the core of the band Allegro, among the best-known carriers of the jazz banner in what was still the Soviet Union. In the intervening years, Butman has bounced between Moscow and New York, building an impressive résumé of work with top international artists. (He’s recruited Wynton Marsalis as a guest soloist here.)

The music, blazingly rendered for a full 77 minutes, is pretty much all Levinovsky. Smoothly gliding and tightly focused, Levinovsky’s lush orchestrations are always on the move, built from hard-swinging, repeated riff melodies that recall Gerald Wilson’s big-band style but also carry the occasional whiff of folk melody. Solos are spread around the group, and Butman’s presence, while strong and assured, is far from dominant. Still, he turns in some ambitious playing, stretching out from positions of calm repose to insistent, impassioned jabs, buoyed by the ensemble as in the sweeping, odd-metered cycle of “Dirty Dozen.”

The set is especially flattering to soprano saxophones. Tag-teaming in the sassy “Nevalyashki,” soprano players Dmitry Mospan and Oleg Grymov chase each other in circles, an elusive hummingbird’s flight juxtaposed with sure-footed analysis. And Marsalis adds his distinctive trumpet touch to three tracks, settling gently into Levinovsky’s enveloping swing like a pearl on a velvet cushion. ~By Forrest Dylan Bryant

Moscow @ 3 A.M.

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Mark Carroll - Moments Like This

Size: 132,3 MB
Time: 56:47
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Night And Day (4:38)
02. Let's Eat Home (2:12)
03. It Only Happens When I Dance With You Come Dance With Me (3:47)
04. A Love Like Ours (2:32)
05. Meet Me At The Mansion Bar (5:16)
06. It's Like Reaching For The Moon (4:06)
07. Ninety Nine Miles From L.A (4:15)
08. Embraceable You (2:49)
09. Moments Like This (3:21)
10. Someone To Light Up My Life (3:16)
11. Gypsies, Jugglers, And Clowns (2:36)
12. Again Where Or When (4:02)
13. Mountain Greenery (3:06)
14. Everything Happens To Me (5:00)
15. I Never Left Your Arms (2:21)
16. The Lady Is In Love With You (3:22)

Jazz singer/pianist of "The Great American Songbook". He has absorbed the lessons of the great masters from Nat Cole through Mabel Mercer to become a master himself. His piano playing and his singing is a kind of class you do not find much anymore.

"Mark Carroll sings, plays and swings with great taste, perfect musical timing, and the kind of class you don't find anymore. It's a rare treat to hear him."--- Rex Reed, New York Post columnist

"Mark Carroll is one of my favorite artist. He has taste, he has wit, he has whimsy, he has depth. He has absorbed the lessons of the great masters---from Nat Cole through Mabel Mercer---to become a master himself. His piano playing is as sparkling as his singing, and his singing is a complete joy."--- David Ritz, biographer of Ray Charles, Marvin Gaye, Aretha Franklin, Smokey Robinson, and many more . . .

"In the arena of singer pianist, Mark Carroll is the Best. No one else compares and this CD proves it."---Julie Wilson, Broadway and cabaret star

Mark Carroll is a legendary pianist who is also known as a magnificent singer. For many years, Mr. Carroll has played for the likes of Tony Bennett, Phyllis Diller, Van Cliburn, Bill and Hillary Clinton, Al Gore, Don Henley, Frank Sinatra, Carmen McRae and Linda Ronstadt. Mr. Carroll was also associated with Peggy Lee.

Mr. Carroll has played engagements all over the country, including the Plaza Hotel in New York, The Fairmount Hotel in Dallas, Harrah's in Reno and Lake Tahoe, Caesar's Palace in Las Vegas, Leagues Club Hotel in Sydney, Australia, Princess South Hampton in Bermuda, as well as a record-breaking nine year engagement at The Mansion on Turtle Creek.

Taking Moments Like This

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Lou Beckerman - Into The Blue

Size: 119,9 MB
Time: 51:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Nature Boy (4:46)
02. Seven Sisters (4:33)
03. Skylark (4:56)
04. Cool Water (5:44)
05. V' Hi She' Am' Da (6:26)
06. Baltimore Oriole (4:24)
07. Into The Blue (4:48)
08. Song To A Seagull (4:57)
09. Round Midnight (6:06)
10. Vocalise (4:51)

With her improvisational style, instrumental approach to the voice and a soulfulness to her sound Lou has come home to her roots in jazz, falling in love all over again with this endlessly beautiful musical form. Whether scat swing singing or lingering over a leisurely love ballad, the heart of her work has always been a love of music, her passion for jazz and her delight in performing for audiences.

Lou says:
'I have had the honour and pleasure to work with a dream team of brilliant instrumentalists who have contributed in so many ways to the growth of this project. Thanks especially to Terry Pack (bass), Wayne McConnell (piano), Dan Hayman (drums/ percussion) and Simon D'souza (saxes) for their commitment, creativity, support, unstoppable talent and for being such fun to work with throughout this process. Being joined along the way by James McMillan (trumpet/ flugelhorn) then, later, Merlin Shepherd (clarinet) and Ben Sarfas (violin), further developed and enriched this album. Several cauldrons of soup later, and the songs having grown organically, here it is…'

'The songs speak of the elements; of fragility, earth and erosion; and of flight, in an echo of our emotional landscapes. It’s all about space, texture and feeling and letting the performances breathe.'

'I wanted to create a meaningful body of work that would sit together well, and have integrity both in significance and interpretation of the songs. Included are my own compositions and original lyrics penned to a gorgeous piece, Seven Sisters, by bassist Terry Pack. Alongside our band’s collaborative arrangements of standards and my own compositions, there’s a song in Hebrew and one by Rachmaninov (which I’ve sung in the past as a classical piece). There’s a poem by Shelley (To a Skylark) exquisitely interpreted by Simon D’souza on soprano sax and an enduring Joni Mitchell number (Song to a Seagull) that I once sang with my guitar as a teenager. I believe a beautifully composed piece of music can transcend the style in which it is written and I think bringing these songs into the jazz arena has worked.’

‘I really enjoy integrating the pure sounds of some world instruments in my work. Tamboura and singing bowl have added their own evocative flavour to the overall sound.’

‘Lovely originals alongside much loved classics make this a classy, sensitive and thoughtful collection of songs
with world-class playing throughout.’ Claire Martin OBE

‘Intimacy, depth, subtly offbeat songwriting. Lovely clarity and resonance vocally and ensemble feel to the arrangements. Music to live with.’ ~Andy Bungay, Wandsworth Radio

‘An enjoyable album filled with different textures. Lou Beckerman’s voice is full of clear articulation, rich tones and confident phrasing. Beautiful singing, unique arrangements and lots of creative, melodic soloing.’ ~Sussex Jazz Mag

Into The Blue

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Gabriele Mirabassi & Roberto Taufic - Um Brasil Diferente

Size: 121,4 MB
Time: 52:20
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian jazz
Art: Front

01. Jongo De Compadres (3:05)
02. O Mar Nos Teus Olhos (4:43)
03. Maxixando (1:58)
04. As Rosas Nao Falam (4:56)
05. Quem Te Viu, Quem Te Ve (4:52)
06. Valsinha Pra Duda (3:17)
07. Desalento (5:00)
08. Violao Vadio (4:29)
09. Tempo Feliz (3:25)
10. Desprezado (5:43)
11. Arrivederci E Grazie (4:35)
12. Noite (2:31)
13. Suburbano Coraçao (3:40)

"Um Brasil diferente" is the title of the new project by clarinettist Gabriele Mirabassi and guitarist Roberto Taufic, produced by the label Dodicilune Salento and distributed in Italy and abroad by IRD.

"Um Brasil diferente" Two travels in the opposite direction, a round and a return that cross halfway: so you might define the encounter between the two musicians. Mirabassi discovers Brazil a decade ago and since then he attended with such earnestness that it become a central reference point of his human and musical experience. Taufic started from Natal, in the northeast of Brazil, as a boy to Italy, where somehow has made the reverse path, letting the European attitude towards his atavistic jazz fecondasse musical language. Hence was born "Um Brasil diferente," rereading of a repertoire of songs and instrumental pieces from various eras which have in common the fact of having been the sound of generations of Brazilians (Jongo de compadres, As Rosas Não Falam, Quem te viu quem te vê, Desalento, Violão, Vadio, Tempo feliz, Desprezado, Noite e Coração Suburban), to which they add their own compositions (or mar nos teus olhos, Maxixando and pra Valsinha Duda of Taufic and goodbye and thank you for always linked to Mirabassi) double strand to the idea of the gaze from afar, trying the perspective and the clarity of vision that you earn just away from the watched. A deep identity Brazil object of respect and affection, seen from a peculiar angle, that the two protagonists have discovered have in common at this point in the first leg and back of the other.
"Born in Honduras to Palestinian parents, was raised in Brazil between samba, Elvis Presley, Arab cuisine, rodas de Choro, rock and Luiz Gonzaga and landed in Italy in the early 90, when still playing bella musica popular Brasileira in and when I started having the possibility of collaborating with musicians and artists from different countries, and the way I play the Brasil could only be Diferente", points out in his introduction to Robert Taufic disk. "It was very nice and inspiring encounter at some point Gabriel, that having a path contrary to mine, it is totally immersed in Brazil of great composers with the attitude of a child they know new friends. Our disk becomes the meeting point of the two instruments, the Brazilian guitar and clarinet jazz and classic ".
"Despite being born and raised and still lived in the hills of Umbria, the clarinet that I have found very early in her hands was immediately an extraordinary opportunity to reach out to the world," explains Gabriele Mirabassi. "Not only continues to bring me around to all continents, but mostly gives me the priceless privilege of making extraordinary ncontri. This our planet indeed hides (but only to those who do not want to even make the effort to be with eyes and ears open) an infinite treasure of wonderful music. And behind every music there is equally wonderful people who cares, who playing, singing or dancing, anyone who "simply" listening ".

Um Brasil Diferente

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Camille - I Sing Stevie: The Stevie Wonder Songbook

Size: 123,1 MB
Time: 52:49
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/R&B/Soul Vocals
Art: Front

01. Power Flower (7:01)
02. As (5:47)
03. The Secret Life Of Plants (Duet With Will Lee) (6:18)
04. Free (5:03)
05. They Won't Go When I Go (4:55)
06. Bird Of Beauty (4:01)
07. Visions (6:06)
08. Ngiculela (Es Una Historia) I Am Singing) (5:34)
09. Can You See Her Never Dreamed You'd Leave In Summer (5:59)
10. Free (Remix Edit) (1:08)
11. Outtake (0:52)

Stevie Wonder is a living legend of music. His music is known and loved worldwide and he has performed it flawlessly to a level that sets the bar very high. That said, taking on the task of doing an album performing his work, is a challenge of gigantic proportions! Vocalist Camille has really stepped up to the plate to engage this incredible project.

Such an endeavor requires an extraordinary team to make it all happen. This album was co-produced by Rick Suchow (who also brought his arranging and bass playing skills to the table) and Tommy Uzzo. There is a stellar lineup of supporting musicians including bassist Will Lee, who both holds down the bass line and sings the duet in, “Secret Life Of Plants”.

Camille has serious vocal skills and a wealth of experience that makes her the perfect performer to attempt this musical ‘Mount Everest’. Her selections of songs are perfectly fitted to her soulful vocal quality and range. Some of the tracks are Stevie’s lesser-known pieces, and this makes discovering them in Camille’s own special interpretation, all the more exciting.

Lets take a closer look at some of the tracks…

The opening track, “Power Flower” comes out swinging with a total Stevie-feel, including piano and harmonica riffs. I get the feeling that this one is for Stevie himself and we are fortunate to be here to hear it. The arrangement is tight and full and allows us to get an idea of what is in store on the rest of the CD. Solid bass work drives this piece right home!

“As” is an energized, ‘Latinized’ version of Stevie’s 1976 release from, Songs in the Key of Life. You can only have this kind of driving Latin music with a powerful drum foundation, and it is Horacio “El Negro” Hernandez who is the nuclear reactor propelling this piece. This track is right up my alley with a great salsa beat that will get you right up on your feet to dance along. Lots of sweet syncopated percussion, horn riffs and piano work are complimented by a deep bass growl. The background vocals in Spanish are a nice touch to put a fine polish on this tune.

“The Secret Life of Plants” (by the 1979 album of the same title), is a majestic piece of work. The key changes alone are iconic of Stevie’s intrinsic grasp and understanding of music. This track paints a complex musical picture for the listener that transports you to a beautiful, green living place. The dramatic bass work and vocal support that Will Lee brings to this piece is simply perfect.

“They Won’t Go When I Go” is a dramatic, somber piece that gives us a chance to appreciate Camille’s voice with a lone piano. This track is the combination of a classical sounding piece, blended with a gospel-vocal overlay and deep, dark lyrics. (Note: The inspiration for this song is said to have come as a consequence of Stevie’s 1973 car accident.)

“Bird of Beauty” is a lovely Brazilian piece that Stevie released in 1974, with Portuguese lyrics by Sergio Mendez. Camille’s version is more upbeat and has some excellent guitar work that adorns it. The feel is bright and festive and the arrangement is superb.

“Visions” is from the 1973 album, Innervisions. Camille’s vocal performance on this cut is flawless and is the perfect opportunity for Rick to cut loose with a sweet bass solo. Nicely done man!

All in all, Camille does an outstanding job at ‘Singing Stevie’ and delivers a wonderful rendition with her selected songs from this master of music.

If you enjoy Stevie Wonder, you need to hear this CD, as it is definitely a special treat!

I Sing Stevie

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Kenny Dorham - Blue Friday

Bitrate: 320K/s

Time: 41:52

Size: 95.9 MB

Styles: Trumpet jazz, Hard bop

Year: 1960/2006

Art: Front

[8:44] 1. Blue Friday

[3:08] 2. Alone Together

[7:35] 3. Blue Spring Shuffle

[5:03] 4. My Ideal

[4:35] 5. Lotus Blossom

[5:08] 6. Old Folks

[3:00] 7. Mack The Knife

[4:37] 8. I Had The Craziest Dream

In its original release in 1960, this album was titled "Quiet Kenny".

In the liner notes of Quiet Kenny, former Downbeat magazine publisher Jack Maher states that trumpeter Kenny Dorham's music is not necessarily the demure, balladic, rapturous jazz one might associate as romantic or tranquil. Cool and understated might be better watchwords for what the ultra-melodic Dorham achieves on this undeniably well crafted set of standards and originals that is close to containing his best work overall during a far too brief career. Surrounded by an excellent rhythm team of the equally sensitive pianist Tommy Flanagan, emerging bassist Paul Chambers, and the always-beneficial drummer Art Taylor, Dorham and his mates are not prone to missteps or overt exaggerations. One of Dorham's all-time best tunes "Lotus Blossom" kicks off the set with its bop to Latin hummable melody, fluid dynamics, and Dorham's immaculate, unpretentious tone. "Old Folks," a classic ballad, is done mid-tempo, while the true "quiet" factor comes into play on interesting version of "My Ideal" where Dorham gingerly squeezes out the slippery wet notes, and on the sad ballad "Alone Together." The rest of the material is done in easygoing, unforced fashion, especially the originals "Blue Friday" and the simple swinger "Blue Spring Shuffle" which is not really a shuffle. Never known as a boisterous or brash player, but also not a troubadour of romanticism -- until he started singing -- Dorham's music is also far from complacent, and this recording established him as a Top Five performer in jazz on his instrument. It comes recommended to all. ~Michael G. Nastos

Blue Friday                

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Heather Luttrell - Grits N' Pulp

Bitrate: 320K/s
Time: 34:55
Size: 79.9 MB
Styles: Americana, Blues-folk
Year: 2005
Art: Front

[2:09] 1. Guilty
[3:44] 2. Wild Women Don't Get The Blues (They Just Get Drunk)
[5:03] 3. Gentle Mind
[5:36] 4. Driving Towards The Moon
[1:20] 5. Intro
[4:08] 6. Sweet Girl
[6:05] 7. Love This Way
[3:12] 8. Anything But Me
[3:34] 9. With Love, Your Wife The Drunk

The 3rd release from Atlanta based singer/songwriter Heather Luttrell. From the front porch to the front of the stage, Grits n’ Pulp captures Heather’s mixture of soulful southern blues with her full band ensemble. In her own words, she’s finally recorded the blues album that she has always been wanting to make, one that captures her at her rawest and at her most dynamic.

Heather Luttrell - Vocals, Guitars, Piano and Handrums; Walter Hinton - Harmonica, Violin, Mandolin, Guitar and Vocals; Eric Young - Drums; Bruce Butkovich - Bass and Guitar; Ralph Luttrell - Resonator Guitar; Calli McGregor - Vocals; Maria Gabriella - Vocals.

Grits N' Pulp

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Doug Johns - Pocket Fulla Nasty

Bitrate: 320K/s
Time: 46:54
Size: 107.4 MB
Styles: Funk, Bass guitar jazz
Year: 2008
Art: Front

[3:26] 1. Scrumpt
[4:17] 2. Manic
[4:22] 3. Chump Suey
[5:31] 4. Knutso
[3:51] 5. Funk Bomb
[2:55] 6. Uum Continue
[4:15] 7. Southwest Song
[3:06] 8. Pocket Fulla Nasty
[5:36] 9. Local Forecast
[5:03] 10. Chew On A Dog
[4:29] 11. Truth In Nature

SuperFunky musician, Doug Johns, is known for his raw presence, energy, and all-around crowd-wowing prowess. Doug has had the privilege of working with such icons as Victor Wooten, Buddy Miles, Chuck Rainey, The LA Mass Choir, Aaron Lindsey, and many others.

The culmination of his musical experiences led Doug to his first critically acclaimed solo CD, Doug Johns, released in 2006. Doug followed up his very well-received solo debut with his 2008 release, “Pocket Fulla Nasty,” and received an outstanding reaction from the bass community, as well as catching the ear of the general public very quickly.

Bass Player Magazine on Johns: “One of the most credit–deserving bass virtuosos in America…it’s his inventiveness that’s consistently compelling.”

Pocket Fulla Nasty

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k.d. Lang - Live By Request

Bitrate: 320K/s
Time: 53:25
Size: 122.3 MB
Styles: Pop/rock, Country
Year: 2001
Art: Front

[4:03] 1. Summerfling
[2:56] 2. Big Boned Gal
[3:44] 3. Black Coffee
[3:19] 4. Trail Of Broken Hearts
[4:32] 5. Crying
[3:44] 6. Don't Smoke In Bed
[3:55] 7. The Consequences Of Falling
[3:25] 8. Miss Chatelaine
[2:53] 9. Three Cigarettes In An Ashtray
[4:20] 10. Barefoot
[4:32] 11. Constant Craving
[3:50] 12. Wash Me Clean
[4:41] 13. Pullin' Back The Reins
[3:26] 14. Simple

Live by Request is a series of occasional television specials broadcast on the A&E cable network, conceived by Tony Bennett's son and manager Danny Bennett. It works well for musical artists with loyal followings and established catalogs who may no longer be at the forefront of the record industry but are anxious to promote new albums. Viewers and fellow celebrities call in carefully screened requests that allow the performers to revisit their old favorites and mix in some new ones. k.d. lang was a good choice for such a show, and here she becomes the first artist to use the Live by Request rubric for a corresponding album. lang usually makes concept albums with distinctive themes that can be quite different from each other stylistically and, of course, she moved toward an adult contemporary pop sound after beginning her career as a country singer, so her discography sometimes seems to be all over the map. By mixing songs from her different albums here, she is able to demonstrate the similarities in them, suggesting that the apparent diversity in her music is not as extreme as it might have seemed. Also, never having released a compilation, she compresses her catalog into an excellent introduction here. All that's missing is another important aspect of the Live by Request shows -- the spontaneous personal interaction they tend to provide between artist and audience. lang just goes from one song to another on the disc, never saying anything more elaborate than "Thank you so much" in between. No requests from fans are heard, no comments by the singer. In that sense, the album is just a straightforward (and somewhat cut and dried) live album, with none of the special flavor of the TV show. ~William Ruhlmann

Live By Request

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Frank Roberscheuten & Dan Barrett - A Portrait Of Duke

Styles: Jazz, Swing
Year: 2001
File: MP3@320K/s
Time: 73:31
Size: 169,7 MB
Art: Front + Back

(3:55)  1. Take The A Train
(5:10)  2. Swing Pan Alley
(4:51)  3. I Didn't Know About You
(3:10)  4. Subtle Slough
(4:16)  5. The Jeep Is Jumpin'
(3:32)  6. Moonlight Fiesta
(5:57)  7. Ballad Medley: In A Sentimental Mood / I Got It Bad Ain't That Ain't good / Solitude
(7:32)  8. In A Mellotone
(4:21)  9. The Mooche
(2:33) 10. Love's In My Heart
(4:20) 11. Mood Indigo
(5:30) 12. Things Ain't What They Used To Be
(3:21) 13. Squatty Roo
(3:09) 14. Pitter Panther Patter
(3:57) 15. East St Louis Toodle-On
(4:01) 16. Happy Reunion
(3:48) 17. C Jam Blues

This tribute to Duke Ellington has a truly international cast, with a septet co-led by Dutch saxophonist Frank Roberscheuten and American trombonist/cornetist Dan Barrett; it also includes baritone saxophonist Joep Peeters and drummer Onno de Bruijn (from the Netherlands), bassist Karel Algoed (Belgium), as well as two Americans now making their living overseas, pianist Chris Hopkins (Germany) and cornetist, trombonist, and saxophonist Tom Baker (Australia). Although many CDs honoring the legendary bandleader and prolific composer tend to concentrate exclusively on the hits or just one small era, this group covers songs from the 1920s through the 1950s, covering some obvious crowd pleasers as well as forgotten or overlooked gems. "Take the 'A' Train" opens with a pleasant waltzing introduction, with Hopkins capturing the flavor (without slavishly copying) Ellington's style; Barrett handles Ray Nance's famous 1941 cornet solo with aplomb. Roberscheuten's transcription of "Subtle Slough" (later known as "Just Squeeze Me") from a Rex Stewart-led small group session has a fine muted cornet solo by Baker. 

Hopkins tackles "The Mooche" as a piano solo and duets with Algoed on "Pitter Panther Patter," recreating Ellington's famous duet with Jimmy Blanton at a slightly slower tempo. Barrett switches from slide trombone to valve trombone for "Moonlight Fiesta," a Latin number accented by de Bruijn's maracas. "Happy Reunion" was a ballad feature for tenor saxophonist Paul Gonsalves, which made its public debut at the 1958 Newport Jazz Festival but never really caught on; Roberscheuten's rich tenor captures its essence with some lush accompaniment by Hopkins and the rhythm section. The finale is a brisk "C Jam Blues," featuring a chorus by each musician as well as comic introductions of each of the soloists by Peeters. Swing fans will want to pick up this fun-filled CD. 

~ Ken Dryden  http://www.allmusic.com/album/a-portrait-of-duke-mw0000012288

Personnel: Frank Roberscheuten (clarinet, alto saxophone, tenor saxophone); Joep Peeters (vocals, alto saxophone, baritone saxophone); Tom Baker (alto saxophone, tenor saxophone, cornet, trombone); Dan Barrett (cornet, trombone, valve trombone); Onno de Bruijn (drums, maracas).

A Portrait Of Duke

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Jan Tober - The Way You Look Tonight

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 58:58
Size: 135,6 MB
Art: Front

(5:15)  1. It Might As Well Be Spring
(6:18)  2. La Belle Dame Sans Regets
(3:05)  3. A Lovely Way To Spend An Evening
(1:59)  4. I Like You You're Nice
(4:40)  5. Someone To Light Up My Life
(5:13)  6. So Many Stars
(4:23)  7. If You Went Away
(6:33)  8. The Way You Look Tonight
(5:19)  9. Only Trust Your Heart
(2:57) 10. You Are There
(7:56) 11. Dreamsville
(5:14) 12. There's No You

The phone crackled one early morning in Jan Tober's life: "This is Benny Goodman," the voice said. "You come very highly recommended and I want to hire you, but I've never heard you sing. Can you hum something for me?" Such is the stuff that fairy tales are made of at least for a girl jazz singer! But this call was simply one of many that had already marked an amazing career for Jan. While still a teenager she replaced Ann Richards as vocalist for the Stan Kenton Band, and went on to be featured on the bandstand and on Stan's regular TV show from the Rendezvous Ball Room at Balboa Island. From there she went on the road for two years with the Les Elgart orchestra, then two tours with Si Zentner and the Four Freshmen. Along the way she also did shows with Rowan & Martin, Bob Hope and many more. Then Fred Astaire called her to represent his new label! When she got tired of the road, Jan settled down in Del Mar, California and proceeded to do a local 90 minute daily TV show for over two years. It was at this time she was contacted by Goodman's agent and turned him down! When Benny called personally, however, she accepted and was back on the road again. This time with the King of Swing. 

You would think that for the vocalist selected in 1980 to represent the United States in The French International Music Festival in Cannes France, Jan would have no time for anything but her music. In fact she is also an extraordinary design artist, with paintings, clothing and jewelry for sale in galleries and boutiques in several states... not to mention the Kryon seminars!  Jan has been an active Metaphysician all of her life and using this, plus her profound experience in music, she now concentrates her efforts in the goal of changing lives through sound and color. Her "Sound/Color" workshops are a featured part of the Kryon seminars worldwide, as well as her guided meditations. She has also released several related musical and artistic products that are listed on this web site (see below). Besides traveling the world with the Kryon work, Jan has also presented three time at the United Nations in New York City. Together, Jan and Lee Carroll have written the best-selling books The Indigo Children, and An Indigo Celebration. These books have been recognized as some of the leading metaphysical children's books in America. http://www.cdbaby.com/cd/tober

The Way You Look Tonight

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Jeff Golub - Dangerous Curves

Styles: Guitar Jazz, Fusion
Year: 2000
File: MP3@320K/s
Time: 61:09
Size: 142,8 MB
Art: Front

(5:50)  1. Dangerous Curves
(5:49)  2. Droptop
(4:47)  3. Another Friday Night
(4:22)  4. Mister Magic
(4:31)  5. Step Aside
(3:59)  6. No Two Ways About It
(6:03)  7. Gone But Not Forgotten
(4:38)  8. Lost Weekend
(5:28)  9. Til We Meet Again
(5:53) 10. Let's Talk It Over
(4:26) 11. Walkin On The Sun
(5:17) 12. Soul Serenade

Listeners might worry that Jeff Golub, as one of the more prominent breakout guitarist/producers of the past few years, is ripe for a rut. Golub’s GRP debut, Dangerous Curves should alleviate any such notions, as the ubiquitous axe-wielder presents some of his most focused work yet. A minimalistic but authoritative player, Golub makes each riff count on cuts like the album’s funky, energetic title track (backed by well-placed horns), and the jet-propelled Latin blues, “Step Aside,” featuring Mitch Foreman’s stiff-fingered piano corners. Golub explores different textures here like the soft toned “Droptop,” which echoes the laid back feel of “Groovin’ on a Sunday Afternoon,” and the romantic, bittersweet “Til We Meet Again,” recalling classic, bombast-free ballads of the Dionne Warwick-Burt Bacharach era. The crafty guitarist’s wide-ranging influences collide to great effect on a clever cover of Smashmouth’s alternative hit “Walkin’ On the Sun” played at a cool, kick-back pace, the piece takes on a lilting, Caribbean funk flavor which proves a perfect fit. ~ Hilarie Grey  http://jazztimes.com/articles/11385-dangerous-curves-jeff-golub

Personnel: Jeff Golub (electric guitar); Dave Woodford (saxophone, flute); Lee Thornburg (trumpet, flugelhorn, trombone); Mitchel Forman (keyboards); Kevin Savigar (Hammond B-3 organ); Peter White (acoustic guitar); Lincoln Goines (bass); Steve Ferrone (drums); Luis Conte, Sammy Merendino (percussion).

Dangerous Curves

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Eric Boeren Quartet - Cross Breeding

Styles: Jazz
Year: 1995
File: MP3@320K/s
Time: 71:26
Size: 164,0 MB
Art: Front

(8:04)  1. Mapa
(4:56)  2. The Fifth Of Beethoven
(7:53)  3. The Legend Of Bebop
(4:51)  4. Beauty Is A Rare Thing
(3:20)  5. Blues Connotation
(3:26)  6. Cross Breeding
(4:12)  7. Efficient
(4:44)  8. A Hoi Tin Moment
(4:33)  9. Coalcart
(4:33) 10. 'Chords'
(3:47) 11. Free Jazz
(4:08) 12. Happy House
(9:03) 13. Hoera Voor J.P. Bae
(3:50) 14. Pluto

In a way every improviser’s story is a refraction of their personal experience. Cornetist and composer Eric Boeren’s begins in the brass band in the Netherlands’ far south where folks speak their own dialect grooving on the horns’ interplay and massed power. After he came to Amsterdam to study, he learned other communal dialects, as free improviser and as a member of (among other bands) the Peru-to-Madagascar-to-Ellington co-op Available Jelly, Sean Bergin’s South African-influenced M.O.B., new music composers Guus Janssen’s and Paul Termos’s improvising groups, and Michiel Braam’s orchestra Bik Bent Braam, with its musical mobiles.From the mid-1990s Eric has helped organize weekly improvisers’ series in Amsterdam (currently at community center Zaal 100, Tuesdays), where he began his own investigations into Ornette Coleman’s compositional and improvisational methods Ornette’s way of tweaking forms and inventing new material on the fly. That led to the Eric Boeren 4tet with Michael Moore on reeds, Wilbert de Joode on bass and Han Bennink on drums, a band that mixes Coleman’s themes and Boeren’s contrasting numbers in freewheeling suites. (Their CDs are on BVHaast and Clean Feed.)

With that band’s frequent presence at international festivals, Eric’s circle has grown; witness his Boerenbond, with New York’s Peter Evans on trumpet. Berlin’s Tobias Delius on tenor saxophone and Chicago’s Jason Adasiewicz on vibes. Eric’s compositions and musical games are designed to facilitate focused collective improvisations. Boeren has likened every new language he’s learned, in his journey from Brabant village to Amsterdam to the global stage, to another new door opening, onto new vocabularies and syntactical possibilities. His musical trajectory shows the same progression: Boeren keeps opening doors, for the fresh views. He also leads the HO&I (HOt and Improvised), with the contrasting electric guitars of Franky Douglas and Paul Pallesen, plus Julius Peter Nitsch’s electric bass and Tijn Jans’s drums. Boeren’s and Douglas’s compositions mix free funk with Caribbean, Latin American and South African beats. Different companions, a different emphasis but with every voice contributing to a spontaneous conversation. Eric says: “I am very fond of collective improvisation where music in the background can move to the front, and foreground music can be used as a background, and several musical ideas can co-exist in multiple layers. 

Improvisation to me is about adjusting musical ideas on the spot. A band is a team, and I want to be a team player. One of the most difficult aspects of collective improvising is to hear other musicians developing melodic ideas in a different direction then I was working on at the moment. The challenge is to bring all of this information together in a way that makes sense!” Bio ~ http://www.doek.org/project/eric-boeren/

Cross Breeding

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