Jeff Healey - The Best Of The Stony Plain Years: Vintage Jazz, Swing And Blues

Size: 124,0 MB
Time: 53:10
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Blues
Art: Full

01. Three Little Words (4:23)
02. The Wild Cat (2:33)
03. Star Dust (4:51)
04. The Sheik Of Araby (Feat. Chris Barber) (5:10)
05. Guitar Duet Stomp (3:34)
06. Sing You Sinners (Feat. Chris Barber) (5:02)
07. I Would Do Anything For You (4:26)
08. Pardon My Southern Accent (3:43)
09. Some Of These Days (2:43)
10. My Honey's Lovin' Arms (5:01)
11. Hong Kong Blues (3:09)
12. Sweet Georgia Brown (Feat. Chris Barber) (8:29)

I just received the newest release, Vintage Jazz, Swing and Blues from Jeff Healey and it's great! Healey, a serious vintage record collector (over 30,000 78's of classic 20's and 30's music) was well known as Canada's top rock and blues guitar player and band leader but prior to his untimely death in 2008 opened a club in Toronto and formed Jeff Healey's Jazz Wizards. Fortunately, some of that fine work that Jeff did in his love for the early music is compiled here as a part of The Best of Series. Opening with Kalmar and Ruby's Three Little Words, featuring Healey on vocal and guitar, Jesse Barksdale on rhythm guitar Reide Kaiser on piano, Colin Bray on bass and the exceptional solo work of Tom Pletcher on coronet and Dan Levinson on clarinet. You've never heard Healey play this guitar style. Excellent! Lang and Venuti's intrumental, The Wildcat, screams along with really nice violin work from Drew Jurecka on violin and Healey on guitar. Wow! Carmichael and Parish classic, Star Dust, features Healey's solid vocals with Roberto Rosenman with an excellent guitar solo. Snyder, Smith and Wheeleer composition, The Sheik of Araby, finds Healey not only on lead vocal but playing really fine trumpet along with Ross Woolridge on clarinet, Jurecka on violin, Reide Kaiser on piano, Colin Bray on bass and Gary Scriven on drums and washboard. This track rips! Jones and Collins, Guitar Duet Stomp, shows some of Healey's most sensitive guitar work along the lines of Django and Bireli. Strong! Harling and Coslow track Sing You Sinners really digs into the Dixieland sound. This track has the full lineup with Healey on vocal, trumpet and guitar; Jurecka on violin, Barksdale on guitar; Bray on bass; Christopher Plock on soprano and alto sax; Chris Barber on trombone and Brian Graville on piano. Excellent! Hill and Williams composition, I Would Do Anything For You, features Healey on vocal, guitar and trumpet, Plock on soprano sax, Gary Scriven on drums, Barksdale on acoustic guitar and kaiser on piano. Super! Mercer and Malneck swinger, Pardon My Southern Accent, features Healey on vocal, Scriven on drums, Bray on bass, Kaiser on piano, Danny Douglas on trombone and Ross Woolridge on clarinet. Shelton Brooks' Some Of These Days, features an excellent acoustic "gypsy" guitar solo and trumpet solo from Healey. This track swings! Meyer and Ruby composition, My Honey's Lovin' Arms, shows just how smooth Healey can be on lead vocal on these tracks, with Levinson matching up nicely on clarinet to Pletcher on coronet. Kaiser on piano and Bray on bass fill out the piece with Barksdale on rhythm guitar and Healey throws out a really nicely articulated swing guitar solo. Fine! Carmichael's Hong Kong Blues has a comical feel to it next to much of the release but some of the guitar picking on this track is so fine it had to be included. Wrapping the release is Pinard, Bernie and Casey's classic, Sweet Georgia Brown, and it is a full out jam with Healey singing over the top backed by Barber on trombone, Jurecka on violin, Plock on sax, Barksdale on guitar, Bray on bass, Graville on piano and Scriven on drums. This is an excellent review of Healey's work outside of the blues rock genre and a must have for anyone at all interested in contemporary swing jazz. Excellent! ~bman

The Best Of The Stony Plain Years

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The Harry Allen-Keith Ingham Quintet - Are You Having Any Fun: A Celebration Of Sammy Fain

Bitrate: MP3@320K/s
Time: 67:36
Size: 154.8 MB
Styles: Piano jazz, Saxophone jazz
Year: 1991
Art: Front

[2:52] 1. Are You Having Any Fun
[4:13] 2. I Can Dream, Can't I
[3:17] 3. When I Take My Sugar To Tea
[4:24] 4. Tender Is The Night
[3:54] 5. You Brought A New Kind Of Love To Me
[3:35] 6. Here's To Your Illusions
[4:04] 7. A High Hat, A Piccolo And A Cane
[3:40] 8. A Very Precious Love
[4:53] 9. That Old Feeling
[4:37] 10. Something I Dreamed Last Night
[4:35] 11. Alice In Wonderland
[4:25] 12. By A Waterfall
[4:27] 13. I Left My Sugar Standing In The Rain
[2:39] 14. Secret Love
[4:05] 15. I Just Can't Do Enough For You, Baby
[4:27] 16. Hummin' To Myself
[3:19] 17. I'll Be Seeing You

Harry Allen, ts; Keith Ingham, p; John Pizzarelli, Jr., g; Dennis Irwin, bass; Oliver Jackson, d.

The dueling titles of this fine recording of classic jazz are a good deal more cumbersome than the lyrics of any song co-written with Sammy Fain. That would have to be the only aspect of this 1980 tribute that doesn't live up to its inspiration, a prolific and memorable tunesmith whose induction into the Songwriters Hall of Fame took place a bit less than a decade before this was recorded. Having warmed up their chops on similar projects such as a multi-volume homage to pianist, composer, and Duke Ellington collaborator Billy Strayhorn, second-generation swinger Harry Allen, Jr. and British pianist Keith Ingham hold forth on no less than 17 Fain strains. John Pizzarelli is the superb guitarist, harmonizing with Ingham as if turning the key in a series of small treasure chests. Rounding out the rhythm section, drummer Oliver Jackson proves his affinity for both pianists and saxophonists while bassist Dennis Irwin counts his chord changes like tour revenue. The songs are given compact performances, "Something I Dreamed Last Night" suggesting that only a subject related to sleep would inspire this combo to head toward the five-minute mark on a recorded track. Ingham's career began in Hong Kong, where Tin Pan Alley standards such as the deceptively amorous "Secret Love" and the darkly gentle "Tender Is the Night" were no doubt standard fodder in piano lounges. The saxophonist, son of big-band drummer Harry Allen, Sr., plays the melodies of this program as if familiar with the words, all of them, even the ludicrous "A High Hat, a Piccolo and a Cane" -- perhaps following the advice of one of the great instrumentalists, tenor saxophonist Lester Young. ~Eugene Chadbourne

Are You Having Any Fun: A Celebration Of Sammy Fain

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Rebecca Kilgore - Harlem Butterfly: A Remembrance Of Maxine Sullivan

Bitrate: MP3@320K/s

Time: 72:47

Size: 166.6 MB

Styles: Standards, Vocal jazz

Year: 1995/2001

Art: Front

[3:53] 1. Harlem Butterfly

[3:33] 2. Haw'dja Like To Love Me

[4:50] 3. I'm Gonna Sit Right Down And Write Myself A Letter

[3:26] 4. Don't Save Your Love

[3:24] 5. Leapin' Out Of Mischief Now

[4:12] 6. Someday Sweetheart

[3:50] 7. That's What I Hate About Love

[3:28] 8. When A Woman Loves A Man

[3:43] 9. Enjoy Yourself

[4:03] 10. Harlem Butterfly (Take 1)

[4:07] 11. A Hundred Years From Today

[6:05] 12. Get Out And Get Under The Moon

[3:48] 13. The Lady's In Love With You

[3:45] 14. Legalize My Name

[3:58] 15. Massachusetts

[3:39] 16. We Just Couldn't Say Goodbye

[4:00] 17. As Long As I Live

[4:53] 18. Wrap Your Trouble In Dreams

Jazz singer Rebecca Kilgore was an ideal choice for this tribute to the later years of Maxine Sullivan's recording career. Kilgore is a student of the music of her predecessors, and her voice is in many ways similar to Sullivan's. Jazz fans will recall that Sullivan had a two-part career, singing "Loch Lomond" and similar songs with a big band, then dropping out of sight to raise her children and work in health care before re-emerging about 20 years ago to sing an entirely different genre of songs.This CD, issued by George Buck's Audiophile label, features tunes from the latter era, including "Harlem Butterfly," "Keepin' Out of Mischief Now," "A Hundred Years From Today," "We Just Couldn't Say Goodbye," "As Long As I Live" and "Wrap Your Troubles in Dreams." Backed by the wonderful clarinetist Bobby Gordon and his trio of Kilgore-friend Hal Smith on drums and Chris Dawson on piano, Kilgore sings 17 songs (including two versions of "Harlem Butterfly") while providing 72+ minutes of wonderful singing. ~Steve Emerine

Harlem Butterfly: A Remembrance Of Maxine Sullivan

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Herb Geller - To Benny And Johnny With Love From Herb Geller

Bitrate: MP3@320K/s
Time: 66:22
Size: 152.0 MB
Styles: Bop, Saxophone jazz
Year: 2005
Art: Front

[4:53] 1. Key Largo
[5:33] 2. Warm Valley
[5:50] 3. Morning Glory
[4:47] 4. Johnny Come Lately
[4:16] 5. Souvenir
[5:18] 6. Only Trust Your Heart
[4:33] 7. I Did'nt Know About You
[2:33] 8. Dancers In Love
[5:46] 9. Isfahan
[2:00] 10. Twelve By Two For Squatty Roo
[6:12] 11. Lonely Woman
[4:38] 12. When Lights Are Low
[4:56] 13. Ballad For Very Tired And Very Sad Lotus-Eaters
[5:02] 14. Summer Serenade

Herb Geller's tribute cd to Johnny Hodges and Benny Carter. Herb Geller (soprano saxophone, alto saxophone); Herb Geller; Chuck Berghofer (double bass); Hod O'Brien (piano); Paul Kreibich (drums) To Benny and Johnny with Love from Herb Geller songs. Recording information: Entourage Studios, Hollywood, CA (06/16/2001/06/17/2001).

Herb Geller was born in Los Angeles on 2 November 1928. His first professional job was at an L.A. club called Mike Riley's Mad House in 1945. Thereafter he became part of veteran jazz fiddler Joe Venuti's band before finding himself in New York with the Claude Thornhill Band at a time when there was still an active jazz performing and recording scene. Here he met and married jazz pianist Lorraine Walsh. Then it was back west to be part of the expanding "west coast jazz" school in and around Los Angeles composed of Shorty Rogers, Art Pepper, Chet Baker, and Shelley Manne. Geller also played in an early edition of Maynard Ferguson's Orchestra. He and his wife Lorraine co-led a successful quartet until her tragic early death in 1958. This was a personal watershed and he left for a period of revaluation in Brazil before finally setting sail for Europe.

In 1962 he worked for the Berlin Radio Orchestra before securing a permanent post with the NDR Orchestra in Hamburg where he remained for over twenty five years. Financially this was good but the confines of a radio orchestra do not always allow freedom of expression. He had meantime remarried and settled in Hamburg. In 1990 he made his first jazz combo album since leaving the United States. He retired from the NDR Orchestra in 1993 and was free to undertake tours back in the U.S., Europe and the UK.

In recent times he has recorded with some younger musicians in his adopted city Hamburg (I'll Be Back CD 2074) and also in the U.S. he has recorded for VSOP, Fresh Sound, and "The Al Cohn Songbook" (HEP CD 2066). During a short tour of the U.K. in 1998 he encountered the fabulous Scots pianist Brian Kellock and the following year in London recorded an album with Kellock entitled "The Hollywood Portraits" (HEP CD 2078). This was a suite of original music celebrating some of Hollywood's legends such as Marilyn Monroe, Judy Garland, Lana Turner, Ingrid Bergman and Greta Garbo.

As always Herb's playing combines the essence of Benny Carter's singing alto style plus the exciting departures originated by Charlie Parker. Herb is truly the last in the great tradition of jazz alto players who can also compose and whose knowledge of the structure of standards is second to none.

To Benny And Johnny With Love From Herb Geller

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John Denver - John Denver Sings

Bitrate: MP3@320K/s
Time: 32:14
Size: 73.8 MB
Styles: Folk, Country
Year: 1966/2012
Art: Front

[2:34] 1. Here, There & Everywhere
[2:18] 2. Ann
[3:11] 3. Babe, I Hate To Go
[1:45] 4. When I Was A Cowboy
[2:14] 5. Yesterday
[2:36] 6. Blues My Naughty Baby Taught Me
[3:04] 7. What's That I Hear Now
[3:10] 8. And I Love Her
[1:47] 9. When Will I Be Loved
[3:31] 10. Darcy Farrow
[2:13] 11. Minor Swing
[1:49] 12. In My Life
[1:56] 13. Farewell Party

JD was 21 years old when he recorded 'John Denver Sings.' He had joined The Mitchell Trio a year earlier, after being chosen to join the group from 250 potential candidates. Technically, this was his first solo album. Dedicated to Milt Okun, John had 250 copies of this album produced in 1966. He gave it to friends and family as a personal Christmas gift. After hearing one of the tunes, 'Babe. I Hate to Go,' Peter, Paul and Mary later recorded the song for their only #1 single. By then, the title had been changed to 'Leaving on a Jet Plane,' The rest, as they say, is history!

John Denver Sings

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Shirley Horn - You're My Thrill

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 46:21
Size: 123,3 MB
Art: Front

(4:47)  1. You're My Thrill
(2:37)  2. The Best Is Yet To Come
(5:06)  3. Solitary Moon
(2:59)  4. Sharing The Night With The Blues
(4:48)  5. I Got Lost In His Arms
(3:38)  6. The Rules Of The Road
(4:39)  7. My Heart Stood Still
(1:59)  8. You'd Better Love Me
(5:14)  9. The Very Thought Of You
(2:46) 10. Why Don't You Do Right
(7:44) 11. All Night Long

With the swanky midnight mood of their previous collaboration Here's to Life in mind, Shirley Horn and arranger Johnny Mandel go at it again a move that is sure to send her legions of latter-day fans into blissful orbit. This time, though, the six sophisticated string-laden ballads are interspersed with five relatively short, swinging numbers with just Horn, her trio, and various instrumental guests. As a result, you get a better balanced album, not weighted too much in one direction or another. Mandel's orchestrations are paragons of subtlety, sometimes creeping almost imperceptibly like a slow moving fog upon Horn's trio. Like his singer, Mandel respects the value of silence and space; they're a well matched pair, their different ideas of timing dovetail together neatly. Though some of us would have wanted Horn and her jazzmen to stretch out more on the small group tracks, they do serve effectively as breathers, or intermezzos, in between the languorous collaborations with Mandel. 

In lieu of the participation of Wynton Marsalis (who contributed to Here's to Life), Carl Saunders offers some soulful trumpet obbligato work on "Solitary Moon." Guitarist Russell Malone and bassist Brian Bromberg also appear on the small group tracks Malone even does a soft focused rockabilly thing on "Why Don't You Do Right?" while bassist Charles Ables and drummer Steve Williams stoke the rhythm in Horn's trio. Another worthy stylish outing for Horn. ~ Richard S.Ginell  http://www.allmusic.com/album/youre-my-thrill-mw0000000163

Personnel: Shirley Horn (vocals, piano); Russell Malone, Dorival Caymmi (guitar); Carl Saunders (trumpet); Alan Broadbent (piano); Steve Williams (drums, percussion); Steven Schaeffer (drums).

You're My Thrill

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Coleman Hawkins - Dream Catcher

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 77:53
Size: 178,6 MB
Art: Front

(3:36)  1. While We're Young
(4:52)  2. An Embrace to Bonfá
(4:03)  3. Mighty Like a Rose
(4:10)  4. The Duck
(6:11)  5. For You, for Me, for Evermore
(5:59)  6. One Note Samba
(5:12)  7. Then I'll Be Tired of You
(3:59)  8. I Remember You
(6:10)  9. Poor Butterfly
(5:27) 10. Samba Para Bean
(5:30) 11. Trouble Is a Man
(5:49) 12. Desafinado
(2:32) 13. Stumpy Bossa Nova
(6:40) 14. I'll Get By
(2:53) 15. I'm Looking Over a Four Leaf Clover
(4:43) 16. At Dawning

Coleman Hawkins was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser whose knowledge of chords and harmonies was encyclopedic, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor. Coleman Hawkins started piano lessons when he was five, switched to cello at age seven, and two years later began on tenor. At a time when the saxophone was considered a novelty instrument, used in vaudeville and as a poor substitute for the trombone in marching bands, Hawkins sought to develop his own sound. A professional when he was 12, Hawkins was playing in a Kansas City theater pit band in 1921, when Mamie Smith hired him to play with her Jazz Hounds. Hawkins was with the blues singer until June 1923, making many records in a background role and he was occasionally heard on instrumentals. After leaving Smith, he freelanced around New York, played briefly with Wilbur Sweatman, and in August 1923 made his first recordings with Fletcher Henderson. When Henderson formed a permanent orchestra in January 1924, Hawkins was his star tenor.

Although (due largely to lack of competition) Coleman Hawkins was the top tenor in jazz in 1924, his staccato runs and use of slap-tonguing sound quite dated today. However, after Louis Armstrong joined Henderson later in the year, Hawkins learned from the cornetist's relaxed legato style and advanced quickly. By 1925, Hawkins was truly a major soloist, and the following year his solo on "Stampede" became influential. Hawk (who doubled in early years on clarinet and bass sax) would be with Fletcher Henderson's Orchestra up to 1934, and during this time he was the obvious pacesetter among tenors; Bud Freeman was about the only tenor who did not sound like a close relative of the hard-toned Hawkins. In addition to his solos with Henderson, Hawkins backed some blues singers, recorded with McKinney's Cotton Pickers, and, with Red McKenzie in 1929, he cut his first classic ballad statement on "One Hour."

By 1934, Coleman Hawkins had tired of the struggling Fletcher Henderson Orchestra and he moved to Europe, spending five years (1934-1939) overseas. He played at first with Jack Hylton's Orchestra in England, and then freelanced throughout the continent. His most famous recording from this period was a 1937 date with Benny Carter, Alix Combille, Andre Ekyan, Django Reinhardt, and Stephane Grappelli that resulted in classic renditions of "Crazy Rhythm" and "Honeysuckle Rose." With World War II coming close, Hawkins returned to the U.S. in 1939. Although Lester Young had emerged with a totally new style on tenor, Hawkins showed that he was still a dominant force by winning a few heated jam sessions. His recording of "Body and Soul" that year became his most famous record. In 1940, he led a big band that failed to catch on, so Hawkins broke it up and became a fixture on 52nd Street. Some of his finest recordings were cut during the first half of the 1940s, including a stunning quartet version of "The Man I Love." Although he was already a 20-year veteran, Hawkins encouraged the younger bop-oriented musicians and did not need to adjust his harmonically advanced style in order to play with them. He used Thelonious Monk in his 1944 quartet; led the first official bop record session (which included Dizzy Gillespie and Don Byas); had Oscar Pettiford, Miles Davis, and Max Roach as sidemen early in their careers; toured in California with a sextet featuring Howard McGhee; and in 1946, utilized J.J. Johnson and Fats Navarro on record dates. Hawkins toured with Jazz at the Philharmonic several times during 1946-1950, visited Europe on a few occasions, and in 1948 recorded the first unaccompanied saxophone solo, "Picasso."

By the early '50s, the Lester Young-influenced Four Brothers sound had become a much greater influence on young tenors than Hawkins' style, and he was considered by some to be out of fashion. However, Hawkins kept on working and occasionally recording, and by the mid-'50s was experiencing a renaissance. The up-and-coming Sonny Rollins considered Hawkins his main influence, Hawk started teaming up regularly with Roy Eldridge in an exciting quintet (their appearance at the 1957 Newport Jazz Festival was notable), and he proved to still be in his prime. Coleman Hawkins appeared in a wide variety of settings, from Red Allen's heated Dixieland band at the Metropole and leading a bop date featuring Idrees Sulieman and J.J. Johnson, to guest appearances on records that included Thelonious Monk, John Coltrane, and (in the early '60s) Max Roach and Eric Dolphy. During the first half of the 1960s, Coleman Hawkins had an opportunity to record with Duke Ellington, collaborated on one somewhat eccentric session with Sonny Rollins, and even did a bossa nova album. By 1965, Hawkins was even showing the influence of John Coltrane in his explorative flights and seemed ageless.

Unfortunately, 1965 was Coleman Hawkins' last good year. Whether it was senility or frustration, Hawkins began to lose interest in life. He practically quit eating, increased his drinking, and quickly wasted away. Other than a surprisingly effective appearance with Jazz at the Philharmonic in early 1969, very little of Hawkins' work during his final three and a half years (a period during which he largely stopped recording) is up to the level one would expect from the great master. However, there are dozens of superb Coleman Hawkins recordings currently available and, as Eddie Jefferson said in his vocalese version of "Body and Soul," "he was the king of the saxophone." Bio ~ Scott Yanow  http://www.allmusic.com/artist/coleman-hawkins-mn0000776363/biography

Dream Catcher

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Lalo Schifrin & Bob Brookmeyer - Samba Para Dos

Styles: Trombone and Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 31:16
Size: 72,0 MB
Art: Front

(10:05)  1. Samba Para Dos
( 3:03)  2. What Kind Of Fool Am I
( 3:35)  3. I Get A Kick Out Of You
( 3:21)  4. Just Obe Of Those Things
( 3:31)  5. Time After Time
( 2:31)  6. Its Allright With Me
( 2:01)  7. My Funny Valentine
( 3:07)  8. But Not For Me

This long unavailable record pairs valve trombonist Bob Brookmeyer with pianist Lalo Schifrin in a light but swinging Latin-flavored studio session. Although there is a formidable supporting cast, which includes Phil Woods, Al Cohn, Zoot Sims, and Jimmy Raney, the solos are primarily by the co-leaders and Leo Wright, heard on several flute solos. Following Schifrin's extended but lively "Samba Para Dos," the remainder of the date focuses on very familiar standards. Raney's solos are a highlight of "I Get a Kick Out of You" and "My Funny Valentine." The full reed section fleshes out a potent interpretation of "Just One of Those Things," which features an impressive and often humorous solo by Brookmeyer. Although this may not be considered an essential LP by the average jazz fan, it is well worth acquiring. ~ Ken Dryden  http://www.allmusic.com/album/samba-para-dos-mw0000471354

Personnel:  Lalo Schifrin - piano, arranger; Bob Brookmeyer - valve trombone; Frank Rehak – trombone; Leo Wright - alto saxophone, flute; Phil Woods, Jerome Richardson - alto saxophone; Zoot Sims, Al Cohn - tenor saxophone; Romeo Penque - bass clarinet; Danny Bank - baritone saxophone; Jimmy Raney – guitar; Ben Tucker – bass; Dave Bailey – drums; Jose Paulo – percussion; Carmelita Koehler - cello

Samba Para Dos

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Ingrid Sertso - What Do I Know

Size: 107,3 MB
Time: 45:57
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals, Contemporary Jazz
Art: Front

01. We Are Going (3:05)
02. Lonely Woman (1:25)
03. What Do I Know (2:41)
04. Over The Rainbow (4:41)
05. Seasons Change (2:57)
06. When Will The Blues Leave (7:32)
07. About The Moon (4:02)
08. To Know Love (4:43)
09. For What Is It To Die (2:41)
10. Music (3:22)
11. Nameless Child (5:28)
12. Mano Peme (3:16)

Personnel:
Bansuri – Steve Gorn (tracks: 3, 5, 9)
Bass – John Lindberg (tracks: 3), Michael Bisio (tracks: 6, 8, 10)
Cello – Jane Scarpantoni (tracks: 2, 5)
Guitar – Kenny Wessel (tracks: 2, 4, 6, 8, 10)
Percussion, Voice – Nana Vasconcelos* (tracks: 12)
Piano, Vibraphone [Vibes] – Karl Berger (tracks: 2, 3, 5 to 10)
Trumpet – Bob Selcoe (tracks: 1, 5, 6, 8, 10)
Violin – Betty McDonald* (tracks: 2, 5)
Vocals – Ingrid Sertso
Xalam [N'goni], Bass – Tom Schmidt (tracks: 1 to 3, 5, 9)

Ingrid Sertso is an utterly original vocalist and poet, who engages the listeners with the soft intensity that is her trademark. She effortlessly alternates and mixes song interpretations with sound improvisations and spoken work, with her uncanny sense of time. Ingrid is a co-founder of Woodstock's famed Creative Music Studio. Her husband Karl Berger is her musical partner, producer and the two are a creative force. WACBIZ is honored to be working with such a special talent as Ingrid Sertso.

What Do I Know

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Anthony Dixon - Up On The Roof

Size: 144,6 MB
Time: 62:22
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues Vocals
Art: Front

01. A Night In Tunisia (4:32)
02. Stardust (6:08)
03. Book Of Faces Blues (6:08)
04. Up On The Roof (6:57)
05. Lovely Eyes (4:49)
06. We're Good Together (7:32)
07. Take Five (5:05)
08. Chances Are (5:15)
09. So I'm Late (6:27)
10. Jazz Ain't Nothin' But Soul (4:45)
11. Bye-Bye Baby (4:38)

This is Anthony Dixon's sophomore recording containing 6 jazz standards presented in a non-traditional way and five new original tunes including the exciting new tune “Lovely Eyes.”

Vocalist recording artist Anthony Dixon, was born in Glendale, Arizona but raised in the Pan-Handle of Panama City, FL amongst a family of skilled musicians and vocalist who could stir the soul thru moving emotive music. Inevitably, he too developed a passion for music and that same ability to stir the soul. He’s worked with Tyler Perry, Diana Ross, Jennifer Holliday, Cissy Houston, and Melba Moore.

While he was introduced to all genres of music, gospel music played a big role in his music development with a southern Pentecostal sanctuary giving stage to his earliest performances. And so a little boy who stood and sang from the edge of an old wooden choir stand grew up to stand and sing at the edge of New York stages enthralling hundreds with a soulful voice clear as water and smooth as alabaster.

He is a member of the JFM Band and has appeared on the morning show, Good Day Atlanta. He was also part of the revival of the musical "Purlie" with Melba Moore, Sherman Hemsley, and Robert Giluame. He has sung backup for New Kid's On the Block, and was the winner of the Georgia Music Industry Association's Urban competition for songwriters. He has performed at Ashford & Simpson's Sugar Bar, Tavern on the Green, the Russian Tea Room, Nells, and Makors. He’s written songs for the Barrio Boyzz on the Latin Record Label, Fonovisa.

He appeared in Atlanta's Alliance Theater's production of the musical "CHESS," directed by the brilliant David Bell. He has also played in "Ain't Misbehavin" twice, once with the Theatre Arts Guild of Atlanta and once with the North Carolina Stage Ensemble.

Anthony now resides in the Northeast where he performs as a vocalist currently with the company Bud Maltin Metropolitan Music where he continues to shape beautiful melodies into gems of great inspiration. Recently having studied piano under the tutelage of jazz organist Radam Schwartz, Anthony embarked on recording a new live recording arranged by Schwartz. As you listen to this man’s music savoring the many ingredients of feel good emotion you’ll come to the same discovery of several others; that where ever the stage and whomever the audience, one thing is very clear; this man’s music holds a very important ingredient…the power to stir the soul.

Up On The Roof

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Albert Rivera - Back At It

Size: 133,6 MB
Time: 57:35
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Funk
Art: Front

01. He Said, She Said ( 9:02)
02. Back At It ( 4:49)
03. Misunderstood ( 4:05)
04. One More Once (Interlude) ( 0:39)
05. Distance Of Your Smile ( 4:44)
06. Remember When ( 6:35)
07. Disappearing Footsteps (10:54)
08. Forty Two Point 195 ( 3:36)
09. You Did What ( 6:42)
10. The Injustice Of Justice ( 6:25)

Described by WNPR's Owen McNally as "A Modern Jazz Messenger" Bronx born and raised saxophonist Albert Rivera got his introduction to jazz at LaGuardia High School for Performing Arts and continued his musical studies attending The New School University Jazz and Contemporary Music Program. Since then he has toured extensively both nationally and internationally and stays active in New York venues like The Blue Note, Smalls, Zinc Bar, Cleopatra’s Needle, 55 Bar, Dizzy’s Club Coca Cola and more.

His love, passion and dedication for music has put him on stage with the who's who in the industry including Junior Mance, Winard Harper, Claudio Roditi, Rachel Z, The Curtis Brothers and many others.

Downbeat magazine called Albert and his band "part of the next wave in this jazz ritual." He was selected as a 2012 Chamber Music America Residency Grant and a winner of the 2009 ASCAP Young Jazz Composers Award. He is the current Director of Operations at the Litchfield Jazz Camp.

Back At It

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The Ruby Page & Joe Ruberto Jazztet - Dream Serenades

Size: 116,1 MB
Time: 49:50
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Swing
Art: Front

01. Day In Day Out (3:29)
02. Spanish Medley (Be True To Me; Acercate Mas; Green Eyes) (4:38)
03. Moonglow (3:17)
04. Stars Fell On Alabama (3:29)
05. That's All (3:55)
06. It Don't Mean A Thing (2:58)
07. This Time The Dream's On Me (3:30)
08. Dindi (3:55)
09. Day By Day (3:43)
10. One Note Samba (2:54)
11. We'll Be Together Again (3:41)
12. A Nightingale Sang In Berkley Square (6:53)
13. Once In A While (3:20)

Personnel:
Joe Rubert: Piano, Vocals
Bob Venier: Trumpet, Vocals
Barrie Boyes: Tenor Saxophone
Dean Addison: Double Bass
Dean Cooper: Drums
Eric Budd: Trombone

NewMarket Music is excited to announce the long awaited new release from jazz vocalist Ruby Page, ‘Dream Serenades’, featuring her all-star band The Ruby Page & Joe Ruberto Jazztet. This exceptional recording has captured a diverse, super tight ensemble of three brass and three part harmonies, supported by piano, bass and drums; with original arrangements and influences from legendary vocal groups such as The Four Freshmen, The Singers Unlimited and The Hi Lo’s. Simply sensational!

The original arrangements by pianist and musical director Joe Ruberto center the repertoire on traditional and modern jazz standards, with a strong foundation of straight-ahead jazz accompaniment. Ruby Page and the Joe Ruberto Jazztet form a magical spark that re-kindle’s that classic Jazz flame.

Dream Serenades

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Marcus Johnson - Live & Direct

Size: 173,3 MB
Time: 74:59
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Right Now (Live) ( 6:26)
02. Chase Me (Live) ( 8:05)
03. My Way (Live) ( 5:49)
04. Oui Merci (Live) (11:06)
05. The Rush (Live) (12:37)
06. Summertime Flo' (Live) ( 5:50)
07. My Caddy (Live) ( 7:32)
08. You And I (Live) (12:09)
09. Let It Flo' (Live) ( 5:19)

An independent Billboard-ranked musician and NAACP Image Award-nominated jazz keyboardist and pianist, Marcus Johnson is also the CEO and Founder of FLO Brands, LLC and more recently FLO Wine, LLC. He has combined an eminently successful musical career with his love of wine by marrying the two in a unique endeavor.

Over the last decade, Marcus Johnson has released 15 successful studio albums. On Pandora, Marcus receives 5.1 million spins per year with 2,000 new stations added each month, and his music receives a 74% “thumbs ups” rating verses an average of 56%. Johnson is the owner of a music label, Three Keys Music, and has emerged as one of the young lions of the “DIY” music world. His unique self-taught style of piano play has earned him distinction among his peers, praise from the media and accolades across the music industry. Marcus is on the cutting edge of ‘Euro Jazz’ having formed JURIS, a musical collaboration with acclaimed Parisian DJ and producer Young Pulse. The duo quickly developed a name within the international music community, enjoying large-scale performances and preparing a Q3 release of their latest project entitled “Eiffel Tower.”

Live & Direct

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Labek - What A Woman Knows

Size: 144,3 MB
Time: 61:48
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues Vocals
Art: Front

01. I've Been Loving You (5:49)
02. Fragile (7:18)
03. Gotta Move (2:14)
04. A World I Never Made (4:06)
05. Time Is Running Out (3:49)
06. Alone Together (3:50)
07. Ask Me Bout Nothin (4:34)
08. Miles (3:48)
09. Goodbye (7:41)
10. Trouble Blues (4:06)
11. Love Provides (4:30)
12. After Hours (3:53)
13. Twilight Time (3:03)
14. Life Is A Gift (3:02)

Labek's new release "What A Woman Knows" is filled with poignant titles. She chose songs for her third CD that feature lyrics most women can relate to. Cover titles like Sting's "Fragile," Doc Pomus' and Dr. John's "A World I Never Made," and originals that include "Life Is A Gift," "Trouble Blues," and "Love Provides" are interpreted from a particularly feminine point of view.
The musical excellence of award-winning musicians on three different sessions (Latin, Blues and Acoustic) provide the listener a unique variety to savor. Arrangements by Jack Perricone enhance Labek's interpretations that are rich both in wisdom and musicality.

"Women have long been the quiet regenerators of the Earth. And now, we are finally finding our louder voices through cries of outrage, and reminders of the joy found in loving and finding compassion for each other on this small planet." -Labek

What A Woman Knows

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Inez Jones & Oscar Moore - Have You Met Inez Jones

Bitrate: MP3@320K/s
Time: 61:42
Size: 141.3 MB
Styles: Jazz vocals
Year: 2013
Art: Front

[2:14] 1. Too Marvelous For Words
[2:47] 2. Until The Real Thing Comes Along
[3:03] 3. Tangerine
[2:36] 4. Since I Fell For You
[2:53] 5. I Can't Get Started With You
[3:19] 6. Where Or When
[2:26] 7. Angel Eyes
[1:50] 8. Dancing On The Ceiling
[3:46] 9. To A Wild Rose
[3:01] 10. Moonlight In Vermont
[4:42] 11. It's A Pity To Say Goodnight
[3:08] 12. Don't Worry 'bout Me
[2:40] 13. Sweet Loraine
[2:06] 14. Don't Take Your Love From Me
[2:40] 15. There's A Small Hotel
[1:49] 16. Big, Fat Butterfly
[3:13] 17. If You Were Mine
[2:27] 18. Happy
[1:26] 19. Taborra
[2:24] 20. Take A Back Seat Mr Jackson
[2:21] 21. They Say
[2:32] 22. I Want A Man To Gimme Some Luck
[2:09] 23. Proud Of You

Tracks #1,2,4,6,8,10,12,14,16 & 18 are from the 12” LP “Have You Met Inez Jones?” first issued on Riverside (RLP 12-819), and Omegatape (ST-7018). Tracks #3,5,7,9,11,13,15,17 & 19 are from “Presenting Oscar Moore”, Omegatape (ST-7012). Tracks #3 & 15 also issued on the 12” LP “Have You Met Inez Jones?” Riverside (RLP 12-819). Tracks #20 & 21 from the 78 rpm Victor 20-5135. Tracks #22 & 23 from the 78 rpm Victor 20-4989.

Personnel on tracks #1,2,4,6,8,10,12,14,16,18: Inez Jones (vcl), Oscar Moore (g), Carl Perkins (p), Curtis Counce (b), and Bill Douglas (d); Master Recorders, Los Angeles, May 27, 1957. Personnel on tracks #3,5,7,9,11,13,15,17,19: Oscar Moore (rhythm guitar, and solo guitar [overdubbed]), and Leroy Vinnegar (b); Audio Arts Studio, Los Angeles, Dec. 12 & 14, 1956. Personnel on tracks #20-23:Inez Jones (vcl), Howard Biggs (p), Red Callender (b), and Chico Hamilton (d); Radio Recorders, Los Angeles, July 17, 1952.

Inez Jones was a good singer whose solid reputation, especially among the jazz cognoscenti, never really spread much beyond San Francisco’s Bay Area, where she worked steadily during the Forties and the Fifties. With a light, attractive voice, a little reminiscent of Maxine Sullivan, she could swing, and her deft phrasing and reading of a lyric enabled her to handle a variety of material with persuasive authority.

Her rare recorded work is notable for the fact that she brought the intimate manner of her club performances into the studio, and for the accomplished jazzmen she used to make the handful of recordings on which she appeared. On the 1957 album these include the near legendary pianist, Carl Perkins, part of a fine West Coast rhythm section with bassist and celebrated bandleader Curtis Counce, and drummer Bill Douglas, as well as guitarist Oscar Moore, who achieved his greatest fame in the trio of another singer, Nat King Cole. (Incidentally, on the instrumental numbers turned by Moore in this album, two guitars are heard, both by Oscar. Bass, played by Leroy Vinnegar, and rhythm guitar were recorded first, and then solo guitar was overdubbed.)

As a bonus, four tracks from two rare 78rpm albums Miss Jones recorded five years earlier are included, and all the tunes from the Moore and Vinnegar session that were not released on the album.

Have You Met Inez Jones

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Tardo Hammer - Somethin' Special

Bitrate: MP3@320K/s

Time: 63:47

Size: 146.0 MB

Styles: Piano jazz

Year: 2001

Art: Front

[5:00] 1. John's Abbey

[6:21] 2. Divertimento

[5:21] 3. If I Loved You

[7:01] 4. Somethin' Special

[4:56] 5. Take Me Out To The Ballgame

[7:19] 6. You're My Thrill

[6:49] 7. Lizard Lips

[5:02] 8. Blues For Philly Joe

[7:13] 9. Into The Fire

[8:39] 10. Subterranean

The best Jazz pianist you’ve never heard? He could answer to the name Tardo Hammer. The 43–year–old New Yorker is indeed somethin’ special, as he demonstrates time and again on his second album for Sharp Nine. We were lucky enough to review the first one ( Hammer Time ), and everything written then bears repeating, with even weightier emphasis. “When listening to him play,” we observed, “one doesn’t think of a Hammer so much as a scalpel, or perhaps a paint brush. Hammer has a marvelous touch (using both hands well), an inspired feeling for dynamics and time, and above all, a wonderful ability to articulate his musical impulses and let them sing. Like every world–class musician, he makes everything seem preposterously easy . . .” And, we should add, he swings easily and often, in the manner of such illustrious predecessors and role models as Bud Powell, Tommy Flanagan, Kenny Drew, Duke Jordan, Barry Harris, Hampton Hawes and other renowned masters of bebop piano. For persuasive evidence, listen to “Take Me Out to the Ballgame,” Powell’s “John’s Abbey” or his own “Lizard Lips.” Hammer’s no slouch when it comes to interpreting ballads either, as he proves on “You’re My Thrill,” Rodgers and Hammerstein’s “If I Loved You” (from Carousel ) and another of his sharply–drawn compositions, “Into the Fire.” Hammer also wrote “Divertimento” and “Subterranean” (based, respectively, on the standards “Dancing in the Dark” and “All the Things You Are”), and rounds out the engaging program with Sonny Clark’s minor blues, “Somethin’ Special,” and Sonny Rollins’ loping “Blues for Philly Joe.” Hammer’s colleagues, bassist Dennis Irwin and drummer Leroy Williams, have been with him since the mid–’80s, and they know how to push without shoving. Hammer responds well to their cues, and the group interplay is secure but not unmalleable. On the contrary, everything flows almost as easily as it would from one mind instead of three, which is the way Jazz trios should perform. While Hammer’s piano is the focal point, Irwin and Williams have their moments as well, and each contributes a number of perceptive solos. Together they’ve produced another “special” album, one that should please anyone who admires superbly talented bop–based piano trios. ~Jack Bowers

Somethin' Special

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John Bunch, Bucky Pizzarelli - NY Swing

Bitrate: MP3@320K/s
Time: 56:43
Size: 129.8 MB
Styles: Swing, Piano & Guitar jazz
Year: 1992/2004
Art: Front

[3:27] 1. Oh, Lady Be Good
[5:18] 2. Hi Fly
[6:12] 3. Do Nothin' Til You Hear From Me
[4:34] 4. Dot's Cheesecake
[4:34] 5. Stompin' At The Savoy
[4:29] 6. How Am I To Know
[5:44] 7. Sleepin' Bee
[6:01] 8. Polka Dots And Moonbeams
[5:25] 9. Jitterbug Waltz
[5:10] 10. Sunday
[5:44] 11. In A Sentimental Mood

John Bunch (piano), Bucky Pizzarelli (guitar), Jay Leonhart (bass), Joe Cocuuzzo (drums).

Originally issued by Sonny Lester on his LRC label, this tribute to the music of Cole Porter has reappeared under the Laserlight banner. The album's style recalls the George Shearing groups, with Bucky Pizzarelli's guitar taking on the role that Joe Roland and other vibes players had with Shearing. Under the name New York Swing, the ensemble features Pizzarelli joined by a bevy of top-drawer New York musicians led by pianist John Bunch. This paean to Porter follows other albums by the group honoring other major contributors to the Great American Songbook, like Jerome Kern and Rodgers & Hart. All of these musicians have played these Porter gems before. Rather than making the songs sound old hat and tired because of this close familiarity, the group members have successfully found fresh ways to express their ideas. And that is what makes this composer a favorite among virtually all jazz performers: His work promotes improvisation. He allows good players to borrow the song, add his or her interpretative imprimatur to it, and then return it intact. "Easy to Love," for example, is presented in a chamber music setting featuring Jay Leonhart's bowed bass. In addition to those customary Porter gems, there are also a few songs that are not so often heard, like "Where Have You Been," which he wrote for an appropriately titled musical The New Yorkers. These are given the same high level of respectful treatment by the group as the more famous Porter material. With nary a bad track in the set, this album of outstanding small group performing is highly recommended. ~ Dave Nathan

NY Swing

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Marta Król - The First Look

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 48:58
Size: 112,6 MB
Art: Front

(4:48)  1. Like A Lover
(4:11)  2. April In Paris
(6:05)  3. The Way You Look Tonight
(3:53)  4. Never Will I Marry
(4:33)  5. I Knew I Loved You (Deborah's Theme From Once Upon A Time In America )
(4:36)  6. Summer Soft
(5:55)  7. Wives And Lovers
(5:25)  8. The Way We Were
(3:58)  9. Light My Fire
(5:28) 10. The First Time Ever I Saw Your Face

Born  in Bytom, Poland. Is a classically trained and graduated viola player  from Chopin`s Music School in Bytom, but during her education without a doubt it was her voice that became her main instrument.

Winner of many important vocal festivals in Poland, including:  1st Prize and a Special  Polish Television Prize at the  Young Vocalists Fesival – Debuts in Lublin (2005 and 2007);  Grand Prix at the national English Song Festival  in Brzeg (2007);  Special Prize at International Jazz Festival New Hope of Jazz in  Lomza (2009).

Her  first album  The First Look  has appeared in May 2011, was reviewed by many critics and journalists and nominated  for the most prestigious music awards in the country: The Third Program Of Polish Radio  Mateusz Award (category Debut of  the Year);  Phonographic Academy Fryderyk Award (category Jazz  Debut Recording of  the Year).

Album was recorded  by  leading jazz musicians  of the younger  generation in Poland, extraordinary instrumentalists composed of:  Pawel Tomaszewski – piano, rhodes piano;  Dawid Glówczewski – saxophones;  Andrzej Swies- bass;  Pawel Dobrowolski- drums;  Tomasz Kalwak- arrangements, production, keyboards

“Played  and processed simply and with savor at the same time. Her low and warm voice with faultless intonation draws attention. It is unusual, amazing  singing and  an excellent album!”~ Jazz Forum  The European Jazz Magazine

“ I'm very impressed. I look forward to her future long career. Unbelievable how good  is The First Look ”~ Marek Niedzwiecki  Legend of polish musical journalism

Vocalist  is promoted by  the legendary Third Program of Polish Radio. Chosen to perform at the oldest and the most prestigious  music festival in the country, Polish Song Festiwal  in Opole (2012). In april 2014 appears her second album Thank God I`m a Woman, released by Universal Music,which contains authorial songs and a few jazz standards from the past century presenting new interpretations. On the album appears also trio of leading  jazz musicians in the country and other special guests. http://martakrol.pl/biografia/lang=en

The First Look

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Christian Jacob - Beautiful Jazz: A Private Concert

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 56:51
Size: 130,6 MB
Art: Front

(5:33)  1. How Long Has This Been Going On
(3:32)  2. That's All
(5:05)  3. It Might as Well Be Spring
(2:14)  4. Stravinsky's Etude No. 4 in F# Major
(5:53)  5. My Romance
(5:14)  6. The Surrey With the Fringe On Top
(4:34)  7. Tea for Two
(4:33)  8. I'm Old Fashioned
(3:37)  9. One Note Samba
(6:04) 10. Body and Soul
(4:18) 11. September Song
(2:47) 12. Giant Steps
(3:22) 13. Till the Clouds Roll By

There was a time when pianist Christian Jacob thought he'd be making his mark as a classical pianist. That's perfectly understandable considering the fact that he was playing piano at age four and studying at the Metz conservatory at age six. By the time he was in college, studying at the Paris Conservatory, he was winning awards and prepping for piano competitions.

Jacob was following the prescribed course that classical piano hopefuls typically follow, but his destiny was with jazz. Jacob was taken with the work of Dave Brubeck, Oscar Peterson and other jazz luminaries early on, but it took him some time to realize that this music was his true calling. Nowadays, it's hard to imagine that Christian Jacob could've ever doubted that his fate was tied to jazz. As a sideman, Jacob has worked with a long list of greats, from trumpeter Maynard Ferguson to vibraphonist Gary Burton to arranger/bandleader Bill Holman. He's inextricably linked to the acclaimed Tierney Sutton Band, working side by side with the nominal leader on her incredibly well-received albums, and he's gained some traction as a leader through his work with the Christian Jacob Trio. He's even worked with symphony orchestras on occasion. In short, he's done a hell of a lot for a guy who didn't figure on a career in jazz, but he's never put out a solo piano disc; that is, until now.

Beautiful Jazz: A Private Concert is Jacob's love letter to the genre that whisked him away from the waiting arms of the classical world. He tackles old favorites here, revisiting and/or revising some of the very material that drew him toward jazz in the first place. Jacob brings a sense of wonder to "How Long Has This Been Going On?," tackles "That's All" in seven, muses on "My Romance," and delivers an information-dense "Surrey With The Fringe On Top." Jacob also tips his cap to pianist Bill Evans with "I'm Old Fashioned," references his classical upbringing through Stravinsky's "Etude No. 4 in F# Major," and delivers a wonderful "September Song" arrangement that's devoid of improvisation. This whole program was recorded at a private concert at Zipper Hall in Los Angeles, with Jacob playing on a Hamburg Steinway Model D Grand. Both the scene and the instrument helped to shape this album, but it's Jacob who delivers on the promise of the title. Beautiful Jazz it is. ~ Dan Bilawsky  http://www.allaboutjazz.com/beautiful-jazz-a-private-concert-christian-jacob-wilderjazz-review-by-dan-bilawsky.php

Personnel: Christian Jacob: piano.

Beautiful Jazz: A Private Concert

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Martin Taylor - Spirit of Django

Styles: Guitar Jazz, Gypsy Jazz
Year: 1994
File: MP3@320K/s
Time: 60:32
Size: 139,1 MB
Art: Front

(5:03)  1. Chez Fernand
(5:33)  2. Minor Swing
(6:38)  3. Night and Day
(4:45)  4. Nuages
(5:00)  5. James
(5:48)  6. Double Top
(5:15)  7. Django's Dream
(5:38)  8. Swing 42
(5:14)  9. Lady Be Good
(6:29) 10. Honeysuckle Rose
(5:04) 11. Johnny and Mary

In the 1990s, jazz tribute albums could be incredibly predictable, with young tenor saxophonists paying tribute to John Coltrane by emulating his tone and playing his best-known songs exactly like he played them, or young trumpeters saluting Miles Davis by trying to sound like a carbon copy of him on yet another version of "So What" or "Solar." Spirit of Django is Martin Taylor's tribute to fellow guitarist Django Reinhardt, and thankfully, this is one tribute album that's interesting and unpredictable instead of cliché-ridden. Though Taylor's love of Reinhardt's legacy is evident throughout the album, the guitarist never sounds like an outright clone. 

His individuality comes through on Reinhardt pieces (including "Nuages" and "Minor Swing"), as well as Fats Waller's "Honeysuckle Rose" and the standards "Night and Day" and "Lady Be Good." To his credit, Taylor makes some unlikely choices. Pat Metheny's "James," for example, isn't something you'd expect to hear on a Reinhardt tribute, yet Taylor's interpretation fits in perfectly. This excellent CD is highly recommended to admirers of both Taylor and Reinhardt. ~ Alex Henderson  http://www.allmusic.com/album/spirit-of-django-mw0000646679

Personnel: Martin Taylor, John Goldie (acosutic guitar); Jack Emblow (accordion); Dave O'Higgins (soprano & tenor saxophones); Alec Dankworth (acoustic bass, cabasa); James Taylor (snare drum).

Spirit of Django

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