Eddie Harris - Exodus to Jazz

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:45
Size: 91,6 MB
Art: Front

(6:43)  1. Exodus
(3:43)  2. Alicia
(2:53)  3. Gone Home
(5:34)  4. A.T.C.
(2:48)  5. A.M. Blues
(3:24)  6. Little Girl Blue
(5:12)  7. Velocity
(4:34)  8. W.P.
(2:02)  9. Exodus (Single Version)
(2:48) 10. Alicia (Single Version)

One of the biggest hit jazz LPs of the post-rock & roll era, Eddie Harris' Exodus to Jazz seemed to come completely out of left field. It was the debut album by a previously unknown artist from an under-publicized scene in Chicago, and it was released on the primarily R&B-oriented Vee Jay label, which had originally signed Harris as a pianist, not a tenor saxophonist. The impetus for its breakthrough was equally unlikely; Harris adapted Ernest Gold's stately, somber theme from the Biblical film Exodus which had been covered for an easy listening hit by Ferrante & Teicher and made it into a laid-back jazz tune. Edited down to 45-rpm length, it became a smash, reaching the pop Top 40 and pushing the album to the upper reaches of the charts a nearly unprecedented feat for instrumental jazz in 1961. 

Its stunning popularity sent jazz critics into a tizzy after all, if it was that accessible to a mass audience, there just had to be something wrong with it, didn't there? In hindsight, the answer is no. Exodus to Jazz is full of concise, easy-swinging grooves that maintain the appealing quality of the strikingly reimagined title track (particularly Harris' four originals). Far removed from his later, funkier days, Harris plays a cool-toned tenor who owes his biggest debt to Stan Getz's bop recordings, though there are touches of soul-jazz as well. He's no slouch technically, either; he plays so far and so sweetly in the upper register of his horn that some still mistakenly believe he was using an alto sax on parts of the record. Exodus to Jazz paved the way for numerous other crossover successes during the '60s (many in the soul-jazz realm), and while that may not be a credibility-boosting trend to start, the music still speaks for itself. ~ Steve Huey  http://www.allmusic.com/album/exodus-to-jazz-mw0000117010

Personnel: Eddie Harris (tenor saxophone); Joe Diorio (guitar); Willie Pickens (piano); Harold Jones (drums).

Exodus to Jazz

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David Kikoski - Combinations

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 52:35
Size: 120,6 MB
Art: Front

(5:50)  1. Improvisations
(6:43)  2. Cecilia
(5:50)  3. Duo, Part I
(1:33)  4. Bass Interlude
(7:51)  5. Tamami
(6:42)  6. Harmonizing Instincts
(8:01)  7. Blues For Us
(5:13)  8. Duo, Part II
(4:47)  9. Trio Improvisation, Part II

The victim of corporate disregard for an artist's work, pianist David Kikoski has recorded many records as a leader over the years, although all but his most recent string of releases for Criss Cross are currently unavailable. This fact, along with his extensive work as a sideman, meant that until 1998's Inner Trust, few were aware of Kiksoki's talents as a leader. 

Reaching a pinnacle on his previous set, Surf's Up, Kikoski has honed a particularly incisive musical relationship with drummer Jeff "Tain" Watts which is no less palpable on Combinations. This time out, we also get to hear Seamus Blake return to the fold on two of the nine pieces, all written by Kikoski. The premise for Combinations is simply stated by the album title, Kikoski engaging in different sized ensemble combinations taken from the pool of musicians on hand. There are two duo tracks with only the pianist and bassist Boris Kozlov as the leads. 

Aside from a brief bass interlude and the pair of quartet tracks with Blake, the remaining cuts feature the trio and it's a potent one, capable of great flights of fancy be it on the blues or more advanced forms. While it might be said that we have somewhat of a mixed bag here taken as a whole, the majority of the individual parts are distinctive enough to merit attention. ~ C.Andrew Hovan  http://www.allaboutjazz.com/combinations-david-kikoski-criss-cross-review-by-c-andrew-hovan.php
 

Personnel: David Kikoski: piano; Boris Kozlov: bass; Jeff "Tain" Watts: drums; Seamus Blake: tenor sax (2, 6).

Combinations

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Slim Gaillard - Slim Gaillard Remastered Collection

Size: 134,3 MB
Time: 57:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. That's A Bringer - That's A Hanger - That's A Drag (Remastered 2015) (2:56)
02. A-Well-A-Take-'em-A-Joe (Crap Shooter's Jive) (Remastered 2015) (2:59)
03. Chicken Rhythm (Remastered 2015) (2:52)
04. Swingin' In The Key Of C (Remastered 2015) (2:41)
05. Boot-Ta-La-Za (Remastered 2015) (3:22)
06. (My Darling) It's You, Only You (Remastered 2015) (3:09)
07. Beatin' The Board (Remastered 2015) (2:57)
08. Look Out (Remastered 2015) (2:51)
09. Matzoh Balls (Remastered 2015) (2:33)
10. Early In The Morning (Remastered 2015) (2:34)
11. Chittlin' Switch Blues (Remastered 2015) (2:48)
12. Huh ! Uh-Huh! (Remastered 2015) (2:49)
13. Windy City Hop (Remastered 2015) (2:41)
14. Baby Be Mine (Remastered 2015) (2:55)
15. Sploghm (Remastered 2015) (2:32)
16. Fitzwater Street (Located In Philadelphia) (Remastered 2015) (2:48)
17. Don't Let Us Say Good-Bye (Remastered 2015) (2:57)
18. Rhythm Mad (Remastered 2015) (2:45)
19. Bongo (Remastered 2015) (2:56)
20. Broadway Jump (Remastered 2015) (2:48)

A cult hero, Slim Gaillard was a frequently hilarious personality whose comedy (inventing his own jive language with a liberal use of the words "vout" and "oreenee") generally overshadowed his music. In the mid-'30s he had a solo act during which he played guitar while tap dancing! In 1936 Gaillard began teaming with bassist Slam Stewart as Slim and Slam. Their very first recording became his biggest hit, "Flat Foot Floogie." Slim and Slam were a popular attraction up to 1942 with such other songs as "Tutti Frutti" and "Laughin' in Rhythm." By 1945 Gaillard had a new bassist, Bam Brown (whose frantic vocals matched well with Slim's cool if nonsensical voice), and "Cement Mixer" and "Poppity Pop" caught on. Gaillard, who played electric guitar influenced by Charlie Christian, fairly basic boogie-woogie piano and vibes, led an unusual date with guests Charlie Parker and Dizzy Gillespie (1945) that was highlighted by "Slim's Jam." Throughout the 1940s in Los Angeles, Gaillard had a strong following, using such sidemen as Zutty Singleton and Dodo Marmarosa, but the popularity of jive singers (which included Harry "The Hipster" Gibson and Leo Watson) ran its course and after 1953 Gaillard only led two other record sessions (in 1958 and 1982). In the 1960s he was largely outside of music, running a motel in San Diego, but by the late '70s Slim Gaillard was back on a part-time basis, still singing "Flat Foot Floogie" and making one wonder why this comic whiz was neglected for nearly three decades. ~Scott Yanow

Slim Gaillard Remastered Collection

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The Charles Owens Trio - A Day With Us

Size: 159,6 MB
Time: 69:02
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Caravan (10:30)
02. Dutch ( 7:32)
03. Ummg ( 6:26)
04. The Man I Love (10:01)
05. Take Five ( 8:03)
06. Something ( 6:12)
07. No Resolution ( 6:54)
08. On A Slow Boat To China ( 8:14)
09. You Go To My Head ( 5:07)

Even when factoring in the vital contributions of bassist Andrew Randazzo and drummer Devonne Harris, there's no denying Charles Owens' firm hold on the nine tracks of A Day With Us. Throughout a program consisting largely of standards, the music is ruled by the broad, resonant sound of the leader's tenor saxophone and the dogged persistence that characterizes everything he plays. As if building something momentous on the spur of the moment with his wits and the force of his will, the sounds conjure up hard labor, sweat, and grime. In some instances Owens shovels notes out of the bell of his horn; in others, he wields a pneumatic drill.

Most of Owens' solos (not to mention his introductions and post-out head forays) are long, irrepressible and headstrong. Just when you begin to wonder when he'll stop, give up, or bow out, there comes another chorus (or two or three) of smart, brawny invention. For all of the detours and digressions, the architecture of his solos is logical and relatively easy to follow. More often than not, when an improvisation ends, it begs the question: How can Owens sound so earthy, deep-rooted, yet move relentlessly and cover so much territory? And there's something positively addictive about the long way, Owens' preferred, circuitous route to a destination. Upon reaching the conclusion of "You Go To My Head," the disc's last track, an all-too-brief cadenza thwarts the expectation—and the desire—for another elongated, effusive, daring statement.

Owens employs a number of devices that keep any threat of monotony or predictability at bay. He executes the in and out heads of "Caravan," "The Man I Love," and "You Go To My Head" in somewhat different ways, altering the tunes' identities and shifting the music's emotional temperature. A protracted and wildly inventive solo introduction animates "Caravan," the disc's opening track. The leader reinforces the tight-knit character of his working band by playing accompanying figures to Harris' solos on "Caravan," "UMMG," and "Take Five." Owens' puckish sense of humor often appears out of nowhere and disappears just as quickly. For instance, a number of tart, staccato bites flavor an otherwise sober "The Man I Love" solo. In contrast to a forthright take on the rest of the song, he transforms a portion of the bridge of "You Go To My Head" into a jaunty burlesque.

"Something" and "The Man I Love" are two prime examples of Owens ability to fashion familiar material to suit his improvisational character. Dispensing with the customary protracted introduction, the saxophonist executes a straightforward rendition of George Harrison's tune and includes a rather faithful reproduction of Harrison's guitar solo from the Beatles' recording. Owens gradually releases himself from some of the song's constraints and constructs something raw, ragged, and romantic on top of it.

The record's masterpiece is a ten-minute treatment of George Gershwin's iconic "The Man I Love." To Owens' credit, throughout the melody and a good deal of the improv, it's tough to identify what, emotionally speaking, he seeks to convey—hope, guarded optimism, yearning, weariness, resignation? Slowly and painstakingly shaping the line he compels the listener to pay close attention to every note. The melodies Owens finds during his solo are just as purposeful and emotionally amorphous. For a time he opens up a bit, gradually becoming vigorous and terse, among other things cutting loose with one scream, shadowed by a short-lived silence. In contrast to the opening the out head is penetrating, at times almost rubbing the melody raw. The two-minute plus cadenza that follows marks the return of the restless, probing, bold tenor saxophonist. Owens defies the relative caution of the rest of the track in favor of going wherever his imagination takes him, and in doing so, leaves "The Man I Love" behind. ~David A. Orthman

Personnel: Charles Owens: tenor saxophone; Andrew Randazzo: bass; Devonne Harris: drums

A Day With Us

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Jazz At The Movies - Kiss Kiss Bang Bang

Size: 132,5 MB
Time: 56:32
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Prelude From Psycho (1:00)
02. Close Enough For Love (4:48)
03. Pure Imagination (3:52)
04. Sooner Or Later (4:19)
05. Mr Kiss Kiss Bang Bang (3:13)
06. It Might Be You (3:28)
07. The Summer Knows (4:15)
08. Put The Blame On Mame (3:48)
09. I'd Rather Have The Blues (4:08)
10. Chovenda Na Roseira (3:31)
11. More Than You Know (4:25)
12. The Man That Got Away (4:35)
13. When I Look In Your Eyes (2:52)
14. South American Getaway (4:48)
15. Love Music From Vertigo (3:22)

Starring Joanna Eden as 'The Singer' and co-starring the Chris Ingham Quartet as 'The Boys in the Band', Jazz At The Movies is a unique jazz group formed specifically to interpret movie themes and soundtrack songs taken from a wide-range of silver screen sources both familiar and obscure.

Their refined dramatic and jazz sensibilities produce sounds that celebrate the meeting point of songcraft and swingcraft. With a reputation for vibrant music, deep repertoire and droll presentation, JATM have become a regular sell-out at Ronnie Scott's, St James Theatre, the Royal Albert Hall's Elgar Room and many jazz clubs, theatres and Arts Centres throughout the UK.

JATM features evocative vocals by acclaimed singer Joanna Eden, bewitching saxophone and clarinet from star reedsman of the John Wilson Orchestra Mark Crooks and atmospheric textures and grooves from Chris Ingham (piano), Rev. Andrew Brown (bass) and George Double (drums).

For their second JATM album 'Kiss Kiss Bang Bang', the band interprets material from movies made between 1946 and 1990. Bookending the record with a sumptuous pair of Bernard Herrmann's Hitchcock themes, JATM allow Ms Eden full reign to explore her diva tendencies on Sondheim's "Sooner Or Later" from Dick Tracy (1990) and the Arlen/Gershwin classic "The Man Who Got Away" from A Star Is Born (1954), along with her multi-lingual skills on Jobim's "Chovenda Na Roseira" from The Adventurers (1970).

"Movie songs like these provide good material for the best jazz singers. Joanna Eden and her first-class band had a ball with them." - Jazz Journal

Kiss Kiss Bang Bang

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Karin Hammar - Imprints

Size: 116,6 MB
Time: 50:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Good Things Are Free (5:14)
02. Imprints (4:40)
03. Sai Fora (4:39)
04. Stationary (5:59)
05. Vera Cruz (5:07)
06. Light Is Your Shadow (4:10)
07. Lifewish (5:50)
08. Man's Best Friend (3:46)
09. Waltz For Restless Souls (6:50)
10. Overjoyed (4:06)

Sophisticated jazz played with virtuosity and at times with hypnotic beats and bass lines. The trombone player Karin Hammar herself convinces with a lush, often lyrical sound. Well arranged, tight and with strong melodies, all songs are written by Karin Hammar, who has developed to one of Sweden´s best trombone players, always with constant variation in her playing.
Karin Hammar's strength is her fluent, singingly melodic playing. It becomes wonderfully elegiac in a kind of controlled melancholy. Her music is light and melodic, with shimmering harmonies and softly driven rhythm. Latin moods mixing with a proud jazzy tone. This is definitely music for everyone who is curious of jazz in a new unique style.

Imprints

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Darby Williams - Me

Size: 101,1 MB
Time: 41:54
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. No One Knows (Feat. Peabo Bryson) (3:26)
02. Do Nothin' Till You Hear From Me (4:36)
03. Something To Live For (4:03)
04. Prelude To A Kiss (4:48)
05. Mood Indigo (4:36)
06. Daydream (3:47)
07. I Didn't Know About You (4:35)
08. Lush Life (3:56)
09. In A Sentimental Mood (4:08)
10. Sophisticated Lady (3:54)

Tall, blond, bodacious and sensual, newcomer Darby Williams commands the stage just as she commands her dynamic vocal range, with artistic creativity and a personal touch not often found today. Signed personally to Roc Cartel by label founder and President Ray De La Garza, Williams captures the essence and the nuances of perhaps the greatest collaborators in jazz history – Duke Ellington and Billy Strayhorn.

"Darby has such a diverse vocal range that her interpretation of these songs makes them relevant and accessible to everyone. We are looking forward to introducing this work to many who are not yet familiar with this legendary music, as well as, to those who hold a deep appreciation for these timeless classics." -Ray De La Garza.

With her debut album Me, such titles as “Lush Life,” “Mood Indigo,” and “Do Nothin' Till You Hear From Me”, echo the sweltering notes and delicate compositions of this illustrious partnership. Darby’s interpretation of their compositions is both thoughtful and intoxicating. The delicate nature of her phrasing, and obvious feel for American Songbook material is immediately evident. The single, "No One Knows" features Darby with two-time Grammy Award winner Peabo Bryson in a soulful duet, that is sure to keep your foot tapping.

“One splendid example of Darby’s suitability for wider exposure emanates from Me: the simply grand interpretation, the swinging horns, the wonderful drumming, and intoxicating vocals on ‘Do Nothin’ – this track alone is worth the price of the album – and if she can deliver in live performance what she does here in the studio, look out jazz world!” - music critic Brian Miller.

"Darby is a fantastic vocalist with command and range. I've sung with the greats and she's more than holding her own." -Peabo Bryson

Me

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Eddie Daniels - Beautiful Love

Styles: Flute And Clarinet Jazz
Year: 1997
File: MP3@320K/s
Time: 51:13
Size: 118,1 MB
Art: Front

(5:03)  1. Awakening
(5:41)  2. Beautiful Love
(4:43)  3. First Gymnopedie
(5:52)  4. Waltz For Mirabai
(5:37)  5. The Ninth Step
(5:04)  6. We'll Always Be Together
(5:11)  7. A Take On Five
(4:59)  8. Love's Journey
(4:25)  9. Brunete
(4:34) 10. Summer's Gone

A remarkable clarinetist who ranks at the top of his field, Eddie Daniels sounds quite restrained throughout the easy listening set, although he throws in a few complex runs on "Beautiful Love." 

With a tasteful rhythm section (including guitarist Chuck Loeb and pianist Bob James), Daniels mostly sticks to melodic interpretations during a theme apiece by Bach, Erik Satie, and Rachmaninov, four of his own originals, two by Loeb, and the title cut. ~ Scott Yanow  http://www.allmusic.com/album/beautiful-love-mw0000098727

Personnel: Eddie Daniels (alto flute, clarinet); Lawrence Feldman (alto flute); Ron Odrich (bass clarinet); Bob James (piano); Chuck Loeb (guitar); David Finck, Tim LeFebvre (bass); Wolfgang Haffner (drums); David Charles (percussion).

Beautiful Love

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Melissa Stott - The picture

Styles: Jazz, Vocal
Year: 2007
File: MP3@224K/s
Time: 68:22
Size: 110,0 MB
Art: Front

(7:05)  1. Wish it wasn't true
(5:06)  2. You
(5:32)  3. A little contented place
(3:48)  4. Beware of your heart
(5:54)  5. I just can't stop the tears
(5:22)  6. That 'll be us
(4:37)  7. The picture
(4:03)  8. I'm looking at you with new eyes
(5:10)  9. Romance addio
(4:38) 10. Cara
(4:57) 11. Cutch O'Lanza
(6:02) 12. Mexico blue
(6:03) 13. Hindsight

Songwriter and vocalist Melissa Stott learned from a few of the best, such as Porter, Gershwin, Ellington, Strayhorn, Berlin, and more, but she has a more modern appeal to her music. She learned to play the piano at age six and was ear trained by her father. Melissa also took part in various choral activities. She decided to do acting in Italy and slipped into the jazz scene. Her first jazz record was of Ella Fitzgerald with Ellis Larkin at the piano. Melissa has studied with Barry Harris, Stjepko Gut, Dennis Jeter, LaVerne Jackson, Andy Farber and Vince Benedetti. She participated in festivals and coached many students in classical piano and harmony, jazz singing, choral singing and ballet.

Melissa is very talented and has written catchy tunes with interesting harmonies and witty, touching lyrics in this album The Picture. From the up-tempo dismissal of a lover in "Romance Addio," to the haunting Evans-esque "The Picture," or the aching, melancholic "Wish It Wasn’t True," each and every one of Stott’s original songs casts a spell which is hard to forget. As a vocalist, her style is natural and understated, yet "an almost conversational intimacy combines with subtle power" to produce feelings that it’s hard to put your finger on. ~ Alonda Washburn  http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/the-picture-by-melissa-stott.html

The picture

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Leana Sealy - Undecided

Size: 103,9 MB
Time: 37:31
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz/Pop Vocals
Art: Front

01. Call The Police (3:25)
02. Cheek To Cheek (3:12)
03. So What (3:25)
04. Night In Tunesia (3:19)
05. Love For Sale (3:57)
06. No More Blues (2:14)
07. Seven Steps (2:08)
08. Scrapple From The Apple (3:13)
09. Lush Life (4:01)
10. Man Who Sold The World (5:22)
11. Uninvited (3:10)

Born in Dublin with parents from Barbados and Ireland, Luxembourg based vocalist Leana Sealy infuses jazz standards and contemporary songs with her fresh new style.

The talented singer blends scat, soul and jazz into effortless and passionate interpretations from great songbooks spanning from Frank Sinatra and Ella Fitzgerald to pop songs from James Morrison or Alanis Morissette. A classically trained saxophonist, she merges her unique phrasing and improvisation style with an exceptional and charming soulful voice to produce an acoustic and intimate sound that pays homage to the great jazz tradition whilst giving it a youthful, modern touch.

Having done numerous recordings and live performances with notably Gast Waltzing, Guy Cabay, the Luxembourg Philharmonic Orchestra and her own Leana Sealy Quintet with whom she released her debut album in 2004 (On The Street Where You Live), Sealy has just finished recording her second album to be released later this year (2009) on WPR Jazz with fellow musicians David Laborier on guitar and Rom A Heck on bass and Michel Mootz on drums.

Undecided

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Tony Yazbeck - The Floor Above Me

Size: 125,2 MB
Time: 53:06
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Broadway
Art: Front

01. On The Sunny Side Of The Street (2:23)
02. Let Yourself Go/No Strings (I'm Fancy Free)/Fascinating Rhythm/Can't You See It (4:31)
03. My Mom And I Drove Into New York... (0:48)
04. Pure Imagination (2:54)
05. Flash Forward To 2007... (0:17)
06. All I Need Is The Girl (2:55)
07. I Was Living Out My Dream... (0:36)
08. Moses Supposes (2:58)
09. 'Til Kingdom Come (3:34)
10. Got To Get You Into My Life (1:37)
11. Dance Me To The End Of Love/I Won't Dance (5:06)
12. Cheek To Cheek (1:46)
13. Change Partners/Let's Face The Music And Dance (4:44)
14. Nothing I Do (2:56)
15. Where Did I Go Wrong (4:01)
16. I Was Taught To Be A Fighter... (0:38)
17. Both Sides Now (4:20)
18. I'm Backstage At This Theatre... (0:19)
19. Lucky To Be Me (2:57)
20. Hello, My Old Heart (3:36)

Having conquered Broadway with a string of acclaimed roles – from Gypsy to White Christmas to On the Town – triple-threat Tony Yazbeck sets his sights on reinventing the solo album with his new studio recording, The Floor Above Me, adapted and expanded from his one-man show. Blending song, dance and personal narrative, Yazbeck breathes new life into not only the time-honored tale of the Broadway dreamer but the solo album as well, with ecstatic tap dancing and a moving story that deepens the emotional impact of Yazbeck's carefully curated program. Yazbeck, whose "easy, warm, open-hearted and touchingly real performance" as Gabey in the 2014 Broadway revival of On the Town "provided the show with a firm emotional center" (The New York Times), brings his openness, charm and boundless energy to his own story as a hardworking kid growing up in Pennsylvania who dreamed of making it on Broadway – and did. Comprising an eclectic mix of songs ranging from the classic tunes of Irving Berlin ("Let Yourself Go," "Cheek to Cheek") and the Gershwins ("Fascinating Rhythm," "Slap That Bass") to the more modern pop of Coldplay, Jamie Cullum and Martin Sexton, and featuring guest appearances by Clyde Alves (Yazbeck's co-star in On the Town) and Melinda Sullivan (So You Think You Can Dance), The Floor Above Me gives audiences the chance to join Yazbeck on his journey to Broadway.

The Floor Above Me

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Donatella Luttazzi & Amedeo Tommasi Trio - I Love You Chet

Size: 119,3 MB
Time: 50:42
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. I Love You Chet (3:16)
02. Donatella Luttazzi Amedeo Tommasi Trio (3:13)
03. All The Thinks You Are (3:59)
04. My Funny Valentine (4:34)
05. Like Someone In Love (3:49)
06. Angel Eyes (3:23)
07. My Romange (3:39)
08. Stella By Starlight (4:33)
09. Just Friends (4:43)
10. In Love Too Easily (3:17)
11. My Foolish Heart (4:41)
12. Alone Togheter (4:04)
13. The Touch Of Your Lips (3:25)

Donatella Luttazzi, singer, singing teacher, composer and arranger.

Jazz Singer, American folk, loving even the Brazilian repertoire, sang with Tony Scott, Francesco Puglisi, Eddie Palermo, Antonello Vannucchi, Irio De Paula, Cinzia Gizzi, Amedeo Tommasi, and many others, and for some months to Barbra's of New York with the quintet of Jeff Hittman.

She has just finished recording a CD with the trio of Amedeo Tommasi, with John Thomas at CB and Marco Valeri on drums, the repertoire of his loved Chet Baker.

I Love You Chet

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Dirk Schaadt Organ Trio - Time To Change

Size: 148,5 MB
Time: 64:06
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Hammond Organ
Art: Front

01. Eddie Likes It (5:54)
02. Tristesse Royal (6:33)
03. You Think You Know It (6:37)
04. Seven Dance (6:45)
05. Both Of You (6:31)
06. She's Late (5:57)
07. Keep The Flow (5:53)
08. Time To Change (7:22)
09. Just An Option (6:19)
10. Gut Gelaunt (6:10)

The Cologne music scene has always been a very fertile ground for spectacular projects - international names of many genres make the city as their home and meet local heroes as well as emerging talents. Cultural life, club and concert culture is a pulse of this city. See you on stage and in sessions - and sometimes then meet musicians, which are already "sparks" at the first meeting. This happened when Dirk Schaadt organ trio that now his debut album Time To Change presents.

Dirk Schaadt (Hammond organ), Martin Feske (guitar) and Marcus Möller (drums), all already known quantities of their craft have immediately sensed that they are musically exactly on the same wavelength.

"The high-energy, homogenous trio sound was the first common tone there. And we was all at once a compelling need clear that this is the birth of a new sensational band be m u s s! "Schaadt gives a nod to protocol.

Their concert program of this high-energy trio presented here also an immense variety of styles: Songs of funky soul jazz finely engraved ballads to groovy and swinging jazz compositions combine to create a dynamic, homogeneous and therefore unique, unmistakable trio sound and thus ensure an absolutely authentic and varied musical experience. ~Google translator

Time To Change

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Jeff Beal - Three Graces

Styles: Trumpet Jazz, Jazz Fusion
Year: 1993
File: MP3@320K/s
Time: 51:49
Size: 119,0 MB
Art: Front

(3:43)  1. Jazz Habit
(5:40)  2. Three Graces
(5:41)  3. I Saw Isabella
(5:15)  4. Wrong Number
(6:40)  5. Through A Glass Dimly
(5:19)  6. The Watchers
(3:49)  7. Prayer of St. Francis
(6:22)  8. Dizzy Spells
(6:22)  9. For Miles
(2:54) 10. Waltz for Mary

Trumpeter Jeff Beal's compositions do not contain catchy melodies, but instead set mysterious and often melancholy moods with interesting frameworks, using occasional funk lines creatively. Much of the music builds logically to unexpected heights with surprising turns. Beal's fine trumpet playing is generally quite original (even if he hints strongly at Miles Davis' sound when he is muted) and his sextet (with Steve Tavaglione's tenor, pianist John Beasley, and bassist John Patitucci) is flexible enough to interpret his complex compositions. ~ Scott Yanow  http://www.allmusic.com/album/three-graces-mw0000621319

Personnel: Trumpet – Jeff Beal;  Bass – John Patitucci;  Drums – Dave Weckl, Vinnie Colaiuta;  Guitar – Steve Cárdenas;  Piano – John Beasley;  Saxophone [Tenor] – Steve Tavaglione

Three Graces

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Dave Weckl Band - Multiplicity

Styles: Jazz, Crossover Jazz
Year: 2005
File: MP3@320K/s
Time: 54:11
Size: 125,5 MB
Art: Front

(5:30)  1. Watch your step
(5:40)  2. Elements of Surprise
(5:55)  3. Vuelo
(6:01)  4. Inner vision
(6:25)  5. What it is
(5:34)  6. Chain reaction
(5:33)  7. Cascade
(6:37)  8. Mixed bag
(6:54)  9. Down on the corner

Sometimes it's best to take things on face value. A solid collection of engaging compositions, plenty of infectious grooves, and strong soloing/interplay can go a long way to making an album worthwhile, even if it doesn't demonstrate any kind of specific characteristics that give it a distinctive personality. Sometimes an album is just plain fun, nothing more, nothing less. Over the course of his 25-year career, drummer Dave Weckl has created an almost unparalleled reputation in fusion circles as a player with staggering chops and the ability to navigate the most complex of charts the latter arguably most visible during his tenure with keyboardist Chick Corea's Elektric Band, which reconvened last year for a new record and tour, after a fourteen-year hiatus. But along with his reputation as a virtuosic player was often an undercurrent that his playing always felt somehow cold and sterile. While Weckl has been releasing solo albums since '90's Master Plan, it's really been over the past five years that his Dave Weckl Band has emerged with a combination of deep funk grooves and hints of rhythmic influences from farther afield that lay waste to the claim that Weckl is a skilled but clinical player. Multiplicity is a high-energy but never bombastic session that gives everyone plenty of chance to stretch out, all within the context of some attractive and upbeat compositions, most being collaborations between Weckl, reedman Gary Meek, and keyboardist Steve Weingart, with three tracks by Weingart alone. But, most important, the album feels good. 

The precedents are all there. Weckl's time with Corea can be heard in some of the charts' complicated and unexpected rhythmic twists and turns, but Yellowjackets and Jaco-era Weather Report are the clearest foundations. Weckl and his long-time rhythm section partner, bassist Tom Kennedy, seem joined at the hip on tunes ranging from the bright opener "Watch Your Step, the Latin-informed "Vuelo, and the 7/4 mover, "Mixed Bag. But Weckl is equally connected to bassist Ric Fierabracci, who plays on four of the nine tracks, most notably on the Weather Report-inflected shuffle of "Elements of Surprise and the visceral, behind-the-beat funk of "What It Is. Weingart and Meek are capable soloists, but if there's any criticism, it's that, while everything is delivered with complete commitment, no originality distinguishes the players. The generic nature of the playing, despite its high level, is what stops the record, clearly an enjoyable one, from being great. There's no doubt that, in the area of funkified fusion, Weckl and his band represent some of the better players around. And in that regard, for fans of the genre who want to hear vivid playing that avoids its almost inherent excesses, one could do far worse than check out Multiplicity. Still, if Weckl wants his band to get to the next level, he needs to find a way of giving it a clear identity. ~ John Kelman  http://www.allaboutjazz.com/multiplicity-dave-weckl-stretch-records-review-by-john-kelman.php

Personnel: Dave Weckl (drums, timbales, percussion, programming); Paul Pesco (guitar); Gary Meek (alto flute, bass clarinet, soprano saxophone, tenor saxophone); Steve Weingart (keyboards); Richie Gajate Garcia (congas, percussion).

Multiplicity

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Eddie Harris - Dancing By A Rainbow

Styles: Vocal, Piano And Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 56:51
Size: 130,6 MB
Art: Front

(12:52)  1. Mean Greens
( 5:30)  2. The Grand Strut
( 7:09)  3. Set Us Free
( 3:42)  4. Boogie Woogie Bossa Nova
( 6:40)  5. You Are Not The Right One For Me
( 5:33)  6. Dancing By A Rainbow
( 7:19)  7. An April To Be Remembered
( 8:02)  8. It's Just Fun And Games

If Musicmasters' claim that Freedom Jazz Dance is the last "fully authorized" Eddie Harris studio session is to be believed, what are listeners to make of this baby, which followed the Musicmasters date by nearly a year? Whether authorized or not, Dancing by a Rainbow is actually a better capstone to his studio legacy. Recorded in a reverberant Munich studio, with old '70s cohort Ronald Muldrow back on electric guitar, Nolan Smith on trumpet and flugelhorn, and a strutting rhythm section (electric and acoustic bassist Jeff Chambers, drummer Gaylord Birch), the music-making is hotter, the styles more diverse, and the 60-year-old leader who had a little more than a year and a half to live is in just as splendidly inventive shape. All the compositions are Harris', nearly half of which are remakes of some of his best, less-often-encored stuff from his heyday in the '60s and early '70s. If anything, this hard-swinging, nearly 13-minute remake of "Mean Greens" is even better than the original, with Muldrow's rhythm guitar serving as the main engine. 

Harris' solo is a career-encompassing summary of his funk style, and further down on the track he starts comping on piano right in the middle of Chambers' solo which has the electrifying effect of driving everyone even harder. "Set Us Free" (originally recorded with Les McCann) goes at a faster, more brittle, percolating tempo, and "Boogie Woogie Bossa Nova" is brighter in tone and funkier in pace. The newer tunes range from truckin' soul-jazz ("The Grand Strut") through the loose-jointed syncopated funk of the title track, the good-time Brazilian samba "It's Just Fun and Games," and the more straight-ahead manner that Harris often cultivated in the last years. For old times' sake, Harris also cuts loose a bop-scat vocal on "An April to Be Remembered," with an occasional reminder of his Leon Thomas-style yodel. Clearly, the Europeans understood Eddie Harris' versatility perfectly. ~ Richard S. Ginell  http://www.allmusic.com/album/dancing-by-a-rainbow-mw0000646878

Personnel: Eddie Harris (vocals, tenor saxophone, piano); Nolan Smith (trumpet, flugelhorn); Ronald Muldrow (electric guitar); Jeff Chambers (electric bass); Gaylord Birch (drums); Uli Stach (percussion).

Dancing By A Rainbow

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Eldar Djangirov - Three Stories

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 75:51
Size: 174,1 MB
Art: Front

( 5:11)  1. I Should Care
( 3:56)  2. Prelude In C# Major
( 5:49)  3. Darn That Dream
( 5:00)  4. Windows
( 5:49)  5. Etude Op. 2 No. 1
( 4:53)  6. In Walked Bud
( 5:43)  7. Three Stories
( 4:17)  8. So Damn Lucky
( 4:33)  9. Embraceable You
( 3:33) 10. Russian Lullaby
( 2:58) 11. Air on a G String
( 5:45) 12. Impromptu
(14:59) 13. Rhapsody in Blue
( 3:19) 14. Donna Lee

Since emerging on the worldwide jazz scene in 2004, pianist Eldar Djangirov has been touted for the classical skill he brings to standard jazz and original material alike. With Three Stories, Eldar attacks the classical repertoire itself, mixing a pair of Bach pieces, and one from Alexander Scriabin, with standards by the likes of Sammy Cahn, Charlie Parker, Thelonious Monk and George Gershwin, plus a few originals. The three stories classical, standards (or popular music he also covers a Dave Matthews tune) and originals are told with a consistent voice that serves to twine and intermix the narratives not unlike Claude Simon's fiction. By the time the penultimate "Rhapsody in Blue" rolls around, the inventive mix in Gershwin's jazz concerto can be heard anew. The album is Eldar's first solo piano recording and first, incidentally, to feature his full name on the cover (whether this signals an attempt to move away from the one-name moniker he has favored heretofore is unclear). He opens, appropriately enough, with a full minute's worth of classical flourishes, before advancing the melody of "I Should Care" in any sustained manner. 

But even then, the linear course is brief. The tune having been established, Eldar is off to the races, but it's a neck-and-neck gallop between classical and ragtime motifs. And a brief pause is all that separates this standard of popular music and Bach's "Prelude in C# Major" the exuberant runs that course Bach's piece stemming, seemingly, from Cahn's to bore into the German heart and emerge not much later as the dust from Tchaikovsky's "Sugar Plum Fairy" sprinkling over Van Heusen's "Darn That Dream." The high-end, raspy plunkings that form the sleepy melody of "Dream" constitute, perhaps, the album's most inspired crossing of musical tracks.

Other highlights include a take on Monk's classic celebratory piece, "In Walked Bud," here rendered with a deep undercurrent of pain, an abiding melancholy (if yet shy of all-out misery), stabbing dully but consistently at the daily effort of coming and going of sitting, of waiting, of walking in even as the motion surges inevitably ahead. Gershwin's "Embraceable You" is achingly beautiful, romantic and maybe too sweetly sentimental for some the crush of heavily scented roses but the piece never lacks for intelligence. And when Eldar reaches the "Rhapsody" apex, the entire weave of musical stories comes to seem an undressing of Gershwin's mind, his brain rattling the "musical kaleidoscope of America" on a train ride to Boston. Tchaikovsky and Scriabin are dead. Stravinsky's in flower. And the tracks race into America for all the wild vagabonds to jump onboard. Eldar stitches his one-man concerto with improvised "orchestral" fills, allowing the glimpse of a time, not far off, when the soloist will rage over the stateliness of symphonies  ragtime-infused or not. It hardly seems an accident that the pianist closes his album with a Charlie Parker tune. ~ Matt Marshall  http://www.allaboutjazz.com/three-stories-eldar-djangirov-sony-masterworks-review-by-matt-marshall.php
 

Personnel: Eldar Djangirov, piano.

Three Stories

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Jackie Ryan - Speak Low

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 62:49
Size: 144,0 MB
Art: Front

(4:08)  1. Doozy
(5:14)  2. Speak Low
(6:33)  3. Caminhos Cruzados
(4:49)  4. Do Something
(4:52)  5. Opportunity Please Knock
(8:34)  6. I Haven't Got Anything Better to Do
(5:25)  7. Brigas Nunca Mais/A Felicidade
(3:25)  8. Tell Me More and More and Then Some
(5:12)  9. Dat Dere
(5:08) 10. With the Wind and the Rain In Your Hair
(4:56) 11. My How the Time Goes By
(4:26) 12. Solamente una Vez

"One of the outstanding jazz vocalists of her generation and, quite possibly, of all time...rivaling the dexterous sass of Sarah Vaughan, the instinctive smarts of Carmen McRae and the scintillating verve of Diana Krall." ~ Christopher Loudon, Jazz Times

Jackie teamed with Grammy Award winner John Clayton to deliver her latest chart-topping CD "Listen Here" - a tour de force through a myriad of jazz idioms from blues and gospel flavored jazz gems, to luscious love songs, a soaring Spanish ballad, a Gershwin classic, pulsating samba rhythms, an original with lyrics penned by Grammy/Oscar/Emmy Award winners all culminating with the title track: a stunning duet with 3-time Grammy nominee Gerald Clayton. "Those who hear her are the fortunate ones," writes Howard Mandel - president, Jazz Journalists Association; "An astonishing contralto voice," (Downbeat), thrilling audiences across the globe with her powerful 3 & 1/2 octave range and her magnetic stage presence - and amassing, along the way, an impressive array of records (three back-to-back #1 CDs on JazzWeek's nationwide chart) and glowing reviews. Her last outing - a double CD, "Doozy" - featured Cyrus Chestnut, Eric Alexander, Jeremy Pelt, Carl Allen, Ray Drummond and Romero Lubambo, garnered universal praise (4-Stars from both Downbeat and AMG), and held the #1 position nationwide on JazzWeek's industry-standard chart for a record-breaking 7 solid weeks. Her previous CD, "You and The Night and The Music" featuring Red Holloway, Tamir Hendelman, and Jeff Hamilton among others, also received 4 stars from AMG and Downbeat. In addition to these jazz greats , Ms. Ryan has recorded and/or performed with: Toots Thielemans, Clark Terry, Buddy DeFranco, Ernie Watts, Harry Allen, Scott Hamilton, John Clayton, Gerald Clayton, Amina Figarova, Mike Wofford, Jon Mayer, Larry Vuckovich, Barry Harris, Bill Cunliffe, Shelly Berg, Benny Green, Jeff Hamilton, Terry Gibbs, Emil Richards, and Jon Hendricks

Grammy- Award winning John Clayton - who produced and arranged her latest chart-topping CD for Jackie "Listen Here" (#1 on Jazzweeks nationwide radio chart for 4 weeks!) - has a gift for arranging for singers (Diana Krall, Dee Dee Bridgewater, Whitney Houston, among others), and this pairing was a match made in musical heaven. "I first paid attention to Jackie when I heard her stunning recordings with The Jeff Hamilton Trio," John says. "Her version of 'Besame Mucho' stopped me in my tracks." For these special recordings, John called on members of both the Grammy - nominated Clayton-Hamilton Jazz Orchestra, and the Clayton Brothers Quintet (nominated for two Grammy Awards)  the extraordinary pianist Gerald Clayton, fiery percussionist Obed Calvaire, soulful saxmaster Rickey Woodard, trumpet virtuoso Gilbert Castellanos, and gifted guitarist Graham Dechter. John also lent his prodigious talents to this CD, weaving a sensitive bow - as on "A Time For Love," that literally melts into Ms. Ryan's sultry voice. Ms. Ryan's rousing rendition of "The Gypsy In My Soul" perfectly reflects the gypsy in her soul - the far-reaching range of musical territory she traverses in her concerts and her lifelong love of jazz in all its manifold permutations. This ability to explore genres both culturally outside of jazz's mainstream, as well as those conventional touchstones within its borders, is the mark of a true jazz mind. Not content to merely rehash the safety of well-worn standards, Jackie will often overlook the ordinary, and seek out and delve into the extraordinary, the a-typical, the exotic. Ms. Ryan has been profiled as the featured artist for NPR, Voice of America, Primetime A&E and CNN TV en Español and has filled premier venues both here and abroad - Asia, Australia, and Europe (such as eight years at London's famed Ronnie Scott's Club) - and festivals at home such as Telluride, Monterey, and the Lionel Hampton Jazz Festival, and packed concerts at New York's Birdland, Lincoln Center's Dizzy's Club Coca-Cola, Florida's Broward Center, and the San Francisco Bay Area's Yoshi's. But it is not by accident that her cross-cultural appeal "bridges the gap between both geography and generations," as Billboard so aptly put it. Part Irish, part Mexican, she was born into it - and grew up listening to a unique blend of voices around her family's small home. Her father was of Irish descent, born in San Francisco's Butchertown, working night shifts and educating himself in Greek and Latin and singing classical pieces around the house in his trained baritone.

Her mother (who sang operettas at the Teatro Degollado in Guadalajara) was Mexican and crooned Spanish folk songs to her as a child. "I remember those romantic album covers she had with the Spanish ladies in brilliant colors; and the melodies I heard, the songs I heard, just filled me up. So that's what I kept inside of me." Tragically, Jackie lost her mother at the age of 15 and, in memory, always includes a Spanish song in each of her CDs - in this case, the passionate "La Puerta."  Ms. Ryan's natural affinity for languages extends deeply into the language of jazz and its intricate structures. She possesses a keen ear for jazz phrasing and its internal rhymes - and, as a lyricist, has composed note-for-note vocalese to the scorching sax solos of Benny Carter's "DOOZY" and Joe Henderson's "The Kicker." Her love of a great lyric is reflected in her choices for this concert and her CD - a collection celebrating some of her favorite lyricists - from lesser-recorded jazz gems such as Carolyn Leigh's wry lyrics in "How Little We Know," to Abbey Lincoln's joyous ode to love and life in "Throw It away." "Dear wonderful Abbey Lincoln was a true original, one of my heroines," Jackie says. "I've been a fan of her ever since I saw her as an actress in 'Nothing But A Man.' She had a freedom of expression - a voice for social activism she shared with her husband, Max Roach - their 'We Insist/Freedom Jazz Suite' was a masterpiece." In her CDs, like in her concerts, Jackie offers us a bounty of lyrical choices. So give a "Listen Here," and you will be joining Jackie and these superb musicians on an adventurous journey across a most inviting, expansive terrain - and maybe put a little gypsy in your soul!  http://www.jackieryanmusic.com/bio.html

Personnel:  Jackie Ryan (vocal);  Cyrus Chestnut (piano);  Eric Alexander (tenor sax);  Jeremy Pelt (flugelhorn,trumpet);  Romero Lubambo (guitar);  Carl Allen (drums);  Ray Drummond (bass);  Neal Smith (drums);  Dezron Douglas (bass)

Speak Low

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Bobby Durham, Massimo Farao, Lorenzo Conte - Fascinating

Styles: Jazz, Mainstream Jazz
Year: 2005
File: MP3@320K/s
Time: 77:22
Size: 180,5 MB
Art: Front

(5:24)  1. Aranjuez Mon Amour (J.Rodrigo)
(4:43)  2. Recuerdos de Alhambra (F.Tarrega)
(3:13)  3. Romance (Jeux inter dits) (Trad.)
(6:26)  4. Adriana
(4:11)  5. Toccata (G.Rolland)
(5:25)  6. This masquerade (L.Russel)
(2:42)  7. Scarborought Fair (P.Simon-Garfunkel)
(6:04)  8. Badahmbe
(4:46)  9. Estrellita (P.Ponce)
(5:27) 10. Gelsomina (M.Galdieri-N.Rota)
(6:34) 11. Brutus Is Gone
(4:26) 12. Never on Sunday (M.Hadjdakis-B.Towne)
(4:21) 13. The Third Man Theme (A.Karas)
(5:34) 14. My funny Valentine (R.Rodgers)
(2:51) 15. Washington square (B.Goldtsein)
(5:07) 16. The Duck

Bobby Durham (February 3, 1937 – July 6, 2008) was an American jazz drummer. Durham was born in Philadelphia and learned to play drums while a child. He played with The Orioles at age 16, and was in a military band between 1956 and 1959. After his discharge he played with King James and Stan Hunter. In 1960 he moved to New York City, where he played with Lloyd Price, Wild Bill Davis, Lionel Hampton, Count Basie, Slide Hampton, Grant Green, Sweets Edison, Tommy Flanagan, Jimmy Rowles, and the Duke Ellington Orchestra, in which he played for five years. While working with Basie he met Al Grey, and was a member of several of Grey's small ensembles. 

He accompanied Ella Fitzgerald for more than a decade, and worked with Oscar Peterson in a trio setting. Durham also played in trios with organists such as Charles Earland and Shirley Scott, and there was a resurgence in interest in Durham's work during the acid jazz upswing in the 1990s. Many of Durham's projects, both as sideman and as leader, have come due to his association with producer Norman Granz, who had him work with Ella Fitzgerald, Count Basie, Harry Edison, Flanagan, and Joe Pass. Durham has led his own combos as well; he is noted for scat singing along with his drum solos. Durham has also performed often with pop and soul musicians such as Frank Sinatra, James Brown, Ray Charles, and Marvin Gaye. He died in Genoa, Italy, aged 71. https://en.wikipedia.org/wiki/Bobby_Durham_%28jazz_musician%29

Fascinating

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Pharoah Sanders - Elevation

Styles: Post-Bop, Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 47:22
Size: 108,6 MB
Art: Front

(18:01)  1. Elevation
( 4:10)  2. Gretting To Sauid
( 5:38)  3. Ora-Se-Rere
(13:51)  4. The Gathering
( 5:41)  5. Spiritual Blessing

Elevation, Pharoah Sanders' final album for Impulse!, is a mixed bag. Four of the five cuts were recorded live at the Ash Grove in Los Angeles in September of 1973, and the lone studio track, "Greeting to Saud (Brother McCoy Tyner)," was recorded in the same month at Wally Heider's studio. The live date is fairly cohesive, with beautiful modal piano work from Joe Bonner, Pharoah playing tenor and soprano as well as a myriad of percussion instruments and vocalizing in places, and a percussion and rhythm section that included Michael Carvin on drums, bassist Calvin Hill, and hand drummers John Blue and Lawrence Killian. The standout on the set is the opener. At 18 minutes, it's the longest thing here and gives the band a chance to stretch into African and Latin terrains. Sanders' long, loping, suspended lines create a kind of melodic head that is underscored by Bonner's hypnotically repetitive piano work, playing the same chord progression over and over again as he begins his solos (one on each horn). Somewhere near the five-minute mark, Pharoah enters into a primal wail and the whole thing becomes unhinged, moving into a deep blowing session of free improv. 

Honks, squeals, wails, and Bonner pounding the hell out of the piano erase any trace of what came before, and this goes on for four minutes before the theme restates itself and once more the magic begins. It's utterly compelling and engaging. "Saud" finds a host of percussionists (including Sanders) along with Hill on tamboura, Bonner, and violinist Michael White. It's a subtle and droning work, full of a constant hum. The other long track, "The Gathering," clocks in at almost 14 minutes, but instead of being a somber nocturnal work it's a lively South African-inspired work that nods to Dollar Brand for inspiration. A gorgeous, nearly carnival piece, it rolls and chugs and runs along on the steam created by Bonner's beautiful chord work. 

The chorus of vocals chanting in the foreground and background adds to the party feel, but once again it choogles right off the track into some rather angry and then spooky free improv, with a fine solo by Hill. This may not rate as highly as some of Sanders' other recordings for the label like Thembi or Karma, but there is plenty here for fans, and it is well worth the investigation and the purchase. ~ Thom Jurek  http://www.allmusic.com/album/elevation-mw0000172047

Personnel: John Blue: percussion; Joe Bonner: percussion, piano, harmonium, vocals, cowbell, wood flute; Sedatrius Brown: vocals; Michael Carvin: drums, vocals; Calvin Hill: bass, vocals, tamboura; Jimmy Hopps: percussion; Lawrence Killian: percussion, Conga, Vocals, bell tree; Kenneth Nash: percussion; Pharoah Sanders: flute, Percussion, soprano sax; tenor sax; vocals, bells, shaker; Michael White: violin.

Elevation

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