Steve Kuhn Trio - Sing Me Softly of the Blues

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 56:06
Size: 128,6 MB
Art: Front

(7:35)  1. This Is New
(5:28)  2. Dance Only With Me
(5:02)  3. Chicken Feathers
(6:08)  4. My Funny Valentine
(5:29)  5. Sing Me Softly Of The Blues
(4:26)  6. Naima
(4:25)  7. Sticky Kisses
(4:44)  8. Who Cares
(5:35)  9. Lament
(7:10) 10. The Very Thought Of You

A highly regarded jazz pianist and composer, Steve Kuhn is known for his sophisticated ear for harmony and lyrical, motivic approach to improvisation. Emerging from the Boston jazz scene, Kuhn's adaptive, forward-thinking skills have found him moving across various genres from swinging acoustic post-bop to classical-influenced chamber jazz and the avant-garde. Born in Brooklyn, New York in 1950 to Hungarian immigrant parents, Kuhn first became interested in music at a young age while listening to his father's jazz record collection on 78s. Starting piano lessons at age five, he quickly displayed his gift for perfect pitch. After moving to Boston with his family, Kuhn began taking lessons with the legendary Boston-area pedagogue Margaret Chaloff, whom he credits with engendering his strong classical piano technique. Also during this time, he befriended Chaloff's son, saxophonist Serge Chaloff, who encouraged his interest in jazz. By his teens, Kuhn had developed into an adept jazz pianist, influenced by the recordings of jazz luminaries like Duke Ellington, Bud Powell, Fats Waller, and Art Tatum. He formed his own trio with drummer Arnold Wise and bassist Chuck Israels and began playing local clubs. Even while attending Harvard, Kuhn held down a six-nights-a-week gig in Harvard Square and gained valuable experience working with the myriad jazz stars who came through the city, including Chet Baker, Coleman Hawkins, and Vic Dickenson, among others. After graduating Harvard, Kuhn continued his studies at the Lenox School of Music, where he rubbed shoulders with fellow students Ornette Coleman and Don Cherry and studied under esteemed jazz scholars like Gunther Schuller and George Russell. It was also while at Lenox that he met trumpeter Kenny Dorham, who hired the pianist for a yearlong tour. Parting ways with Dorham in 1960, Kuhn next joined legendary saxophonist John Coltrane's quartet for a stint at New York's Jazz Gallery. While brief (Kuhn was replaced by McCoy Tyner after eight weeks), the experience inspired Kuhn and would inform much of his later work. Also during the '60s, Kuhn began appearing on recording dates with artists like Stan Getz, Oliver Nelson, and Art Farmer; he also spent a year touring with Farmer and future collaborators bassist Steve Swallow and drummer Pete La Roca. 

As a leader, Kuhn debuted alongside pianist Toshiko Akiyoshi on 1963's The Country and Western Sound of Jazz Pianos. He then followed up with 1966's Three Waves featuring Swallow and La Roca. Also in 1966, he paired with fellow Lenox student Gary McFarland for the landmark chamber jazz album The October Suite. In the late '60s, Kuhn relocated to Stockholm, Sweden, where he lived and performed until 1971. Ironically, it wasn't until returning to the States that Kuhn signed with Manfred Eicher's then fledgling European jazz label ECM. Notably, Kuhn's work on The October Suite had been one of Eicher's early inspirations in founding the label. With ECM, Kuhn released several probing and atmospheric albums including Ecstasy (1974), Trance (1974), Motility (1977), Non-Fiction (1978), Playground featuring vocalist Sheila Jordan (1979), and Last Year's Waltz (1981).

In the '80s, Kuhn continued to refine his sound, often playing in a trio with bassist Ron Carter and drummer Al Foster. Many of his albums from this period, including 1984's Mostly Ballads, 1987's Life's Magic, and 1988's Porgy, showcase a mix of well-curated standards along with his inventive original compositions. It was a template that Kuhn would stick with throughout the next decade as he found himself working in various trio settings with artists like David Finck, George Mraz, Buster Williams, Billy Drummond, Lewis Nash, Bill Stewart, Kenny Washington, and others. While the trio remained Kuhn's preferred format, his 1995 album, Seasons of Romance, found him working in an all-star quintet with tenor saxophonist Bob Mintzer and trumpeter Tom Harrell. Even more expansive was his 2004 return to ECM, Promises Kept, which found him backed by a small string orchestra. Kuhn also retained his exploratory edge, returning to his love of classical composers like Debussy and Ravel on 2006's Pavane for a Dead Princess. Jazz reworkings of classical compositions were featured on his 2008 trio album, Baubles, Bangles and Beads. In 2009, Kuhn revisited his time as a member of John Coltrane's quartet with Mostly Coltrane, featuring saxophonist Joe Lovano, on ECM. Also for ECM, Kuhn paired with bassist Swallow for 2012's Wisteria. In 2016, Kuhn was once again joined by Swallow and drummer Joey Baron for At This Time... on Sunnyside. ~ Matt Collar http://www.allmusic.com/artist/steve-kuhn-mn0000036645/biography

Personnel: Steve Kuhn (piano); George Mraz (bass); Pete LaRoca (drums).

Sing Me Softly of the Blues

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Jessica Molaskey - Pentimento

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 45:26
Size: 104,5 MB
Art: Front

(2:44)  1. Oh, You Beautiful Doll
(3:02)  2. I'm Just Wild About Harry
(3:06)  3. Ain't We Got Fun
(3:31)  4. What'll I Do
(3:22)  5. With Plenty Of Money And You/We're In The Money
(2:29)  6. Waitin' For The Train To Come In
(2:41)  7. Red, Red Robin
(1:57)  8. By The Beautiful Sea
(2:49)  9. I'm Always Chasing Rainbows
(2:46) 10. Oh, How I Hate To Get Up In The Morning
(4:12) 11. You Made Me Love You
(1:50) 12. I Tried Too Hard For Too Long
(1:05) 13. When I Lost You
(1:55) 14. Look For The Silver Lining
(3:18) 15. I Can't Give You Anything But Love
(1:37) 16. Beautiful Dreamer
(2:57) 17. Sail Away

With the seemingly steady rise of interest in traditional American popular song, the result has been a treasure trove of CD reissues, a Renaissance of careers of more seasoned veteran performers, and the appearance of many new singers who draw upon the repertoire and inspiration of the Great American Songbook. Along with the work of veterans such as Weslia Whitfield, the recently late Rosemary Clooney, and relative newcomers such as Stacey Kent, another traditional pop songstress has arrived. Pentimento, the new CD by Jessica Molaskey primarily mines the rare ore of songs from the era between the World Wars. Molaskey, and an impressive supporting cast including husband John, and father-in-law Bucky Pizzarelli, provide more than a mere recasting of this music. Instead of a stylized recreation by a repertoire-type ensemble, Molaskey and her assemblage, which also includes the clarinet of Ken Peplowski and the violin of Johnny Frigo, unearth a fresh, lightly swinging perspective that uncovers the sheer underlying beauty of these older songs. Molaskey performs the Eubie Blake/Noble Sissle classic “I’m Just Wild About Harry,” as a ballad rather than in its more familiar up-tempo version. 

As a ballad, a new tenderness of the lyric and the heartfelt emotion of this song come through like the beauty of aged wood grain hidden under stripped away old varnish. Another interesting twist is the inclusion of the seldom-heard verse to the song “Oh, You Beautiful Doll.” Molaskey’s voice is enchanting as she interprets songs such as “You Made Me Love You,” and “I Can’t Give You Anything But Love.” Her version of “Look for the Silver Lining,” even rivals the delicate rendition recorded by Chet Baker in the 1950’s.  Molaskey also demonstrates her writing talents with her added lyrics to Irving Berlin’s “Oh, How I Hate To Get Up In The Morning,” and original songs “I Tried Too Hard For Too Long,” and “Sail Away” co-written with husband John Pizzarelli. Molaskey also includes one song not from the 20th century. Her version of Stephen Foster’s “Beautiful Dreamer,” reveals the sentimental essence of this old chestnut. The recording quality of Pentimento is superb. The musicians assembled for the session represent top shelf talent. The quality of the sound is crystal clear with Molaskey’s very precise diction perfectly balanced with the accompanying instruments. For fans of traditional popular song and/or just fun sounding swinging music Pentimento is highly recommended as an addition to one’s CD collection. ~ Craig W.Hurst https://www.allaboutjazz.com/pentimento-jessica-molaskey-ps-classics-review-by-craig-w-hurst.php

Personnel: Jessica Molaskey, vocals; Bucky Pizzarelli, guitar and uke; John Pizzarelli, guitar, uke and additional vocals; Martin Pizzarelli, bass; Larry Goldings, piano; Ray Kennedy, piano; Johnny Frigo, violin; Ken Peplowski, clarinet; Tony Tedesco, brushes on phone book; Jesse Levy, cello.

Pentimento

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Gary Burton - Who Is Gary Burton?

Styles: Vibraphone Jazz
Year: 2013
File: MP3@320K/s
Time: 33:08
Size: 78,5 MB
Art: Front

(4:17)  1. Storm
(4:18)  2. I've Just Seen Her
(4:28)  3. Fly Time Fly
(4:01)  4. Conception
(5:44)  5. Get Away Blues
(5:26)  6. My Funny Valentine
(4:52)  7. One Note

By 1962, Gary Burton was known as a talented young vibraphonist, one who had already proven himself as a sideman and was breaking new ground as a master technician on his instrument, utilizing four mallets simultaneously with seemingly little effort. Joining him on this sophomore outing is a septet that includes Clark Terry, Phil Woods, Bob Brookmeyer (who is strangely not listed anywhere on the album jacket), and Joe Morello. The play list is anything but predictable, with two exciting originals by drummer Chris Swanson (a fellow Berklee alum), a well-crafted arrangement of George Shearing's "Conception," an elegant take of "My Funny Valentine" with a gorgeous flügelhorn solo by Terry, and an obscure but high-energy work by Jaki Byard, "One Note." Although Burton is obviously a very confident soloist, he feels no need to hog the spotlight (a common mistake by young jazz musicians in later decades), as he is happy to step back and let the veterans take center stage. ~ Ken Dryden http://www.allmusic.com/album/who-is-gary-burton-mw0000873709

Personnel:  Gary Burton — vibraphone;  Clark Terry — trumpet;  Bob Brookmeyer — valve trombone;  Phil Woods — alto saxophone;  Tommy Flanagan — piano;  John Neves — bass;  Joe Morello , Chris Swansen — drums.

Who Is Gary Burton?

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Marion Meadows - In Deep

Styles: Saxophone Jazz, Smooth Jazz
Year: 2002
File: MP3@320K/s
Time: 58:21
Size: 135,3 MB
Art: Front

(5:09)  1. Tales of a Gypsy
(4:10)  2. Thank You
(5:35)  3. Soul Food
(4:06)  4. Yeah Baby
(4:11)  5. Show Me, Show Me
(4:14)  6. Don't Wanna Know
(4:24)  7. South Chicago
(4:40)  8. Treasures
(4:02)  9. Flava
(5:17) 10. In Deep
(5:26) 11. Is That You
(4:03) 12. Slow Motion
(2:58) 13. Tales of a Gypsy Reprise

Marion Meadows' third Heads Up International release, In Deep, finds the sax player/songwriter/producer successfully infusing his distinctive sound with elements of hip-hop, neo-soul, and R&B. Along for the ride are Bob Baldwin, Will Downing (on the mid-tempo "Don't Wanna Know"), guitarist Ray Obiedo, Spyro Gyra guitarist Julio Fernandez, and emerging keyboardist/producer Michael Broening. The supple "Show Me, Show Me" is both sensuous and funky. Trumpeter Roy Hargrove doubles with Meadows on the slick, uptown "Soul Food." Other standouts are the smooth "Yeah Baby," the mellow "Treasures," "Is That You," "Slow Motion," and the dynamic title track. ~ Ed Hogan http://www.allmusic.com/album/in-deep-mw0000223257

Personnel:  Marion Meadows (soprano, alto & tenor saxophones); Julio Fernandez (vocals, acoustic & electric guitars); Blake Harris, Lindsay Finch, Valerie Scott, Will Downing (vocals); Michael Broening, Michael Beardon (keyboards, programming); Bob Baldwin (keyboards); Thano Sahnas, Rohn Lawrence, Ray Odiedo, Anthony Kinchion (guitar); Ron Jerkins (bass); John Roberts (drums); Dennis Johnson (programming).

In Deep

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George Russell - New York Big Band

Bitrate: MP3@320K/s

Time: 50:53

Size: 116.5 MB

Styles: Bop, Big band

Year: 1982/2010

Art: Front

[10:50] 1. Living Time, Event V

[ 9:25] 2. Big City Blues

[ 4:36] 3. Listen To The Silence, Pt. 1

[10:31] 4. Cubano Be, Cubano Bop

[ 6:02] 5. Mystic Voices

[ 5:28] 6. God Bless The Child

[ 3:59] 7. Listen To The Silence, Pt. 2

Alto Saxophone – Arne Domnérus, Ian Uling, Marty Ehrlich; Baritone Saxophone – Erik Nilsson; Baritone Saxophone, Bass Clarinet – Carl Atkins; Bass – Cameron Brown, Lars-Urban Helje; Bass Trombone – Dave Taylor, Sven Larsson; Congas – Babafumi Akunyon (tracks: 1 to 3, 5 to 7)Congas, Vocals – Sabu Martinez; Drums – Lars Beijbon, Warren Smith; Electric Piano, Organ – Ricky Martinez; French Horn – John Clark; Guitar – Mark Slifstein, Rune Gustafsson; Piano [Acoustic] – Goetz Tangerding; Piano [Acoustic], Electric Piano – Vlodek Gulgowski; Tenor Saxophone – Bernt Rosengren, Lennart Åberg, Ricky Ford, Roger Rosenberg; Trombone – Bengt Edvarsson, Gary Valente, Jörgen Johansson, Lars Olofsson; Trumpet – Americo Bellotto, Bertil Lövgren (tracks: 4), Håken Nyquist, Jan Allan, Stanton Davis. Recorded August 16, 1978, New York, except track 4, recorded live in Estrad, Sodertalje, Sweden, March 10, 1977.

George Allen Russell (1923 - ), American jazz pianist, composer and theorist, is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on Jazz rather than European music, in his 1953 book, The Lydian Chromatic Concept of Tonal Organization which paved the way for the modal revolutions of Miles Davis and John Coltrane. Russell's stylistic reach in his own compositions eventually became omnivorous, embracing bop, gospel, blues, rock, funk, contemporary classical elements, electronic music and African rhythms in his recent, ambitious extended works most apparent in his large-scale 1983 suite for an enlarged big band, The African Game. Like his colleague Gil Evans, Russell never stopped growing, but his work is not nearly as well-known that that of Evans, being more difficult to grasp and, in any case, not as well-documented by U.S. record labels. We try to remedy this here with this magnificent 1978 session when Russell led a 19-piece big band at New York's Village Vanguard for six weeks, in a tremendously diverse performance displaying the many facets of his art  including his first famous composition, the two-part "Cubano Be, Cubano Bop" written in 1947 for the Dizzy Gillespie Orchestra that served as a solid vehicle of that band's pioneering experiments in fusing bebop and Cuban jazz elements, enjoy.

New York Big Band

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Carsie Blanton - Not Old, Not New

Bitrate: MP3@320K/s
Time: 34:53
Size: 79.9 MB
Styles: Jazz, Soul, Rock vocals
Year: 2014
Art: Front

[3:46] 1. Azalea
[3:30] 2. Laziest Gal In Town
[2:05] 3. Heavenly Thing
[2:52] 4. Two Sleepy People
[4:38] 5. You Don't Know What Love Is
[1:57] 6. What Is This Thing Called Love
[4:20] 7. Do You Know What It Means To Miss New Orleans
[3:44] 8. Sweet Lorraine
[3:27] 9. Don't Come Too Soon
[3:46] 10. I'll Be Seeing You
[0:44] 11. Not Old, Not New

"It might seem counterintuitive for one of Americana’s best modern songwriters to take on the Great (Old) American Songbook, especially one who’s best known for moving between folk and rock, but since Blanton’s originals have always been teasingly playful about the war between the sexes, the battlefront in the sheets is a natural place for her to file a report. Rarely does a little something sound both so inviting and this deep." ~ Offbeat

Not Old, Not New

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The Oscar Peterson Trio - We Get Requests

Bitrate: MP3@320K/s

Time: 39:45

Size: 91.0 MB

Styles: Bop, Swing, Piano jazz

Year: 1964/2016

Art: Front

[2:48] 1. Corcovado (Quiet Nights Of Quiet Stars)

[2:39] 2. The Days Of Wine And Roses

[5:12] 3. My One And Only Love

[3:30] 4. People

[4:10] 5. Have You Met Miss Jones

[4:48] 6. Corcovado (Quiet Nights Of Quiet Stars)

[3:51] 7. The Girl From Ipanema

[5:10] 8. D & E

[4:37] 9. The Days Of Wine And Roses

[2:56] 10. Goodbye, J.D

Oscar Peterson, piano; Ray Brown, bass; Ed Thigpen, drums.

This 1964 studio session features the Peterson trio with bassist Ray Brown and Ed Thigpen, a group that had been together for five years by then and performed like a well-oiled machine. The repertoire is mostly pop songs of the day, including bossa nova tunes and film themes, and the treatments are fairly brief, with emphasis placed squarely on the melodies. Even in their lightest moments, though, the group demonstrates some of the qualities that made it among the most influential piano trios in jazz, a group that could generate tremendous rhythmic energy and a sense of developing musical detail. For all his legendary force, Peterson possesses a subtle rhythmic sense, and here he infuses even "People" with an undercurrent of swing  

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Peggy Lee - Then Was Then, Now Is Now/Bridge over Troubled Water

Styles: Vocal Jazz 
Year: 2008
File: MP3@320K/s
Time: 67:38
Size: 155,8 MB
Art: Front + Back

(2:10)  1. Trapped (In the Web of Love)
(2:32)  2. Losers Weepers
(1:54)  3. Free Spirits
(2:02)  4. I Go to Sleep
(2:07)  5. Leave It to Love
(2:25) 6. Love Theme from 'The Sandpiper' (The Shadow of Your Smile)
(2:31)  7. They Say
(2:22)  8. Seventh Son
(2:26)  9. Then Was Then (And Now Is Now)
(1:55) 10. Ev'rybody Has the Right to Be Wrong (At Least Once)
(4:04) 11. (I'm Afraid) The Masquerade Is Over
(2:29) 12. Stop Living in the Past
(1:57) 13. Maybe This Summer
(2:02) 14. This Could Be the Start of Something Big
(3:15) 15. You'll Remember Me
(5:05) 16. Bridge over Troubled Water
(3:34) 17. The Thrill Is Gone (From Yesterday's Kiss)
(3:25) 18. Something Strange
(2:44) 19. Have You Seen My Baby
(3:50) 20. He Used Me
(2:44) 21. (There's) Always Something There to Remind Me
(3:58) 22. I See Your Face Before Me
(2:52) 23. Raindrops Keep Fallin' on My Head
(3:06) 24. What Are You Doing the Rest of Your Life?

In the Peggy Lee discography, half a dozen LPs intervene between Then Was Then, Now Is Now!, originally released in the fall of 1965, and Bridge Over Troubled Water, which appeared four and a half years later in April 1970. The obvious question, then, is why mail-order reissue label Collectors' Choice Music decided in 2008 to license the albums from Capitol Records and reissue them, with a few extra tracks, together on a single CD. The answer, as revealed in the company's marketing materials, turns out to be equally obvious: these happen to be two LPs that somehow never got reissued on CD before. That's not an artistic reason, of course, and in fact the albums don't quite flow together. Then Was Then, Now Is Now! wasn't actually recorded as an album per se. It was really one of those grab-bag LPs assembled by the record company from recently issued singles ("The Shadow of Your Smile," "I Go to Sleep," and "Free Spirits," the last a Top Five easy listening hit) and stray tracks from recording sessions dating back more than two years (though never previously released, "Leave It to Love" had been recorded on May 31, 1963), probably just to have something new by Lee in the record stores during the 1965 fall buying season. That said, it had a point to make about the singer as an artist. At a time when she was being marginalized along with nearly all traditional pop singers of a certain age by the British Invasion and the resurgence of rock, she broke from her peers by accommodating herself to contemporary trends. "I Go to Sleep" was written by Ray Davies of the Kinks, a prominent British Invasion act, and Lee also felt free to cover the Willie Dixon blues standard "Seventh Son." 

Her own lyrics to a Cy Coleman melody constituted a statement of purpose in the title song, as did "Stop Living in the Past," the B-side to the single release of "I Go to Sleep," included here as a bonus. By 1970, record companies were encouraging all the traditional pop singers on their rosters to record contemporary material, if only the contemporary pop of songwriters like Paul Simon, Randy Newman, and the team of Burt Bacharach and Hal David. Nobody had to convince Lee, however, and Bridge Over Troubled Water, her follow-up to her 1969 comeback hit, "Is That All There Is?," found her covering all those songwriters in art pop arrangements by Mike Melvoin. 

Unfortunately, Melvoin doesn't seem to have had time to come up with anything new and interesting on such songs as Bacharach and David's "Raindrops Keep Fallin' on My Head," which had just gone to number one for B.J. Thomas, or Simon's "Bridge Over Troubled Water," which was still at the top of the charts for Simon & Garfunkel as the recording sessions were held. And Lee just followed along, turning in competent but unremarkable readings. She and Melvoin were better at the uptempo material, such as covering B.B. King's "The Thrill Is Gone" and the Newman composition "Have You Seen My Baby." Among the ballads, "You'll Remember Me" (an entry on the Easy Listening chart) sounded like an attempt to follow "Is That All There Is?" with another world-weary performance, and the version of the Michel Legrand movie song "What Are You Doing the Rest of Your Life?" made a strong album closer. But Bridge Over Troubled Water was not a great Lee album (or a big seller), which may help explain why it went out of print and was not reissued for almost 40 years. It would have made more sense paired with its immediate predecessor, Is That All There Is?, but even in this package it will be welcome to Lee fans, even if it doesn't rank with her best work. 

~ William Ruhlmann http://www.allmusic.com/album/then-was-then-now-is-now!-bridge-over-troubled-water-mw0000785435

Then Was Then, Now Is Now/Bridge over Troubled Water

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Grover Washington Jr. - The Best Is Yet To Come

Styles: Saxophone Jazz
Year: 1982
File: MP3@320K/s
Time: 40:22
Size: 92,6 MB
Art: Front

(5:21)  1. Can You Dig It
(6:01)  2. The Best Is Yet To Come
(4:30)  3. More Than Meets The Eye
(4:19)  4. Things Are Getting Better
(5:20)  5. Mixty Motions
(6:10)  6. Brazilian Memories
(4:40)  7. I'll Be With You
(3:58)  8. Cassie's Theme

Grover Washington, Jr. was a gifted jazz saxophonist who found his niche in a style of music that evolved in the 1980s called smooth jazz. He was one of the founders (along with David Sanborn) of this slick, funky, poppy style of jazz, Washington's albums continue to sell in impressive numbers even after his untimely death in 1999.  The Best Is Yet To Come is what one has come to expect from the saxophonist. This music is polished, streamlined, passionate, and soulful. Washington is in prime form on this 1982 outing, and his solos float effortlessly over the funky rhythm section. Wonderful vocal performances are also delivered courtesy Patti LaBelle on the title track and Bobby McFerrin on "Things Are Getting Better," and McFerrin even scat sings on the latter. The Best Is Yet To Come is one of the best of its kind. http://www.cduniverse.com/productinfo.asp?pid=1095365&style=music&fulldesc=T
 

Personnel : Grover Washington, Jr. (saxophone);  Patti LaBelle, Carla Benson, Evette Benton, Lucille Jones (vocals);  Jon Faddis, Frank Wess, Alex Foster (horns); Mona Goldman-Yoskin (flute); Billy Childs (piano, synthesizer); James Lloyd (piano); Richard Tee, Teddi Schlossman (Fender Rhodes piano); Paul Griffin, Dexter Wansel (synthesizer); Eric Gale, Richard Steacker, Lee Ritenour (guitar); Marcus Miller, Cedric Napoleon (bass); Yogi Horton, Darryl Washington (drums); Ralph MacDonald, Leonard Gibbs (percussion).

The Best Is Yet To Come

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Keith Jarrett - Mysteries

Styles: Piano And Flute Jazz
Year: 1976
File: MP3@320K/s
Time: 42:26
Size: 97,3 MB
Art: Front

(11:02)  1. Rotation
(10:04)  2. Everything That Lives Laments
( 6:10)  3. Flame
(15:08)  4. Mysteries

Another in Impulse's extensive series of Keith Jarrett Quintet recordings, this LP isn't one of the more coherent products of the run. It opens on a faltering note with the hopelessly diffuse and rambling "Rotation," and "Everything That Lives Laments" doesn't really get going until a lyrical Vince Guaraldi-like statement from Jarrett sets the track in motion. "Flame" is certainly novel, with Jarrett on Pakistani flute and Dewey Redman on Chinese musette, which combined with the percussion makes for a diverting jam. The Coltrane-ish 15-minute title track has passages of meditative beauty and others of listless torpor. For completists only. ~ Richard S.Ginell http://www.allmusic.com/album/mysteries-mw0000654500

Personnel: Keith Jarret (piano, Pakistani flute, wood drums, percussion), Dewey Redman (tenor saxophone, maracas, tambourine, Chinese musette), Charlie Haden (bass), Paul Motian (drums, percussion), Guilhermo Franco (percussion).

Mysteries

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Jean-Luc Ponty - Civilized Evil

Styles: Violin Jazz
Year: 1980
File: MP3@320K/s
Time: 39:55
Size: 91,7 MB
Art: Front

(6:30)  1. Demagomania
(4:12)  2. In Case We Survive
(4:53)  3. Forms of Life
(5:43)  4. Peace Crusaders
(4:19)  5. Happy Robots
(5:21)  6. Shape Up Your Mind
(4:49)  7. Good Guys, Bad Guys
(4:03)  8. Once A Blue Planet

All of the titles here make some kind of reference to cosmic issues of good and evil on the planet Earth, but the suggestive wordplay doesn't make this music much different from that on Jean-Luc Ponty's previous Atlantic outings. Ponty plays with his accustomed fluid virtuosity; the five-piece group ranges from standard Ponty fusion to mild funk; the rhythm section is sometimes more grandly recorded than before; and occasionally, one can hear some embryonic sequenced structures that would be explored further on in the decade. ~ Richard S.Ginell http://www.allmusic.com/album/civilized-evil-mw0000309112

Personnel:  Jean-Luc Ponty violon;  Joaquin Lievano guitare;  Chris Rhyne claviers;  Randy Jackson basse;  Mark Craney batterie

Civilized Evil

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Toshiko Akiyoshi & Lew Tabackin Big Band - Salted Ginko Nuts

Styles: Piano Jazz
Year: 1978
File: MP3@224K/s
Time: 41:19
Size: 66,6 MB
Art: Front

(7:39)  1. Elusive Dreams
(6:25)  2. Lazy Day
(6:58)  3. Chasing After Love
(7:00)  4. Salted Ginko Nuts
(7:02)  5. Time Stream
(6:13)  6. Son Of Road Time

The Toshiko Akiyoshi-Lew Tabackin Orchestra's first few recordings were made for RCA (usually released first in Japan and then later in the U.S.) but, after that association ended in 1978, most of the big band's recordings ended up being released by their own private Ascent label. The orchestra (based in Los Angeles) was one of the finest big bands of the era, as can be heard on this superior outing with Akiyoshi on piano, Tabackin displaying very different styles on tenor and flute, altoists Gary Foster and Dick Spencer, and trumpeter Bobby Shew. The leader's arrangements reflect both her roots in swinging bop and her Asian heritage. Highlights of the excellent set are "Chasing After Love" (based on "Lover"), the lyrical "Elusive Dream," and "Son of Road Time." 

~ Scott Yanow http://www.allmusic.com/album/salted-ginko-nuts-mw0000351555

Toshiko Akiyoshi (piano);  Bobby Shew (trumpet);  Gary Foster (alto saxophone).

Salted Ginko Nuts

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Zoot Sims - Zoot Sims & The Gershwin Brothers (Remastered)

Bitrate: MP3@320K/s
Time: 56:58
Size: 130.4 MB
Styles: Saxophone jazz
Year: 1975/2013
Art: Front

[6:21] 1. The Man I Love
[2:12] 2. How Long Has This Been Going On
[4:31] 3. Oh, Lady Be Good
[2:56] 4. I've Got A Crush On You
[7:09] 5. I Got Rhythm
[4:47] 6. Embraceable You
[4:35] 7. 's Wonderful
[3:41] 8. Someone To Watch Over Me
[3:23] 9. Isn't It A Pity
[5:22] 10. Summertime
[4:31] 11. They Can't Take That Away From Me
[4:26] 12. Oh, Lady, Be Good! [take 2, Alternate]
[2:58] 13. I've Got A Crush On You [take 5, Alternate]

Bass – George Mraz; Drums – Grady Tate; Guitar – Joe Pass; Piano – Oscar Peterson; Tenor Saxophone – Zoot Sims. Recorded in New York; June 6, 1975.

Along with his album with Count Basie (Basie and Zoot) during the same period, this is one of Sims' most exciting recordings of his career. Greatly assisted by pianist Oscar Peterson, guitarist Joe Pass, bassist George Mraz, and drummer Grady Tate, he explores ten songs written by George and Ira Gershwin. Somehow the magic was definitely present and, whether it be stomps such as "The Man I Love," "Lady Be Good," and "I Got Rhythm" or warm ballads (including "I've Got a Crush on You" and "Embraceable You"), Zoot Sims is heard at the peak of his powers. A true gem. ~Scott Yanow

Zoot Sims & The Gershwin Brothers (Remastered)

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Eddie Jefferson - The Jazz Singer

Bitrate: MP3@320K/s
Time: 46:51
Size: 107.3 MB
Styles: Jazz vocals
Year: 1976/1996
Art: Front

[3:31] 1. So What
[3:08] 2. Moody's Mood For Love
[2:42] 3. Sister Sadie
[3:01] 4. Lester's Trip To The Moon (Paper Moon)
[2:25] 5. T.D.'s Boogie Woogie
[2:59] 6. Now's The Time
[3:30] 7. Body & Soul
[2:56] 8. Workshop
[3:02] 9. Sherry
[3:17] 10. Baby Girl (These Foolish Things)
[2:51] 11. Memphis
[2:17] 12. Honeysuckle Rose
[2:30] 13. A Crazy Romance (The Preacher)
[2:32] 14. Night Train
[3:20] 15. N J R
[2:42] 16. I've Got The Blues (Lester Leaps In)

Eddie Jefferson, one of the great jazz singers and an important pioneer of vocalese, is heard in peak form on this Evidence CD which reissues an Inner City LP and adds six previously unissued selections to the program. The bulk of the music is from 1959-1961, with Jefferson backed by several horns including trumpeter Howard McGhee and tenor saxophonist James Moody, and sometimes three other vocalists. There are many highlights including Jefferson's original classic versions of "Body and Soul" (a tribute to Coleman Hawkins, the "king of the saxophone") and "So What" (dedicated to Miles Davis), a remake of "Moody's Mood for Love" and vocalese adaptations of a few Lester Young and Charlie Parker solos. Most of the unissued tracks are from these sessions, but there is also "Silly Little Cynthia" from 1964 (a duet with pianist Tommy Tucker) and a meeting with guitarist Louisiana Red on 1965's "Red's New Dream." When one considers that Jefferson otherwise did not record during 1963-1967, it makes those two numbers not only enjoyable but historic. This CD is highly recommended for all jazz collections. ~Scott Yanow

The Jazz Singer  

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Jeremy Fox - With Love

Bitrate: MP3@320K/s
Time: 52:36
Size: 120.4 MB
Styles: Piano jazz, Vocal jazz
Year: 2014
Art: Front

[4:19] 1. That Old Feeling (Feat. Kate Reid)
[4:56] 2. All My Tomorrows (Feat. Kate Mcgarry)
[4:22] 3. Three Little Words (Feat. Kevin Mahogany)
[4:49] 4. Get Out Of Town (Feat. Derek Fawcett)
[4:56] 5. Not While I'm Around (Feat. Sunny Wilkinson)
[4:02] 6. Girl Talk (Feat. Wendy Pederson)
[4:19] 7. Dindi (Feat. Rose Max & Ramatis Moraes)
[5:31] 8. Friendship (Feat. Anders Edenroth)
[4:14] 9. I'm Glad There Is You (Feat. Peter Eldridge)
[5:55] 10. Moon Ray (Feat. Lauren Kinhan)
[5:10] 11. So Many Stars (Feat. Kate Reid)

Jeremy Fox: piano (5), keyboards (6); Kate Reid: vocals (1, 11); Kate McGarry: vocals (2); Kevin Mahogany: vocals (3); Derek Fawcett: vocals (4); Sunny Wilkinson: vocal (5); Wendy Pedersen: vocals (6); Rose Max: vocals (7); Anders Edenroth: vocals (8); Peter Eldridge: vocals (9); Lauren Kinhan: vocals (10); Daniel Strange: piano, keyboards; Rene Toledo: guitar; Geoffrey Saunders: bass; Michael Piolet: drums; Ramatis Moraes: guitar (7); Lindsey Blair: guitar (6); Zach Larmer: guitar (6); Steve Lewis: drums (6); Angelo Versace: piano (4); Tim Jago: guitar (4); Daniel Susnjar: drums (4); Ryan Chapman: trumpet, flugelhorn; Paul Equihua: trumpet, flugelhorn; Jared Hall: trumpet, flugelhorn; Derek Ganong: trumpet, flugelhorn; Eric Bowman: trombone; Stephen Szabadi: trombone; Chris Gagne: trombone; Major Bailey: bass trombone; Neil Carson: alto saxophone; Dan Andrews: tenor saxophone; Alex Weitz: tenor saxophone; Matt Burchard: tenor saxophone; Derek Smith: tenor saxophone, clarinet, bassoon; Matt Small: clarinet; Ernesto Fernandez: flute; Erin Fishler-Branam: background vocals (8); Sherrine Mostin: scratch vocals; Pedro Fernandez: percussion; Nathan Skinner: vibraphone; Maria Chlebus: vibraphone (6); Vivek Gurudutt: table; Phuttaraksa Kamnirdratana: harp; Cassandra Eisenreich: flute; Allison Hubell: flute; James Drayton: oboe; Rachel Lueck: English Horn; Peter Bianca: clarinet; Carlos Felipe Vina: bassoon; Julia Paine: bassoon; Mathew Shefcik: flugelhorn; Stanley Spinola: horn; Larysa Pavecek: horn; Jon Lusher: horn; Sarah Williams: horn; Adam Diderrich: concertmaster; Michelle Godbee: violin; Patricia Jancova: violin; Karen Lord-Powell: violin; Zachary Piper: violin; Katrina Schaefer: violin; James Schlender: violin; Arianne Urban: violin; Steffen Zeichner: violin; Amanda Diaz: viola; Emily Jones: viola; Robyn Savitzky: viola; Kathryn Severing: viola; Joy Adams: cello; Sarah Gongaware: cello; Cecelia Huerta: cello; Chris Young: cello.

Dr. Jeremy Fox has certainly made his mark in the jazz world but, not as a singer or musician but rather, as an educator/clinician, vocal coach and arranger, and on his inaugural album With Love, Fox offers an inspirational vocal album of jazz standards deserving serious attention. Assembling a group of ten world-class vocalist with varied combos, studio orchestra, a big band and a string section, Fox presents eleven newly-arranged standards from the likes of Sammy Cahn, Cole Porter, Neil Hefti and Artie Shaw among others. Writing custom arrangements for a host of top-notch singers was, in part, based on his Doctoral project in Jazz Composition at the Frost School of Music at the University of Miami, the beautiful music found on this album, is the result of that creative effort.

Based in Miami, FL, the Doctor draws from many area singers with national reputations like fellow alumnus Kate Reid, Kevin Mahogany, Wendy Pedersen as well as drawing international artists like Peter Eldridge and Lauren Kinhan —both members of the renowned New York Voices—along with Brazilian singer Rose Max and Swedish vocalist Anders Edenroth. Opening the music is a brand new arrangement of the time-honored Lew Brown/Sammy Fain standard "That Old Feeling" with Professor Reid providing the smooth vocals befitting such a tune. Essentially, book ending the album by appearing one more time on the finale, Reid—with the accompaniment of the String section—provides a truly inspiring version of the Sergio Mendes staple "So Many Stars."

Grammy-nominated singer Kate McGarry graces the recording with a tender treatment of the Cahn/Van Heusen standard "All My Tomorrows" followed by one of the highlights of the disc with baritone vocalist Kevin Mahogany's superb voicing of "Three Little Words." Not to be outdone, Derek Fawcett—founding member of the Chicago-based pop group Down The Line—delivers a fantastic version of "Get Out of Town," featuring Alex Weitz on tenor saxophone with some of the best instrumentals of the recording. Versatile jazz singer Sunny Wilkinson provides a warm and gentle take of the Stephen Sondheim song "Not While I'm Around" followed by a terrific arrangement of the Hefti/Bobby Troupe classic "Girl Talk," delivered by the sensational Wendy Pedersen with a little help from alto saxophonist Neil Carson.

Two beautiful soft spots on the recording come from first, the Edenroth original "Friendship" complete with cello, flugelhorn and flute solos, and the Jimmy Dorsey immortal "I'm Glad There Is You" voiced with emotion by Eldridge. Fellow New York Voices member, Kinhan gets to swing a bit on the big band arrangement of Shaw's perky "Moonray" assisted by pianist/keyboardist Daniel Strange, director of an All-Star Jazz ensemble in Coral Gables, FL. Cleverly crafted for some of arranger Jeremy Fox's favorite singers, With Love is a treasure trove of gorgeous arrangements, outstanding vocal performances and stellar instrumentals—all defining this charming recording as one of the best vocal albums on the jazz landscape. ~Edward Blanco

With Love

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Lou Blackburn - Two Note Samba

Bitrate: MP3@320K/s
Time: 79:58
Size: 183.1 MB
Styles: Post bop, Bossa Nova
Year: 1963/2011
Art: Front

[4:08] 1. Two Note Samba
[3:46] 2. Jazz-A-Nova
[2:52] 3. Stella By Starlight
[5:52] 4. Manha De Carnaval
[4:42] 5. Dear Old Stockholm
[4:42] 6. Jean-Bleu
[3:18] 7. Secret Love
[4:52] 8. Song Of Delilah
[3:05] 9. I Cover The Waterfront
[3:28] 10. Harlem Bossa-Nova
[3:48] 11. Grand Prix
[5:29] 12. Perception
[4:49] 13. Ode To Taras
[3:10] 14. Luze Bluze
[4:26] 15. Scorpio
[4:36] 16. New Frontier
[4:44] 17. Blues For Eurydice
[2:56] 18. The Clan
[5:07] 19. 17 Richmond Park

Bass – John Duke; Drums – Leroy Henderson; Piano – Horace Tapscott; Trombone – Lou Blackburn; Trumpet – Freddie Hill.

Just months removed from his Imperial debut Jazz Frontier, Lou Blackburn makes an impressive leap forward with Two Note Samba, a seamless and organic fusion of straight-ahead L.A. jazz sensibilities with pop, soul, and bossa nova. Reunited with an exemplary support staff including pianist Horace Tapscott, trumpeter Freddie Hill, bassist John Duke, and drummer Leroy Henderson, Blackburn quickly adapts to the Latin rhythms and textures that dominate much of the session, again proving himself an uncommonly nimble trombonist. While he contributes frustratingly little as a composer, the waltz-like original "Blues for Eurydice" is wonderful. A solid if occasionally tentative date, for all the intriguing ideas explored here, it's a shame none are pushed to their limits. ~Jason Ankeny

Two Note Samba

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Julia Fordham - Falling Forward

Styles: Vocal, Pop
Year: 1994
File: MP3@320K/s
Time: 49:43
Size: 114,0 MB
Art: Front

(4:03)  1. I Can't Help Myself
(4:08)  2. Caged Bird
(5:19)  3. Falling Forward
(4:30)  4. River
(6:17)  5. Blue Sky
(4:05)  6. Different Time, Different Place
(5:02)  7. Threadbare
(4:21)  8. Love & Forgiveness
(3:34)  9. Honeymoon
(3:55) 10. Hope, Prayer & Time
(4:22) 11. Safe

On Falling Forward, Julia Fordham proves once again that her vocal deftness and range are truly formidable forces. Fordham even supplies the background vocals on all of the songs except "River," creating a polished sound with the help of co-producer Larry Klein. The album has an even-tempered ambience to it, rarely rising above or falling below the fault line which formulates a graceful fluidity throughout the 11 tracks. While the jazzy adult contemporary-type arrangements may lack ingenuity, the versatility and layers of Fordham's angelic voice are more than enough to carry the album. ~ Erik Crawford  http://www.allmusic.com/album/falling-forward-mw0000113428

Personnel: Julia Fordham (vocals); Greg Leisz (guitar, pedal steel); Steuart Smith (guitar, mandolin); Michael Landau, Dominic Miller (guitar); Perry Montague-Mason (violin); Katy Wilkinson (viola); Mark Isham (trumpet); Bill Payne (piano, Hammond B-3 organ); Philip Taylor (piano); Larry Klein (keyboards, bass, percussion); Russell Ferrante (keyboards); Barry Kinder (drums, percussion); Carlos Vega (drums); Iki Levy (percussion); Arnold McCuller, David Lasley, Vonda Shepard, Brenda Russell (background vocals).

Falling Forward

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Chris Botti - A Thousand Kisses Deep

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 45:44
Size: 105,2 MB
Art: Front

(3:37)  1. Indian Summer
(3:45)  2. Do It In Luxury
(5:16)  3. The Look Of Love
(3:59)  4. A Thousand Kisses Deep
(5:08)  5. Ever Since We Met
(4:14)  6. Back Into My Heart
(3:10)  7. My Funny Valentine
(3:32)  8. The Last Three Minutes
(4:33)  9. If I Could
(5:08) 10. She Comes From Somewhere
(3:17) 11. Love Gets Old

Chris Botti's sixth album is a wonderfully, even perfectly crafted group of originals and covers that accent his deep crossover appeal as both a jazz and pop musician. Botti's phrasing is very keen, uncanny in the way it works with simple rhythmic structures, and his tone is rich and warm. His use of keyboards and drum loops is pretty much up to the minute in terms of its hip factor, and his arrangements appeal to serious jazz fans and are something akin to blessed-out ecstasy to smooth jazz aficionados. Therein also lies the problem. Botti hasn't significantly developed his sense of artifice since his debut album and, if anything, has delved deeper into its oh-so-cool bachelor pad faux elegance than ever on A Thousand Kisses Deep. The title track, a very moving song written by Leonard Cohen, is the finest moment on the disc. A spare guitar backdrop is adorned simply; Botti plays the melody in short, clipped staccato phrases for an entire full verse before the rhythm section enters. The effect is haunting, lushly romantic, and full of a sensual warmth that is as spooky as it is silky. The spare keyboards and brushed drums offer the song as something slightly Latin (thanks to the gorgeous guitar playing by Dean Parks). It could have been the love theme in Robert Rodriguez's Once Upon a Time in Mexico yes, it really does feel slightly mariachi! Burt Bacharach's "The Look of Love," despite a marvelous vocal by Chantal Kreviazuk, suffers from cute syndrome as does "The Last Three Minutes," another Bacharach tune. The straight pop stuff, such as "Ever Since We Met" with Bridget Benenate's breathy vocals, work very well. Botti's solo entwines the refrain and carries the singer's voice along into the ether. A duet with pianist Billy Childs on "My Funny Valentine" feels a tad stilted, but there is great tension resolution in the third chorus. "If I Could," another original, with the great Smokey Hormel on guitar in addition to Parks, is a true mood-setter. Smoky, slightly steamy with just a hint of a funk backdrop and Botti whispering through the pastel keyboard sounds with his own shade of deep blue and gauzy elegance, it's the babymaker on the album. In all, as with each of Botti's recordings, there is nothing inherently wrong here, and the formula is successful; it's one of the better mood records out there, but it's still formula, contrived and calculated to establish and keep the listener paying some degree of attention, but not too much. ~ Thom Jurek http://www.allmusic.com/album/a-thousand-kisses-deep-mw0000319199

Personnel:  Chris Botti (Trumpet); Bridget Benenate, Chantal Kreviazuk (Vocals); Doyle Bramhall (Guitar); Smokey Hormel (Electric guitar); Dean Parks (Acoustic guitar, guitar); Billy Childs (Piano); Keefus Ciancia (Piano, keyboards, moog synthesizer, synthesizer bass); Steve Lindsey (Piano, keyboards, shaker, wurlitzer piano); Printz Board (Keyboards); Jim Cox (Keyboards, Fender Rhodes, organ); Mark Goldenberg (Keyboards, drum programming); Mike Elizondo (Bass); Chuck Berghofer (Bass, acoustic bass); Matthew Gerrard (Bass, electric guitar, keyboards, drum programming, synthesizer bass); Joey Waronker (Drums); Abe Laboriel Jr. (Drums, hi hat); Lenny Castro (Percussion, bongos); Bob Shephard (Tenor saxophone).

A Thousand Kisses Deep

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Bernd Reiter Quintet Feat. Eric Alexander - Workout At Bird's Eyes

Styles: Saxophone Jazz, Straight-ahead/Mainstream 
Year: 2016
File: MP3@320K/s
Time: 61:48
Size: 141,8 MB
Art: Front

( 9:01)  1. Workout
(10:35)  2. I Want To Hold Your Hand
(11:53)  3. Gettin' And Jettin'
( 8:36)  4. All The Way
(12:00)  5. Uh Huh
( 9:40)  6. Super Jet

A defiant clatter of snare drum introduces this joyously retro live set from young Austrian drummer Bernd Reiter. Aided by the doyen of New York mainstream tenor saxophone, Illinois-born Eric Alexander, Reiter and his band swing through the kind of collection that might have been cut by Dexter Gordon when he too was on the Danish Steeplechase label in the mid-Seventies. And everyone’s wearing suits on the cover, natch. Not that Alexander possesses the instantly identifiable Gordon tone (he uses vibrato only sparingly), but he does have that effortless authority and melodic style. The sleek Helmut Kagerer on guitar also has his ears fixed on the jazz of the Seventies mainstream in his case, Grant Green springs to mind, but also of course the immortal Wes Montgomery. And pianist Olivier Hutman takes on the Kenny Drew/Wynton Kelly role with terrific panache. One of the many enjoyable things about the album is the length of the tracks. Reiter’s cavalier disregard for the likelihood of radio play makes a nice change there are only six tracks, none of them clocking in at under 8½ minutes. 

So everyone gets to stretch out and blow. As the album’s title suggests, several tunes are taken from Hank Mobley’s catalogue: the title track and Uh Huh (from his 1962 Workout album) plus Getting’ and Jettin’ (from Another Workout, recorded in 1961 but not released until 1985). The other three tracks are an unrecognizable I Want To Hold Your Hand, Jimmy Van Heusen’s All The Way and Tadd Dameron’s Super Jet. The whole enterprise is suffused with energy and warmth. In fact there’s nothing not to like here, apart from a bit of intrusive snare rattle triggered by Viktor Nyberg’s double bass tough to avoid on a live recording. The musicians are all at the top of their game and locked in together in a way that only develops after a good spell on the road. Kids if you want to know how to swing, listen to this. Oldies - listening to Workout is like sinking into a hot bath at the end of a tough working day. ~ Peter Jones http://www.londonjazznews.com/2016/02/cd-review-bernd-reiter-quintet-feat.html

Personnel: Bernd Reiter – drums;  Eric Alexander - tenor saxophone;  Helmut Kagerer – guitar;  Olivier Hutman – piano;  Viktor Nyberg - bass

Workout At Bird's Eyes

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Vikki Carr - Emociones

Styles: Vocal, Latin
Year: 1996
File: MP3@320K/s
Time: 48:17
Size: 116,4 MB
Art: Front

(4:36)  1. Propuesta
(4:53)  2. Qué  tal te va sin mí?
(3:19)  3. Los amantes
(3:58)  4. Emociones
(4:15)  5. La distancia
(3:02)  6. Digan lo que digan
(3:59)  7. Cóncavo y convexo
(3:58)  8. Que no se rompa la noche
(3:51)  9. En carne viva
(3:00) 10. A la antigua
(3:43) 11. Para volver a volver
(5:37) 12. Detalles

After singing in various school functions, local groups, and Pepe Callahan's Mexican-Irish band, Carr began her professional musical career in earnest in the early '60s. Her solo debut was in Reno, supported by the Chuck Leonard Quartet, which led to a record contract with Liberty. While not gathering much attention in the U.S., her first single ("He's a Rebel") was a hit in Australia and led to numerous television appearances, and a spell as a regular on The Ray Anthony Show. In the late '60s, Carr scored three Top 40 hits, including the number three "It Must Be Him." Her American sales dwindled in the beginning of the '70s. With the release of her 1980 album, Vikki Carr y el Amor, Carr gained enormous success in the Latin music world. In 1991, Carr won a Best Latin Pop Album Grammy for her Cosas del Amor. Reta Manda y Provoca followed in 1998, and the next year saw the release of Memories Memorias. ~ Stephen Thomas Erlewine http://www.allmusic.com/artist/vikki-carr-mn0000806991/biography

Emociones

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