Russell Gunn - Ethnomusicology Vol.4 - Live in Atlanta

Styles: Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 55:42
Size: 128,3 MB
Art: Front

( 0:39)  1. Sam Yi (spoken intro)
( 6:32)  2. Blue In Green
(11:11)  3. More Sybil's Blues
(13:09)  4. Summertime
( 7:59)  5. Lyne's Joint
(16:10)  6. Shiva The Destroyer

As an alternative to Wynton Marsalis, who steadfastly hangs onto the singular American Jazz Tradition and, granted, eloquently and skillfully keeps it alive through his playing, educating and entrepreneuring, trumpeter Russell Gunn has shown an unerring desire over the course of the past ten years to merge styles into a personal language that asserts jazz as the melting pot it truly is. As much as Gunn has proven himself to be a capable hard and post bop player on early albums including Young Gunn and Gunn Fu, it has been with his not altogether consistent but always searching series of Ethnomusicology recordings where he has shown his true colours. Blending hip hop, soul, blues, traditional jazz forms, rock and more, Ethnomusicology Vol. 4: Live in Atlanta shows that diverse elements can blend into a cogent and cohesive whole that is truly greater than the sum of its disparate parts. Opening the set with a dramatic reading of the Bill Evans/Miles Davis classic "Blue in Green," Gunn segues from the rubato introduction of the theme into an up-tempo samba that would have fit well in the early, Latin-based Return to Forever. Rocky Bryant's energetic drum solo leads into a fitful electric trumpet excursion from Gunn that segues into "More Sybil's Blues," which starts as a rocking feature for guitarist Carl Burnett's Albert Collins-inflected lines before shifting into a soulful vamp that nods more than a little to Miles' '80s bands, before returning to another blues-drenched, Stevie Ray Vaughan-esque solo from Burnett.

"Summertime" starts at a surprising clip, the band vamping for nearly three minutes before Gunn's wah-wah trumpet pulls the theme out of its up-tempo funkiness and draws it down into a moving solo piano segment by Nick Rolfe which demonstrates that, as stylistically broad as the group can be, the essence of the jazz tradition is never too far away. But it doesn't last long before the rhythm section is back and turntablist D.J. Neil Armstrong is bringing a hip hop element into the mix. "Lynne's Joint" is a schizophrenic tune that blends a soulful theme with a rhythm section that combines spacious simplicity with a busier urban edge. Gunn has come under no uncertain degree of heat for his unapologetically cosmopolitan approach. Purists are quick to dismiss it as something other than jazz, while supporters see it as a logical progression, a natural evolution. Whether or not one subscribes to Gunn's concept, there is no doubt that he is an extremely talented player with a specific vision that has been consistently developing over the course of the last decade. And he surrounds himself with capable players who clearly understand the history and the future of jazz. Pariah or visionary, Gunn deserves respect for finding his direction and following it with determination, passion and zeal. ~ John Kelman https://www.allaboutjazz.com/ethnomusicology-vol-4-live-in-atlanta-russell-gunn-justin-time-records-review-by-john-kelman.php

Personnel: Russell Gunn (electric trumpet, flugelhorn), Nick Rolfe (piano, fender rhodes, keyboards), Carlos Henderson (electric bass), Carl Burnett (electric guitar), Kahlil Kwame Bell (percussion), Rocky Bryant (drums), D.J. Neil Armstrong (turntables)

Ethnomusicology Vol.4 - Live in Atlanta

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Cleo Laine & John Williams - Best Friends

Styles: Vocal
Year: 1976
File: MP3@320K/s
Time: 42:52
Size: 98,5 MB
Art: Front

(4:08)  1. Feelings
(2:44)  2. Time Does Fly
(4:39)  3. Killing Me Softly With His Song
(2:21)  4. Before Love Went Out Of Style
(4:11)  5. My Day Has Started With You
(3:18)  6. Wave
(3:34)  7. Eleanor Rigby
(3:09)  8. Awake My Love
(3:42)  9. If
(3:34) 10. Charms
(3:06) 11. Sleep Now
(4:19) 12. He Was Beautiful

With a multi-octave voice similar to Betty Carter's, incredible scatting ability, and ease of transition from a throaty whisper to high-pitched trills, Cleo Laine was born in 1927 in the Southall section of London, the daughter of a Jamaican father and English mother. Her parents sent her to vocal and dance lessons as a teenager, but she was 25 when she first sang professionally, after a successful audition with the big band led by Johnny Dankworth. Both Laine and the band recorded for Esquire, MGM and Pye during the late '50s, and by 1958, she was married to Dankworth. With Dankworth by her side, Laine began her solo career in earnest with a 1964 album of Shakespeare lyrics set to Dankworth's arrangements, Shakespeare: And All That Jazz. Laine also gained renown for the first of three concert albums recorded at New York's Carnegie Hall, 1973's Cleo Laine Live! At Carnegie Hall. She also recorded two follow-ups (Return to Carnegie and The 10th Anniversary Concert) the latter of which in 1983 won her the first Grammy award by a Briton. She has proved a rugged stage actress as well, winning a Theater World award for her role in the Broadway musical The Mystery of Edwin Drood, (in addition to Tony and Drama Desk nominations as well). In 1976 she recorded a jazz version of Porgy and Bess with Ray Charles, and also recorded duets with James Galway and guitarist John Williams. Laine and Dankworth continued to tour into the 1990s, and she received perhaps her greatest honor when she became the first jazz artist to receive the highest title available in the performing arts: Dame Commander. ~ John Bush https://www.allmusic.com/artist/cleo-laine-mn0000120273/biography

Personnel:  Vocals – Cleo Laine;  Arranged By [Guitar & Rhythm] – John Dankworth;  Arranged By [String] – Paul Hart ;  Bass – Dave Markee, Pete Morgan;  Cello – Kathy Giles;  Drums – Kenny Clare, Tony Kinsey;  Guitar – John Williams ;  Producer, Electric Piano, Violin – Paul Hart ;  Producer, Soprano Saxophone, Clarinet – John Dankworth;  Viola – Chris Hartley ;  Violin – Celia Mitchell, Gerry Richards, Lorrie Lewis

Best Friends

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Houston Person - To Etta with Love

Styles: Saxophone Jazz

Year: 2004

File: MP3@320K/s

Time: 54:29

Size: 124,9 MB

Art: Front

(5:18)  1. It's Magic

(6:20)  2. Love Walked In

(4:43)  3. Don't Misunderstand

(4:55)  4. I Should Care

(5:22)  5. Don't Go To Strangers

(6:00)  6. For All We Know

(6:31)  7. Since I Fell For You

(4:31)  8. Ain't Misbehavin'

(7:11)  9. What A Wonderful World

(3:33) 10. Gee Baby Ain't I Good To You

One of the longest-lasting and critically lauded partnerships in jazz, the duo of vocalist Etta Jones and tenor saxophonist Houston Person ran from a concert in 1968 to Jones' death in 2001 on the same day their last album together, Etta Jones Sings Lady Day, was released. In tribute to Jones, To Etta With Love finds Person digging into various standards that Jones loved throughout her career. There is a melancholy, heartbreaking quality to these tracks. The fact that liner notes are included on an album without a vocalist only serves to further underline how much Jones' personality and style inform every note Person plays. The journeyman's warm, burnished tenor sound veritably weeps and more often soars through such classics as "Don't Go to Strangers," "For All We Know," and "Gee Baby Ain't I Good to You." Backing Person here are the always sensitive talents of pianist Stan Hope, guitarist Paul Bollenback, bassist Per-Ola Gadd, and drummer Chip White. Much like the singer Person knew, To Etta With Love is an understated, moving, and swinging elegy. ~ Matt Collar https://www.allmusic.com/album/to-etta-with-love-mw0000397922    

Personnel: Houston Person (tenor saxophone); Per-Ola Gadd (bass instrument); Paul Bollenback (guitar); Stan Hope (piano); Chip White (drums).

To Etta with Love

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Eric Kloss - Sky Shadows In The Land Of The Giants

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 75:40
Size: 174,3 MB
Art: Front

( 6:25)  1. In A Country Soul Garden
(13:15)  2. Sky Shadows
( 6:45)  3. The Girl With The Fall In Her Hair
( 6:43)  4. I'll Give You Everything
( 7:11)  5. January's Child
( 7:32)  6. Summertime
(11:02)  7. So What
( 5:19)  8. Sock It To Me Socrates
( 5:36)  9. When Two Lovers Touch
( 5:48) 10. Things Ain't What They Used To Be

Although he’s apparently maintaining a low profile these days, saxophonist Eric Kloss recorded quite a few albums for Prestige records by the time he reached the tender ago of 19. Here, Prestige has reissued Kloss’ Sky Shadows and In The Land Of The Giants on 1 Compact Disc. From the liners....” This Music, from 1968 and ’69, finds the emerging Kloss in full flight, whether the setting is post-bop or modal, standard or balladic”. At this juncture, Kloss shows maturity, outstanding technical chops and depth while the now famous supporting cast were obviously motivated and geared up for these sessions.  Tracks 1-5 were originally released as Sky Shadows and feature: Kloss; Alto & Tenor Saxophones; Pat Martino; Guitar: Jaki Byard; Piano: Bob Cranshaw; Bass and Jack DeJohnette; Drums. Here, Kloss’ “In a Country Soul Garden” is soulful, bouncy and blends R&B and Jazz motifs featuring a vibrant tempo and memorable hook as “Sky Shadows” also serves as a fitting vehicle for Kloss’ often linear phraseology. On “Sky Shadows”, Kloss’ straight-up yet fluent approach along with near flawless intonation, counterbalances the narrative style and clear toned phrasing by the great guitarist, Pat Martino. Here, the late pianist Jaki Byard, performs as if he were truly inspired or motivated for both of these sessions. Byard’s impossibly fast lead soloing and rippling chord clusters are awe-inspiring! 

Sadly, Jaki Byard is no longer with us yet his numerous contributions to jazz and jazz education are meritorious and will stand for many years to come. Tracks 6-11 were originally released on In the Land Of The Giants as the personnel here consists of Kloss; Alto Sax, Booker Ervin; Tenor Sax; Jaki Byard; Piano; Alan Dawson; Drums and Richard Davis; Bass. Highlights are, an absolutely stunning, up-tempo version of Miles Davis’ “So What” featuring the towering and vigorous tenor saxophone work of the late Booker Ervin. Here, Kloss and Ervin take turns reaching for the stars via soaring and electrifying lead soloing!........Not a cutting contest yet these esteemed gentlemen perform with conviction as if they were possessed by spirits... Kloss’ sweet alto sax tone and sumptuous phrasing is evident on “When Two Lovers Touch”. On the Ellington classic, “Things Ain’t What They Used To Be” Kloss’ expressionism and emotive lyricism displays mature sensibilities and expertise for such a young lad. Prestige has performed a dutiful service for jazz enthusiasts by releasing these gems from a man who seems to have toggled his career between fame and relative obscurity. Recommended.. ~ Glenn Astarita https://www.allaboutjazz.com/sky-shadows-in-the-land-of-the-giants-eric-kloss-prestige-records-review-by-glenn-astarita.php

Personnel: Eric Kloss (alto saxophone, tenor saxophone); Pat Martino (guitar); Booker Ervin (tenor saxophone); Jaki Byard (piano); Jack DeJohnette, Alan Dawson (drums).

Sky Shadows / In The Land Of The Giants

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Ulf Wakenius - Notes From The Heart

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 54:53
Size: 127,2 MB
Art: Front

(5:38)  1. Memories Of Tomorrow
(4:56)  2. Dancing
(4:36)  3. Innocence
(4:21)  4. The Windup
(4:17)  5. My Song
(3:47)  6. Mon Coer Est Rouge
(4:59)  7. Everything That Lives Laments
(5:04)  8. The Cure
(7:45)  9. So Tender
(5:19) 10. U-Dance
(4:06) 11. Prayer

One of the most significant artists of the past forty years, pianist Keith Jarrett continues to base his ever-evolving style on a remarkable stream of consciousness approach to improvisation. But with Jarrett focusing his energy almost exclusively on his longstanding Standards Trio and improvised solo piano performances for the past two decades, it's easy to forget that he's also written a wealth of memorable compositions. Still, Jarrett asserts that improvisation is nothing less than composition in real time, and he's absolutely right. But Jarrett's influence reaches beyond pianists. His ability to combine an almost fragile lyricism with richer complexities and imbue the jazz language with an appealing folksiness has influenced more than one generation of players on other instruments, including the equally influential guitarist Pat Metheny. Swedish guitarist Ulf Wakenius' style has clearly been filtered through Jarrett and Metheny, but that's not to imply he lacks his own voice. On Forever You (Stunt, 2004) he demonstrated their same deep respect for melody and the essence of song, but with an economical approach that belied his considerable virtuosity. 

On Notes from the Heart the first album ever to feature a single artist paying tribute to Jarrett the composer and the performer Wakenius turns his attention to interpreting his music. By approaching not only some of Jarrett's more well known songs, but also material from his solo piano improvisations, Wakenius proves Jarrett's statement that the real time compositional nature of improvisation is more than self-justification for abandoning conventional writing. Restricting himself to classical guitar, Wakenius mines a cross-section of material from many stages of Jarrett's career, from the delicately melancholic and Latin-informed "Everything That Lives Laments, from The Mourning of a Star (Atlantic, 1971) to the more ostinato-based, groove-centric title track from The Cure (ECM, 1991). Jarrett's European Quartet is represented by the gently balladic "Innocence from Nude Ants (ECM, 1980), the vulnerable beauty of the title track to My Song (ECM, 1977), and the more up-tempo folksy complexity of "The Windup, from Belonging (ECM, 1974). The American Quartet is represented here, as is the Standards Trio. Throughout, Wakenius often layering his linear lines over an overdubbed rhythm guitar track is sensitively accompanied by two long-time associates: bassist Lars Danielsson, who also adds occasional piano and cello, and drummer Morten Lund. But the most compelling pieces and the best evidence of Jarrett's compositional sensibility in any context are those fashioned from his solo piano works. "Memories of Tomorrow, better known as "Köln II C from The Köln Concert (ECM, 1975), is an elegant bossa, while "Mon Couer Est Rouge, from Concerts (ECM, 1981) is a profoundly touching duet with Danielsson on piano. Throughout, Wakenius' evocative playing at times exploring the meaning of a single note, elsewhere more elaborately fashioned phrases digs deep into Jarrett's material, dispensing with all artifice and getting right to the core. Notes from the Heart is aptly titled. Wakenius pays reverent homage to Jarrett in the best way possible by demonstrating Jarrett's unequivocal influence and fully subsuming it in his own pure and unaffected musical approach. Simply beautiful. ~ John Kelman https://www.allaboutjazz.com/notes-from-the-heart-ulf-wakenius-act-music-review-by-john-kelman.php

Personnel: Ulf Wakenius: acoustic guitars; Lars Danielsson: double-bass, cello, piano; Morten Lund: drums.

Notes From The Heart

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Jimmy Rushing - Cross Your Heart

Bitrate: MP3@320K/s
Time: 109:04
Size: 249.7 MB
Styles: Jazz vocals, Urban blues
Year: 2018
Art: Front

[3:12] 1. The Blues I Like To Hear
[2:44] 2. I'm Walking Through Heaven With You
[2:49] 3. Trav'lin' Light
[2:57] 4. Sent For You Yesterday
[2:36] 5. It's A Sin To Tell A Lie
[3:28] 6. Did You Ever
[4:47] 7. How Long, How Long Blues
[1:59] 8. Mister Five By Five
[3:14] 9. Evil Blues
[2:35] 10. When You're Smiling
[6:03] 11. Oh Love
[3:01] 12. Someday Sweetheart
[3:05] 13. Ain't Nobody's Business If I Do
[3:03] 14. All God's Chillun Got Rhythm
[5:51] 15. Don't Cry, Baby
[3:47] 16. Somebody Stole My Gal
[2:39] 17. Pink Champagne
[2:52] 18. Deed I Do
[4:34] 19. Trouble In Mind
[3:10] 20. Good Rockin' Tonight
[3:13] 21. You Can't Run Around
[5:50] 22. I Can't Believe That You're In Love With Me
[3:16] 23. Three Long Years
[2:28] 24. One Last Evening
[3:07] 25. I'm Gonna Move To The Outskirts Of Town
[2:45] 26. Knock Me A Kiss
[3:05] 27. Jimmy Rushing - Blues In The Dark
[2:49] 28. June Night
[3:13] 29. It's Hard To Laugh Or Smile
[5:09] 30. See See Rider
[5:27] 31. My Bucket's Got A Hole In It

He was known as "Mister Five-By-Five" -- an affectionate reference to his height and girth -- a blues shouter who defined and then transcended the form. The owner of a booming voice that radiated sheer joy in whatever material he sang, Jimmy Rushing could swing with anyone and dominate even the loudest of big bands. Rushing achieved his greatest fame in front of the Count Basie band from 1935 to 1950, yet unlike many band singers closely associated with one organization, he was able to carry on afterwards with a series of solo recordings that further enhanced his reputation as a first-class jazz singer.

Raised in a musical family, learning violin, piano and music theory in his youth, Rushing began performing in nightspots after a move to California in the mid-'20s. He joined Walter Page's Blue Devils in 1927, then toured with Bennie Moten from 1929 until the leader's death in 1935, going over to Basie when the latter picked up the pieces of the Moten band. The unquenchably swinging Basie rhythm section was a perfect match for Rushing, making their earliest showing together on a 1936 recording of "Boogie Woogie" that stamped not only Rushing's presence onto the national scene but also that of Lester Young. Rushing's recordings with Basie are scattered liberally throughout several reissues on Decca, Columbia and RCA. While with Basie, he also appeared in several film shorts and features.

After the Basie ensemble broke up in 1950, a victim of hard times for big bands, Rushing briefly retired, then formed his own septet. He started a series of solo albums for Vanguard in the mid-'50s, then turned in several distinguished recordings for Columbia in league with such luminaries as Dave Brubeck, Coleman Hawkins and Benny Goodman, the latter of whom he appeared with at the Brussels World's Fair in 1958 as immortalized in "Brussels Blues." He also recorded with Basie alumni such as Buck Clayton and Jo Jones, as well as with the Duke Ellington band on Jazz Party. He appeared on TV in The Sound of Jazz in 1957, was featured in Jon Hendricks' The Evolution of the Blues, and also had a singing and acting role in the 1969 film The Learning Tree. ~ Richard S. Ginell

Cross Your Heart mc
Cross Your Heart zippy

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Chiara Civello - The Space Between

Bitrate: MP3@320K/s
Time: 46:19
Size: 106.0 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[2:51] 1. Night
[4:07] 2. If You Ever Think Of Me
[3:29] 3. Un Passo Dopo L'altro
[3:16] 4. My Broken Heart
[3:49] 5. Mr. Tru Love
[3:03] 6. Without Him
[5:12] 7. Isola
[4:31] 8. Seagulls
[3:17] 9. Don't Ask Me Why
[2:42] 10. L Train
[4:28] 11. Skylark
[3:35] 12. Born To Sail Away
[1:52] 13. Your Home

Originally from Rome but now based in New York City, Italian singer/songwriter Chiara Civello is an eclectic, far-reaching artist who brings a variety of pop, jazz, cabaret and Latin influences to the table. Although Civello has performed straight-ahead jazz in the past, she is not a full-time jazz singer or a bebop purist by any means; stylistically, much of the material she has recorded for Verve is closer to Sade, Basia, Norah Jones, Nellie McKay (minus the eccentricity and sharp-tongued humor) or Rickie Lee Jones than it is to hardcore jazz vocalists like Abbey Lincoln, Sheila Jordan and Kitty Margolis. But the jazz influence is almost always present in Civello's pop recordings -- and since her arrival in the United States, she has crossed paths with major jazz musicians like alto saxophonist Phil Woods and guitarist Mike Stern. Listing all of Civello's influences could be time-consuming; Civello gives the impression that along the way, she has listened to everyone from Joni Mitchell, Sade and Sting to Ella Fitzgerald, Julie London and Billie Holiday. Brazilian jazz and pop is also a strong influence on Civello, who is obviously well aware of Brazilian greats such as Astrud Gilberto, Gal Costa, Ivan Lins and Antonio Carlos Jobim. Although Civello grew up in a country where Italian is the primary language, much of her writing has been in English. Civello, in fact, has been singing and writing in at least four languages -- English, Italian, Portuguese and Spanish -- and when she performs in English, Civello sings with only a slight trace of an Italian accent. Her command of the English language is excellent, and her accent is beneficial in that it gives her performances a great deal of character. ~Alex Henderson

The Space Between mc
The Space Between zippy

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Shorty Rogers - The Fourth Dimension In Sound

Bitrate: MP3@320K/s
Time: 37:21
Size: 85.5 MB
Styles: Trumpet jazz
Year: 1961/2006
Art: Front

[3:38] 1. One O'clock Jump
[3:32] 2. Speak Low
[2:56] 3. Tonight
[4:49] 4. Lover
[4:07] 5. Marie
[2:51] 6. Kook-A-Ra-Cha Waltz
[3:16] 7. You're Just In Love
[2:42] 8. I'm Gettin Sentimental Over You
[3:04] 9. Stompin' At The Savoy
[3:08] 10. Baubles, Bangles & Beads
[3:14] 11. Taboo

As was true of many records from the early 1960's, the emphasis on this out-of-print Lp (especially in the lengthy liner notes) is on the stereophonic sound rather than the music. Rogers (sticking to flugelhorn) leads a group that includes three reeds, trombonist Ken Shroyer, vibraphonist Emil Richards, pianist Pete Jolly, bassist Red Mitchell or Joe Mondragon on bass and drummer Shelly Manne. The music is better than the liner notes (which spend most of their time describing the sound) lets on but is not all that significant, emphasizing swing standards along with an occasional Latin novelty. ~Scott Yanow

The Fourth Dimension In Sound mc
The Fourth Dimension In Sound zippy

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Russell Malone - Black Butterfly

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 63:40
Size: 145,8 MB
Art: Front

(5:59)  1. Jingles
(5:11)  2. With Kenny In Mind
(5:05)  3. Dee's Song
(5:47)  4. Cedar Tree
(6:27)  5. After Her Bath
(6:32)  6. I Say A Little Prayer For You
(7:39)  7. Black Butterfly
(7:04)  8. All Through The Night
(5:17)  9. The Other Man's Grass Is Always Greener
(4:41) 10. Gaslight
(3:53) 11. Sno' Peas

An adept jazz guitarist with a clean attack and fluid, lyrical style, Russell Malone often plays in a swinging, straight-ahead style, weaving in elements of blues, gospel, and R&B. Born in Albany, Georgia in 1963, Malone first began playing guitar around age four on a toy instrument, quickly graduating to the real thing. Largely self-taught, he initially drew inspiration listening to the recordings of gospel and blues artists including the Dixie Hummingbirds and B.B. King. However, after seeing George Benson perform with Benny Goodman on a television show, Malone was hooked on jazz and began intently studying albums by legendary guitarists like Charlie Christian and Wes Montgomery. By his twenties, Malone was an accomplished performer, and in 1988 he joined organist Jimmy Smith's band. Soon after, he also became a member of Harry Connick, Jr.'s big band, appearing on Connick's 1991 effort Blue Light, Red Light. With his growing reputation as a sideman, Malone next caught the attention of pianist/vocalist Diana Krall, with whom he would work throughout much of the '90s and 2000s. Also during this period, Malone appeared with a bevy of name artists including Branford Marsalis, Benny Green, Terell Stafford, Ray Brown, and others. As a solo artist, Malone made his debut with 1992's Russell Malone, followed a year later by Black Butterfly. In 1999, he released Sweet Georgia Peach, which featured a guest appearance from pianist Kenny Barron. Malone kicked off the 2000s with several albums on Verve, including 2000's Look Who's Here and 2001's orchestral jazz-themed Heartstrings. He then moved to Maxjazz for 2004's Playground, featuring a guest appearance from saxophonist Gary Bartz, followed by 2010's Triple Play. Over the next several years, Malone appeared on albums by Wynton Marsalis, Christian McBride, and Ron Carter, as well as Krall bandmate bassist Ben Wolfe. He returned to solo work in 2015 with the eclectic small-group album Love Looks Good on You, followed a year later by All About Melody, both on HighNote. In 2017, he delivered his third HighNote album, Time for the Dancers, featuring his quartet with pianist Rick Germanson, bassist Luke Sellick, and drummer Willie Jones III. ~ Matt Collar https://itunes.apple.com/us/album/black-butterfly/1304011396

Personnel: Russell Malone (electric guitar); Steve Nelson (vibraphone); Gary Motley (piano); Paul Keller (bass); Peter Siers (drums).

Black Butterfly

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Jan Garbarek - Places

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 48:35
Size: 112,0 MB
Art: Front

(15:10)  1. Reflections
( 7:52)  2. Entering
(14:15)  3. Going Places
(11:17)  4. Passing

A fairly sleepy ECM date, this outing matches Jan Garbarek on tenor, soprano and alto with guitarist Bill Connors, John Taylor (doubling on organ and piano) and drummer Jack DeJohnette for lengthy explorations of four of his originals. With such titles as "Reflections," "Entering" and "Passing," it is not surprising that the music has plenty of space, is introspective, and often emphasizes long tones. ~ Scott Yanow https://www.allmusic.com/album/places-mw0000193162

Personnel: Jan Garbarek (saxophone); John Taylor (piano, organ); Bill Connors (guitar); Jack DeJohnette (drums).

Places

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Kim Hoorweg - Untouchable

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 40:46
Size: 94,5 MB
Art: Front

(6:10)  1. Soar
(4:06)  2. Dream On
(4:56)  3. Everybody
(3:42)  4. Falling In Love
(4:18)  5. For Free
(3:16)  6. If I Ruled the World
(3:22)  7. The Art of Breating Under Water
(2:51)  8. No Reason Why
(4:08)  9. Taste of Me
(3:54) 10. Untouchable

Dutch vocalist Kim Hoorweg debuted on record at the age of 14 on the Verve label with Kim Is Back, reaching number 98 on the Dutch album chart. In 2009 she cracked the charts again with her follow-up, My Recipe for a Happy Life, reaching number 67. Her third session, Why Don't You Do Right?, was issued two years later on the Challenge Records label. ~ Al Campbell https://www.allmusic.com/artist/kim-hoorweg-mn0001636130

Untouchable

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Air - Casanova 70

Styles: Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 22:20
Size: 52,1 MB
Art: Front

(5:54)  1. Casanova 70
(4:33)  2. Les Professionnels
(5:31)  3. Casanova 70 (The Secret of Cool)
(6:21)  4. Casanova 70 (Moodswings)

With a sensual, atmospheric sound inspired by Burt Bacharach and Brian Wilson as well as disco, synthesizer maestros Tomita, Jean-Michel Jarre, and Vangelis, new wave, and obscure Italian film soundtracks, Air may have been outliers in the late-'90s electronica boom, but they became one of the most influential electronic acts of the 2000s and beyond. Despite gaining quick entrance into the dance community (through releases for Source and Mo' Wax), Air's 1998 debut album, Moon Safari, charted a light well, airy course along soundscapes composed with melody lines by Moog and Rhodes, not Roland and Yamaha. The presence of several female vocalists, an equipment list whose number of pieces stretched into the dozens, and a Baroque tuba solo on one track all of this conspired to make Air more of a happening in the living room than the dancefloor.  Though Nicolas Godin and Jean-Benoît Dunckel both grew up in Versailles, the two didn't meet until they began studying at the same college. Dunckel, who had studied at the Conservatoire in Paris, played in an alternative band named Orange. One of Dunckel's bandmates, Alex Gopher, introduced Godin into the lineup. While Gopher himself departed (later to record for the Solid label), Dunckel and Godin continued on, becoming Air by 1995. During 1996-1997, the duo released singles on Britain's Mo' Wax ("Modular") and the domestic Source label ("Casanova 70," "Le Soleil Est Prés de Moi"). Though Air often evinced the same '60s Continental charm as Dimitri from Paris due no doubt to the influence of Serge Gainsbourg the duo had little in common musically with other acts (Daft Punk) in the wave of French electronica lapping at the shores of Britain and America during 1997. That same year, Air remixed Depeche Mode and Neneh Cherry and joined French musique concrète popster Jean-Jacques Perrey for a track on the Source compilation Sourcelab, Vol. 3. Signed to Virgin, Air released their debut album, Moon Safari, in early 1998. The singles "Sexy Boy" and "Kelly Watch the Stars" became moderate hits in Britain and earned airplay on MTV. Later that year, Godin and Dunckel mounted an ambitious tour throughout Europe and America, though they had originally decided to forego live appearances. Their early singles were collected in 1999 under the title Premiers Symptomes; the duo's soundtrack to the Sofia Coppola film The Virgin Suicides followed in early 2000. Air's second studio effort, 10,000 Hz Legend, appeared in spring 2001 with a subsequent tour of the U.S., but critics and fans alike didn't appreciate the darker, more experimental direction. They bridged the gap between the pop of Moon Safari and the experimentalism of 10,000 Hz Legend with their 2004 release, Talkie Walkie. Along with touring in support of that album, the pair remained busy making music in 2005 and 2006: they collaborated, along with Pulp's Jarvis Cocker and the Divine Comedy's Neil Hannon, on Charlotte Gainsbourg's album 5:55, and Dunckel released a solo album as Darkel. Cocker and Hannon also appeared on Air's fourth album, Pocket Symphony, which was released in early 2007. On one leg of the band's Pocket Symphony tour in 2008, the duo performed with just longtime collaborator and drummer Joey Waronker as their backing band. They kept this lineup for their next album, 2009's Love 2, which marked Air's first self-produced work and featured a more streamlined sound than some of their previous music. Dunckel and Godin went in a very different direction for their next album, which was based on an original score they created for the 1902 classic silent film Le Voyage Dans la Lune. The pair created the score in less than a month, working with collaborators such as Au Revoir Simone and Beach House's Victoria LeGrand, then expanded it into a full-length album that was released early in 2012. Later in the 2010s, Dunckel further established himself as a composer for film, embarked on with New Young Pony Club's Lou Hayter (as Tomorrow's World) and Bang Gang's Bardi Jóhannsson (as Starwalker), and returned to his Darkel project with 2015's lavish The Man of Sorrow EP. The duo returned in 2016 with a career-spanning compilation album titled Twentyears. ~ John Bush https://www.allmusic.com/artist/air-mn0000607202/biography

Casanova 70

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Hot Lips Page - The Best Of Hot Lips Page

Bitrate: MP3@320K/s
Time: 44:43
Size: 102.4 MB
Styles: Trumpet jazz
Year: 2011
Art: Front

[6:02] 1. Honeysuckle Rose
[5:18] 2. Squeeze Me
[5:54] 3. Muskrat Ramble
[2:50] 4. Savannah
[9:57] 5. The Blues In B
[4:24] 6. Take Your Shoes Off, Baby
[1:58] 7. All Of Me
[5:09] 8. Get The Mop
[3:08] 9. Billie's Blues

Oran Thaddeus Page (January 27, 1908 – November 5, 1954) was an American jazz trumpeter, singer, and bandleader born in Dallas, Texas, United States. He was better known as Hot Lips Page by the public, and Lips Page by his fellow musicians. He was known as a scorching soloist and powerful vocalist.

Page was a member of Walter Page's Blue Devils, Artie Shaw's Orchestra and Count Basie's Orchestra, and he worked with Ma Rainey, Bessie Smith and Ida Cox. He was one of the five musicians who opened Birdland with Charlie Parker in 1949.

The Best Of Hot Lips Page mc
The Best Of Hot Lips Page zippy

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Greg Murphy - Blues For Miles

Bitrate: MP3@320K/s
Time: 71:51
Size: 164.5 MB
Styles: Piano jazz
Year: 2014
Art: Front

[5:32] 1. My Shining Hour
[4:43] 2. Easy To Remember
[7:06] 3. Half-Fulton
[5:31] 4. Nancy's Fantasy
[5:20] 5. Brother, Can You Spare A Dime
[8:25] 6. Blues For Miles
[3:12] 7. Earthlings
[0:10] 8. Split Second
[6:50] 9. Hat Trick
[4:57] 10. For My Mom
[3:27] 11. Blues For Miles (Alternate Take)
[4:27] 12. Blue In Green
[4:14] 13. Free Han Solo
[7:50] 14. Free Ur Mind

Greg Murphy - piano, Raphael Cruz - percussion, Kush Abadey - drums, Josh Evans - trumpet, Eric Wheeler - bass, Tom DiCarlo - bass, Ben Solomon - tenor sax.

Chicago native Greg Murphy has been a major contributor to the New York City jazz scene since the 1980s and he’s probably best known for his twenty-two year association with John Coltrane’s multidirectional drummer, Rashied Ali. Greg began his musical adventures in 1971 when he joined the Ray-Fisk Grammar School Band in Chicago. His classical studies began later that year with Lucia Santini at Roosevelt University. Between 1980 and 1984, he played with the jazz/funk band Lightning Flash Thunder Roar, The University of Illinois at Chicago Big Band, The Northern Illinois University Big Band, and other local Chicago bands. A jazz study grant from the National Endowment for the Arts in 1984 gave Greg the opportunity to go to New Orleans and study with the eminent pianist and jazz educator, Ellis Marsalis. He remained there and began recording and performing with The New Orleans Jazz Couriers, Percussion Incorporated, and his own group, The Fusicians. The Percussion Incorporated album, Drum Talk, (Greg’s first recording) was recorded and released in 1987. While living in the crescent city, Greg performed with Donald Harrison, Wynton Marsalis, and countless other great musicians.

Greg moved to New York in 1987 and began what had become a long association with multi-directional drummer, Rashied Ali. Greg performed and recorded with Ali and his various groups throughout Europe, Canada, the United States and beyond, from 1987 until Rashied passed away in 2009. Throughout his career, Greg has performed in Japan, China and The Philippines with his own trio and other groups. He’s also worked in New York with Ornette Coleman and in France with Carlos Santana and Archie Shepp. In 2012, Greg recorded the theme song “Brother, Can You Spare a Dime?” for the HBO documentary Redemption, which was produced and directed by Jon Alpert and Matthew O’Neill. Redemption received a 2013 Academy Award nomination for best documentary short. Greg also performed with Jeff “Tain” Watts, Billy Hart, Arthur Taylor, Joe Lovano, Grachan Moncur, III, Christian McBride, Cindy Blackman, Flava Flav, Charles McPherson, Larry Ridley, William Parker and Charles Gayle, among many others.

Blues For Miles mc
Blues For Miles zippy

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Camille Bertault - Pas De Geant

Bitrate: MP3@320K/s
Time: 51:49
Size: 118.6 MB
Styles: Vocal jazz
Year: 2018
Art: Front

[3:41] 1. Nouvelle York
[4:08] 2. Comment Te Dire Adieu
[4:04] 3. Arbre Ravéologique
[4:34] 4. Là Où Tu Vas
[3:30] 5. Je Me Suis Fait Tout Petit
[3:14] 6. House Of Jade
[2:50] 7. Comptes De Fées
[1:09] 8. Goldberg
[2:10] 9. Very Early
[3:16] 10. La Femme Coupée En Morceaux
[2:36] 11. Winter In Aspremont
[4:16] 12. Entre Les Deux Immeubles
[3:12] 13. Certes
[2:37] 14. Tantôt
[3:12] 15. Suite, Au Prochain Numéro
[3:12] 16. Conne

Camille Bertault comes flying in like a breath of fresh air. She doesn’t seem to want to sound like any other artist and clearly has her own sound. Plus, she sings in French. And she has put words to John Coltrane‘s “Giant Steps” – almost three years ago she came up with a video on Youtube where she imitated Coltrane’s solo on the classic piece note for note with her voice. The new version now appears on her OKeh Records album “Pas De Géant”, French for “Giant Steps”. Also interesting to note: I think this particular track turns out to be the weakest on her album. You might want to describe it as a mélange of Jazz and Chanson. Her lyrics are witty,intelligent, crazy. She plays with her voice which makes you think you’re on a carousel, like on the George Brassens piece “Je Me Suis Fait Tout Petit”.

The way she handles Wayne Shorter‘s “House Of Jade” is also pretty special: overdubbed vocals, lyrics in Portuguese (“Casa De Jade” – she is very popular in Brazil)) and percussion-only accompaniment from the album’s arranger, director, musician Michael Leonhart. Very cool piece this! She sounds like a female Bobby McFerrin on her “Goldberg” interlude – the tempo of her vocalese style is simply breathtaking, as is the piano accompaniment by Dan Tepfer. Change of tempo and style saves this album from becoming too monotonous. There is a sweet version of the Bill Evans anthem “Very Early”, also with new lyrics in French (“La mer brillait mais toi tu avais disparu, disparu trop tôt”).

And yes, you also get the obligatory accordion (Daniel Mille), but not in typical Chansonette fashion, but rather as an accent to the big band-flavored arrangement of Michel Legrand‘s “La Femme Coupée En Morceaux”. There is a lot to explore here, like the accented bass clarinet (Stéphane Guillaume) on the ethereal “Winter In Aspremont”, one of half a dozen original compositions. The album opens with one of those, a love paean to the city of New York, “Nouvelle York”, with bittersweet and lovely lyrics (“Tu te venges et tu m’offres un beau torticolis/Qui m’renvoie illico au statut de fourmi”). Or check out her own “Certes”, a wonderfully flowing piece aided and abetted elegantly by drummer Jeff Ballard. The French and the Jazz sound so natural on this one like it always had been the perfect combination. Bass is played by both Joe Sanders and Christophe “Disco” Minck on the album.

There is a nice Fusion sound, courtesy of Michael Leonhart’s electric keyboard, on “Suite, Au Prochain Numéro” which also reminds me of an intricate, but still highly enjoyable Gil Evans arrangement. She totally lets it loose in eccentric fashion on the album closer “Conne”. My favorite at the moment is an illuminatingly unique, fascinating, soulful take on Serge Gainsbourg‘s “Comment Te Dire Adieu”. ~Matthias Kirsch

Pas De Geant mc
Pas De Geant zippy

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Tommy Flanagan - Lady Be Good... For Ella

Bitrate: MP3@320K/s
Time: 61:05
Size: 139.8 MB
Styles: Piano jazz
Year: 1994
Art: Front

[4:48] 1. Oh, Lady, Be Good!, Pt. 1
[6:40] 2. Love You Madly
[6:00] 3. Isn't It A Pity
[5:36] 4. How High The Moon
[3:49] 5. Smooth Sailing
[7:41] 6. Alone Too Long
[5:33] 7. Angel Eyes
[6:37] 8. Cherokee
[4:54] 9. Rough Ridin'
[5:29] 10. Pete Kelly's Blues
[3:52] 11. Oh, Lady, Be Good!, Pt. 2

The exquisite musings of piano great Tommy Flanagan need no extraneous superlatives; they speak volumes on their own. Here though it's personal, as he pays tribute to First Lady of Jazz Song Ella Fitzgerald, whom he faithfully accompanied first in the summer of 1956, as well as 1962-64 and 1968-78. Of the eleven songs swung by Flanagan, bassist Peter Washington and drummer Lewis Nash, the majority come right out of Ella's fabled songbook, with a couple of zingers tossed in for kicks. By the way, Flanagan himself has never sounded better, illuminating these well-known melodies with some modifications of his own. This program starts and ends with the title cut, but the first time around it's a wistfully slow ballad packed with all the elegance and emotion Flanagan can muster. The finale has him knocking it out flat, rippling with extroversions and extrapolations quite reminiscent of Ella's vocal excursions. Everyone knows how untouchable the pianist is on ballads, shown by the lugubriously patient melody he builds on the absolutely pristine "Isn't It a Pity?," the spooky, foggy "Angel Eyes," or the soft bossa "Alone Too Long." At his excitable best, Flanagan bops away at the midtempo "How High the Moon," goes for it during "Cherokee," chases the Fitzgerald penned "Love You Madly"-type song "Rough Ridin'" full steam ahead, trading eights with the clever Nash. The pianist is at his best during the actual, easy-swinging "Love You Madly," digging into his chordal interpretations of the melody, almost overemphasizing and staggering the phrases into a totally submissive stranglehold. Although Flanagan has many high points in an exceptional career, this is certainly up there with the best, and a great set of Cliff Notes for doing the jazz piano trio right. Highly recommended. ~Michael G. Nastos

Lady Be Good... For Ella mc
Lady Be Good... For Ella zippy

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Russell Gunn - Ethnomusicology Vol 3

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 45:30
Size: 104,3 MB
Art: Front

(0:47)  1. Celebrity Room Intro
(4:12)  2. No Separation
(2:54)  3. The Critic's Song
(6:04)  4. Variations (on a conspiracy theory)
(5:45)  5. East St. Louis
(7:06)  6. John Wicks
(7:35)  7. Yesterdays
(4:03)  8. Strange Fruit
(7:00)  9. Stranger Fruit

Russell Gunn has a problem with critics but only the ones who don't like his music. The third track on this record makes this point more than abundantly clear. And it's pure hypocrisy. Regardless, I'm afraid I'll have to join this elite group. Gunn's last record (Vol. 2) was a brilliant blending of jazz with hip-hop, funk and other styles. Vol. 3 has crossed the line into pure indulgence and fallen off the edge. A few inspired combinations drown among a heap of tunes ripe with cliche. Suffice to say that the last record is the one to check out. Maybe it's time to quit the series? Give Gunn credit for holding true to his credo that "labels divide, separate." Indeed, his vision is founded on the idea that jazz as a pure entity is naked. When you put improvisation in the context of hip-hop, funk, rap, Latin, and other multifarious so-called "urban" styles, it develops an empowering energy. The point at which it acquires the greatest vigor is when it is tossed in the blender and scrambled. That idea works very well when the other items which go into the mix are clever, but it's critically dependent on the ingredients. One thing so-called "popular" culture celebrated here as a partner to improvisationhas unfortunately absorbed is the nagging influence of mass marketing and homogenization; Vol. 3 displays an unfortunate inability to discriminate product from culture, despite its heated and outspoken rhetoric to the contrary. "No Separation" (with the central message) builds instrumental improvisation (mostly vibes and trumpet) upon a rhythmic foundation that plods roughly through fuzzy hip-hop grooves. Scratches dot the landscape; there's a real drummer instead of a machine. But ironically the tune betrays its message. It sounds like we've heard it a hundred times before. Likewise with "The Critic's Song," which has an perky groove driven upward by keyboards voiced something like electric guitars. Kids rap brightly on, getting to the point that "real artists don't give a fuck about you"... you directed at unenthusiastic critics but also anyone, really. (What happens when you really liked the last album but hate the new one? Maybe that opinion doesn't matter if you're an artist. Hmmm.) Despite earlier errors in judgment, I won't return the favor. It's a good idea, kids and the rap and the groove, but it's just not executed right. The problem lies in the ingredients. They're cliche. At some point you realize that, other than the improvisation, the rest of the music hits you where you've been hit too many times already. Later points of departure include a slow-jam ballad with more vibes and horns; four-to-the-floor dance beats accompanied by chord changes and a big band orchestration; an interesting ambient drone-like eastern soul tune; and a painfully cheesy and outdated '70s synth ballad, complete with spare drums, bells, and floating keyboard textures. When Gunn steps to the fore as a player rather than a "composer," he shines. He has a remarkable ability to coax a wide range of emotions from the trumpet, including a spectrum of electronic effects. It's a shame this talent has gone to waste in an environment that suffocates its freshness. ~ AAJ Staff https://www.allaboutjazz.com/ethnomusicology-vol-3-russell-gunn-justin-time-records-review-by-aaj-staff.php

Personnel: Russell Gunn: Trumpet, Flugelhorn, Keyboards, Electric Trumpet. With Oliver Lake, Rocky Bryant, Marc Cary, Vincent Chancey, Gary Noble, Carl Burnett, Stefon Harris, James Hurt, Antoine Drye, Nick Rolfe, Duane Eubanks, Carlos Henderson, Dana Murray, Kahlil Kwame Bell, Kebbi Williams, DJ Neil Armstrong, Todd Britt, Kenny "Blue" Campbell, Montez Coleman.

Ethnomusicology Vol 3

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Clementine - Long Courrier

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 54:18
Size: 124,6 MB
Art: Front

(4:40)  1. My cherie amour
(4:56)  2. Le beau Felix
(4:05)  3. Cinema muet
(4:30)  4. Chega de samba
(5:11)  5. Indecision
(7:08)  6. Fille de la mer
(5:00)  7. Happy Hour 6 to 8 PM
(4:47)  8. Glamour Girl
(3:46)  9. It's a Shame
(5:44) 10. Jeremie
(4:26) 11. Evasion

Clémentine is a French singer and songwriter based in Japan. She debuted in France in 1988 with the single, "Absolument Jazz". In addition to many releases as a singer, she has appeared regularly on the entertainment segment for NHK Educational TV "French TV". Collaborates frequently with other artists, mostly in Japan. Recently she has often collaborated with her daughter, Solita, who is also a singer.  Born in Paris but traveled widely as a child. With her father transferring first to Mexico and later around the world, she grew in touch with Bossa Nova and other local flavors of music. Returned to France and started Piano lessons at age 10 and Jazz school at age 12. Started her professional career in 1987 by sending a demo tape to Jazz greats Johnny Griffin and Ben Sidran, and was subsequently given an opportunity to record several songs with them. In 1988 released her first single, "Absolument Jazz" with CBS France. Signed a contract with Sony Music Entertainment Japan in 1990, and released many singles and albums. From 2003 to 2005 switched to the Epic Records Japan label, and from 2005 to 2008 to Toshiba EMI. Returned to Sony Music Entertainment in 2008. https://en.wikipedia.org/wiki/Cl%C3%A9mentine_(musician)

Long Courrier

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Eric Kloss - About Time

Styles: Saxophone Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 75:05
Size: 172,5 MB
Art: Front

(6:53)  1. Close Your Eyes
(5:49)  2. Old Folks
(8:12)  3. 'S 'Bout Time
(5:32)  4. That's The Way It Is
(5:44)  5. All Blues
(4:33)  6. Embraceable You
(4:58)  7. You'd Be So Nice To Come Home To
(5:56)  8. Just For Fun-K
(5:20)  9. No Blues
(7:41) 10. Love For Sale
(5:09) 11. I'm Glad There Is You
(3:05) 12. The Shadow Of Your Smile
(6:07) 13. Gemini

Eric Kloss was 16 and 17 when he recorded his first two albums, which are reissued in full on this single CD. A brilliant altoist and tenor saxophonist with a sound and a post-bop style of his own, Kloss shows a great deal of potential during these performances, which were originally released as Introducing Eric Kloss and Love and All That Jazz. He is joined by trios that feature either Don Patterson or Richard "Groove" Holmes on organ; Pat Martino, Vinnie Corrao, or Gene Edwards on guitar; and Billy James or Grady Tate on drums. Two Kloss originals and one by Patterson join ten jazz standards, including "Close Your Eyes," "All Blues," a cooking version of "Embraceable You," and Miles Davis' "No Blues." The fire, intensity, and creativity of Eric Kloss' playing makes one regret that he did not have a much longer career. ~ Scott Yanow https://www.allmusic.com/album/about-time-eric-kloss-the-rhythm-section-love-and-all-that-jazz-mw0000221813

About Time

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Bob Florence - State of the Art (Limited Edition)

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 55:38
Size: 128,6 MB
Art: Front

(6:22)  1. Just Friends
(5:13)  2. Moonlight Serenade
(6:55)  3. Silky
(7:05)  4. The Crunch
(4:05)  5. Stella by Starlight
(8:46)  6. All the Things You Are
(6:04)  7. Mr. Paddington
(5:42)  8. BBC
(5:23)  9. Auld Lang Syne

The first of two sets by Bob Florence's Limited Edition Orchestra for the USA label breaks from his tradition in that only four of the nine selections are Florence originals. The arranger completely reworks such familiar tunes as "Just Friends," "Moonlight Serenade," "All the Things You Are" and even "Auld Lang Syne." Among the key players are altoist Lanny Morgan, trumpeter Steve Huffsteter, Bob Cooper on tenor, and Kim Richmond on alto and soprano. Modern, swinging and unpredictable music. ~ Scott Yanow https://www.allmusic.com/album/state-of-the-art-mw0000198731    

Personnel: Bob Florence (piano, electric piano, synthesizer); Lanny Morgan (flute, piccolo, clarinet, soprano saxophone, alto saxophone); Kim Richmond (flute, clarinet, soprano saxophone, alto saxophone); Dick Mitchell, Bob Cooper (flute, clarinet, tenor saxophone); Bob Efford (bass clarinet, baritone saxophone); John Lowe (e flat clarinet, baritone saxophone); George Graham, Larry Ford, Steve Huffsteter , Warren Luening (trumpet, flugelhorn); Rick Culper, Herbie Harper, Rick Culver, Charles Loper, Chauncey Welsch (trombone); Donald Waldrop (bass trombone); Tom Warrington (acoustic bass, electric bass); Peter Donald (drums); Alex Acuña (percussion).

State of the Art (Limited Edition)

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