Stéphane Grappelli - Satin Doll

Styles: Violin Jazz
Year: 2006
File: MP3@320K/s
Time: 70:12
Size: 163,0 MB
Art: Front

(6:55)  1. Satin Doll
(3:22)  2. On The Sunny Side Of The Street
(4:54)  3. Ain't Misbehavin'
(4:38)  4. Mack The Knife
(7:52)  5. Body And Soul
(7:01)  6. Pennies From Heaven
(5:12)  7. The Girl From Ipanema
(4:07)  8. My Funny Valentine
(4:23)  9. Blue Moon
(4:48) 10. The Lady Is A Tramp
(3:16) 11. Exactly Like You
(3:18) 12. Ebb Tide
(3:30) 13. You Took Advantage Of Me
(3:36) 14. Lover Man
(3:12) 15. I Didn't Know What Time

On this double LP, violinist Stéphane Grappelli gets away from his usual tribute to the late Django Reinhardt and plays 15 standards, including "Mack the Knife," "The Girl from Ipanema," "You Took Advantage of Me," and "Body and Soul." Accompanied by organist Eddy Louiss, pianist Marc Hemmeler, guitarist Jimmy Gourley, bassist Guy Pedersen, and drummer Kenny Clarke, Grappelli is in typically flawless form for these enjoyable swing sessions. ~ Scott Yanow https://www.allmusic.com/album/satin-doll-mw0000188216

Personnel: Violin – Stéphane Grappelli; Bass – Guy Pedersen; Guitar – Jimmy Gourley; Organ – Eddy Louiss; Percussion – Kenny Clarke; Piano – Marc Hemmeler 

Satin Doll

---

John Hollenbeck - John Hollenbeck: The Claudia Quintet

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 67:27
Size: 155,8 MB
Art: Front

( 6:41)  1. Meinetwegen
( 6:53)  2. A-B-S-T-I-n-E-n-C-E
( 5:44)  3. Love Song for Kate
( 5:57)  4. Thursday 7: 30 PM (Holy)
(10:42)  5. Thursday 11.14 Am (Grey)
( 3:47)  6. Thursday 3: 44 PM (Playground)
( 6:17)  7. Burt and Ken
( 5:03)  8. ...After a Dance or Two, We Sit Down for a Pint with Gil and Tim...
( 9:17)  9. No D
( 7:01) 10. Visions of Claudia

Releasing three quite noteworthy CDs in as many months, drummer/composer John Hollenbeck certainly made what one might describe as an "auspicious debut" as a leader. Just consider the range of styles covered in this burst of activity. No Images, Hollenbeck's initial recording from October 2001, is the most avant-garde of the three, with drums and saxophones squaring off in free jazz territory and trombones and drums accompanying the taped voice of Dr. Martin Luther King, Jr.; Quartet Lucy, hitting the street in January 2002, reflects Hollenbeck's attraction to the austere and spacious music of the ECM label. And The Claudia Quintet (released on the very same day as Quartet Lucy), a recording of subtlety, beauty, and a fair measure of fire smoldering beneath its surface. Hollenbeck may have an avant streak as wide as the pond between Tonic and Bimhuis, but he's surely not one to avoid a groove. In the Claudia Quintet's drum chair, he often locks into a rhythm and gradually builds the intensity of his attack, taking his own sweet time to reach the dynamic peak in a piece of music. Hollenbeck also propels the music forward with a crisp and clean style that doesn't overwhelm his bandmates, including Chris Speed, the noted N.Y.C. reedman who tends to prefer subtle expressiveness over displays of high-volume bluster. On this debut CD by the band, Claudia pursues a cool after-hours chillout vibe much of the time, and the instrumentation should suggest what Hollenbeck is after: aside from Speed (contributing a bit of tenor sax in addition to clarinet), the quintet features vibraphonist Matt Moran, accordionist Ted Reichman, and ubiquitous upright bassist Drew Gress. This lineup doesn't require listeners to stuff cotton in their ears to prevent hearing damage. The inclination is rather to pull out the cotton in order to best appreciate the clarity and nuance of this ensemble the round tones of the clarinet, shimmer of the vibes, earthiness of the accordion, and deep resonance of the bass. All the instruments are afforded room to breath, as unembellished melodic lines and shifting harmonics are drawn out across the sure and steady pulse and gathering rhythmic energy of "Meinetwegen" and the first and third of the album's "Thursday" compositions. Modalism and momentum are traded for spacy atmospherics on the second "Thursday" piece, with its ringing and sustained tones courtesy of Moran's bowed and struck vibes. But don't think The Claudia Quintet is entirely a space cruise, as the album includes the lovely downtempo ballad "Love Song for Kate," the swinging tenor-driven "Burt and Ken," the nearly cacophonous riot of voices during the improvised middle section of "a-b-s-t-i-n-e-n-c-e," and the angular stop-and-start "No D," in which Reichman fires off a solo on accordion that sounds about as wild as one could get without breaking the thing. Auspicious debut, indeed. One senses that a new and important voice has emerged on the New York creative music scene. John Hollenbeck's future output is cause for much anticipation, whether he chooses to release subsequent albums single-file or two and three at a time. [The Claudia Quintet and Hollenbeck's other CRI Blueshift recordings may be purchased directly from his website.] ~ Dave Lynch https://www.allmusic.com/album/the-claudia-quintet-mw0001273441

Personnel: Drums, Percussion, Composed By, Producer – John Hollenbeck; Accordion – Ted Reichman;  Acoustic Bass – Drew Gress; Clarinet, Tenor Saxophone – Chris Speed; Vibraphone, Percussion – Matt Moran

John Hollenbeck: The Claudia Quintet

---

Scott Henderson - People Mover

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 61:55
Size: 142,6 MB
Art: Front

(8:08)  1. Transatlantic
(6:56)  2. Primary Location
(0:32)  3. All Aboard
(4:38)  4. People Mover
(5:33)  5. Satellite
(5:48)  6. Blood Moon
(8:07)  7. Blue Heron Boulevard
(6:16)  8. Syringe
(8:16)  9. Happy Fun-Sing
(7:36) 10. Fawn

Guitarist Scott Henderson’s innate talents overwhelmed both the music scene and music schools of his native South Florida before he moved to Los Angeles 40 years ago. Yet he didn’t relocate for stardom, eschewing sideman roles with Chick Corea, Jean-Luc Ponty, and Joe Zawinul to form his own band Tribal Tech, active from 1984-2013. Henderson’s solo recording career started in 1994, and his new People Mover release is one of the high-water marks among the half-dozen efforts under his own name. Another was its predecessor, the similarly self-released Vibe Station from 2015, with bassist Travis Carlton and drummer Alan Hertz. This time, Henderson features an even younger rhythm section in French musicians Romain Labaye (bass) and Archibald Ligonnière (drums), with equally explosive results. Henderson has always mixed his jazz/fusion guitar influences (like Allan Holdsworth) with those based in rock (Deep Purple’s Ritchie Blackmore) and blues (Stevie Ray Vaughan), and does so from his opening chimes of “Transatlantic,” which segues between tranquil and high-octane sections, the latter featuring his signature soloing accents. “Primary Location” veers funkier, showcasing the rhythmic emphasis in both Henderson’s playing and composition and highlighting Labaye’s fretless tones and harmonics. People Mover features more effects, overdubs, and general production than its predecessors, courtesy of both the bandleader and Hertz, who recorded and helped mix the 10 tracks. “All Aboard” features piped-in crowd noise and touches of electronics within its inside-out cadence, and former Tribal Tech keyboardist Scott Kinsey contributes electronic percussion to the closing ballad “Fawn.” In between, Henderson shows his clean-tone soloing prowess on the swinging title track, also featuring a banner solo by Labaye and furious Ligonnière drumming; “Satellite” offers a Middle Eastern influence and background spoken overdubs; and “Syringe” features the trio’s ample improvisation within another of Henderson’s inimitable, acidic compositional mixes of jazz, rock, and blues. ~ Bill Meredith https://jazztimes.com/reviews/albums/scott-henderson-people-mover-scott-henderson/

Personnel: Guitar, Composed By – Scott Henderson; Bass – Romain Labaye; Drums – Archibald Ligonniere

People Mover

---

Pepper Adams - Urban Dreams

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 39:21
Size: 91,0 MB
Art: Front

(6:27)  1. Dexter Rides Again
(4:44)  2. Urban Dreams
(7:18)  3. Three Little Words
(6:55)  4. Time on My Hands
(7:04)  5. Pent Up House
(6:51)  6. Trentino

Musicians frequently become associated with the attributes of their instruments. Charles Mingus was hulking and imposing, just like his bass. Art Blakey had the propulsive, authoritative personality of his drums. Paul Desmond was urbane and laidback, just like the sound of his sweet-toned alto. There are, of course, exceptions to these sorts of correlations. Take Pepper Adams for instance. Slight of frame, particularly in his later years, Adams physical presence was the apotheosis of his chosen axe. Hefting his baritone horn with rail-thin arms, he coaxed out growling guttural lines seemingly at odds with his stature and appearance. Like a lion tamer subjugating a savage beast, he made the weighty sax a complete instrument of his bidding. His tone and phrasing, muscular and blues-based, were far removed from his generation's other skinny guy with a big horn, Gerry Mulligan. Sadly, for whatever reason, Adams' opportunities to record as a leader were far less frequent than those afforded Mulligan. The situation likely has a lot to do his willingness to lend his talents to the causes of other colleagues. Even the quintet he co-led with Donald Byrd at the dawn of the '60s found him taking a second slot on the marquee. The '70s and '80s weren't much better, but Adams did find the occasional resources to record. This reissued Palo Alto date comes from relatively late in his career, but his abilities are hardly diminished. A blue chip rhythm section fronted by pianist Jimmy Rowles, an Adams associate since the '50s, does more than simply supply support, and each member of the quartet has room to solo. The six chosen tunes are all fine blowing vehicles and Adams makes certain that there's space for amicable improvisation. "Dexter Rides Again" finds the band at rollicking gallop with clocking a brisk pace through the changes beside Rowles' light comping and the steady bobbing bass line of George Mraz. Billy Hart stokes the aggressive beat further with steady snare accents. "Urban Dreams," the brief original ballad of the set, rolls out the leader's romantic side. His throaty tone braids through the melody as Hart's brushes further embellish on the amorous implications. Two standards arrive next "Three Little Words" voiced velociously and "Time is on My Hands" taken at another slow drawl tempo each one showing off the band's consummate skill with repertory material. Adams can't resist packing an ample amount of blues punch into both. Rollins' racetrack worthy "Pent Up House" proves even better terrain for the band's high-speed inclinations. Adams once again burns through the changes leaving a smoldering melodic trail in his wake. His lush Latin burner "Trentino" takes the session out. No alternate takes or unreleased tunes, just the original album served up with warm 24 bit mastering. Pepper Adams' memory lives on in this immensely enjoyable and easily recommendable album. ~ Derek Taylor https://www.allaboutjazz.com/urban-dreams-pepper-adams-palo-alto-review-by-derek-taylor.php

Personnel: Pepper Adams: baritone saxophone; Jimmy Rowles: piano; George Mraz: bass; Billy Hart: drums.

Urban Dreams

---

Trisha Yearwood - Let's Be Frank

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 47:10
Size: 110,0 MB
Art: Front

(4:14)  1. Witchcraft
(2:55)  2. Drinking Again
(4:36)  3. All the Way
(3:10)  4. Come Fly with Me
(4:32)  5. Over the Rainbow
(4:29)  6. One for My Baby (and One More for the Road)
(3:13)  7. They All Laughed
(4:07)  8. If I Loved You
(4:15)  9. The Man That Got Away
(3:35) 10. The Lady is a Tramp
(3:51) 11. For the Last Time
(4:06) 12. I'll Be Seeing You

Let's Be Frank isn't precisely the kind of comeback most observers would've expected from Trisha Yearwood. After a 12-year hiatus  a break interrupted only by the 2016 release of Christmas Together, a duet album with her husband, Garth Brooks Yearwood returned with a tribute to Frank Sinatra. Assembling a well-balanced songbook drawing equally from saloon songs, ring-a-ding-ding swingers, and standards, Yearwood doesn't pick many obscure tunes, nor does she radically reinterpret the original arrangements, but she doesn't mimic Frank. Supported by a lush orchestra, she belts out the standards with aplomb, achieving a balance between crooner and diva, which is enough to give this familiar-sounding album a sense of personal identity. ~ Stephen Tomas Erlewine https://www.allmusic.com/album/lets-be-frank-mw0003246916

Let's Be Frank

---

Earl Hines - Tour de Force

Styles: Piano Jazz 
Year: 1972
File: MP3@320K/s
Time: 53:52
Size: 123,7 MB
Art: Front

(7:34)  1. Mack the Knife (take 2)
(5:34)  2. Indian Summer
(6:46)  3. I Gotta Right to Sing the Blues
(4:50)  4. I Never Knew (I Could Love Anybody Like I'm Loving You) (take 1)
(6:50)  5. When Your Lover Has Gone
(2:50)  6. Pretty Baby
(7:15)  7. Say It Isn't So
(4:59)  8. Blue Sands (take 1)
(7:12)  9. Lonesome Road

Pianist Earl Hines is in top form on this brilliant set of solo piano. This CD (which has three previously unreleased performances along with five of the six numbers from its counterpart LP) and Tour de Force Encore greatly expand upon the original set. Whether it be "Mack the Knife," "Indian Summer," or "I Never Knew," Hines is near the peak of his creativity on this CD, taking wild chances with time and coming up with fresh new variations on these veteran standards. ~ Scott Yanow https://www.allmusic.com/album/tour-de-force-mw0000318067

Tour de Force

---

Grant Green - Carryin' On

Styles: Guitar Jazz 
Year: 1970
File: MP3@320K/s
Time: 37:30
Size: 86,6 MB
Art: Front

( 5:47)  1. Ease Back
( 6:34)  2. Hurt So Bad
( 6:12) 3. I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself)

(10:04)  4. Upshot
( 8:51)  5. Cease The Bombing

Having firmly established himself as the '60s jazz guitarist second only to the great Wes Montgomery, Grant Green was willing and able to move into something new and give himself up to the emerging funk wave that would seep across the '70s. Attacked by purists as Grant's grand selling-out, these recordings have been rediscovered and widely sampled by legions of acid-jazz aficionados. Hypnotically rhythmic and quintessentially grooving, the five tracks on this straight reissue are all exceptionally tasty bursts of authentic funk. Carryin' On contains two solid covers, the Meters' "Ease Back" and James Brown's "I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself," which alone make it well worth the money. These are about the funkiest tracks ever laid down by any jazz artist, completely danceable and sample ready. In fact, they are so infectious that they have the tendency to evoke uncontrollable movement in ass and limb. Neal Creaque's "Cease the Bombing," (later covered by Pucho & His Latin Soul Brothers) floats like a smooth sailing trip across the ether with Green majestically at the helm. A consistent pleasure to listen to, this should be one of the first jazz purchases for those who need a beat in the soundtrack of their lives. ~John Ballon https://www.allaboutjazz.com/grant-green-carryin-on-grant-green-by-john-ballon.php

Personnel: Grant Green: Guitar; Claude Bartee: Tenor Sax; Willie Bivens: Vibes; Clarence Palmer: Electric Piano; Earl Neal Creaque: Electric Piano (on "Cease the Bombing" only); Jimmy Lewis: Fender Bass; Idris Muhammad: Drums

Carryin' On

---

Randy Brecker & NDR Bigband - Rocks

Styles: Trumpet Jazz, Big Band
Year: 2019
File: MP3@320K/s
Time: 63:17
Size: 147,8 MB
Art: Front

(8:09)  1. First Tune Of The Set
(6:18)  2. Adina
(6:38)  3. Squids
(7:22)  4. Pastoral
(6:22)  5. The Dipshit
(7:32)  6. Above and Below
(7:26)  7. Sozinho
(6:54)  8. Rocks
(6:33)  9. Threesome

Randy Brecker has been at the forefront of jazz since the late 1960s. His debut album as leader way back in 1969 was Score (Solid State). In addition to numerous albums under his own name he's also recorded with George Benson, Duke Pearson, Dreams and Larry Coryell's Eleventh House, to name just a few. But perhaps he is best known for the albums he produced with his younger brother, the late Michael Brecker as The Brecker Brothers. Lest people forget what a significant force of nature the BBs were, Stuart Nicholson in his book Jazz-Rock: A History, described the Breckers' horn lines as becoming "the model for countless fusion bands in the 1980s and 1990s." So this recording, made with the NDR Big Band in January 2017 and May 2018, revives fond memories of the Breckers' illustrious outfit by including within the nine track selection no fewer than five tracks originally recorded by the brothers. Another three tracks are taken from Randy Brecker's The Brecker Brothers Band Reunion (Piloo, 2013) namely "First Tune Of The Set," "Adina" and "The Dipshit." The exception to this is "Pastoral" which Brecker originally wrote as a elegiac tribute to the late Jaco Pastorius (with whom he recorded two albums) and which was first released on his 2001 record Hangin' In The City (ESC Records). This is a sumptuous outing with Brecker's flugelhorn playing at its most lyrical. The brash opener, "First Tune Of The Set," the brass embellished by chirruping synth, is followed by the relatively stately pace of "Adina" with Brecker delivering a majestic flugelhorn solo and Ada Rovatti following with a lissom soprano solo. The BB funk of "Squids" from Don't Stop The Music (Arista, 1977) still has those unmistakable hooks, revivified by the orchestra and a meaty tenor solo by Frank Delle. "The Dipshit," a Latin-esque romp, features a soaring alto solo by BB alumnus David Sanborn. Reassuringly, over the course of half a century, Brecker has lost none of his superlative virtuosity as evidenced by his rivetingly ebullient trumpet solos on, for example, "Above And Below" and the title track taken from the brothers' eponymous debut album (Arista, 1975) replete with its trademark funky clavinet. With auspicious augmentation courtesy of the magnificent NDR Big Band, this album is, in effect, a Brecker Brothers redux, with bells on. ~ Roger Farbey https://www.allaboutjazz.com/rocks-randy-brecker-jazzline-records-review-by-roger-farbey.php

Personnel: Randy Brecker: trumpet, flugelhorn; Dave Sanborn: alto saxophone; Ada Rovatti: tenor saxophone, soprano saxophone; Wolfgang Haffner: drums. NDR Bigband: Jörg Achim Keller:conductor; Thorsten Benkenstein, Ingolf Burkhardt, Claus Stötter, Reiner Winterschladen: trumpet; Fiete Felsch, Peter Bolte: alto saxophone, reeds; Frank Delle, Björn Berger: tenor saxophone, reeds; Edgar Herzog: baritone saxophone, reeds; Dan Gottshall, Sebastian Stanko, Klaus Heidenreich: trombones; Stefan Lottermann, Ingo Lahme: bass trombone, tuba; Christian Diener: electric bass, acoustic bass; Vladyslav Sendecki: keyboards; Bruno Müller: guitar; Marcio Doctor: percussion.

Rocks

---

Miles Davis - Seven Steps To Heaven

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 57:09
Size: 131,6 MB
Art: Front

(10:27)  1. Basin Street Blues
( 6:23)  2. Seven Steps to Heaven
( 6:43)  3. I Fall In Love Too Easily
( 6:58)  4. So Near, So Far
( 8:25)  5. Baby Won't You Please Come Home
( 6:58)  6. Joshua
( 5:09)  7. So Near, So Far
( 6:02)  8. Summer Night

Seven Steps to Heaven finds Miles Davis standing yet again on the fault line between stylistic epochs. In early 1963, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb left to form their own trio, and Davis was forced to form a new band, which included Memphis tenor player George Coleman and bassist Ron Carter. When Davis next entered the studio in Hollywood, he added local drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on the road with Davis. It's easy to see why Davis liked Feldman, who contributed the dancing title tune and "Joshua" to the session. On three mellifluous standards  particularly a cerebral "Basin Street Blues" and a broken-hearted "I Fall in Love Too Easily" the pianist plays with an elegant, refined touch, and the kind of rarefied voicings that suggest Ahmad Jamal. Davis responds with some of his most introspective, romantic ballad playing. When Davis returned to New York he finally succeeded in spiriting away a brilliantly gifted 17-year-old drummer from Jackie McLean: Tony Williams. On the title tune you can already hear the difference, as his crisp, driving cymbal beat and jittery, aggressive syncopations propel Davis into the upper reaches of his horn. On "So Near, So Far" the drummer combines with Carter and new pianist Herbie Hancock to expand on a light Afro-Cuban beat with a series of telepathic changes in tempo, texture, and dynamics. Meanwhile, Feldman's "Joshua" (with its overtones of "So What" and "All Blues") portends the kind of expressive variations on the basic 4/4 pulse that would become the band's trademark, as Davis and Coleman ascend into bebop heaven. ~ Rovi Staff https://www.allmusic.com/album/seven-steps-to-heaven-mw0000188023

Personnel: Miles Davis – trumpet; George Coleman – tenor saxophone; Victor Feldman – piano; Ron Carter – bass; Frank Butler – drums; Herbie Hancock – piano;  Tony Williams – drums

Seven Steps To Heaven

---

Marsha Bartenetti - It's Time

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 39:43
Size: 92,1 MB
Art: Front

(4:16)  1. Good Morning Heartache
(3:32)  2. Someone to Watch over Me
(3:26)  3. When I Fall in Love
(4:22)  4. Somewhere over the Rainbow
(5:17)  5. I Can't Make You Love Me
(2:53)  6. Gone Too Soon
(4:42)  7. As Time Goes By
(4:22)  8. Lover Man
(2:45)  9. Here, There & Everywhere
(4:04) 10. Baby, It's Cold Outside

Marsha is a smooth, rich, expressive singer with the ability to bring authenticity to each song with heartfelt vocals that transport a lyric straight to your heart. She has been known to “cross any genre for a good lyric” and does so with heart and truth. Her performances throughout the southland at venues like Catalina’s, and SRO shows at Upstairs at Vitello’s have won her audiences over. Marsha started her career in the San Francisco Bay Area in the late 60’s The music scene was alive with incredible talent and opportunities. Her band opened for such acts at The Youngbloods, and played at venues like the Troubadour in Los Angeles.In 1980 Marsha won Best Vocalist in the American Songwriter’s Association’s International contest. The ‘American Idol” of it’s time, it brought access to opportunities that would take Marsha to Motown Records where she recorded with writers Ken Hirsch and Ron Miller who together and on their own…wrote “I’ve Never Been To Me”, “Touch Me In The Morning” for Diana Ross, “For Once In My Life” for Stevie Wonder, “If I Could” for Celine Dion, “No One In The World” for Anita Baker, among other top hits. Marsha studied with the legendary vocal coach Judy Davis, in Oakland CA. who she says..”Changed my life.” Judy was a Diva herself whose students include Frank Sinatra, Barbara Streisand, and Judy Garland among others famous and not-so-famous.

“Her mentoring is still with me today and I still, after all these years, do her vocal eases every day. She is a woman who came into my life like an Angel and I love her for sharing her knowledge with me.” She opened my eyes and ears to a wealth of information about the voice She loved the music business and her students and I am forever grateful to her.” Although Marsha’s love for singing remained, musical politics and personal changes left her disheartened by the business and after a divorce, Marsha decided to leave the music business and shift gears to what she thought would be a better career to help with financially supporting her daughter. She may have left the stage for a time, but she continued working in the studio recording national jingles for such companies as Bank Of America, Chevron, among others. She transitioned into Voice-Overs and On-Camera acting. Here credits in this area included many national accounts, including being the voice of Safeway, Vons for all of their Television and Radio advertising. She was deemed by the press as “The Voice America Loves To Hate” and “The Voice Mail Queen.” Marsha was the American English voice for the largest International voice messaging company, serving the majority of voice mail systems in this country Including most of the Fortune 500 companies She is still heard on major voice-mails systems throughout the country where you may hear her say…”I’m sorry, that’s not a valid password. Please try your call again later.” She was invited as guest on the Today Show among other national guest spots as the “person behind the telephone voice.” Being a Digital “star” was not what she had envisioned; and although it paid the bills, her heart kept longing to get back out and do what she really loved Sing. Fast forward to social media and the wonders of Facebook where Marsha re-connected with a former band mate Donny Marrow Disk Eyes Productions. She recorded her first solo album, “It’s Time” in Nashville with Diskeyes Productions; with Donny Marrow producing and his esteemed team of studio musicians from all over the country adding their talents to the project. Marsha’s songs cross genres; from Billie Holiday to Bonnie Raitt; always with the lyric as her first consideration. It was time to return to the stage and the studio  And her album “It’s Time” marked the beginning of her “next act”. https://www.marshabartenetti.com/bio/

It's Time

---

Tim Kliphuis - Acoustic Voyage

Styles: Violin Jazz
Year: 2010
File: MP3@320K/s
Time: 54:19
Size: 125,7 MB
Art: Front

(6:17)  1. Assanhado
(2:48)  2. Lucy's Waltz
(6:07)  3. Clair de Lune
(3:50)  4. Couscous and Butter
(3:27)  5. Águas de Março
(3:20)  6. Havana Highway
(2:40)  7. Don't Sleep in the Subway
(4:03)  8. Bebe
(4:02)  9. Cuckoo's Nest
(4:35) 10. La Chanson de Rue
(3:46) 11. Astor's Dream
(4:53) 12. Flèche d'Or
(4:24) 13. Samba for Paula

Imagine what would happen if Stephane Grappelli met the Chieftains, if Tom Jobim played a Parisian musette, if Scottish poet Robert Burns was in love with Miriam Makeba and James Brown jammed with Jasha Heifetz. This album unites all the music styles I love, not in an i-Pod 'pastiche' way but in the way that whiskies are blended together  subtly yet with distinction. Pianist David Newton, guitarist Nigel Clark and bassist Roy Percy are all top musicians from Scotland whom I am lucky to work with, and Maltese percussion wiz Sandro Ciancio gives the cd a 'world' flavour. We had a great time in the studio in the Scottish hills and I am sure this comes through on the cd. If I had to choose one tune it would be “Couscous and Butter”, a cross of a Scottish Slip Jig with a West-African Soukous feel. We stuffed bits of paper between our strings to give it that Kalimba (thumb piano) sound and added an Udu (jug drum). Assanhado is a choro tune: Brazilian folk music made popular by mandolinist Jacob do Bandolim. Lucy’s Waltz I wrote as a Musette waltz with a South-American twist. Clair de Lune is just a wonderful Debussy piano piece. Águas de Março is special because of the recurring bass line. Havana Highway is my version of Bud Powell meets Cuba, with some influence of my hero Jean-Luc Ponty. Don’t Sleep in the Subway is a Petula Clarke hit based on Pachelbel’s Canon in D. Bebe well, Hermeto Pascoal is just a wizard, a fusion genius. The Irish traditional Cuckoo’s nest I first heard on a 1970s recording by Fairport Convention, where my friend Ric Sanders currently plays the violin. Back to my roots with Grappelli’s beautiful Chanson de Rue (recorded with George Shearing in 1960s), and Django tune Flèche d’Or, which I think works very well in a funk version. My tune Samba for Paula is just a Brazilian samba. It’s the last number on the album but really was the start off this whole ‘non-swing’ project. https://store.cdbaby.com/cd/TimKliphuis1

Acoustic Voyage

---

Buddy Rich - Swingin' New Big Band

Styles: Jazz, Post Bop
Year: 1966
File: MP3@320K/s
Time: 63:25
Size: 148,7 MB
Art: Front

( 3:22)  1. Readymix
( 5:40)  2. Basically Blues
( 3:31)  3. Critic's Choice
( 3:05)  4. My Man's Gone Now
( 2:49)  5. Up Tight (Everything's Alright)
( 3:15)  6. Sister Sadie
( 4:20)  7. More Soul
(10:48)  8. West Side Story Medley: a) Overture • b) Cool • c) Something's Coming • d) Somewhere
( 2:50)  9. What'd I Say
( 2:41) 10. Hoe Down
( 3:17) 11. Step Right Up
( 2:33) 12. Apples (aka Gino)
( 2:26) 13. Chicago
( 3:45) 14. In A Mellotone
( 2:42) 15. Never Will I Marry
( 2:45) 16. Lament For Lester
( 3:29) 17. Naptown Blues

1966 was a most illogical time for anyone to try forming a new big band but Buddy Rich beat the odds. This CD reissues the first album by the Buddy Rich Orchestra, augmenting the original Lp program with nine previously unissued performances from the same sessions. The arrangements (eight by Oliver Nelson along with charts by Bill Holman, Phil Wilson, Jay Corre, Don Rader and others) swing, put the emphasis on the ensembles and primarily feature Corre's tenor although trumpeter Bobby Shew, altoist Pete Yellin, pianist John Bunch and guitarist Barry Zweig are also heard from. Most of the songs did not stay in the drummer's repertoire long (other than Bill Reddie's adaptation of "West Side Story" and "Sister Sadie") and in fact only three members of the 17-piece orchestra would still be working for Rich a year later. An enjoyable and somewhat historic set. ~ Scott Yanow https://www.allmusic.com/album/swingin-new-big-band-mw0000179253

Personnel: Buddy Rich – drums; Gene Quill – alto saxophone, clarinet; Peter Yellin – alto saxophone, flute; Jay Corre, Martin Flax – tenor saxophone, clarinet, flute; Stephen Perlow – baritone saxophone, bass clarinet; Robert Shew, John Sottile, Yoshito Murakami, Walter Battegello – trumpet; Jim Trimble, John Boice – trombone; Dennis Good, Mike Waverley – bass trombone; John Bunch – piano; Barry Zweig – guitar; Carson Smith – bass

Swingin' New Big Band

---

Tom Scott & The L.A. Express - Smokin' Section

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 69:05
Size: 160,3 MB
Art: Front

( 4:59)  1. Smokin' Section
( 4:48)  2. I'll Still Be Lovin' You
( 5:50)  3. Cruisin' Bayou
( 4:46)  4. Lonely One
( 6:07)  5. Ode to Billy Joe
( 5:35)  6. If I Could Cry
( 7:55)  7. A Short Visit
( 5:55)  8. Just Takin' A Walk
( 6:33)  9. Lost Again
( 6:10) 10. The Beat Is On
(10:23) 11. TCB in "E"

I am puzzled by the marketing of the new Tom Scott albumSmokin' Sectionas "Tom Scott & the L. A. Express," since there seems to be no identifiable group "feel" to this program, and the tunes were recorded with three different contingents of studio musicians. But this quibble aside, this is one of Scott's best albums in years. His traditional funky groove is present on several songs such as the opening title track (with Scott's trademark multi-sax-layered sound) and "Just Takin' a Walk" with horn section. Scott's past work on the lyricon is recalled on "Lost Again," only now he blows a wind synthesizer. "Lonely One" and "If I Could Cry" showcase Scott in sensitive ballad settings better than anything I can recall throughout his entire recording career. The compositions (six of the eleven are by Scott) are particularly inspired and well-realized, in contrast to the funky head charts we're used to hearing. 

The use of singer Patti Smyth on "Ode to Billie Joe" seems like curious choices on both counts, but it's surprisingly effective; Scott's tenor sax adorns the emotive delivery by Smyth. The closest thing to a "group sound" happens on the closing cut, which was recorded live at the Blue Note club in Tokyo; band alumnus Max Bennett's (who contributed some of the best tunes in the original L.A. Express' repertoire) "TCB in E" is therealsmokin' section of this disc. It kicks butt!!! (Windham Hill Jazz 11379) ~ Dave Hughes https://www.allaboutjazz.com/smokin-section-tom-scott-windham-hill-records-review-by-dave-hughes.php

Personnel: Tom Scott, saxophones, strings, horns, woodwinds, WX-5 wind synthesizer; Buzzy Feiten, Paul Jackson Jr., Dean Parks, Wah-Wah Watson, Robbie Nevil, guitar; Tim Heintz, Alan Pasqua, Robbie Nevil, Steven Dubin, keyboards; John Pena, Andre Berry, Chuck Berghofer, bass; Harvey Mason, Vinnie Colaiuta, drums; Lenny Castro, Alex Acuna, Ralph MacDonald, percussion; Gary Grant, Oscar Brashear, trumpet; George Bohannon, trombone; Pete Christlieb, tenor sax; Joel Peskin, baritone sax; Phil Perry, Patti Smyth, lead vocals; Robbie Nevil, Phil Perry, Lynne Scott, Terry Wood, backgound vocals.

Smokin' Section

---

Victor Goines - Twilight

Styles: Clarinet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 76:35
Size: 176,0 MB
Art: Front

(11:16)  1. Insights
( 6:06)  2. Autumn
( 9:52)  3. Joie de Vivre
( 5:45)  4. After Hours
( 6:00)  5. Twilight (Bolero)
( 9:32)  6. One for My Brother
(10:26)  7. In the Midst of the Morning
( 3:44)  8. Precious Forever
( 2:08)  9. Broken Lines
( 5:52) 10. Anniversary
( 5:50) 11. Twilight (Ballad)

With the documentation of his latest cd "Twilight", Victor Goines leaves no doubt that he is one of the most important men working in the jazz idiom today. His compositions are a reflection of a man in search of the betterment of himself and humanity. At 50 years of age, Goines is at that intersection of life where knowledge and understanding have become one. From his travels and life experiences, he fully understands the weight of his aesthetic statement. In the jazz world, this aesthetic of self-discovery has rung true from thought to thought, decade to decade, and more importantly, heart to heart. With Twilight, Goines fully illustrates that he has learned his lessons well both on and off the bandstand. The men who join Goines on this recording are bringing fresh perspectives to the music by the sheer velocity of their playing and passion. On each tune, they bring a unique interpretation of the moment to the crest of bright illumination. Aaron Diehl is the pianist on this date and one of the brightest things to happen in jazz in recent years. On this recording, Diehl provides Goines with a creative accompanist who stokes the fire on a moment's notice. In the bass seat, Goines engages two of the best young bassists working in jazz today. Yasushi Nakamura, who appears on the tracks After Hours and Insights, is quickly becoming one of the first call players on the New York scene. Philip Kuehn, who appears on the subsequent tracks of "Twilight', is a native of Lucernemines, Pennsylvania and has worked with Wynton Marsalis, Roy Hargrove, Tony Bennett and Jonathan Batiste. The drummer, Marion Felder, has quickly become one of the most in-demand drummers in jazz. Felder currently sits in the drum chair of the Count Basie Orchestra. In addition to his quartet, Goines employs two Chicago-based musicians who bring unquestionable Latin fire to the proceedings. Conguero Ruben Alavez has been a Windy City stalwart for more than four decades. A constant presence on the Chicago music scene, he has worked with everyone from Ramsey Lewis to Chuchito Valdes. Felipe Fraga is also one of Chicago's most recognized percussionists. Originally from the Curitiba state of Brazil, Felipe has worked with a myriad of artists including Robert Irving III, Wallace Roney and Joe Vasconcelos.

"Twilight" is a collection of ten original compositions from Goines' pen that spans that range of human emotion. Regardless of the tempo, Goines and company deliver the goods from note to note and bar to bar. The set begins with 'Insights'. On this composition, Goines begins with his tenor saxophone, darkly romantic - simultaneously brooding and searching with profound elegance and élan. It features a middle section with a beautiful flamenco turnaround that's both arresting and sensuous to the core. 'Autumn' is a song that signals the time of year when the burnish of summer is coming to an end and leaves are turning sepia brown. 'Joie de Vivre' is one of the most beautiful ballads Goines has written and recorded in recent memory. This is a love song for hearts that beat as one. 'After Hours' is an uptown burner that features Goines' return to one of his first loves - the alto saxophone. It reminds this writer of the kind of songs that are always employed during jam sessions. 'Twilight' is taken in two distinctly views. The first is a bolero, which illustrates an excursion into the beauty of Cuba. The second is submitted as a ballad and serves as the finale of the recording. It presents Goines in full romantic posture and reflection. 'One For My Brother' is a majestic jazz waltz that evokes similar feeling that John Coltrane brought to so many of his compositions. From the first notes, the spiritual vibe is unmistakable. 'In the Midst of the Morning' is another one of Goines' recent compositions that shows his ability to mesh human emotion through music. Goines is a master tunesmith. Much like Benny Golson and Jimmy Heath, once you hear his songs, you'll find yourself whistling them long after first hearing them. 'Precious Forever' is a beautiful ballad that Goines penned almost seven years ago. 

The statement is both tender and loving an exquisite example of Goines' ballad mastery via the sound of Ben Webster and Sonny Rollins. 'Broken Lines' is a bebop line which sounds like Bechet meets Monk. The tune is very reminiscent of the great Alvin Batiste - both in its spirit and compositional complexity. A descending line of 4/4 counterpoint, Goines plays inside and out while Diehl feeds block chords of dissonance over the blues frame of the composition. 'Anniversary' is a celebration of life via the Caribbean groove line. This tune deftly illustrates the impression of Goines' visits to Brazil and its cultural ties to his naive New Orleans. With this recording, Victor Goines clearly illustrates that he has spent a great deal of time in the woodshed - not only sharpening his battle axes, but consciously melding his life experiences into a cogent statement that is both bold and intoxicating. Yes, Victor Goines is one of the premiere thinkers in jazz music. And after listening to "Twilight", I'm quite sure you'll agree he has a lot to say as well. 

~ Wesley Norris https://store.cdbaby.com/cd/victorgoines1

Personnel: Victor Goines - clarinet, soprano saxophone, alto saxophone, tenor saxophone; Aaron Diehl - piano;  Yasushi Nakamura - bass; Philip Kueh - bass;  Marion Felder - drums

Twilight

---

Bill Evans - Half Moon Bay

Styles: Piano Jazz 
Year: 1998
File: MP3@320K/s
Time: 52:40
Size: 122,1 MB
Art: Front

(0:41)  1. Introductions
(6:25)  2. Waltz For Debby
(5:46)  3. Time Remembered
(6:05)  4. Very Early
(4:47)  5. Autumn Leaves
(5:17)  6. What Are You Doing The Rest Of Your Life
(5:12)  7. Quiet Now
(6:35)  8. Who Can I Turn To (When Nobody Needs Me)
(4:47)  9. How My Heart Sings
(6:59) 10. Someday My Prince Will Come

It's hard to believe pianist Bill Evans (1929-1980) has been gone nearly as many years as his interesting recording career lasted. In that time, Evans's influence has become one of the most pervasive of twentieth century pianists and he endures as one of the most distinctive of jazz practitioners. In addition to the many known and famed recordings Evans made, many more that were taped privately or never issued are now beginning to become available. Half Moon Bay is one such previously unavailable recording that catches the Evans trio live at the Bach Dancing and Dynamite Society, an intimate living-room style club in Half Moon Bay, California, on November 4, 1973. On this beautiful and welcome occasion, Evans is heard in the familiar long-time company of bassist Eddie Gomez and drummer Marty Morell. Clearly the trio is relaxed and enjoying themselves and, as the notes declare, "playing beyond themselves." 

They're introspective and intuitive by nature. But here they seem to revel in this warm, inviting atmosphere and explore each other's music beautifully together. The disc begins with a more playful than usual version of Evans's well-known "Waltz for Debby," and displays that ever-evolving Evans essence on expert renditions of "Very Early," "Autumn Leaves," "Quiet Now," "Who Can I Turn To" and "Someday My Price Will Come." A special treat here is the trio's cover of Earl Zanders' (writer of "Elsa," included here and "How My Heart Sings, which is not here) "Sareen Jurer," a song Evans didn't seem to record elsewhere and a prominent showcase for bassist Gomez's entrancing bowed solo. Gomez is, in fact, prominently featured throughout, taking marvelous solos on "Autmns Leaves" and "Who Can I Turn To" too. 

Well recorded and produced, Half Moon Bay is a welcome addition to the burgeoning Bill Evans catalog and presents a compelling argument for the notability of this trio, featuring bassist Eddie Gomez, as one of the pianist's three best. Recommended. 

~ Douglas Payne https://www.allaboutjazz.com/half-moon-bay-bill-evans-fantasy-jazz-review-by-douglas-payne.php

Players: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums.

Half Moon Bay

---

Darius Brubeck - Years Ago

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 55:11
Size: 127,2 MB
Art: Front

(6:02)  1. Autumn in Our Town
(6:53)  2. Years Ago
(5:43)  3. In the Spanish Mode
(5:31)  4. For Iola
(4:31)  5. The Rainbow
(5:07)  6. October
(4:46)  7. I Saw Your Father
(7:06)  8. Mamazala
(5:39)  9. More Than You Know
(3:48) 10. Caravan

The title track "Years Ago" by Duke Makasi implies reflection and moving on. We often play this worldly, wistful ballad and also “Mamazala”, written by Zim Ngqawana while still a student. My own South African tune “The Rainbow” was written in the 80’s when I was performing and teaching there. It celebrates the defiantly diverse jazz club of the same name. The tunes "October" and “In the Spanish Mode” are from the 70’s and Matt Ridley’s distinctive bass sound sets the mood for both. Further back in time are Dave Brubeck’s “Autumn in Our Town” and the standard, “More Than You Know” framing O’Higgins’ moving soliloquy. My father’s “For Iola” is a tribute to my mother and my new composition “I Saw Your Father” is dedicated to the many people who tell me they saw Dave ‘years ago’. This quartet has been on the road for 10 years, and the ‘caravan’ moves on with fine and fleet brushwork from Wesley Gibbens. Darius Brubeck October 2016 https://store.cdbaby.com/cd/dariusbrubeck6

Personnel: Darius Brubeck (piano); Dave O’Higgins (saxes); Matt Ridley (bass); Wesley Gibbens (drums)

Years Ago

---

Rigmor Gustafsson - Come Home

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 53:38
Size: 123,5 MB
Art: Front

(3:49)  1. Big Yellow Taxi
(5:35)  2. I Think of You
(4:36)  3. Take a Little Turn
(4:29)  4. The Light Years
(5:14)  5. This Time
(3:53)  6. Wuthering Heights
(4:22)  7. Twist in My Sobriety
(4:43)  8. Lovely
(5:14)  9. Winter Doesn't End
(4:05) 10. Enjoy the Day
(7:33) 11. Come Home

Come Home marks Swedish jazz vocalist Rigmor Gustafsson’s return to the studio after a four-year hiatus. Working with a cadre of longtime lyricists, she funnels a deluge of new songs into a creative reservoir edged by the fabulous trio of Jonas Östholm on piano, Martin Höper on bass, and Chris Montgomery on drums. Behind Gustafsson’s technical prowess beats a troubadour’s heart. Songs like “I Think Of You” and “Take A Little Turn” crosshatch sly chord changes with unfiltered cadences and find her adapting to various subject matter with ease. Her band is equally responsive, softening her urgencies and heightening her melancholies. Guest harpist Margareta Bengtsson adds sparkle to “The Light Years,” one of the album’s strongest turns, while Östholm’s pianism draws a bold underline from start to finish. Much of the lyrical content plays with time, as over the gorgeous colorations of Höper and Montgomery on “Winter Doesn’t End” and “Enjoy The Day.” Whether in the upbeat bossa nova of “Lovely” or the anthemic title track, Gustafsson handles moods with distinct personality, especially on the set’s lovingly arranged covers. Both Joni Mitchell’s “Big Yellow Taxi” and Kate Bush’s “Wuthering Heights” highlight Gustafsson’s talent for simultaneously mimicking her source and being herself, but nowhere so deeply as on “Twist In My Sobriety,” which turns Tanita Tikaram’s classic into a plush groove. Featuring the accordion of Lisa Långbacka, it pays tribute to an era not so much bygone as buried under our current malaise. Tyran Grillo http://downbeat.com/reviews/detail/come-home

Come Home

---

David Sanborn - Timeagain

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 51:47
Size: 119,3 MB
Art: Front

(7:12)  1. Comin' Home Baby
(5:47)  2. Cristo Redentor
(4:51)  3. Harlem Nocturne
(5:01)  4. Man From Mars
(3:17)  5. Isn't She Lovely
(5:35)  6. Sugar
(5:36)  7. Tequila
(3:36)  8. Little Flower
(6:29)  9. Spider B.
(4:20) 10. Delia

Master saxophonist David Sanborn makes an astounding label debut with Time Again, and once again reminds his fans that he is firmly established as one of jazz's best alto saxophonists. Joined by an all-star ensemble of master musicians that includes Russell Malone on guitar, Steve Gadd on drums, Christian McBride on bass, Mike Mainieri on vibraphone, and Randy Brecker on trumpet and flugelhorn, among others, David Sanborn delves deep into his seemingly never-ending repertoire to bring his distinctive sound to a variety of pop and jazz standards. Opening with a super-funky rendition of "Comin' Home," Sanborn reveals the culmination of hard work and staying power with a powerful statement of the melody which seamlessly segues into awesome solos taken by Mainieri and McBride. They get even better on "Cristo Redentor," offering listeners another side of this infamous gospel jazz piece made famous by Donald Byrd. With soulful, innovative lines and a nighttime groove, Sanborn plays a reflective, sincere set that is destined to revive this song to the level not heard since the '70s, when it was the theme song for several late-night radio programs. Ditto for "Harlem Nocturne," which has become one of the most recognized television theme songs in the past decade. Sanborn, however, lifts it to another level with his dynamic 21st century outlook and brilliant improvisations. The all-masterful Time Again has something for everyone. It's romantic, it's funky, it's laid-back, and it's definitely one that should be in your music collection. In a sense, David Sanborn has pulled off one of the best recordings of his career. ~ Paula Edelstein https://www.allmusic.com/album/time-again-mw0000392466

Personnel: David Sanborn - saxophone, piano; Olivia Koppell - viola; Jesse Levy - cello; Caryl Paisner - cello; Gil Goldstein - piano, arrangements; Ricky Peterson - keyboards, synthesizer programming; Mike Mainieri - vibraphone; Christian McBride - bass; Steve Gadd - drums; Luis Quintero - percussion; Lani Groves - vocals; David Lasley - vocals; Arnold McCuller - vocals; Valerie Pinkston - vocals

Timeagain

---

Dannah Garay - My Miracle

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 52:14
Size: 120,9 MB
Art: Front

(3:33)  1. What We've Shared
(3:52)  2. My Miracle
(3:51)  3. In Love
(3:56)  4. Sunshine
(4:37)  5. There's a Place
(3:58)  6. The Road I Know
(3:11)  7. Music Itself
(5:40)  8. Once You Came
(4:56)  9. Spinning Around
(4:56) 10. Always There
(5:13) 11. Mr. Swing
(4:25) 12. Let Me Be Your Angel

With this new album Dannah Garay gets the title of "one of the best jazz singers in Mexico" with her previous album "From you to you" a tribute to Nat "King" Cole, she got the attention of the international press. https://store.cdbaby.com/cd/dannahgaray2

Personnel:  Dannah Garay: Voice; Alex Mercado: Piano; Agustín Bernal: Double bass; Gabriel Puentes: Drums

My Miracle

---

Terry Gibbs - Hollywood Swing

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 66:36
Size: 153,9 MB
Art: Front

(7:09)  1. Townhouse 3
(5:00)  2. Those Eyes, Those Lips, That Nose, That Face, That Girl
(4:50)  3. Chant Of Love
(6:05)  4. That Chumley Feeling
(6:20)  5. The Austin Mood
(4:21)  6. Nina
(6:14)  7. Blues For Brody
(7:41)  8. Little Girls
(6:44)  9. Tippie
(5:35) 10. No Name Theme
(6:32) 11. Now’s The Time To Groove’Em Up

A stellar sextet led by vibraphonist Terry Gibbs delivers a dozen swing tunes recorded in 1978 for the private Jazz A La Carte label, but never before released. Gibbs fuels the all-star session with his contagiously enthusiastic “Yeah, yeah, yeah,” which is still his mantra when leading his current Dream Band. 

The colossal sound of the late Bob Cooper’s tenor sears a slow-swinging “Those Eyes, Those Lips, That Nose, That Face, That Girl,” adds depth to “Blues for Brody” and burns through “Smoke ‘Em Up.” Conte Candoli’s trumpet is bold and sassy on “Townhouse 3,” punches up “The Austin Mood” and accents the East-Indian flavor of “Chant of Love.” Gibbs is at his best on “Now’s the Time to Groove,” solidly backed throughout by pianist Lou Levy (on a studio piano that’s a bit out of tune), bassist Bob Magnusson and drummer Jimmie Smith. https://jazztimes.com/reviews/albums/terry-gibbs-hollywood-swing/

Personnel:  Terry Gibbs - vibe; Lou Levy - piano; Bob Magnusson - bass; Jimmie Smith - drums; Bob Cooper - tenor sax; Conte Candoli - trumpet

Hollywood Swing

---