Suzanne Pittson - Out Of The Hub: The Music Of Freddie Hubbard

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 68:43
Size: 158,3 MB
Art: Front

(6:51) 1. Our Own (Gibraltar)
(8:18) 2. Up Jumped Spring
(6:10) 3. Out Of The Hub (One Of Another Kind)
(9:18) 4. Bright Sun (Lament For Booker)
(4:22) 5. True Visions (True Colors)
(5:46) 6. You're My Everything
(6:57) 7. We're Having A Crisis
(5:51) 8. Moment To Moment
(4:53) 9. Lost And Found (The Melting Pot)
(4:19) 10. Like A Byrd (Byrd Like)
(5:53) 11. Betcha By Golly, Wow!

The vocalese and scatting tradition is alive and well in singer Suzanne Pittson. With Out of the Hub: The Music of Freddie Hubbard, Pittson continues to establish herself as one of the best singers on today's jazz scene. Out of the Hub includes tunes written by or associated with trumpet legend Freddie Hubbard, with Pittson writing or co-writing five lyrics, which Hubbard approved just three months before his passing in 2008. To honor Hubbard, Pittson recruited a group of extraordinaire musicians, including trumpeter Jeremy Pelt and bassist John Patitucci, who add along with saxophonist Steve Wilson and the rest of Pittson's quintet dazzling improvisations throughout.

More than just a singer, Suzanne Pittson is a jazz musician. With a fluid phrasing and stunning tone, Pittson use her voice as another instrument, improvising and playing with the melodies. Pittson's striking sense of melody and amazing vocal range allow her to express a vast palette of colors and textures on swinging tracks like "True Vision," "You're My Everything" and "We're Having a Crisis," and on ballads including "Bright Sun," Moment to Moment" and "Betcha by Golly, Wow!" Following in the steps of the great Ella Fitzgerald, Pittson is also a master of the scatting technique, as shown on "Our Own" and "Out of the Hub." All the arrangements are by pianist/husband Jeff Pittson, and the cover design is a creation of their son Evan, who also wrote the lyrics to "Out of the Hub."~ Wilbert Sostre https://www.allaboutjazz.com/out-of-the-hub-the-music-of-freddie-hubbard-suzanne-pittson-vineland-review-by-wilbert-sostre.php

Personnel: Suzanne Pittson: voice; Jeremy Pelt: trumpet, flugelhorn; Steve Wilson: alto saxophone, soprano saxophone; Jeff Pittson: piano; John Patitucci: bass; Willie Jones III: drums

Out Of The Hub: The Music Of Freddie Hubbard

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Steve Kuhn Trio - To And From The Heart

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 46:42
Size: 109,3 MB
Art: Front

( 7:49)  1. Thinking out Loud
( 6:15)  2. Pure Imagination
( 6:00)  3. Away
( 4:38)  4. Never Let Me Go
( 5:29)  5. Into the New World
(16:29)  6. Trance / Oceans in the Sky

Now an octogenarian, Steve Kuhn's career has in 2018 spanned nearly sixty years, never having a long lull of time without recording new music. It becomes something of a marvel then that after all this time, the pianist still finds something new to say; he is still able to surprise listeners with songs they don't expect and improvisations they don't anticipate. He continues with the same trio he used on his previous release, At This Time... (Sunnyside, 2016) It should surprise no one how well these three mesh, considering their history. Kuhn and bassist Steve Swallow have worked together as far back as the 1960s, when they recorded with trumpeter and flugelhornist Art Farmer, who had yet to help create the Flumpet. Joey Baron meanwhile, has played drums on four albums with Kuhn, dating as far back as 1995. The trio has To And From the Heart open with the radiant "Thinking Out Loud," an original composition by Swallow, before easing perfectly into a beautiful and instantly recognisable rendition of the now classic Charlie and the Chocolate Factory tune, "Pure Imagination." With it's warm, romantic tone the song conjures the images of a crisp, cool city night, strolling hand in hand past pool halls, restaurants, and towering hotels. Swallow's long electric bass solo is rained over by Baron's cymbals before Kuhn masterfully brings the melody around for a final pass. In both these first songs it becomes clear how perfectly complementary the members of this trio are to each other. 

It's a kind of chemistry often taken for granted, but which exists only within a group of musicians such as this one. "Pure Imagination" is followed by two tender ballads, "Away" and "Never Let Me Go," the former of which is the second Swallow original and a simple, romantic song that feels just at home on the album.  Baron's cymbals spur Kuhn forward on Michika Fukumori's mid-tempo "Into the New World" before descending into a 16-minute long convalescence of two of Kuhn's original compositions, titled "Trance/Oceans in the Sky." The lengthy, latter half of this musical concoction is a wonderful, emotional ride. At times ominous, at others hopeful, yet never jarring. It's this song that draws the listener in, demanding full and complete attention to the band's technical prowess. Baron's drums weave through speakers left and right while Kuhn's piano lays out a remarkable turn reminiscent of the spectacular finale to a fireworks show. It's not just the perfect ending to a thoughtful, emotional album, it's the song that makes the entire 50 minute ride memorable. Despite the relative age of the group, To and From the Heart never feels geriatric. Meting out innovation with the sort of self assured aplomb which comes from experience and long-honed talent, the Steve Kuhn Trio has yet another solid addition to their catalogue. ~ Peter Hoetjes https://www.allaboutjazz.com/to-and-from-the-heart-steve-kuhn-sunnyside-records-review-by-peter-hoetjes.php

Personnel: Steve Kuhn: piano; Steve Swallow: electric bass; Joey Baron: drums.

To And From The Heart

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Jack McDuff - Sanctified Samba (Live in New Jersey)

Styles: Soul Jazz
File: MP3@320K/s
Time: 39:17
Size: 90,3 MB
Art: Front

(4:50) 1. Sanctified Samba
(5:11) 2. Whistle While You Work
(6:37) 3. It Ain't Necessarily So
(6:40) 4. Rock Candy
(7:42) 5. A Real Goodun'
(8:16) 6. Undecided

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~ Ron Wynn and Bob Porter https://www.iheart.com/artist/jack-mcduff-31483/

Sanctified Samba (Live in New Jersey)

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Lisa Hilton - Transparent Sky

Styles: Piano Jazz
File: MP3@320K/s
Time: 38:54
Size: 89,6 MB
Art: Front

(3:51) 1. Santa Monica Samba
(3:31) 2. Random Journey
(3:48) 3. Nightingales & Fairy Tales
(3:44) 4. Living in Limbo
(3:04) 5. God Bless the Child
(3:17) 6. Chromatic Chronicles
(5:21) 7. Fall Upon a Miracle
(3:10) 8. Infinite Tango
(4:02) 9. Extraordinary Everyday Things
(5:01) 10. Transparent Sky

As America and other countries re-emerge from the limitations of 2020, Lisa Hilton and her trio with Rudy Royston and Luques Curtis, enthusiastically embrace the moment with a vibrant new jazz offering titled Transparent Sky, that will inspire, uplift and motivate us all. Rich with glorious harmonies and unique compositions, Hilton's swinging band radiates a sun bleached aura to listeners. Throughout the album Hilton, Royston and Curtis develop a surprisingly wide range of rhythmic ideas from a variety of genres, masterfully blending classic traditions with new approaches and upbeat style. The recording jumps in with the Latin tinged "Santa Monica Samba," quickly following with the equally energetic "Random Journey" on this collection of nine originals, plus one cover. "What developed this year was a LOT of movement and richer chords and harmonies - which makes sense when you consider how static last year was. As musicians we need to challenge and also entertain ourselves, so I think that's why I subconsciously wrote in so many rhythm changes and multiple harmonic directions," says Hilton. "Living In Limbo," "Chromatic Chronicles," "Fall Upon a Miracle" and "Infinite Tango," highlight the multiple creative rhythms of Hilton's compositions and showcase ample opportunities for Curtis's agile bass, and the delightful details of Royston's drums.

Hilton has a way with ballads, and "Nightingales & Fairy Tales" is no exception. With it's slight nod to Bill Evans in the sixties, this has the making of a jazz classic for a twenty first century audience. In the same vein, a cover of "God Bless The Child," co-written by Billie Holiday and Arthur Herzog Jr, is a charmer, and like all the tracks here, is skillfully and originally presented without being forced. "For a long time I've been trying to record cover songs by women who were composers, because there is very little attention paid to them in jazz. I think it's important to give women recognition for their range of talents, and by promoting them, maybe we will see less discrimination in music", Hilton muses. Slowing towards the album's end, "Extraordinary Everyday Things" is a calm and expressive soundscape, but with a surprise twist, Hilton finishes up with the title track, "Transparent Sky" as a sonorous piano solo. "The melody is beautiful and has a bit of swing, but the harmonic ideas are quite chromatic and dissonant with overlapping/lingering sonorities between bar lines. " She says. "This piece needs to be played sensitively or it will sound harsh, but that is like our lives today - we are living in sensitive times and need to be aware of how we connect and communicate. The solo piano clearly delivers those delicate harmonies along with the emotions. It's about accepting our world as it is, whatever may be happening at that moment. Tomorrow will bring what it will, but there is still beauty to be found if we look for it, amid the dissonance of our times." Hilton explains. https://millsrecordcompany.com/UPC/806314102627

Transparent Sky

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Vanessa Rubin - Pastiche

Styles: Vocal, Swing
Year: 1993
File: MP3@320K/s
Time: 53:14
Size: 122,2 MB
Art: Front

(6:24) 1. In a Sentimental Mood
(4:29) 2. Simone
(5:22) 3. I'm Just a Lucky So and So
(5:30) 4. When Love Is New
(4:46) 5. Black Nile
(3:32) 6. I Only Have Eyes for You
(4:02) 7. Mosaic
(4:40) 8. Estoy Siempre Junto a Ti
(4:21) 9. Weekend
(5:51) 10. A Certain Love
(4:12) 11. Arise and Shine

An appealing singer who does not improvise much, Vanessa Rubin recorded several fine albums for Novus. She studied classical music but switched to jazz early on. Rubin sang with and managed the Blackshaw Brothers (an organ quartet from Cleveland). After working with several groups locally (and recording with the Cleveland Jazz All-Stars), in 1982 Rubin moved to New York. She worked with Pharoah Sanders, Frank Foster's Loud Minority, and the big bands of Mercer Ellington and Lionel Hampton, and studied with Barry Harris in addition to teaching in the N.Y.C. public school system. In 1992 she signed with Novus and her releases for the label are quite enjoyable, including a fine tribute to Carmen McRae. ~ Scott Yanow https://music.apple.com/us/artist/vanessa-rubin/366318

Personnel: Bass – Tarik Shah; Drums – Aaron Walker; Percussion – Michael Rubin; Piano, Organ – Aaron Graves; Tenor Saxophone – Houston Person (tracks: 9); Tenor Saxophone, Alto Saxophone, Soprano Saxophone – Roger Byam; Trombone – Steve Turre; Trumpet – Cecil Bridgewater (tracks: 2, 11); Trumpet, Flugelhorn – Eddie Allen

Pastiche

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Charlie Watts - Long Ago And Far Away

Styles: Jazz, Bop
Year: 1996
File: MP3@320K/s
Time: 58:57
Size: 135,2 MB
Art: Front

(4:23) 1. I've Got A Crush On You
(5:04) 2. Long Ago And Far Away
(4:53) 3. More Than You Know
(4:07) 4. I Should Care
(4:56) 5. Good Morning Heartache
(2:51) 6. Someday (You'll Be Sorry)
(4:24) 7. I Get Along Without You Very Well
(3:49) 8. What's New?
(4:14) 9. Stairways To The Stars
(4:06) 10. In The Still Of The Night
(5:12) 11. All Or Nothing At All
(3:55) 12. I'm In The Mood For Love
(3:42) 13. In A Sentimental Mood
(3:13) 14. Never Let Me Go

Charlie Watts has always had a reputation as the coolest and quietest Rolling Stone. But ask the drummer about something he really cares about the great bebop players or the timeless jazz standards that the Charlie Watts Quintet perform on their new album, Long Ago and Far Away and you can’t shut him up. Watts formed the quintet in 1991 to record an album to accompany the reprinting of Ode to a High Flying Bird, a children’s book he wrote and illustrated in 1964 as a tribute to his hero, the saxophonist Charlie Parker. In the five years since the Parker project, the Stones’ backing vocalist Bernard Fowler has joined the quintet, and the group has recorded three more albums, each a labor of love undertaken by Watts in between commitments to his day job. https://www.rollingstone.com/music/music-news/qa-charlie-watts-on-his-new-jazz-album-sketching-hotel-beds-and-the-40-year-old-sex-pistols-244375/

Personnel: Drums – Charlie Watts; Alto Saxophone – Peter King; Double Bass – David Green; Flugelhorn, Trumpet – Gerard Presencer; Orchestra – London Metropolitan Orchestra; Percussion – Louis Jardim; Piano – Brian Lemon; Vocals – Bernard Fowler

R.I.P.

Born: 2 June 1941

Died: 24 August 2021

Long Ago And Far Away

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Stanley Turrentine - Let It Go

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 66:21
Size: 152,4 MB
Art: Front

(5:55)  1. Let It Go
(6:58)  2. On a Clear Day You Can See Forever
(5:54)  3. Ciao, Ciao
(5:31)  4. 'Tain't What You Do (It's the Way That You Do It)
(5:21)  5. Good Lookin Out
(4:44)  6. Sure As You're Born
(4:49)  7. Deep Purple
(9:20)  8. Time After Time
(5:42)  9. Sent for You Yesterday (And Here You Come Today)
(8:07) 10. The Lamp Is Low
(3:56) 11. The Feeling of Jazz

For fans ready to graduate from Stanley Turrentine's many fine Blue Note sets, this excellent mid-'60s date on Impulse should be the perfect option. Joined by then-wife Shirley Scott on organ, Turrentine revels in a fine array of medium cookers, three of which came from his own pen. The covers are just as impressive, including a clutch of late-night blues and ballads from the standards canon ("Time After Time") and the Ellington ("The Feeling of Jazz") and Basie catalogs ("Sent for You Yesterday"). And making it all swing in the pocket, Turrentine and Scott get top-drawer support from bassists Ron Carter and Bob Cranshaw and drummers Mack Simpkins and Otis Finch. Enjoy. ~ Stephen Cook  http://www.allmusic.com/album/let-it-go-mw0000263512

Personnel: Stanley Turrentine - tenor saxophone; Shirley Scott – organ; Ron Carter - bass (tracks 1-7); Mack Simpkins - drums (tracks 1-7); Bob Cranshaw - bass (tracks 8-11); Otis Finch - drums (tracks 8-11)

Let It Go

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Ralph Sutton And Dick Cary - Rendezvous At Sunnie's 1969

Styles: Piano And Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 75:33
Size: 123,1 MB
Art: Front

(5:58) 1. I Can´t Believe
(6:14) 2. S`Wonderful
(6:38) 3. Everything Happens To Me
(4:53) 4. Save It, Pretty Mama
(4:23) 5. Honky Tonk Train
(6:45) 6. Someday Sweetheart
(6:20) 7. I`ve Found A New Baby
(6:18) 8. Louisiana
(6:01) 9. A Hundred Years From Today
(3:40) 10. Echo Of Spring
(5:09) 11. In A Sentimental Mood
(7:48) 12. Undecided
(5:21) 13. Sweet Georgia Brown

The seventh volume in the Arbors label's Historical Series is a delightful live set from 1969, recorded at Sunnie's Rendezvous in Aspen, CO. Aspen was pianist Ralph Sutton's home turf, and trumpeter Dick Cary was driven 2,000 miles to the club by a pair of California-based jazz enthusiasts who intended to record the pair's musical summit meeting. It took more than 25 years for the resulting tapes to finally see commercial release, but they've been worth the wait. Cary and Sutton are a match made in heaven, two men of spectacular musical erudition, gentle musical wit, and uncompromising swing who are equally capable of spinning out sweet and elegant variations on "I Can't Believe That You're in Love with Me" and charging energetically through the barrelhouse boogie-woogie of "Honky Tonk Train".

" Sutton's soft but urgent introduction on "I've Found a New Baby" generates tremendous energy that only continues to build through his solos; listen carefully to his left-hand work and you'll hear a summary of the whole history of jazz piano. Cary has similar stylistic range, wailing and growling Louis Armstrong-style one moment and sighing lyrically the next -- his work on the rarely played alto horn is especially interesting and enjoyable. The producers apparently took special care with microphone placement on this live recording, resulting in unusually good sound quality. Highly recommended.~Rick Anderson https://www.allmusic.com/album/rendezvous-at-sunnies-1969-mw0000255438

Personnel: Piano – Ralph Sutton; Trumpet, Alto Horn – Dick Cary; Bass – Al Hall; Drums – Cliff Leeman

Rendezvous At Sunnie's 1969

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Suzanne Pittson - Blues and the Abstract Truth

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 54:51
Size: 126,9 MB
Art: Front

(4:50) 1. Butch and Butch
(6:16) 2. My Ship
(5:40) 3. You and the Night and the Music
(5:36) 4. In Love in Vain
(4:35) 5. Blues and the Abstract Truth
(4:42) 6. Out of Nowhere
(5:53) 7. The Meaning of the Blues
(6:52) 8. Love For Sale
(4:13) 9. Somewhere in Tokyo
(6:14) 10. Ginger Bread Boy

Singer Suzanne Pittson, who is based in the San Francisco Bay area, has a wide range, is able to interpret lyrics with proper sensitivity and is a masterful scatter. She improvises constantly, and her solos are full of surprises and chance-taking. In addition to a few fresh versions of standards (including "My Ship," "Out Of Nowhere" and an eccentric "Love For Sale"), Pittson explores such rarely heard material as Oliver Nelson's "Butch And Butch" and "Blues And The Abstract Truth" (both of which have been given lyrics by her husband, pianist Jeff Pittson), Jerome Kern's underrated (and rather emotional) "In Love In Vain," and Jimmy Heath's complex "Gingerbread Boy." The warm vocalist is assisted on this worthy effort (which was not put out until late 1996) by her spouse, along with trumpeter Jack Walrath (who takes several surprisingly extroverted solos), bassist Harvie Swartz and drummer Mike Clark. ~ Scott Yanow https://www.allmusic.com/album/blues-and-the-abstract-truth-mw0000092181

Blues and the Abstract Truth

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George Kahn - Jazz & Blues Revue

Size: 155,2 MB
Time: 66:11
File: MP3 @ 320K/s
Released: 2014
Styles: Blues, Jazz, Soul
Art: Front

01. Cantaloupe Island (4:01)
02. Yes We Can Can (4:56)
03. Summertime (5:56)
04. Beat Me Daddy Eight To The Bar (3:11)
05. Shoo Shoo Baby (4:37)
06. Use Me (5:48)
07. The Boy From New York City/The Way You Make Me Feel (4:17)
08. God Bless The Child (5:22)
09. I'd Rather Go Blind (5:06)
10. Something's Got A Hold On Me (4:31)
11. Rock Me Baby (5:49)
12. Feeling Good (4:49)
13. Afro Blue (7:41)

Billed as the "Sass 'n' Soul World Tour," LA jazz pianist George Kahn presents the Jazz & Blues Revue, his eighth album as leader featuring three of LA's finest female jazz vocalist in his first all-vocal project and departure from previous recordings. On tap, fresh new arrangements of thirteen songs that obviously, not only touch on the jazz and blues landscape but, also include elements from the R&B and soul genres. On vocals throughout the session are Gina Saputo, a Eugene, Oregon native, educator and staple of the LA jazz scene, Crystal Starr winner of the 2011 Hollywood Music Awards for Best R&B singer and Santa Monica's own Courtney Lemmon who released her debut jazz album at the age of fifteen and has appeared on other Kahn recordings.

The pianist provides able support for the singers by assembling a cast of players that include jazz luminaries among them, saxophonist Eric Marienthal and trumpeter Dr. Bobby Rodriguez as well as special guests guitarist Pat Kelly and tenor saxophonist Chuck Manning. Herbie Hancock's "Cantaloupe Island" starts the vocal ball rolling featuring Saputo on lead as the other singers provide the background with solos from Marienthal on the alto and the Dr. on the horn jazzing up the piece. Kahn and the band introduces what seems, at least in the beginning, like a New Orleans styled soulful version of the Gershwin standard "Summertime," but then develops nicely into a percussive Latin jazz tune with vocalist Starr doing the honors while M.B. Gordy lays down the percussion.

The three vocalist become the newest version of the fabulous Andrews Sisters of the 30s and 40s with a boogie-woogie-styled romp on "Beat Me Daddy Eight to the Bar" and lay down one mean version of the popular Bill Withers song "Use Me" complete with funky rhythms and superlative piano lines from the leader. Songbird Saputo leads a sassy rendition of the time-honored Billie Holiday classic "God Bless the Child" as Marienthal's expressive alto and the other ladies, do a little blessing of their own on this tune. The Gospel and soul sound is alive and well on the Etta James piece "Something's Got A Hold On Me" with songstress Starr taking the lead and propelling her crisp sharp vocals on a swinging tune punctuated by Kelly's rock-styled guitar riffs.

This vocal experience winds down with Lemmon voicing a stellar arrangement of Anthony Newley's "Feeling Good" while a terrific read of the Mongo Santamaria standard and finale tune "Afro Blue," provides some of the best instrumentals of the recording. Kahn states that "each of my albums features a wide range of styles..." and this new album continues in that tradition with LA songbirds Saputo, Starr and Lemmon voicing their interpretations of the jazz, blues, soul and R&B sounds contained in George Kahn's Jazz & Blues Revue, a vocal jazz statement that begs to be heard. With great vocals, superb instrumentals and an exciting selection of music, this is vocal jazz at its best.

Personnel: George Kahn: piano; Courtney Lemmon: vocals; Gina Saputo: vocals; Crystal Starr: vocals; Lyman Medeiros: bass; M. B. Gordy: drums, percussion; Eric Marienthal: alto saxophone, soprano saxophone; Dr. Bobby Rodriguez: trumpet; Chuck Manning: tenor saxophone (2, 11); Pat Kelly: guitar (2, 3, 8, 11).

Jazz & Blues Revue

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Sonny Rollins - Rollins in Holland - The 1967 Studio & Live Recordings

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 129:51
Size: 298,1 MB
Art: Front

( 4:49) 1. Blue Room
( 5:13) 2. Four
( 6:03) 3. Love Walked In
( 6:57) 4. Tune Up
( 8:13) 5. Sonnymoon for Two
( 9:30) 6. Love Walked In
(22:25) 7. Three Little Words
( 9:33) 8. They Can't Take That Away from Me/Sonnymoon for Two
(14:59) 9. On Green Dolphin St.
(19:45) 10. Love Walked In
(22:19) 11. Four

From the very first decibel of this unrealistically good, previously unreleased recording, Sonny Rollins bears no bones to inform listeners he is suffering no fools. It is a big, Buescher, bellwether sound, the one that gave Rollins the sound and spirit he needed to tell of a man taking it all on without apology. It is also meant to say that, without argument, unrealistically good here is totally understood as a decisively human characteristic and not necessarily one Rollins aspired to. So Resonance dug this one up from some archive somewhere up north where it is way colder and the society is a lot nicer, (to pique your interest, there is a fun, fact-filled one-hundred-page booklet with contemporaneous action photos included) and it makes for a great package Rollins In Holland. It is what Resonance always does and why they are, and should be, lauded.

Then there is the music they find, and there is no alternative fiction going to convince us this is not Rollins, along with drummer Han Bennink and late bassist Ruud Jacobs riding one of those unexplainable peaks of clarity which stir great artists from time to glorious time. One of those updraft moments, as when a young hawk begins its ascent sunward, which awards us the ringingly eloquent "Blue Room." As "Four," "Love Walked In," and "Tuned Up" in real-time attest, both then and now, these guys who, just as a brief historical aside and coincidence, had never met or played before, early on slip into a mindset which serves them unfailingly throughout.

Be it the sheer, free artistry or the moxie of the admen, you won't be able to turn your ears away from Rollins In Holland, because then it goes live and all hell breaks loose and that's not idle, hoary punditry either. All hell breaks does break loose and we are transported back to a time when the music did, and was entrusted by the audience to, distract from the worries of the day. And so "Sonnymoon For Two" finds Rollins' soul urging Bennick on during the drummer's hell-raising solos and conclusively, with no-holds-barred, sets the whole riotous tone for the entire disc-and-a-half to follow. This one is as close to five stars as we're going to get. Have a treat. It's been a hell of a year. ~ Mike Jurkovic https://www.allaboutjazz.com/rollins-in-holland-sonny-rollins-resonance-records

Personnel: Sonny Rollins: saxophone; Ruud Jacobs: bass; Han Bennink: drums.

Rollins in Holland - The 1967 Studio & Live Recordings

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Michael Feinstein - With a Song in My Heart

Styles: Vocal And Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 50:48
Size: 82,2 MB
Art: Front

(3:21) 1. The Summer Knows
(2:34) 2. You're Never Fully Dressed Without a Smile
(4:15) 3. With a Song in My Heart
(2:52) 4. Real Live Girl
(3:13) 5. Moon River
(2:31) 6. Dance a Little Closer
(4:50) 7. Thanks for the Memory
(2:49) 8. More I Cannot Wish You
(3:32) 9. Polka Dots and Moonbeams
(3:57) 10. I'll Never Fall in Love Again
(4:14) 11. Two for the Road
(3:28) 12. Here's That Rainy Day
(3:40) 13. My Blue Heaven
(2:11) 14. Hallelujah
(3:20) 15. What Are You Doing the Rest of Your Life?

Singer/pianist Michael Feinstein was both a prime motivator and a beneficiary of arenewed interest in pre-rock popular music that started in the 1980s, a trend that also found Linda Ronstadt selling millions of copies of albums of traditional pop made with conductor Nelson Riddle and that fueled the success of Harry Connick Jr. In Feinstein's case, it allowed him to establish a career as a nightclub entertainer and then move up to theaters while releasing major-label albums; his background as a musical archivist also enabled him to bring a scholar's knowledge to his performances of classic pop music.

He was born Michael Jay Feinstein on September 7, 1956, in Columbus, Ohio. His father, Edward Feinstein, was an executive in the meat business, but had been a band singer, while his mother, Mazie Feinstein, was an amateur tap dancer. Beginning to play the piano by ear at age five, Feinstein grew up fascinated by the pop music of generations preceding him and amassed a large record collection. He moved with his family to Los Angeles in 1976, and there began to come in contact with the people who created the music he adored. He was hired by Ira Gershwin to catalog the veteran lyricist's archives, a job he performed until Gershwin's death in 1983. (He also worked for Harry Warren in 1981-1982.) At that point, he turned to performing as a cabaret artist full-time, beginning in Los Angeles. In 1985, he released his debut album, Pure Gershwin, on Parnassus Records. A 1986 engagement at the Oak Room of the Algonquin Hotel in New York was extended for four months and resulted in the LP Live at the Algonquin (Elektra, 1987). After releasing Remember: Michael Feinstein Sings Irving Berlin (1987), he was able to take his act to Broadway, opening Michael Feinstein in Concert: Isn't It Romantic at the Lyceum Theatre on April 19, 1988. The same year, he released his third album, also called Isn't It Romantic. During 1989, he released two thematic albums, Over There (Angel), devoted to the music of World War I, and The M.G.M. Album (Elektra).

For Elektra's Nonesuch imprint, Feinstein launched a series of "songbook" albums recorded with the participation of the veteran songwriters themselves, the first of them devoted to Burton Lane (August 1990, with a second volume in November 1992), followed by Jule Styne (October 1991), Jerry Herman (October 1993), and Hugh Martin (September 1995). Back at Elektra, Feinstein devoted an album to children, Pure Imagination (April 1992). Forever (March 1993) found him balancing contemporary material with the usual standards. He then switched labels, landing at Atlantic Records for Such Sweet Sorrow (March 1995) and Nice Work If You Can Get It: Songs by the Gershwins (February 1996) before moving to Concord Records, beginning with an album to mark the centenary of George Gershwin, Michael & George: Feinstein Sings Gershwin (September 1998).

In 1999, Feinstein lent his name to a new nightclub in New York located in the Regency Hotel, as Feinstein's at the Regency became a venue for sophisticated cabaret entertainers including its namesake. (A second Feinstein's later opened in Hollywood.) The same year, he released Big City Rhythms, fronting the Maynard Ferguson Big Band. Romance on Film/Romance on Broadway (October 2000) was a two-CD set, the first disc recorded live. It was followed by Michael Feinstein with the Israel Philharmonic Orchestra in May 2002. In the fall of 2002, Concord announced the formation of Feinstein's own custom subsidiary label, Feinery, intended to "present hidden gems from the American Popular Songbook." It was launched with a new album, Michael Feinstein Sings the Livingston & Evans Songbook, on October 8, 2002. Feinstein's 2003 album, Only One Life, was devoted to the songs of Jimmy Webb. In 2005, he and George Shearing teamed up for Hopeless Romantics. The Sinatra Project appeared in 2008. In 2009, Feinstein and Broadway star Cheyenne Jackson made The Power of Two for Harbinger Records. Fly Me to the Moon (September 2010) on the Duckhole label found him accompanied by jazz guitarist Joe Negri. In 2011, Feinstein followed up his 2008 homage to Sinatra with The Sinatra Project, Vol. 2: The Good Life. ~ William Ruhlmann https://music.apple.com/us/artist/michael-feinstein/269030

With a Song in My Heart

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Marianne Faithfull - The Montreux Years

Styles: Vocal
File: MP3@320K/s
Time: 72:54
Size: 119,0 MB
Art: Front

(6:30) 1. Madame George
(8:06) 2. Broken English
(3:33) 3. Times Square
(5:00) 4. Guilt
(4:37) 5. Song for Nico
(3:00) 6. Come and Stay with Me
(8:11) 7. Sister Morphine
(3:39) 8. She
(2:53) 9. Hold On Hold On
(4:58) 10. Solitude
(5:49) 11. Working Class Hero
(4:36) 12. Tower of Song
(5:21) 13. Strange Weather
(6:35) 14. Why D'ya Do It?

Instantly recognizable with her raw, varied vocal talents and tangible charisma, Marianne Faithfull has been a long-time friend of the Montreux Jazz Festival, appearing five times over a nearly 15-year period: 1995, 1999, 2002, 2005 and 2009. The first live album of Faithfull in over 10 years, Marianne Faithfull: The Montreux Years opens with an enchanting rendition of Van Morrison’s “Madame George,” recorded live at Auditorium Stravinski on July 10, 1995, where Faithfull’s powerful range and unfaltering dynamism was instantly apparent.

The singer’s fans can immerse themselves in these unique recordings, which include several songs from her celebrated album Broken English, such as an electrifying, guitar-heavy performance of the titular track “Broken English,” the soaring “Guilt,” and John Lennon’s rousing anthem “Working Class Hero.” Meanwhile, the haunting sensitivity of “Strange Weather,” recorded live at Casino Barrière on July 6, 2005, captures the bottomless depths of Faithfull’s brutal and ragged beauty.

Marianne Faithfull: The Montreux Years and Muddy Waters: The Montreux Years are the second installment of The Montreux Years series, which started with two true titans, Nina Simone and Etta James. Both have received critical acclaim, and Nina Simone: The Montreux Years debuted at #1 on the U.K. Official Jazz & Blues Albums Chart. Mathieu Jaton, CEO of the Montreux Jazz Festival, adds: “Muddy Waters and Marianne Faithfull have both made indelible marks on the Montreux Jazz Festival and these releases will immortalize their iconic performances for fans both new and old in stunning quality.” http://www.basementdiscs.com.au/shop/marianne-faithfull-the-montreux-years/

The Montreux Years

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Ralph Sutton - It's So Nice It Must Be Illegal!

Bitrate: 320K/s
Time: 57:12
Size: 131.0 MB
Styles: Piano jazz
Year: 2005
Art: Front

[0:27] 1. Introduction By Ralph Sutton
[6:16] 2. Honeysuckle Rose
[6:07] 3. Love Lies
[5:12] 4. Echoes Of Spring
[5:22] 5. Everything Happens To Me
[4:02] 6. My Blue Heaven
[6:54] 7. Medley Squeeze Me, Ain't Misbehavin'
[3:35] 8. S'posin'
[6:44] 9. Medley Sophisticated Lady, I Let A Song Go Out Of My Heart, Ring Dem Bells
[4:45] 10. Vipers Drag
[5:27] 11. Just One Of Those Things
[2:15] 12. I'm Gonna Sit Right Down And Write Myself A Letter

The great stride pianist Ralph Sutton is featured throughout this previously unreleased concert, a set of duets with drummer Michael Silva, who Sutton had met just minutes before going on-stage. Silva is very much in the background as Sutton performs some of his favorite songs. The tempos are usually pretty relaxed and there are no real barnburners, so this set is not as exciting as some of the pianist's most stirring performances. Still, the music is well played and Sutton was clearly having a good time playing before the audience in France. The final two numbers are called "bonus tracks" because they were recorded earlier that day at a rehearsal/soundcheck. "I'm Gonna Sit Right Down and Write Myself a Letter" has a good-humored and rare Sutton vocal. All in all, a solid if not essential release from a timeless master. ~Scott Yanow

It's So Nice It Must Be Illegal

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Linda Lavin - Love Notes

Styles: Vocal
Year: 2020
File: MP3@224K/s
Time: 38:17
Size: 62,2 MB
Art: Front

(2:35) 1. I've Got My Eyes on You
(2:46) 2. Not a Care in the World / Shall We Dance
(3:02) 3. I Wish I Were in Love Again
(4:50) 4. I Can't Tell You Why / I Walk a Little Faster
(4:00) 5. Chega de Saudade (No More Blues)
(3:02) 6. Stars Would Fall
(3:01) 7. Just Squeeze Me (But Don't Tease Me)
(3:32) 8. Black Cow
(3:36) 9. Ace in the Hole / Rap Tap on Wood
(3:12) 10. It Don't Mean a Thing (If It Ain't Got That Swing) / I Got Rhythm
(2:20) 11. You Must Believe in Spring
(2:15) 12. How High the Moon

Linda Lavin’s new CD, Love Notes, is a timeless collection of terrific songs from the Great American Songbook that has the feel and sound of a classic album from the ’50s or ’60s but with a few surprising tracks from the likes of the Eagles and Steely Dan. Lavin sounds better than ever and the joy of her performance is infectious.

Opening with a rare Cole Porter (if there is such a thing), “I’ve Got My Eyes On You,” the singer wastes no time establishing her absolute ownership of this material and revealing the sparkling support that her musicians provide throughout of particular note is music director Billy Stritch on piano and vocals, and violinist Aaron Weinstein who proves equally adept and entertaining on mandolin. I am always tickled when a singer includes “Not A Care In The World” (Vernon Duke, John LaTouche) and I defy anyone not to smile when they hear Lavin deliver “I’m as gay as a Disney cow.” Including the not always done verse, Rodgers & Hart’s “I Wish I Were in Love Again” shines as fresh and new as if it were written yesterday. Conversely, “I Can’t Tell You Why” (Don Henley, Timothy B. Schmit, Glenn Frey) which was (comparatively) written yesterday, takes on the luster of an American classic especially when paired with “I Walk A Little Faster” (Cy Coleman, Carolyn Leigh).

“Chega de Saudade” (“No More Blues”) ( Antonio Carlos Jobim, Vinícius de Moraes) is a dazzler, with wonderful supporting vocals by Stritch. An original by Joel Lindsey and Wayne Haun, “Stars Would Fall,” is an instant classic a beautifully fashioned love song given more than its due by Lavin’s romantic, soaring delivery. A couple of Duke Ellington tunes put her in a solid, classic jazz setting which fits her like a hand in a silken glove. Her version “You Must Believe In Spring” (Michel Legrand, Jacques Demy, Marilyn and Alan Bergman), a complex song that has been the downfall of many a vocalist, is a revelation in an effortless performance of passion and beauty. “How High The Moon” (Nancy Hamilton, Morgan Lewis) is a joyful closer to a recording with one high point after another. The repertoire, the production, the arrangements, the playing, and the exceptional vocals come together to give us one of the CDs of the year. Linda Lavin has become, over time, a major vocalist whose personal takes on so many great songs are a delight and a wonder.~ Gerry Geddes https://bistroawards.com/cd-review-linda-lavin-love-notes/

Personnel: Billy Stritch: piano; Aaron Weinstein: violin; Tom Hubbard: bass; Jeff Barone: guitar; Daniel Glass: drums; Joel Key: banjo.

Love Notes

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Aretha Franklin - Runnin' Out of Fools

Styles: Vocal
Year: 1964
File: MP3@224K/s
Time: 38:06
Size: 62,8 MB
Art: Front

(2:33) 1. Mockingbird
(2:32) 2. How Glad I Am
(2:47) 3. Walk On By
(2:46) 4. Every Little Bit Hurts
(2:21) 5. The Shoop Shoop Song (It's in His Kiss)
(2:36) 6. You'll Lose a Good Thing
(2:43) 7. I Can't Wait Until I See My Baby's Face
(2:58) 8. It's Just a Matter of Time
(2:33) 9. Runnin' Out of Fools
(3:02) 10. My Guy
(2:26) 11. Two Sides of Love
(2:06) 12. One Room Paradise
(0:39) 13. A General Market Advertisement from Columbia Records
(0:53) 14. A Special Ad for Christmas
(2:52) 15. The Christmas Song (Chestnuts Roasting on an Open Fire)
(2:12) 16. Winter Wonderland

Before signing to Atlantic in the late ‘60s and cementing her musical legacy, Tennessee teenager Aretha Franklin was dutifully climbing the charts, lending her mighty voice to some of pop’s most celebrated standards. Here she tackles “Mockingbird” with a singular sultry swing arguably casting it as the definitive version while Burt Bacharach’s “Walk On By” is gentle and atmospheric, her skyscraping vocals taking a more controlled, mellow turn. The winking sway of “The Shoop Shoop Song (It’s in His Kiss)” foreshadows her later sass. https://music.apple.com/us/album/runnin-out-of-fools-expanded-edition/425847724

Runnin' Out of Fools

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Ruby Braff Trio - Me, Myself And I

Styles: Cornet Jazz
Year: 1988
File: MP3@224K/s
Time: 51:28
Size: 83,1 MB
Art: Front

(4:39) 1. Muskrat Ramble
(3:34) 2. Let Me Sing And I'm Happy
(4:10) 3. You've Changed
(4:10) 4. You're A Lucky Guy
(5:01) 5. Honey
(2:43) 6. No One Else But You
(3:21) 7. Me, Myself And I
(4:52) 8. Dream Dancing
(3:20) 9. When You're Smiling
(4:12) 10. When I Fall In Love
(4:32) 11. Swan Lake
(3:16) 12. That's My Home
(3:34) 13. Jubilee

Although often overlooked in popularity polls, cornetist Ruby Braff during the 1980s and '90s recorded many classics and near-classics. For this trio set with guitarist Howard Alden and bassist Jack Lesberg, Braff's repertoire ranges from the dixieland tunes "Muskrat Ramble" and "When You're Smiling" to superior popular numbers such as "You've Changed," "When I Fall in Love" and "You're a Lucky Guy." As usual he brings an individual sound, swing, melodic creativity and passion to each of his improvisations.~ Scott Yanow https://www.allmusic.com/album/me-myself-i-mw0000204639

Personnel: Cornet – Ruby Braff; Bass – Jack Lesberg; Guitar – Howard Alden

Me, Myself And I

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Ralph Sutton - I Let A Song Go Out Of My Heart

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 49:12
Size: 113,4 MB
Art: Front

(8:02)  1. If I Could Be with You, Jitterbug Waltz, Say Yes, Slightly Less Than Wonderful
(3:07)  2. Morning Air
(7:48)  3. St. Louis Blues
(2:17)  4. I've Got The World On A String
(4:17)  5. Shine
(2:55)  6. Honky Tonk Train Blues
(4:30)  7. Old Fashioned Love
(2:46)  8. Handful Of Keys
(2:16)  9. Ain't Nobody's Business If I Do
(4:46) 10. I'm Gonna Sit Right Down And Write Myself A Letter
(6:23) 11. I Got Rhythm

Ralph Sutton was the greatest stride pianist to emerge since World War II, with his only close competitors being the late Dick Wellstood and the very versatile Dick Hyman. Nearly alone in his generation, Sutton kept alive the piano styles of Fats Waller and James P. Johnson, not as mere museum pieces but as devices for exciting improvisations. Although sticking within the boundaries of his predecessors, Sutton infused the music with his own personality; few could match his powerful left hand. Ralph Sutton played with Jack Teagarden's big band briefly in 1942 before serving in the Army. 

After World War II he appeared regularly on Rudi Blesh's This Is Jazz radio show and spent eight years as the intermission pianist at Eddie Condon's club, recording frequently. He spent time playing in San Francisco, worked for Bob Scobey, moved to Aspen in the mid-'60s, and became an original member of the World's Greatest Jazz Band with Yank Lawson, Bob Haggart, and Bud Freeman. In the 1970s, he recorded many exciting albums for the Chaz label and then cut albums for quite a few labels. Despite suffering a stroke in the early '90s, Sutton kept a busy schedule through the mid-'90s, playing at jazz parties and festivals. He died suddenly on December 29, 2001, in his car outside a restaurant in Evergreen, CO. Although he would have received much greater fame if he had been born 20 years earlier and come to maturity during the 1930s rather than the 1950s, at the time of his death it was obvious that Ralph Sutton had earned his place among the top classic jazz pianists of all time. ~ Scott Yanow  https://itunes.apple.com/us/artist/ralph-sutton/id1579569#fullText

I Let A Song Go Out Of My Heart

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Clayton-Hamilton Jazz Orchestra - Groove Shop

Styles: Jazz, Big Band
Year: 1990
File: MP3@320K/s
Time: 52:07
Size: 119,9 MB
Art: Front

(3:20)  1. Georgia
(5:35)  2. Rain Check
(3:31) 3. 'Tain't What You Do (It's the Way That You Do It)
(5:27)  4. Brush This
(3:30)  5. How Great Thou Art
(5:48)  6. Groove Shop
(6:06)  7. Sashay
(5:34)  8. Melt Away/A Time for Love: Melt Away / A Time For Love
(3:22)  9. I Won't Dance
(9:52) 10. Night Train

This Capri CD was the debut of the Clayton-Hamilton Orchestra, a notable L.A.-based big band co-led by bassist John Clayton, altoist Jeff Clayton, and drummer Jeff Hamilton. The 18-piece group has many top soloists, most notably the three co-leaders; tenor saxophonist Rickey Woodard; trumpeters Snooky Young, Clay Jenkins, and Oscar Brashear; and trombonist George Bohanon. However, it is the arrangements of John Clayton that give the orchestra its own sound. Highlights include "Raincheck," Young's vocal and trumpet feature on "T'Aint What You Do," Hamilton's showcase on "Brush This," Oscar Brashear's "Sashay" (which has a Clayton chart that recalls Thad Jones), and "Night Train." Highly recommended. ~ Scott Yanow  http://www.allmusic.com/album/groove-shop-mw0000273728

Clayton-Hamilton Jazz Orchestra: Jeff Clayton (soprano & alto saxophones, flute, oboe); John Clayton (acoustic bass); Jeff Hamilton (drums); Bill Green (alto saxophone, clarinet, flute); Ricky Woodard, Bob Hardaway (tenor saxophone, clarinet); Lee Callet (baritone saxophone, bass clarinet); Bobby Bryant, Snooky Young, Oscar Brashear, Clay Jenkins (trumpet, flugelhorn); George Bohanon, Ira Nepus, Thurman Green (trombone); Maurice Spears (bass trombone); Mike Lang (piano); Doug MacDonald (guitar); Herb Mickman (acoustic bass).

Groove Shop

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Alan Broadbent - Broadbent plays Brubeck

Styles: Piano Jazz
File: MP3@320K/s
Time: 62:47
Size: 144,6 MB
Art: Front

(6:00) 1. The Duke
(4:58) 2. One Moment Worth Years
(5:09) 3. Bossa Nova USA
(5:56) 4. Summer Song (feat. London Metropolitan Strings)
(4:55) 5. Blue Rondo A La Turk (feat. London Metropolitan Strings)
(7:20) 6. Strange Meadowlark (feat. London Metropolitan Strings)
(7:48) 7. In Your Own Sweet Way (feat. London Metropolitan Strings)
(4:58) 8. Weep No More (feat. London Metropolitan Strings)
(5:40) 9. When I Was Young (feat. London Metropolitan Strings)
(5:39) 10. Theme for June
(4:21) 11. Home at Last

In 1961 when Alan was 14 he found Howard Brubeck’s transcriptions, in two volumes, of Dave Brubeck’s solo album “Brubeck plays Brubeck” in a music store in Auckland, New Zealand. By this time he was aware of Dave Brubeck as “Take 5” was the rage on the radio, even in the then remote corner of the world where Alan lived. He had no idea how the music was supposed to be played, having no reference to Dave’s LP, which was impossible to find anyway. So being a good sight reader, Alan began to play the pieces as written, without any knowledge of, or feeling for, jazz rhythm. From the first pages, beginning with “The Duke”, to the last, “Swing Bells”, Alan was enthralled with the harmony and melodies. He had never heard such rich and beautiful chord progressions before. So he played his heart out, lingering over passages, savoring a chord here, dwelling on a bar there, finding meaning and expression in the music that Dave probably didn’t know was there. In fact, many years later, before the youtube encyclopedia of music, Broadbent finally got his hands on an old, well-worn, LP and was surprised, shocked really, at how Dave would nonchalantly rush through a bar that he had had a religious experience with.

Then Alan found the music to “Strange Meadowlark” and others that he has included in “Broadbent plays Brubeck”, as well as one by Dave’s brother, Howard; a tribute to him and his hard work (without the aid of digital devices!) that enabled that young fellow down under to revel in the music. Alan Broadbent has sought, in his arrangements, to recreate those feelings about these pieces that have never left him in all these years and to offer another dimension to them through the expressiveness of the peerless musicians of The London Metropolitan String Orchestra. Again “Broadbent plays Brubeck” is a dream come true album for 2-time Grammy Award winner Alan Broadbent, much like Alan’s earlier Album „Developing Story“. Long time partner and close friend Ralf Kemper, a Grammy winning producer, invited Alan again to record „Broadbent plays Brubeck“ at Abbey Road Studios in London. Alan accepted and the recording took place in 2018 at the famous Abbey Road Studio 2. Alan recorded the piano part a little later at Ralf’s Riverside Studios Cologne in Germany.

Alan has received 14 Grammy Award nominations and won 2 Grammy Awards for “Best Orchestral Arrangement Accompanying a Vocal", one for Natalie Cole and one for Shirley Horn. He was nominated for "Best Improvised Jazz Solo" alongside Keith Jarrett, Herbie Hancock and Wayne Shorter. Alan has arranged and conducted for Sir Paul McCartney, Diana Krall, Pat Metheny, Linda Ronstadt, Michael Bublé and many more.

The London Metropolitan Orchestra is one of the best symphonic orchestras in London and is regularly booked by major Hollywood studios and record companies, including live performances with artists such as Paul McCartney, U2, Eric Clapton, Annie Lennox, Sting, Bryan Adams, Quincy Jones, Pink Floyd, Jon Bon Jovi, Vangelis, Simply Red, Pet Shop Boys etc. Ralf Kemper shares mixing and mastering credits with Jonathan Allen. In 2013 Jonathan won the BAFTA Sound Award for the recording and mixing of the movie "Les Misérables". He recently also recorded for Gregory Porter and Eliane Elias. The producer, Ralf Kemper, is himself a Grammy Award winner in 2010 for Best Instrumental Record and Best Producer Of The Year at the Latin Grammys for Arturo Sandoval’s “A Time For Love". His film “Jimmy Scott: I Go Back Home“ premiered at the prestigious SXSW festival, was introduced by Quincy Jones at the 50th Montreux Jazz Festival and has won several awards at international film festivals. All songs composed by Dave Brubeck except „Theme for June“, composed by Howard Brubeck https://riverside-studios-cologne.com/news/detail/broadbent-plays-brubeck

Alan Broadbent – arranger, conductor & piano; Harvie S – bass; Hans Dekker – drums; David Juritz – Concertmaster and Solo Violin on "Strange Meadowlark"; London Metropolitan Strings

Broadbent plays Brubeck

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