Thursday, October 14, 2021

Nils Landgren - Nature Boy

Styles: Trombone Jazz
File: MP3@320K/s
Time: 44:55
Size: 103,5 MB
Art: Front

(2:52) 1. Morning Has Broken
(4:07) 2. Nature Boy
(3:33) 3. A Minor
(4:31) 4. In A Sentimental Mood
(3:37) 5. Solitude
(2:56) 6. Värmlandsvisan
(3:19) 7. Allt Under Himmelens Fäste
(2:55) 8. Der Mond Ist Aufgegangen
(3:11) 9. Nu Sjunker Bullret
(2:05) 10. Din Klara Sol Går Åter Opp
(3:17) 11. Som Stjärnor Små
(3:23) 12. Den Blomstertid Nu Kommer
(2:58) 13. Jag Lyfter Ögat Mot Himmelen
(2:05) 14. Sov På Min Arm

Born in 1956, Nils Landgren began playing drums at the age of six, before at last discovering the trombone at 13. Between 1972 and 1978 Nils studied classical trombone at the music college in Karlstad with David Maytan and at the university in Arvika with Ingemar Roos. Meeting the legendary Swedish Folk-Jazz pioneer Bengt-Arne Wallin as well as the fantastic trombonist Eje Thelin persuaded Nils to move from strict classical studies to improvisation and to begin the development of his own approach. After his graduation Nils moved to Stockholm to work as a professional trombone player. He was soon touring with the most successful Swedish pop star of that time, Björn Skifs’ “Blue Swede” who got to number 1 in the US pop charts with “Hooked on a feeling”. In 1981 Thad Jones invited the Swede into his new big band project “Ball of Fire”, to take the lead-trombone chair. Ever since that time Nils Landren has been involved in most styles equally: jazz and rock, soul and hip hop, big band sessions, and by his own reckoning, at least 500 albums including such internationals stars as ABBA, The Crusaders, Eddie Harris, Bernard “Pretty” Purdie, Wyclef Jean and Herbie Hancock.

In 1983 Nils’ debut album “Planet Rock” was released, followed by “Streetfighter” in 1984, “You are my Nr 1? in 1985, “Miles from Duke” with Bengt-Arne Wallin in 1987, “Chapter Two 1?, in 1987, “Chapter Two 2? and “Follow your heart” in 1989. Between 1985 and 1987 Nils also performed as actor, singer, trombonist, and dancer in over 360 performances of the Swedish “play of the year”, SKÅL, as well as appearing in several TV-films as an actor. 1992 saw the first performances and recording of the Nils Landgren “Unit”. The final breakthrough beyond Scandinavia came first in 1994: it was at the Jazz Baltica Festival at Salzau in Germany that the “Unit” became the “Funk Unit”. The album “Live in Stockholm” (ACT 9223-2) was released that year and was the foundation for the collaboration with Siegfried Loch and his then young ACT label.

The next Funk Unit release, “Paint It Blue” (ACT 9243-2), was one of 1997's most successful albums and received Germany’s Jazz Award. The following tour of over 100 dates gave Nils Landgren and the Funk Unit their breakthrough in Germany. Inspired by his mentor Bengt-Arne Wallin, Nils Landgren ventured into non-funky realms with a re-working of traditional Swedish folk songs: “Swedish Folk Modern” (ACT 9257-2), his first duo with the pianist Esbjörn Svensson, followed up by “Layers of Light” (ACT 9281-2), an even gentler evocation. Between January 1998 and January 2001 Nils Landgren was also a member of the NDR Big Band in Hamburg, but continuously touring throughout with the Funk Unit worldwide. During this time three albums were released: after “Live in Montreux” (ACT 9265-2) appeared in 1999 “5000 Miles” (ACT 9271-2) and in September 2001 “Fonk da World” (ACT 9299-2), which was presented live at a special 3 day festival in Hamburg dedicated to Nils Landgren’s music. The “grooving band, which encouraged the younger members of the audience into a dance frenzy, but which was also taken seriously by the greying jazz snobs” (Spiegel), proved that it could be counted as “the best funk band in Europe today” (Stereo).

As artistic director of the illustrious Berlin Jazz Festival in 2001 Nils Landgren set up a concise overview of the current directions in Scandinavian jazz and was awarded the “Tore Ehrling Prize” by the Swedish Composers’ Federation for his “special contribution in bringing worldwide attention to Swedish jazz”.A further aspect of Landgren’s multi-facetedness has been shown since 1993, when the album “Ballads” (ACT 9268-2) was recorded, and on its release in Germany in 1999 showed for the first time his talent as an emotional ballad singer. With his tasteful tenor voice he has been compared to the introverted style of Chet Baker. In 2002 he undertook a recording of a sequence of love songs on a “Sentimental Journey” (ACT 9409-2) which was enthusiastically received by public and critics alike. “We want more of this” proclaimed the WOM Journal and so was able to follow this through the production of the album “I Will Wait For You” (ACT 9418-2) where the singer Rigmor Gustafsson having previously made her name as a guest on “Sentimental Journey” – took centre stage. It stormed into the jazz charts in Sweden and Germany, reaching number 1 and number 2 respectively.

In 2004, after a self-imposed sabbatical of almost two years, Landgren went full steam ahead with his Funk Unit and produced the acclaimed Platinum „Funky Abba“ album (ACT 9430-2); his own personal hommage to one of the greatest pop bands in history. 2005 marks the new album “Creole Love Call” (ACT 9707-2) together with the legendary keyboarder Joe Sample of The Crusaders, in which Nils Landgren can be heard again primarily as a vocalist. In December 2005, Nils Landgren celebrated Christmas in a church in Stockholm with some friends from the Scandinavian music scene and thus fulfilling a long-time dream. This unique recording of the most beautiful Christmas songs from the middle ages to our time was released in December 2006 on CD and DVD, went gold in Sweden and Germany within a month of its release, and climbed to #2 of the German Jazz charts: “Christmas with my Friends” (ACT 9454-2).

2007 brings the Funk Unit back again. The eighth funk album demonstrates the same killer groove as its award-winning predecessors lead us to expect. Nils Landgren definitely has it: the “Licence to Funk” (ACT 9455-2). Given the resounding success of JazzFest Berlin ’01, Landgren has been nominated again in 2008 as artistic director of the JazzFest Berlin for the coming three years. At the end of 2008 he will release a sequel of his successful first Christmas album: “Christmas With My Friends II” (ACT 9476-2). Music knows no borders, music is freedom this is Nils Landgren’s credo. For every record of his new Funk Unit album “Funk For Life” (released in spring 2010) sold, one Euro goes to the Funk Unit Médecins Sans Frontières (Doctors without borders) project ”Funk For Life” in Kibera Nairobi. By purchasing the CD the buyer will contribute in making life for people in Kibera just a bit easier. And he helps to guarantee that from now on, music will be a central part of the education in Kibera. https://www.allaboutjazz.com/musicians/nils-landgren

Nature Boy

Wednesday, October 13, 2021

Ben L'Oncle Soul - Under My Skin

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 57:57
Size: 133,6 MB
Art: Front

(4:20) 1. A Very Good Year
(3:41) 2. All The Way
(3:51) 3. Fly Me To The Moon
(4:13) 4. The Good Life
(5:26) 5. Moonlight Serenade
(3:27) 6. I Love Paris
(6:10) 7. My Way
(4:32) 8. New York New York
(3:54) 9. The Way You Look Tonight
(4:41) 10. I've Got You Under My Skin
(4:39) 11. Witchcraft
(3:09) 12. All The Way (Version Acoustique)
(5:48) 13. I've Got You Under My Skin (Version Acoustique)

Ben l'Oncle Soul is a French soul singer with a retro style who made his eponymous Top Five hit album debut in 2010. Born Benjamin Duterde in 1984 in Tours, Indre-et-Loire, France, he took his name and look from Uncle Ben, the fictitious elderly African-American man dressed in a bow tie who serves as the brand image of Uncle Ben's Rice. The moniker Ben l'Oncle Soul was chosen rather than Uncle Ben to avoid any charges of trademark infringement. Years before Duterde adopted the Ben l'Oncle Soul moniker, he got his professional start as a vocalist in the Fitiavana Gospel Choir, which he joined in 2004. The Tours-based gospel choir made its album debut with I Have a Dream (2009), a collection of English-language soul classics such as "Killing Me Softly," "Lean on Me," and "(You Make Me Feel Like) A Natural Woman."

In turn, Duterde was offered a solo recording deal with the French division of Motown Records. Billing himself as Ben l'Oncle Soul, he made his solo recording debut with the Soul Wash EP (2009). Comprised of cover material, the majority of it sung in English, the six-track EP is performed in a retro style informed by the Motown and Stax sounds of the 1960s. A cover of the Gnarls Barkley smash hit "Crazy" was released as a single. A half-year later, Duterde made his full-length debut with the eponymous album Ben l'Oncle Soul (2010). Produced by Guillaume Poncelet and Gabin Lesieur, the album is comprised entirely of original material, plus the cover version of the White Stripes hit "Seven Nation Army" from the Soul Wash EP. With "Seven Nation Army" released as its lead single, Ben l'Oncle Soul was a Top Five hit on the French albums chart.~ Jason Birchmeier https://www.allmusic.com/artist/ben-loncle-soul-mn0002459668/biography

Personnel: Ben L'Oncle Soul - vocals; Benjamin Waxx Hekimian - guitar, bass guitar; Matthieu Joly - keyboards; Maxime Pinto - sax, trumpet; Christophe Lardeau - acoustic guitar

Under My Skin

Gary Bartz - Music Is My Sanctuary

Styles: Jazz Funk
Year: 1977
File: MP3@320K/s
Time: 36:02
Size: 83,5 MB
Art: Front

(6:22) 1. Music Is My Sanctuary
(5:57) 2. Carnaval De L'Esprit
(4:11) 3. Love Ballad
(6:53) 4. Swing Thing
(5:55) 5. Oo Baby Baby
(6:42) 6. Macaroni

Surrounding himself with a world-class ensemble of disco-jazz-fusion musicians and armed with the Mizell brothers at the production console (who were near the peak of their careers around this time), Gary Bartz took the route of Donald Byrd and brought new elements of funk, soul, and a foreshadowing of the soon-to-be-commercial disco craze all into a 40-minute workout on Music Is My Sanctuary. While purists shook their heads in disapproval and disdain at Bartz's new direction (one emulated by several jazz pioneers at the time), those who could take off their traditional jazz mufflers would find Bartz and the Mizells making some highly infectious, soulful music. Further accentuated by the addition of Syreeta Wright on vocals, the Mizells took Bartz into nearly uncharted territories for jazz musicians. The results of this experimentation more than paid off, with the dividends being Bartz's most polished, focused releases.~ Rob Theakston https://www.allmusic.com/album/music-is-my-sanctuary-mw0000027322

Personnel: Gary Bartz - Saxophone (Alto, Soprano), Piano, Electric Piano, Synthesizer, Vocals; Larry Mizell - Keyboards, Vocals; George Cables - Piano; David T. Walker, John Rowin, Juewett Bostick, Wah-Wah Watson - Guitar; Curtis Robinson, Jr., Welton Gite - Bass; Howard King, James Gadson, Nate Neblett - Drums; Bill Summers, James Mtume - Percussion; Eddie Henderson, Ray Brown - Trumpet; Sigidi, Syreeta Wright - Vocals

Music Is My Sanctuary

Curtis Fuller - Four On The Outside

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 46:27
Size: 106,5 MB
Art: Front

( 4:49)  1. Four on the Outside
(12:58)  2. Suite Kathy
( 5:06)  3. Hello Young Lovers
( 7:44)  4. Little Dreams
( 8:14)  5. Ballad For Gabe-Wells
( 7:33)  6. Corrida Del Torro

While Curtis Fuller may have reached his peak in the 1960s, he continued to be an important voice well into the 1970s and beyond. This delightful set features him in a front line with Pepper Adams, and the trombone-baritone saxophone combination was a natural. (Curiously, few others have followed this intriguing coupling.) While there is no new ground broken, Adams and Fuller negotiate tunes mostly written by Fuller, with simple, yet elegant heads. The version of "Hello Young Lovers" is characteristically conservative, yet sharp and well rehearsed. Fuller's nasal tone, machine gun-like spurts, and focus on the middle range on his horn complements Adams' angular, boppish lines. The fine rhythm section of pianist James Williams, bassist Dennis Irwin, and drummer John Yarling never gets in the way, but lets the horns spread their wings. ~ Steve Loewy  http://www.allmusic.com/album/four-on-the-outside-mw0000464545

Personnel: Baritone Saxophone – Pepper Adams;  Bass – Dennis Irwin;  Drums – John Yarling;  Piano – James Williams;  Trombone – Curtis Fuller

Four On The Outside

Jane McDonald - Let The Light In

Styles: Vocal
File: MP3@320K/s
Time: 47:31
Size: 110,4 MB
Art: Front

(3:30) 1. You Don't Know What You Got
(3:14) 2. Step Outside The Door
(3:24) 3. I'll Not Be Beaten
(4:30) 4. I See It In Your Eyes
(3:43) 5. The Hand That Leads Me
(3:36) 6. Shallow
(4:04) 7. Let The Light In
(3:58) 8. This Is Me
(3:57) 9. You & I Could
(3:26) 10. Never Enough
(5:31) 11. You Still Lead Me
(4:33) 12. You're My World

Jane McDonald brings together new songs and fan favourites on her latest album ‘Let The Light In.’ The record marks the first time the powerhouse singer has recorded with her live band and replicates the united, cohesive sound of her live shows. It’s a format reflected in the song selection; four of which appeared on her last LP ‘Hold The Covers Back’, along with three covers from her live show, two reworked tracks and three new compositions. As a collection, the album showcases Jane’s vocal prowess, which is as strong now as it was 25 years ago when cameras rolled for BBC’s ‘The Cruise’.But what’s disappointing is that half of the 12 tracks are already widely available albeit in different configurations leaving essentially a six-track EP of new cuts. Moreover, the new songs are so good, including the country-tinged You Don’t Know What You Got, funk-driven You & I Could and You Still Lead Me, perhaps her strongest self-penned offering to date. Covers of ‘The Greatest Showman’tunes This Is Me and Never Enough, and Shallow from ‘A Star is Born’, add to her recorded repertoire, and it’s hard not to want for more. That’s not to knock the quality of the record; the original material is career-best work and, if there’s one thing to be taken from ‘Let The Light In’, it’s that Jane McDonald remains at the top of her game. https://retropopmagazine.com/jane-mcdonald-let-the-light-in-album-review/

Let The Light In

Tuesday, October 12, 2021

Adonis Rose, Maurice Brown, Tia Fuller - Piece of Mind

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 91:35
Size: 210,8 MB
Art: Front

(15:45) 1. Keep Your Soul Together
(12:58) 2. Piece of Mind
( 5:50) 3. Entropy
( 9:12) 4. Nostalgic Impressions
( 9:19) 5. Lovely
( 5:38) 6. Maurice's Rap
( 7:06) 7. Sunny Side of the Street
(13:59) 8. Blue Llama Jam
( 5:16) 9. Here Tonight
( 6:26) 10. Little Liza Jane

Caught in concert at Blue Llama Records, drummer Adonis Rose creates a classic sounding post bop team with a front line of Tia Fuller/ss-as, Maurice Brown/tp, Miki Hayama/p Jasen Weaver/b and guest vocalist Sasha Masakowski for a mix of originals and fun standards. Rose flexes his muscles and lets everyone else join in on the groove of Freddie Hubbard’s “Keep Your Soul Together” with Brown searing on some nice Hub tones and Fuller poignant on the alto sax over Hayama’s electric keys. The dreamy “Piece of Mind” has a Brown in a sweeter tone, and Rose supplying a nifty backbeat, while the team is ethereal on mood for backing Masakowski on a lovely “Entropy”. She gives extra salty caramel’d soul to “Sunny Side of The Street” and goes hip hoppy with the trumpeter on the festive “Maurice’s Rap”. Everyone joins in on the 14 minute party of “Blue Llama Jam” with Rose keeping the stallions reigned in just enough to keep the wagon train from toppling over. Purebreds at play. https://www.jazzweekly.com/2020/10/adonis-rose-piece-of-mind/

Personnel: Adonis Rose – drums; Tia Fuller – alto/soprano sax; Maurice Brown – trumpet; Sasha Masakowski – vocals; Miki Hayama – piano; Jasen Weaver – bass

Piece of Mind

Morgana King - Gemini Changes

Bitrate: MP3@320K/s
Time: 34:33
Size: 79.1 MB
Styles: Standards, Vocal
Year: 1967/2009
Art: Front

[3:08] 1. I Have Loved Me A Man
[2:32] 2. This Is My Song
[2:44] 3. The Look Of Love
[3:30] 4. A Time For Love
[2:48] 5. Watch What Happens
[2:06] 6. Sunny
[2:32] 7. Walk On By
[3:12] 8. What's Wrong With Me
[2:35] 9. Once I Loved (O Amor En Paz)
[2:49] 10. Softly Say Goodbye
[3:58] 11. I'd Stay With You
[2:34] 12. On The South Side Of Chicago

The album title might be a tip-off that this record is going to be a bit hokey-dopey, but when Morgana King asks "What's Wrong With Me?," the obvious answer is going to be: "You've changed arrangers!" She is matched with Don Costa for this 1967 album, following two albums in which Torrie Zito had created and conducted arrangements. It is not an example of trading up, although there are examples of better work than this by Costa. The album is about as subtle as an aircraft carrier, and sometimes things really are outright ludicrous. "Softly Say Goodbye," for example, is not a song that needs a big band and string section playing loud enough to be heard on the other side of a bay, unless someone is creating a satire. There is nothing satirical about King, however. She is downright serious and emotive on every number, which combines with the old-school arrangements for a sort of Vera Lynn effect. Nothing wrong with that, but it will be a letdown for listeners who enjoyed the exotic, groovy, and swinging vibe of earlier King Reprise albums. Bossa, samba, and the related world of Burt Bacharach come off best here, although once again the clever touches of Zito are sorely missed. "The Look of Love" pays the cost of Costa's hammy conducting, but "Walk on By" is just right. "Sunny" is an unexpected delight, maybe because Costa must have realized he couldn't out-schlock the hit single by Bobby Hebb. Instead, King is given a chance to use her ultra-relaxed and in-control phrasing to give the song a whole new feel. Some listeners may not even get past the first song, however, a monstrosity entitled "I Have Loved Me a Man." This is a good example of a song that gives off the scent of the wretched from its title alone. After ignoring the singer's cozy feel for swing for the entire album, "On the South Side of Chicago" comes off as a strained finale; Costa should have thought of this sooner, although it would have been a lot better if he hadn't shown up at all. ~Eugene Chadbourne

Gemini Changes

Kathrine Windfeld, Bohuslän Big Band - Determination

Styles: Piano Jazz
File: MP3@320K/s
Time: 45:46
Size: 105,2 MB
Art: Front

(6:46) 1. Crescendo
(6:39) 2. Safe And Sorrow
(6:18) 3. Weaver
(9:43) 4. Determination
(6:10) 5. We Will Depart
(4:03) 6. Block
(6:05) 7. Bloom

Kathrine Windfeld is considered one of the most exciting, and refreshing new Scandinavian jazz composers and arrangers in many years. Pianist, composer, and arranger Kathrine Windfeld was born 1984 in Svendborg on Funen. As a teenager, her strong creative sense was channeled through painting, theatre, singing, and piano playing. During a 5-month stay at a music course at “Den Rytmiske Højskole” in 2003, the piano became her primary means of expression and she started composing her first pieces.

Striving for a further exploration of the world of music, she went to The Department of Musicology in Copenhagen where she took classes in music theory and analysis, arranging for big band, and a master’s degree in choir/ensemble leading. Meanwhile, she played in an experimental and progressive quintet, “Gespenst”, which strongly developed her sense of writing and navigating in complex rhythmical landscapes. This group became her main path to the world of jazz and improvisation, for which reason she dedicated two years at the Swedish jazz school “Fridhems Folkhögskola” to jazz piano playing. In April 2016 KWBB was exclusively selected for a showcase at Jazzahead in Bremen, Germany, where they played for a broad panel of international bookers and jazz labels. KWBB's second album LATENCY was released at the renowned Scandinavian label Stunt Records in March 2017. https://www.allaboutjazz.com/musicians/kathrine-windfeld

Determination

Monday, October 11, 2021

Willis Jackson With Jack McDuff - Together Again

Styles: Saxophone Jazz, Post Bop
Year: 2003
File: MP3@320K/s
Time: 67:54
Size: 156,4 MB
Art: Front

( 4:05) 1. Gil's Pills
( 4:40) 2. Angel Eyes
( 5:00) 3. Three Little Words
( 4:10) 4. Glad 'a See Ya'
( 7:35) 5. Medley - September Song, Easy Living, Deep Purple
( 5:25) 6. Dancing on the Ceiling
( 6:54) 7. It Might as Well Be Spring
(10:12) 8. This'll Get to Ya
( 7:06) 9. Tu'gether
( 4:50) 10. Jambalaya
( 2:05) 11. Backtrack (Twistin' Train)
( 3:08) 12. Without a Song
( 2:40) 13. Snake Crawl

Organ jazz from the late fifties and early sixties had a tendency to be predictable, yet it still provided a template for churning out catchy tunes, many of which became hit singles. Once again Fantasy has mined its seemingly inexhaustible supply of the stuff for this record, which once again pairs a couple of previous releases together on one CD. Like most of the other discs in this format (many by McDuff himself), there’s some filler, but enough greasy soul on this 1960 reissue to keep one satisfied. Jack McDuff and Willis Jackson were two musicians who mined the soul jazz craze for all it’s worth, and despite a few curveballs, they knew not to tinker with a formula that works. These two had played together before and had a deep understanding of each other’s styles. McDuff is one of the best organists to emerge after Jimmy Smith and is more than capable of sustaining a groove by pumping out chords (although he prefers to leave the bottom end to a bassist instead of using the pedals). Jackson, although not a great tenor player, is capable of stringing together a series of licks into an acceptable solo.

However, the real treat here is Bill Jennings, a guitarist whose country-inflected licks bring to mind a mix of Charlie Christian and Chet Atkins. Jennings is the real reason to check out the record, and his nimble solos on “Angel Eyes” and “Gil’s Pills” easily make up for the shortcomings of a group who sometimes seem to be on autopilot, constructing tunes on what has proved workable in the past. Unfortunately, the last six tracks feature Jackson almost exclusively, and Jennings and McDuff seem to be watching the clock, content to vamp and do little else. Other than the hit single “This’ll Get To Ya,” which is a suitably shallow groove for airplay, the rest of the tunes fail to generate any real heat.

Jackson shows a strong Ben Webster influence, but he lacks the inventiveness necessary to sustain the spotlight on even the shortest of tunes. “Backtrack” and “Snake Crawl” are fine enough but seem like deliberate efforts to climb the charts. Despite its shortcomings, though, Together Again! is a satisfactory release for those who like their organ jazz cut and dry.~David Rickert https://www.allaboutjazz.com/together-again-fantasy-jazz-review-by-david-rickert

Personnel: Jack McDuff-organ; Willis Jackson-tenor sax; Bill Jennings-guitar; Tommy Potter, Wendell Marshall, Milt Hinton, Jimmy Lewis-bass; Al Johnson, Buck Clarke, Bill Elliott,Frank Shea-drums.

Together Again

The Gaddabouts - S/T

Bitrate: MP3@320K/s
Time: 41:36
Size: 95.2 MB
Styles: Indie Folk, Alternative rock
Year: 2012
Art: Front

[3:24] 1. Never So Far Away
[4:08] 2. Let It Slide
[3:05] 3. Remind Me
[5:07] 4. My Heart
[2:39] 5. They Say Everything
[3:23] 6. Gonna Hold On
[3:00] 7. Mad Dog
[2:26] 8. Good Day
[4:25] 9. Good For Me
[4:37] 10. More Than Anybody
[5:16] 11. Feelin' Better

The Gaddabouts is a spectacular band that consists of Edie Brickell (vocals), Steve Gadd (drums), Pino Palladino (bass), and Andy Fairweather Low (guitar). There are also many special guests on their albums, including Ronnie Cuber on sax.

The Gaddabouts

Joe Farnsworth - City of Sounds

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 54:06
Size: 126,1 MB
Art: Front

(5:39) 1. New York Attitude
(7:17) 2. The Surrey with the Fringe on Top
(7:44) 3. Ojos Cariñosos
(5:51) 4. Bud-Like
(6:53) 5. Moonlight in Vermont
(4:02) 6. City of Sounds
(8:34) 7. No Fills
(8:02) 8. Softly, as in a Morning Sunrise

A rock-solid trio set from the great drummer Joe Farnsworth one that draws every bit as much of its strength from the piano of Kenny Barron and bass of Peter Washington both players who work together with Joe on a set of tunes that feel effortless, but which are filled with complex ideas and never-ending energy! A fair bit of tunes are originals by Barron or Farnsworth tunes that partly stand as a tribute to New York as it wakes up from the dark days of 2020 and there's this really positive spirit to the record that keeps on going all the way through, and which also transforms the standards as well. Kenny is really at the top of his game here taken into really new territory by Farnsworth's work on the kit and titles include "No Fills", "City Of Sounds", "New York Attitude", "Bud-Like", "Ojos Carinosos", and "Softly As In A Morning Sunrise". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/993649

Personnel: Double Bass – Peter Washington; Drums – Joe Farnsworth; Piano – Kenny Barron

City of Sounds

Sunday, October 10, 2021

Clark Tracey Sextet - Full Speed Sideways

Styles: Jazz, Post Bop
Year: 1994
File: MP3@320K/s
Time: 63:09
Size: 173,9 MB
Art: Front

( 8:22) 1. Revenge Of Sam Tacet
( 8:21) 2. They're Lovely
(11:32) 3. Sherman At The Copthorne
( 9:17) 4. Sphere My Dear
( 6:26) 5. Mark Nightingale Sang
( 7:13) 6. Arnie's Barnie
(11:54) 7. Chased Out

Born 5 February 1961, London, England. Tracey began playing drums at an early age, often working with his father, Stan Tracey. At the start of his professional career, however, Tracey’s drumming was rock-orientated and sat uneasily with the jazz groups with which he often associated. By the early 80s, however, in his playing style it was clear that Tracey had absorbed much from the experience of playing with jazz artists such as Red Rodney, Charlie Rouse and James Moody. With visiting Americans, with bands led by contemporaries and by his father, and also as leader of his own quartet, quintet and sextet, Tracey grew with every appearance.

By the 90s Tracey was established as a major figure among the new and vital group of young British jazz stars. During the middle of the decade he set up the Tribute To Art Blakey band, and also shared an octet with David Newton, in addition to running his own sextet and quintet. A skilled arranger and composer, Tracey has written for the Berkshire Youth Jazz Orchestra and singers Claire Martin and Tina May. He has also released several acclaimed albums for the TenToTen label, including two instalments in the British Composers Series (2001’s British Standard Time and 2008’s Given Time). https://www.allmusic.com/artist/clark-tracey-mn0000112721

Personnel: Clark Tracey - drums; Nigel Hitchcock - alto saxophone; Dave O'Higgins - tenor saxophone; Mark Nightingale - trombone; John Donaldson - piano; Arnie Somogyi - bass

Full Speed Sideways

Charlie Rouse Quintet - Takin' Care Of Business

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 37:54
Size: 87,5 MB
Art: Front

(7:26)  1. Blue Farouq
(7:27)  2. ''204''
(4:48)  3. Upptankt
(6:02)  4. Wierdo
(5:16)  5. Pretty Strange
(6:52)  6. They Didn't Believe Me

Charlie Rouse's debut as a leader (not counting his earlier work co-leading Les Jazz Modes with the great French horn player Julius Watkins) was made for Jazzland and is available as an OJC CD. The distinctive tenor saxophonist, who had just started a decade-long stint as a member of the Thelonious Monk Quartet, teams up with trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Earl May, and drummer Art Taylor. Together they perform straight-ahead material including Rouse's own uptempo "Upptankt," the standard "They Didn't Believe Me," and songs by Mitchell, Kenny Drew, and Randy Weston. A fine modern mainstream jam session-flavored set. ~ Scott Yanow https://www.allmusic.com/album/takin-care-of-business-mw0000312067

Personnel:  Charlie Rouse - tenor saxophone; Blue Mitchell - trumpet; Walter Bishop, Jr. - piano; Earl May - bass; Art Taylor - drums

Takin' Care Of Business

Karrin Allyson Sextet - Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 49:57
Size: 117,8 MB
Art: Front

(1:58)  1. Preamble
(3:17)  2. The March of the Women
(4:40)  3. The Great Convention
(1:38)  4. Susan B. Anthony (1873)
(3:30)  5. I’ll Be No Submissive Wife
(1:34)  6. Frederick Douglass (1888)
(4:11)  7. Anti Suffrage Rose
(2:41)  8. She’s Good Enough To Be Your Baby’s Mother
(1:38)  9. Elihu Root (1894)
(3:48) 10. Columbia’s Daughters
(1:43) 11. Sojourner Truth (1851)
(3:49) 12. The Promised Land
(4:34) 13. Winning the Vote
(1:35) 14. Alice Paul (1921)
(4:18) 15. Way Down Below
(4:57) 16. Big Discount

The Karrin Allyson Sextet releases Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage, a very special and timely album, today to celebrate the centennial of women’s voting rights. In addition to five-time Grammy nominee Karrin Allyson, the sextet also features Ingrid Jensen (trumpet),Mindi Abair (alto saxophone) Helen Sung (piano),Endea Owens (bass), and Allison Miller (drums). Shoulder to Shoulder seeks to re-create the multi-decade debate  warts and all that culminated in the enactment of t he nineteenth amendment. “We want to highlight this significant movement in American history. One that we shouldn’t forget and that is relevant today. It’s also one in which music played an important role,” said Karrin Allyson.

A remarkable artist, Allyson is also an activist who feels equally comfortable on the bandstand, as she does at the podium making the case for women’s rights. In fact, she has a history of writing songs (“Big Discount,” “Way Down Below”) that challenge conventional political wisdom and call for societal change. Most of t hese songs are propaganda. They were composed in the nineteenth or early twentieth century to advance or abridge women’s voting rights. In fact, the “suffrage” repertoire is made up of hundreds of songs, and Allyson and the productio n team selected ones that typified the back -and-f or th debate of t he struggle. That these songs can be re-imagined speaks not only to their timeless quality but the power of music in advancing social movements. The “war” over women’s rights was waged, in part, through and by music. And here these songs are made relevant again through modern jazz. Because of t he theme’s inclusive import, Allyson and the production team invited several notable guests to “lend their voices” to the debate. Adding copious artists can risk turning any project from a cohesive musical statement to a “gathering place.” Alas,Allyson’s powerful and profound vocals provide the through line and beginning-to-end narrative arc of the entire production. This album is very much a story. 

And Allyson is its storyteller, with each guest thoughtfully featured to dramatize historical episodes in the women’s suffrage movement. Shoulder to Shoulder has an incredible array of featured artists. Guest appearances by Madeleine Peyroux (vocals),Kurt Elling (vocals),Regina Carter (violin),Denis e Donatelli (vocals), Veronica Swift (vocals), Rapsody (rap),Antonia Bennett (vocals),Emily Estefan (vocals),Pauline Jean (vocals),Olivia Culpo (cello) and a Choir of over forty Women's Rights Activists. There are several spoken word performances that re-create the debateover woman’s suffrage: Harry Belafonte performs a speech by Frederick Douglass, Rosanne Cash performs a speech by Susan B. Anthony, Julie Swidler performs a speech by Alice Paul,Lalah Hathaway performs a speech by Sojourner Truth, and Peter Eldridge performs a speech by Elihu Root. There is even a brief appearance by Roberta Flack on the album. Susan Morrison of The New Yorker serves as an Executive Producer of the project, which was produced by multi-Grammy winners Kabir Sehgal, John Daversa, and Doug Davis.more..... https://karrin.com/wp-content/uploads/2019/09/S2S-Press-Release.pdf

Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

The Gaddabouts - Look Out Now!

Bitrate: MP3@320K/s
Time: 67:35
Size: 154.7 MB
Styles: Alternative rock, Indie Folk
Year: 2012
Art: Front

[1:00] 1. Meat On Your Bones
[3:40] 2. Look Out Now!
[2:54] 3. Wicked William
[4:31] 4. House On Fire
[3:48] 5. I'm A Van
[5:50] 6. River Rises
[3:34] 7. The Horse's Mouth
[4:00] 8. Blessed Days
[5:47] 9. Devil's Story
[4:01] 10. Down
[4:22] 11. Free
[4:29] 12. The Mountain
[4:36] 13. Don't Take All Day
[2:59] 14. How I Love You
[3:13] 15. Can You Feel It
[4:06] 16. Younger Woman
[4:36] 17. Corruption

Andy Fairweather Low: guitar, bass harmonica, vocals; Pino Palladino: bass, tres, guitar, vocals; Edie Brickell: guitar, vocals; Ronnie Cuber: baritone saxophone, tenor saxophone, flute, bass clarinet, vocals; Larry Goldings: piano, keyboards, organ, accordion; Pedro Martinez: bata, bongos congas, timbales, guiro, vocals; Axle Tosca: piano, vocals; Andrea Zahn: violin; Mike Mainieri: marimba, orchestra bells, vibraphone; Ingrid Ingrate: vocals (17); Greta Kline: vocals (17); Lulu: vocals (17).

Steve Gadd is the subject of much adoration and nerd-like obsession in drum circles. Several years ago, the drummer embarked on a clinic tour—dubbed Mission From Gadd—where he got up, spoke, and played a bit for his eager fans. At one of these appearances, at a Long Island high school, Gadd became the drum equivalent of William Shatner at a Star Trek convention. Audience members threw out absurdly specific questions about random fills from songs that Gadd had recorded decades before; this is the type of reaction that he can engender from his stick-wielding fans. That Steve Gadd is renowned for his killer drumming with sophisticated pop icons Steely Dan, pianist Chick Corea and countless others, but then there's the other Steve Gadd; the one who goes into the studios and lays down seemingly simple backbeats that groove harder than all the bells-and-whistle beats that so many others record. That's the Steve Gadd behind the Gaddabouts.

This group is fronted by vocalist Edie Brickell, who's far removed from her pop star days, and made up of veteran session men who have crossed paths with Gadd at various times in the past. The music is roots-based fare with an ultra-casual feel; it's the kind of stuff that sounds simple in these expert hands, but isn't so easy to create. Swampy grooves, jazz-inflected sounds, soulful corners, country roads and folksy pop are all explored in winning fashion. Some of the music was born of jamming ("Meat On Your Bones"), while other tunes speak of a fully formed songwriting process ("Blessed Days"), but all of it has a million dollar rhythmic feel to it. Singer/songwriter Paul Simon's influence looms large on "Wicked William," the band marries a jazz vibe with a reggae-derived section on "House On Fire," and a slow martial snare drum groove underscores the riveting "Down," which features some charming violin work from Andrea Zahn.

While the core group is a quartet, with bassist Pino Palladino and guitarist Andy Fairweather Low rounding out the lineup, plenty of high-profile guests gathered from Gadd's Rolodex help to flesh out the sound of the group. Multi-reedist Ronnie Cuber brings his saxophone work to bear on "House On Fire" and "Can You Feel It," expert colorist/keyboardist Larry Goldings puts all sorts of finishing touches on the music, and Gadd's Steps Ahead/L'Image band mate, mallet master Mike Mainieri, makes a few important contributions along the way. This album features a bunch of strong jazz personalities, but it isn't a jazz album. This is music made at a modern Americana crossroad, where a savvy singer-songwriter and never-miss studio icons meet. ~Dan Bilawski

Look Out Now!

Morgana King - Body and Soul

Styles: Vocal
File: MP3@320K/s
Time: 38:41
Size: 89,4 MB
Art: Front

(3:04) 1. For You, for Me, Forevermore
(2:49) 2. Bill
(3:06) 3. Down in the Depths
(3:43) 4. Something to Remember You By
(3:17) 5. Ev'rything I Love
(3:54) 6. I See Two Lovers
(2:28) 7. In the Wee Small Hours of the Morning
(4:06) 8. Body and Soul
(3:21) 9. If You Could See Me Now
(2:47) 10. It's Only a Paper Moon
(2:34) 11. You're Not so Easy to Forget
(3:26) 12. Mad About the Boy

None of the more than 30 albums recorded by singer Morgana King beginning in the mid-'50s were embraced by the size of the audience that bought tickets to see the first two chapters of The Godfather film trilogy, in which King acted in the role of Mama Corleone. But it would be wrong to assume she had more impact as an actress than as a vocalist. Her acting roles, few and far between, were chosen with care, but did not have the resonance of some of her finest recordings. Millions saw her onscreen in the Godfather films, but her performance was certainly overshadowed by performers such as Robert DeNiro and Al Pacino, not to mention the famous turn by Marlon Brando as her husband. Another role of King's was in the 1997 film A Brooklyn State of Mind; she also appeared in several television productions.

It is possible that there are actors and actresses who have named Morgana King as a great inspiration. Yet, the results of a simple Internet search under her name only yielded dozens of quotes from vocalists and other musicians about the great influence of her recordings and singing style, not her work before the camera. It might not be a surprise when a young female singer gushed about King's albums, but these fans also included deeper thinkers such as classical bass virtuoso Gary Karr. References to her music also show up regularly in fiction as a kind of mood-setting device, such as: "It was a beautiful day in Malibu. He got up, made a coffee and put on a Morgana King record." Some record collectors might be surprised to realize that a complete set of King sides might eliminate any elbow room for, say, the discography of one of the prolific blues guitarists with this regal surname. Morgana King sides can be divided into several periods. It took her almost eight years to peak at whatever commercial success she was going to have with the 1964 A Taste of Honey album, thus ending the early years. She was then absorbed into the Atlantic and Reprise corporation and an exemplary series of releases by singers such as Big Joe Turner, Ruth Brown, Lavern Baker, and Ray Charles. The label's greatest producers stared the oncoming rock & roll in the eye, never forgetting their basic R&B orientation. Within a few years, a subcategory developed, seen through paisley glasses. The material became more philosophical, the increasing intellectual depth not surprisingly accompanied by the audience stampeding in the opposite direction. This might make sense, though; while 1965's The Winter of My Discontent is a masterpiece, 1968's Gemini Changes is laughably pretentious.

By the early '70s she was eager to get into films, the music business pushing away any and all veteran talent. Later in the decade she launched the mature period of her career, though, once again recording as more of a jazz-flavored artist for Muse, a label which in itself indicates a disinterest in pop culture. The label was loyal to her, regularly recording her through the following decade. This material was reissued in the late '90s by the 32 Jazz label, whose honcho, Joel Dorn, also presided over the reissue of her Reprise sides. If a special sort of bittersweet feeling pervaded her later performances, perhaps it had something to do with this return to her jazz singing roots. Her father had been a performer of folk and popular music on voice and guitar, and she had begun singing in nightclubs such as Basin Street in New York City when she was in her mid-twenties.

Only a few years earlier, she had been immersed in classical studies at the Metropolitan School of Music. Basin Street may have been in the same city, but it must have seemed like a completely different musical world. The formal training undoubtedly filled in aspects of her musical walk where some of her peers might have had to limp. For this reason alone, some listeners find her efforts the most swinging of the '60s generation of pop singers. It meant much critical acclaim during her career, if not great commercial success. At many stages, King seemed to have been making other plans. For the 1960 Encyclopedia of Jazz by Leonard Feather, she listed this ambition: "To become a dramatic actress."~ Eugene Chadbourne https://www.allmusic.com/artist/morgana-king-mn0000501436/biography

Body and Soul

Saturday, October 9, 2021

Rebecca Kilgore - With Hal Smith's California Swing Cats

Bitrate: MP3@320K/s
Time: 65:03
Size: 148.9 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[2:47] 1. With Plenty Of Money And You
[3:48] 2. 'deed I Do
[4:30] 3. Sleepy Time Down South
[2:40] 4. Swing, Brother, Swing
[3:51] 5. Georgia On My Mind
[4:13] 6. You
[3:59] 7. I Can't Believe That You're In Love With Me
[4:09] 8. Thou Swell
[4:30] 9. A Kiss To Build A Dream On
[2:43] 10. Piano Man
[4:32] 11. When My Dreamboat Comes Home
[4:03] 12. Drum Boogie
[3:57] 13. What A Little Moonlight Can Do
[5:08] 14. Sing, Sing, Sing
[3:12] 15. Pardon My Southern Accent
[3:30] 16. Cow Cow Boogie
[3:24] 17. La Vie En Rose

As an interpreter of classic American popular songs from the 1930s and 1940s, vocalist and guitarist Rebecca Kilgore helped revive the hits of yesterday for modern-era jazz audiences. Born in Waltham, MA, in 1949, she relocated to Portland, OR, at the age of 30, beginning her music career fronting an area swing band dubbed the Wholly Cats and recording a 1982 LP titled Doggin' Around. Following the group's 1984 breakup, she formed her own unit, the Rebecca Kilgore Quintet, which quickly emerged as a mainstay of the Northwest jazz scene, and in 1989, she released the cassette-only I Hear Music. Most of Kilgore's subsequent recordings were in conjunction with other performers: In 1990, she teamed with John Miller for Put on a Happy Face, and in 1993 appeared with Portland's Tall Jazz Trio on their Plays Winter Jazz disc. However, Kilgore's most fruitful collaborations were in conjunction with pianist Dave Frishberg; after teaming for 1993's Looking at You, they reunited a year later for I Saw Stars, followed in 1997 by Not a Care in the World and again in 2001 with The Starlit Hour. At the same time, Kilgore also fronted a '60s-style country band, Beck-a-Roo, and in 1994 contributed vocals to the score of the CBS animated special Tales From the Far Side, inspired by the popular Gary Larson comic strip. ~ bio by Jason Ankeny

With Hal Smith's California Swing Cats

Clark Tracey Quintet - No Doubt

Styles: Contemporary Jazz
Year: 2018
File: MP3@320 K/s
Time: 50:17
Size: 80,9 MB
Art: Front

( 9:37) 1. The Prince
(12:07) 2. Foxy Trot
( 5:37) 3. The Star-Crossed Lovers
( 9:41) 4. Pools
(13:12) 5. Top Dog

With each release, Clark Tracey finds new ways to keep the music he loves so passionately not just alive and kicking, but also manages to showcase emerging new talent. How he continue to do this is anyone's guess, but mine would be that he keeps a sharp eye on the BBC Young Jazz Musician of the Year competition (where three members of his new quintet were finalists) and the Royal Birmingham Conservatoire where he is a visiting tutor. From there he seems to have the uncanny knack of selecting not just the cream of the current crop, but young musicians who he feels that will benefit from the exposure to the style of jazz he is so fiercely protective of, and then nurturing them in a band that learns on the job.

It is therefore much to the credit of all concerned that this new album not just follows in the shadow of Tracey's former aggregations, but also stands up to be counted purely on its own merits. The quintet tackle an interesting and ambitious programme with aplomb. Altoist, Sean Payne, make his mark with some wonderful playing on Ellington and Strayhorn's "The Star-Crossed Lovers" and on his own composition "The Prince" with his blistering solo a real highlight. This track is cleverly modulated between interesting theme statement, controlled tempo, and some freewheeling soloing from alto, nicely balanced with some taut playing from Alex Ridout on trumpet. Ridout also gets to show her mastery of her instrument on a fine reading of "Foxy Trot" by Kenny Wheeler, and like her front line partner is also able to present one of her own compositions, "Top Dog", arranged for quintet in a delightful arrangement that would not be out of place coming from the Blue Note label of the sixties, yet retaining an utterly contemporary feel and providing a fine vehicle for some more fine solos from these young musicians.

Throughout, Tracey's presence is felt, providing a firm guiding hand on proceedings. The rhythm section as we have come to expect from one of Clark's bands is rock solid, with an elasticity that is flexible to go with, and shape the music wherever it may lead. Add to this the sensitive accompaniment that pianist Elliott Sansom brings to the table, along with some assured solos, just listen to his outing on Alex Ridout's "Top Dog" and the sparkling solo on "Pools" by Don Grolnick. All in all another superb album from a band that sound like they have certainly got it together in the recording studio, but who should really be heard live. Catch them while you can.~ Nick Lea https://www.jazzviews.net/clark-tracey-quintet---no-doubt.html

Personnel: Clark Tracey (drums); Alex Ridout (trumpet & flugelhorn); Sean Payne (alto saxophone); Elliott Sansom (piano); James Owston (doyble bass)

No Doubt

Ben (L'Oncle Soul) - Soul Wash

Styles: Vocal, Soul
Year: 2009
File: MP3@320K/s
Time: 20:44
Size: 47,6 MB
Art: Front

(2:56) 1. Seven Nation Army
(2:41) 2. Crazy
(4:17) 3. Barbie Girl
(3:52) 4. Sympathique
(3:14) 5. I Kissed A Girl
(3:41) 6. Say You'll Be There

Ben l'Oncle Soul is a French soul singer with a retro style who made his eponymous Top Five hit album debut in 2010. Born Benjamin Duterde in 1984 in Tours, Indre-et-Loire, France, he took his name and look from Uncle Ben, the fictitious elderly African-American man dressed in a bow tie who serves as the brand image of Uncle Ben's Rice. The moniker Ben l'Oncle Soul was chosen rather than Uncle Ben to avoid any charges of trademark infringement. Years before Duterde adopted the Ben l'Oncle Soul moniker, he got his professional start as a vocalist in the Fitiavana Gospel Choir, which he joined in 2004. The Tours-based gospel choir made its album debut with I Have a Dream (2009), a collection of English-language soul classics such as "Killing Me Softly," "Lean on Me," and "(You Make Me Feel Like) A Natural Woman."

In turn, Duterde was offered a solo recording deal with the French division of Motown Records. Billing himself as Ben l'Oncle Soul, he made his solo recording debut with the Soul Wash EP (2009). Comprised of cover material, the majority of it sung in English, the six-track EP is performed in a retro style informed by the Motown and Stax sounds of the 1960s. A cover of the Gnarls Barkley smash hit "Crazy" was released as a single. A half-year later, Duterde made his full-length debut with the eponymous album Ben l'Oncle Soul (2010). Produced by Guillaume Poncelet and Gabin Lesieur, the album is comprised entirely of original material, plus the cover version of the White Stripes hit "Seven Nation Army" from the Soul Wash EP. With "Seven Nation Army" released as its lead single, Ben l'Oncle Soul was a Top Five hit on the French albums chart.~ Jason Birchmeier https://www.allmusic.com/artist/ben-loncle-soul-mn0002459668/biography

Soul Wash

Asleep At The Wheel - Half a Hundred Years

File: MP3@320K/s
Time: 67:24
Size: 161,8 MB
Art: Front

(3:34) 1. Half a Hundred Years
(3:06) 2. It's the Same Old South
(3:46) 3. I Do What I Must
(4:00) 4. There You Go Again (feat. Lyle Lovett)
(3:34) 5. My Little Baby
(4:08) 6. Paycheck to Paycheck
(2:38) 7. Word to the Wise (feat. Bill Kirchen)
(2:59) 8. That's How I Remember It
(2:55) 9. The Photo
(3:34) 10. I Love You Most of All (When You're Not Here)
(3:43) 11. The Wheel Boogie
(4:01) 12. Take Me Back to Tulsa (feat. George Strait and Willie Nelson)
(3:37) 13. The Letter That Johnny Walker Read (feat. Lee Ann Womack)
(4:04) 14. Bump Bounce Boogie (feat. Chris O'Connell, Katie Shore, and Elizabeth McQueen)
(3:18) 15. Miles and Miles of Texas
(3:11) 16. (Get Your Kicks on) Route 66 (feat. Leroy Preston, Johnny Nicholas, and Ray Benson)
(3:33) 17. Marie (feat. Willie Nelson)
(3:24) 18. Spanish Two Step (feat. Johnny Gimble and Jesse Ashlock)
(4:11) 19. The Road Will Hold Me Tonight (feat. Emmylou Harris and Willie Nelson)

Asleep at the Wheel, the long-running and influential Western-swing band, will mark 50 years together with a new album. The aptly titled Half a Hundred Years will be released in October and features a number of all-star guests. The Wheel preview the upcoming LP with the title track, released on Friday. Elevated by buoyant horns and singer Ray Benson’s drawling baritone, the track is the ultimate road song: “I’ve been on the road for half a hundred years,” Benson boasts. “I was trying to get across the sacrifices you have to make in 50 years on the road and the other positive side of it. The great experiences, the places I’ve been, and all the amazing people I’ve had the opportunity to meet and play music with,” Benson said in a statement.

The album Half a Hundred Years spans 19 songs includes a number of A-list collaborations: George Strait, Emmylou Harris, Lyle Lovett, Lee Ann Womack, and Bill Kirchen all pop up. Willie Nelson, who paired with Asleep at the Wheel for 2009’s Willie and the Wheel, appears on no less than three tracks. He also earns a shout-out in the title song. “I might catch up to Willie one of these days,” Benson ad libs, paying homage to the enduring road warrior. https://www.rollingstone.com/music/music-country/asleep-at-the-wheel-50th-anniversary-new-album-1208853/

Half a Hundred Years