Kristin Korb - Where You'll Find Me

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 55:48
Size: 133,7 MB
Art: Front

(3:51)  1. How About You
(5:45)  2. Wouldn't It Be Loverly
(5:49)  3. East of the Sun
(6:25)  4. They Say It's Spring
(3:56)  5. Where You'll Find Me
(5:07)  6. Benny
(4:43)  7. Mac
(4:33)  8. My Gingerbread Boy
(5:41)  9. The Man I love
(4:43) 10. Yes, I Know When I've Had It
(5:11) 11. Darn That Dream

Kristin Korb is both a swinging bassist and an occasional jazz singer. Originally she was a guitarist and singer who loved country music; Barbara Mandrell was one of her early musical heroes. Korb also studied piano and violin. She attended the Soundsation Jazz Camp one summer and came away interested in performing jazz. She switched from guitar to electric bass to join a vocal jazz group in the seventh grade, taking up the acoustic bass in 11th grade. Korb earned a degree in Music Education at Eastern Montana College in 1992 and spent the next two years working on her masters in Classical Bass Performance at the University of California at San Diego. She took lessons from Bertram Turetzky who inspired her to sing and play bass at the same time. In 1994, she met and started studying with Ray Brown, who recorded her debut the following year, Introducing Kristin Korb with the Ray Brown Trio. Where that CD has Korb just singing, her other recordings, for Grace Bass and Double K, feature her as both a vocalist and a bassist. Korb taught jazz history, bass, and the vocal jazz ensemble at Grossmont Community College during 1996-2000, and was the Director of Jazz Studies at Central Washington University during 2000-2002. Since moving to Los Angeles in 2002, she has performed at jazz parties, occasionally toured, and led her own trio.
~Scott Yanow https://itunes.apple.com/us/artist/kristin-korb/id85824690#fullText

Personnel: Kristin Korb (vocals); Mike Wofford (piano); Jeff Hamilton (drums).

Where You'll Find Me

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Joe Henderson, Ron Carter, Chick Corea, Billy Higgins - Mirror, Mirror

Styles: Jazz, Post Bop
Year: 1980
File: MP3@320K/s
Time: 43:42
Size: 102,0 MB
Art: Front

(5:55) 1. Mirror, Mirror
(6:17) 2. Candlelight
(9:45) 3. Keystone
(9:44) 4. Joe's Bolero
(4:00) 5. What's New
(7:59) 6. Blues for Liebestraum

Tenor saxophonist Joe Henderson has had a remarkably consistent career. Although he has spent periods (such as the 1970s) in relative obscurity and others as almost a jazz superstar, Henderson's style and sound has been relatively unchanged since the 1960s. This lesser-known album finds Henderson in typically fine form in an acoustic quartet with pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins. Carter and Corea contribute two songs apiece, Henderson gets to perform his "Joe's Bolero" and the tenor sounds majestic on "What's New."~Scott Yanowhttps://www.allmusic.com/album/release/mirror-mirror-mr0004590662

Personnel: Tenor Saxophone – Joe Henderson; Bass – Ron Carter; Drums – Billy Higgins; Piano – Chick Corea

Mirror, Mirror

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Christian McBride Big Band - For Jimmy, Wes and Oliver

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 71:53
Size: 166,8 MB
Art: Front

(5:21) 1. Night Train
(6:39) 2. Road Song
(8:12) 3. Up Jumped Spring
(3:47) 4. Milestones
(8:33) 5. The Very Thought of You
(8:20) 6. Down by the Riverside
(7:18) 7. I Want to Talk About You
(6:32) 8. Don Is
(7:13) 9. Medgar Evers'Blues
(9:53) 10. Pie Blues

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes. hristian McBride’s first two big-band albums won Grammys. The new one is grounded in specific history. Jimmy Smith and Wes Montgomery recorded two LPs in 1966, The Dynamic Duo and Further Adventures of Jimmy and Wes. McBride says he and his classmate Joey DeFrancesco “wore out the grooves” of these records when they were in high school in Philadelphia. DeFrancesco fills Smith’s organ role on McBride’s new release.

The Smith/Montgomery recordings had pieces for big band arranged by Oliver Nelson and also quartet tracks. So does For Jimmy, Wes and Oliver. But McBride’s tribute is more spiritual than one-for-one. He repeats only four tunes from the 1966 albums. All are big-band tracks. It is fun to hear “Night Train” again, powering headlong over the rails, and to hear McBride’s tight large ensemble crack “Milestones” like a whip.

The quartet here is DeFrancesco, Mark Whitfield, McBride, and drummer Quincy Phillips. The first three take almost all the solos. Given this chance to stretch out, DeFrancesco reveals the enormous range of his B-3 chops, and Whitfield reveals that he should be mentioned more often on lists of the top jazz guitarists.

On this swinging, hard-driving album, two rapt quartet ballads stand out. On “I Want to Talk About You,” Whitfield creates gentle tension by continuously postponing melodic closure. On “The Very Thought of You,” DeFrancesco makes his boisterous instrument whisper in your ear. McBride also solos, pizzicato and arco respectively, on these two love songs. In his hands, an acoustic bass can shamelessly expose the human heart.

This is not an album for adventurous listeners who require risk in their jazz. But this conservative, impeccably executed music is full of joie de vivre. In times like these, who can’t use more of that?~ Thomas Conrad https://jazztimes.com/reviews/albums/christian-mcbride-big-band-for-jimmy-wes-and-oliver-mack-avenue/

For Jimmy, Wes and Oliver

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Heath Brothers - In Motion

Styles: Jazz, Post Bop
Year: 1979
File: MP3@320K/s
Time: 36:53
Size: 88,7 MB
Art: Front

(6:06) 1. Feelin' Deelin'
(4:23) 2. The Voice Of The Saxophone
(6:44) 3. Project 'S'
(6:47) 4. Move To Groove
(5:28) 5. Passion Flower
(7:23) 6. (There's) A Time And A Place

The Heath Brothers was an American jazz group, formed in 1975 in Philadelphia, by the brothers Jimmy (tenor saxophone), Percy (bass), and Albert "Tootie" Heath (drums); and pianist Stanley Cowell. Tony Purrone (guitar) and Jimmy's son Mtume (percussion) joined the group later. Tootie left in 1978, and was replaced by Akira Tana for a short period before returning in 1982. They also added other sidemen for some of their recording dates. The group issued four singles between 1978 and 1981, "Mellowdrama", "For the Public", "Use it (Don't abuse it)" and "Dreamin'". "Dreamin'", a track from the 1980 LP, "Expressions of Life", had the most airplay in the UK despite not reaching the UK charts.

The group with just two of the brothers, Jimmy and Tootie, and additional sidemen as needed, continued to perform and record after Percy died in 2004. The DVD, Brotherly Jazz: The Heath Brothers, recorded in 2004, shortly before Percy's death, was one of the last times the three brothers played together and chronicled the brothers' personal lives as well as socio-political issues many jazz musicians dealt with in the later 20th century, including jail, drugs, discrimination and segregation. The 2009 CD Endurance was the first without Percy, and features seven original numbers by Jimmy, including "From a Lonely Bass", composed in memory of his late brother. https://en.wikipedia.org/wiki/Heath_Brothers

The Heath Brothers: Jimmy Heath (tenor saxophone); Percy Heath (bass); Albert "Tootie" Heath (drums); Stanley Cowell (piano); Tony Purrone (guitar).

In Motion

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Kristin Korb - Finding Home

Size: 102,3 MB
Time: 42:01
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Something To Celebrate (5:13)
02. Jeg Elsker Dig (Y-Eye Elsker D-Eye) (4:09)
03. 58 Boxes (4:06)
04. Up Again (5:00)
05. It's Spring (3:35)
06. The Letter (4:39)
07. Happy For Me (4:43)
08. Invisible (5:22)
09. Finding Home (5:10)

Kristin Korb treasures the jazz tradition. She is known for her collaborations with Ray Brown, Bruce Forman, Jeff Hamilton and more who have all taken note of her incredible sense of swing. On Kristin’s 2013 release What’s Your Story?, she dug deep into her long-standing relationship with classic jazz material and those musical personalities who influenced her. Out of those relationships and experiences, a more developed and diverse musician is emerging and Finding Home.

Love brought the American bassist and singer to Denmark in 2011. This September, Kristin Korb releases her most personal CD yet. Finding Home features Kristin’s stories of love, travel, language lessons and the peace she has found in her marriage and her adopted country. Instead of her “korbinated” arrangements of jazz standards, Kristin has made the bold leap to write all original material to fit her life experiences.

Personnel:
Kristin Korb – bass & vocals
Magnus Hjorth – piano
Snorre Kirk – drums
Jacob Fischer – guitar
Poul Halberg – guitar solo (Invisible)
Gerard Presencer – trumpet
Karl-Martin Almqvist – tenor saxophone
Steen Nikolaj Hansen – trombone

Finding Home

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The Dave Brubeck Quartet - Time Out (50th Anniversary) (Legacy Edition) [Disc 1] And (Disc 2)

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 38:37 (Disc 1)
Size: 89,2 MB (Disc 1)
Time: 54:19 (Disc 2)
Size: 125,3 MB (Disc 2)
Art: Front

Disc 1
(6:46)  1. Blue Rondo a La Turk
(7:24)  2. Strange Meadow Lark
(5:27)  3. Take Five
(5:25)  4. Three to Get Ready
(4:51)  5. Kathy's Waltz
(4:24)  6. Everybody's Jumpin'
(4:17)  7. Pick up Sticks

Disc 2
(7:55)  1. St. Louis Blues
(4:57)  2. Waltz Limp
(6:19)  3. Since Love Had It's Way
(6:00)  4. Koto Song
(4:49)  5. Pennies from Heaven
(9:36)  6. You Go To My Head
(7:22)  7. Blue Rondo à la Turk
(7:18)  8. Take Five

The year 1959 could easily go down as the one of most important years in the history of recorded jazz. In addition to Miles Davis' Kind of Blue (Columbia), it saw the release of the Dave Brubeck Quartet's groundbreaking LP Time Out. Columbia Records got the risky inclination to release the album's third track, the Paul Desmond-penned title song, as a single and it went on to become the first jazz single to sell one million copies. Despite the fact that "Take Five" might be one of the top three most-recognized jazz recordings ever, the album's history shows that it almost wasn't even released. 

According to Brubeck (in an interview included on a bonus DVD), Time Out made Columbia executives extremely skeptical on three major counts. First, Brubeck wanted to feature nothing more than an abstract painting on the cover. Second, the execs feared the album's groundbreaking, unconventional time signatures wouldn't hold up in dance halls. Third, all of the tunes were originals, meaning standards like "Stardust" and "Body and Soul" wouldn't pad the more unfamiliar works. Luckily, company President Goddard Lieberson believed in Brubeck's vision, resulting in what remains today as one of music's undisputed masterpieces.

The aforementioned DVD that comes with it includes a 30-minute interview conducted in 2003 with a lively and reflective Brubeck where he discusses in great detail the album's origin, as well as that of each individual track. The DVD also features an interactive, multi-angle "piano-lesson" where the viewer can toggle through four different camera angles that simultaneously shoot Brubeck performing a solo version of "Three to Get Ready." The crown jewel of this edition, however, has to be the bonus disc featuring the same quartet from Time Out in various performances at the Newport Jazz Festival in 1961, '63 and '64. It's hard to describe the thrill of listening to this classic ensemble playing at its very best and to audiences whose enthusiasm equals that of the performers on stage.

Highlights include the haunting, noir-ish "Koto Song," as well as Brubeck's magnificent solo work on "Pennies From Heaven."~Graham Flanagan http://www.allaboutjazz.com/time-out-50th-anniversary-legacy-edition-dave-brubeck-legacy-recordings-review-by-graham-l-flanagan.php

Personnel: Dave Brubeck: piano; Paul Desmond: alto sax; Eugene Wright: bass; Joe Morello: drums.

Bill Evans Trio - Live In Buenos Aires Disc 1, Disc 2

Album: Live In Buenos Aires Disc 1
Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 45:23
Size: 104,2 MB
Art: Front

(7:34) 1. Stella by Starlight
(8:18) 2. Laurie
(4:58) 3. Theme From MxAxSxH
(5:57) 4. Turn Out the Stars
(6:42) 5. I Do It for Your Love
(7:10) 6. My Romance
(4:42) 7. Letter to Evan

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Album: Live In Buenos Aires Disc 2
Time: 49:53
Size: 114,5 MB

( 7:35) 1. I Loves You Porgy
( 7:23) 2. Up with the Lark
( 4:11) 3. Minha
( 6:48) 4. Someday My Prince will Come
( 6:31) 5. If You Could See Me Now
(17:22) 6. Nardis

This two-CD set features the final edition of the Bill Evans Trio with Marc Johnson on bass and Joe LaBarbera on drums in a complete concert that originally appeared as a two-LP set on the Yellow Note label. In spite of occasional surface noise resulting from using the earlier records as this set's source material, the music catches the trio during one of its many peaks from their last year of touring together. A rather reserved rendition of "Stella By Starlight" kicks things off, which is a bit of surprise because Evans seemed to prefer his moody "Re: Person I Knew" as an opener during this period.

An excellent version of "Turn Out the Stars," one of Evans' most beloved compositions, is also a first-set highlight. As the second CD gets underway the groove noise proves somewhat distracting during the otherwise quiet beauty of "I Loves You Porgy." A romp through "Someday My Prince Will Come" is followed by the almost obligatory closer "Nardis," in its typically abstract form, with long solos by each of the musicians. Well worth acquiring.Ken Dryden https://www.allmusic.com/album/live-in-buenos-aires-1979-mw0000678039

Personnel: Bill Evans - piano; Marc Johnson - bass; Joe LaBarbera - drums

Live In Buenos Aires Disc 1, Disc 2

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Cedar Walton - Mobius & Beyond Mobius

Styles: Jazz, Straight-ahead/Mainstream
Year: 2015
File: MP3@256K/s
Time: 79:52
Size: 146,8 MB
Art: Front

(10:07)  1. Blue Trane
(10:34)  2. Soho
( 7:48)  3. Off Minor
( 6:18)  4. The Maestro
( 5:39)  5. Road Island Red
( 4:15)  6. Bad Luck
( 6:18)  7. Low Rider
( 5:16)  8. Beyond Mobius
( 4:32)  9. Jive Talkin'
( 5:16) 10. Canadian Sunset
( 7:24) 11. The Girl with the Discotheque Eyes
( 6:17) 12. Lonely Cathedral

Two killers from Cedar Walton back to back on a single CD! First up is Mobius a real revelation from pianist Cedar Walton an unusual electric album from the 70s quite a surprise, given the mostly-acoustic sound of most of Cedar's other records! The album's a killer, though and has this fresh, full take on funky jazz for the time not the usual CTI copycat mode, and instead this compelling hybrid of elements that includes lots of Fender Rhodes from Walton, sweet guitar likes from Ryo Kawasaki, and lots of rootsy percussion from Ray Mantilla and Omar Clay two players who really make the album nice and earthy at the bottom. The rest of the group is wonderful, too and includes tenor from Frank Foster, alto and baritone from Charles Davis, and trumpet from Roy Burrowes all fresh players who open up a big can of soul for the set on titles that include a classic break version of "Off Minor", plus "Blue Trane", "Soho", and "Road Island Red". Beyond Mobius is a great electric set from Cedar Walton and a set that moves beyond his previous Mobius album, in case you couldn't guess from the title! The style here is a bit more tightly arranged with some backup vocals on a few cuts, which underscore the core jazzy elements from Walton on a range of keyboards and synth, Eddie Harris on tenor, and Blue Mitchell on trumpet all grooved together with some tight guitar lines from Eric Gale and Cornell Dupree! Keyboards definitely get some great solo time in the spotlight, but the overall sound is quite strong too a nice instrumental funk approach, save for the added chorus vocals in a few spots. Titles include the moogy "Beyond Mobius", a cover of "Low Rider", and the tracks "Jive Talkin", "The Girl With The Discotheque Eyes", and "Lonely Cathedral". © 1996-2016, Dusty Groove, Inc.https://www.dustygroove.com/item/766015

Personnel: 
Beyond Mobius: Cedar Walton - keyboards, synthesizer arranger, conductor;  Burt Collins, Jon Faddis, Blue Mitchell - trumpet, flugelhorn;  Wayne Andre, Alan Raph – trombone;  George Marge, Eddie Harris - tenor saxophone;  Norman Carr, Harry Cykman, David Moore, Morris Sutow – strings;  Cornell Dupree, Eric Gale - rhythm guitar;  Gordon Edwards – bass;  Charles Collins, Jimmie Young – drums;  Angel Allende – percussion;  Mike Lipskin - percussion, ARP synthesizer, voice, string arranger, string conductor;  Alan Abrahams, Adrienne Albert, Yolanda McCullough, Maeretha Stewart – voice;  Rod Levitt - horn arranger, horn conductor, string arranger, string conductor

Mobius: Cedar Walton - keyboards, arranger;  Roy Burrowes – trumpet;  Wayne Andre – trombone;  Charles Davis, Frank Foster – saxophones;  Ryo Kawasaki - electric guitar;  Gordon Edwards – bass;  Steve Gadd – drums;  Omar Clay, Ray Mantilla – percussion; Adrienne Albert, Lani Groves - vocals

Mobius & Beyond Mobius

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Lisa Hilton - Life Is Beautiful

Styles: Piano Jazz
File: MP3@320K/s
Time: 53:27
Size: 122,7 MB
Art: Front

(3:50) 1. Ernie's Blues
(4:01) 2. Retro Road Trip
(4:05) 3. Nightingales & Fairy Tales
(4:34) 4. Too Hot
(4:50) 5. Unforgotten Moments, Half Forgotten Dreams
(5:51) 6. Stepping into Paradise
(4:07) 7. Santa Monica Samba
(6:16) 8. Seduction
(5:10) 9. Temporary Lullaby
(5:54) 10. More Than Another Day
(4:44) 11. So This Is Love

There's an affirmation of goodness to the music of pianist Lisa Hilton, a quiet something of a positive nature that is known intrinsically true. But the world and its crowded barges of babbling talking heads are frantically convincing us all otherwise. So listen in to Life Is Beautiful before it's all too late.

Without flash, pyrotechnic soloing, or virtuoso histrionics, Life is Beautiful casts an aura that envelops and holds. Intimately reworking tunes she has recorded throughout her twenty-five disc history, ("Seduction" reaches back to her 1997 debut) the music drops from the ether with the husky fullness of bassist Luques Curtis, and the restive blues of Ernie Wilkins' "Ernie's Blues" sweeps the dust away. Rudy Royston's drums are, as ever, perfect. It is a synthesis, an intent, too will better things into being. It works.

Not in any way to distract from the golden hues of the four tracks that precede it, but the finespun grace of "Unforgotten Moments, Half Forgotten Dream" (its big sky and pacific sun) sets off a suite-like approach for the rest of the album that absolutely enthralls. The vaporous way it rolls into the Latin light of "Stepping Into Paradise," then into the quiet gravity of "Santa Monica Samba, re-framed from 2021's Transparent Sky (Ruby Slippers Productions), before slide saddling solo with the redemptive "Seduction," "Temporary Lullaby" and "More Than Another Day" only doubles down on the trio's deep resolve.

As she often and gracefully does, Hilton quietly delves into the emotional health of every listener with the sincerest desire to soothe the frenzy within. Life Is Beautiful does just that. And maybe it will or won't land on most or many 'best-of' lists, but it is a thing of beauty. A category all its own.~Mike Jurkovic https://www.allaboutjazz.com/life-is-beautiful-lisa-hilton-ruby-slippers-productions

Personnel: Lisa Hilton: piano; Luques Curtis: bass, acoustic; Rudy Royston: drums.

Life Is Beautiful

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Stefanie Schlesinger - Angel Eyes

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 50:06
Size: 133,1 MB
Art: Front

(5:04)  1. Say That You Love Me
(4:55)  2. Stay
(3:25)  3. Welcome Back
(3:34)  4. The Way He Makes Me Feel
(8:05)  5. When Sunny Gets Blue
(4:52)  6. Four Sweet Words
(4:40)  7. Angel Eyes
(4:28)  8. L'amore Che Non C'e
(4:19)  9. No Reason For Spring
(4:33) 10. Hoffnung
(2:04) 11. Close Your Eyes

Stefanie Schlesinger - vocal, Wolfgang Lackerschmid- vibes / gramorimba, Bob Degen - piano, John Lee - bass, Karl Latham - drums, Roger Squitero - percussion, Slide Hampton - trombone, Hendrik Meurkens - harmonica, Johannes Faber - trumpet on her new album "Angel Eyes" Schlesinger goes a step further than most of her singing colleagues.

It presents not only promising new songs (most composed by her musical director and vibraphonist, Wolfgang Lackerschmid), but provides the "standards" in unusual and highly surprising arrangements. Or who would ever "Angel Eyes" heard as bluesy 5/4 strokes and Michel Legrand's "The Way He Makes Me Feel" (from the movie "Yentl") as R & B Waltz? Anyway: "Angel Eyes" is not just the album a good singer plus band. It is also an album full of great solos and brilliant instrumental moments.Including the trombone Champion Slide Hampton, piano wizard Bob Degen and harmonica master Hendrik Meurkens - For the combined forces of some live jazz legends care. There are a lot of music to be discovered between the singing verses. Translate by google  http://hipjazz.net/angeleyes

Angel Eyes

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Introducing Kristin Korb With the Ray Brown Trio

Styles: Vocal, Bop, Swing
Year: 1996
File: MP3@320K/s
Time: 48:54
Size: 112,0 MB
Art: Front

(5:40) 1. A Night in Tunisia
(5:30) 2. Peel Me a Grape
(3:06) 3. Whirlybird
(4:33) 4. Fever
(2:34) 5. Straight No Chaser
(4:09) 6. Black Orpheus
(4:36) 7. Yeh Yeh
(3:36) 8. Ain't Misbehavin'
(6:02) 9. These Foolish Things
(3:53) 10. Funky Tune for Ray
(5:11) 11. Take the "A" Train

Originally from Montana, but now living, performing, and teaching in San Diego, this is Kristin Korb's first album. Not possessed with an especially powerful set of vocal chords, Korb nonetheless weaves delicate figures with a clear, cool, almost vibrato-less voice. Scatting, but not to the point where lyrics are entirely ignored, she's a pleasant, if not overwhelming, addition to the world of jazz vocals. Korb is joined on this session by the dean of bass players, Ray Brown, and his trio that features the outstanding, hard driving piano player Benny Green, an outstanding soloist in his own right. The trio is augmented by two veterans, Plas Johnson on tenor sax and Conte Candoli on trumpet. Johnson, unfairly, is pretty much known for his work on Henry Mancini's Pink Panther. He has done much more and better work, such as with T-Bone Walker, Lou Rawls, and others. His swinging, boppish sax drives "Yeh Yeh."

Conte Candoli has been on so many albums, he's likely lost count, but he hasn't lost his touch of waxing lyrically behind a singer in the tradition of fellow Stan Kenton player, Don Fagerquist. Guest guitarist, the Brazilian Oscar Castro-Neves, takes center stage in Latin-tinged tunes like Luis Bonfa's "Black Orpheus." "Peel Me a Grape" is done, appropriately, in an Anita O'Day style and there's a very delicately delivered "These Foolish Things" and an almost hymn-like "Take the "A" Train." These slower tunes are balanced by a winging version of Neal Hefti's "Whirlybird." A nice program of varied tunes offered by top professionals provides a little more than 45 minutes of pleasant entertainment.~Dave Nathan https://www.allmusic.com/album/introducing-kristin-korb-with-the-ray-brown-trio-mw0000081031

Personnel: Kristin Korb - vocals; Ray Brown Trio - Bass; Plas Johnson - tenor saxophone; Conte Candoli - trumpet; Oscar Castro-Neves - guitar; Benny Green - piano; Gregory Hutchinson - drums

Introducing Kristin Korb

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Bill Evans Trio - Live At Casale Monferrato Disc 1 And Disc 2

Album: Live At Casale Monferrato Disc 1

Styles: Piano Jazz 

Year: 2015

File: MP3@320K/s

Time: 42:23

Size: 97,8 MB

Art: Front

(4:52)  1. Re: Person I Knew

(6:46)  2. Midnight Mood

(4:56)  3. Polka Dots and Moonbeams

(3:58)  4. Theme From MASH

(6:09)  5. A Sleepin' Bee

(5:51)  6. I Do It for Your Love

(9:48)  7. My Romance

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Album: Live At Casale Monferrato Disc 2

Time: 50:33
Size: 116,6 MB

( 3:13)  1. Noelle's Theme
( 6:43)  2. I Loves You Porgy
( 6:37)  3. Up with The Lark
( 5:26)  4. Turn out The Stars
( 5:10)  5. Five
( 4:22)  6. Spring Is Here
(15:21)  7. Nardis
( 3:37)  8. But Beautiful

Casale Monferrato is a town and commune in the Piedmont region of Northwest Italy, which is part of the province of Alessandria. It is situated about 60 km east of Turin on the right bank of the Po, where the river runs at the foot of the Montferrato hills. Beyond the river lies the vast plain of the Po valley. The pianist played there with his last trio, which included the aforementioned Marc Johnson and Joe LaBarbera, who were both very young musicians. According to LaBarbera, the pressure of playing with the celebrated Bill Evans fell mostly on the trio’s bassist, who always had the shadow of the late Scott LaFaro looming over him: “My opinion was that the only stigma placed on a member of Bill’s trio was on the bass player, because of Scott’s legacy. Bill had great drummers over the years, but they never shaped what the trio was doing the way Scott did.

I wanted to be Scott LaFaro, though, I wanted to have that thing going with Bill in every possible way, to have some of that thing for me. I found out later that Bill had no preconceived ideas of what you should do. His bass preferences, for instance, were as diverse as Scott and Percy Heath. He definitely was not looking for people to emulate his earlier groups.” This release presents a beautiful never before released complete live performance by the last incarnation of the Bill Evans Trio. Taped in Italy just a few months before the pianist’s untimely death, its highlights include beautiful solo piano versions of Michel Legrand’s “Noelle’s Theme” and George Gershwin’s “I Loves You Porgy”.https://jazzmessengersblog.wordpress.com/2012/05/15/all-tracks-previously-uni/

Personnel: Bill Evans -  piano;  Marc Johnson - Bass;  Joe LaBarbera - Drums

Live At Casale Monferrato Disc 1, Disc 2

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Jared Gold - All Wrapped Up

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 50:03
Size: 115,2 MB
Art: Front

(5:43) 1. My Sentiments Exactly
(5:28) 2. Get Out Of My Sandbox
(5:31) 3. Piece Of Mine
(6:39) 4. Midnight Snack
(7:04) 5. Dark Blue
(7:23) 6. Mama Said
(6:44) 7. Saudade
(5:27) 8. Just A Suggestion

There's a noticeable change in organist Jared Gold's sonic template of choice, before All Wrapped Up even begins. While two out of Gold's three prior releases were quartet outings that used saxophone as the lone horn voice, all three releases were rooted in the traditional organ trio instrumental format. A different guitarist graced each one of those records, with Randy Napoleon, Ed Cherry and Dave Stryker each putting their own unique stamp on Gold's music, but the organist clearly felt it was time to move on, with guitar nowhere to be found on this album. Instead, Gold turns to two stellar horn players (and label mates) to help flesh out his new sound. Saxophonist Ralph Bowen and trumpeter Jim Rotondi add their own singular voices to Gold's music as the organist creates the next chapter in his career as a leader.

Five of the eight compositions on the album come from Gold, and the funkiest fare stands out above the rest. "Mama Said" starts off with both horns working through the hip head, as drummer Quincy Davis lays down an easy funk beat and things get even more soulful as solos are passed around. The album-closing "Just A Suggestion" has a few more rhythmic turns in the mix, but moves in a similar direction. Bowen's solo is the clear highlight on this one and his passion for the music is palpable.

While more than half of the material comes from Gold, each member of the band contributes one piece. Davis delivers a relaxed swinger ("Piece Of Mine"), but Bowen's "Midnight Snack"is a rhythmic rollercoaster ride, where the groove terrain is in a constant state of flux though everyone knows exactly what they're doing as the rhythmic underpinnings continually shift. Rotondi's "Dark Blue" follows, a mellow swinger that's the calm after the storm.

When All Wrapped Up reaches its conclusion, two things are abundantly clear: this newfound quartet format hasn't dampened or diminished the creative enthusiasm shown on Gold's earlier releases; and the album continues the steady evolution of one of jazz's most prominent rising star organists.~ Dan Bilawskyhttps://www.allaboutjazz.com/all-wrapped-up-jared-gold-posi-tone-records-review-by-dan-bilawsky

Personnel: Jared Gold: organ; Ralph Bowen: saxophone; Jim Rotondi: trumpet; Quincy Davis: drums.

All Wrapped Up

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Eric Reed & Cyrus Chestnut - Plenty Swing, Plenty Soul

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 73:28
Size: 168,5 MB
Art: Front

(14:39)  1. I'll Remember April
(12:14)  2. All The Things You Are
(14:36)  3. Two Bass Hit
( 6:17)  4. Lift Ev'ry Voice And Sing
( 9:40) 5. It Don't Mean A Thing If It Ain't Got That Swing
( 7:49)  6. Prayer
( 8:09)  7. Plenty Swing, Plenty Soul

Piano duo recordings can be a tricky thing: finding a balance that allows each musician to shine while simultaneously keeping in mind that it is a collaborative affair can result either in a seamless piece of cooperative music-making, or a battle of egos that benefits no one. Fortunately, this falls into the former category. With accompaniment by bassist Dezron Douglas and drummer Willie Jones III, Reed and Chestnut are sympathetic players who know when to step forward, when to hold back, and when to meet in the middle. Although seven years apart in age (Chestnut being the older), Reed and Chestnut share somewhat similar backgrounds: both are from large East Coast cities, both began their musical instruction at a very young age via their fathers, and both have gospel training in their backgrounds.

That common ground gives them not so much similar styles as an understanding of where the other is rooted, and as they burrow deeper into each of the pieces here drawn from a trio of live gigs at New York's Dizzy's club there are many times when it's near impossible to tell that two pianists are playing, let alone who's doing what although the mix separates Reed and Chestnut by placing one in the left channel and the other in the right, one would have to be extremely fine-tuned to the nuances of each musician's playing to pick them out had the engineer not made it easier. The set consists of standards (a spry "I'll Remember April" opens it), a couple of jazz classics (a rousing version of Duke Ellington's "It Don't Mean a Thing if It Ain't Got That Swing"), and a couple of gospel-themed tunes played solo the classic "Lift Ev'ry Voice and Sing," featuring only Chestnut, and Reed's "Prayer." That the pianistry is exemplary throughout goes without saying, but these two fine musicians and their accompanists elevate their meeting into something greater. ~ Jeff Tamarkin http://www.allmusic.com/album/plenty-swing-plenty-soul-mw0001962994

Personnel: Cyrus Chestnut (piano); Eric Reed (piano); Willie Jones III (drums).

Plenty Swing, Plenty Soul

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Catherine Russell - Send For Me

Styles: Vocal
File: MP3@320K/s
Time: 47:18
Size: 108,9 MB
Art: Front

(3:26) 1. Did I Remember
(4:44) 2. Send For Me
(3:04) 3. At The Swing Cats Ball
(4:41) 4. Make It Last
(3:37) 5. Going Back To New Orleans
(3:40) 6. If I Could Be With You
(2:52) 7. You Can Fly High
(3:48) 8. East of The Sun (and West of The Moon)
(4:11) 9. In The Night
(3:24) 10. You Stepped Out of A Dream
(3:07) 11. Blue And Sentimental
(2:59) 12. Sticks and Stones
(3:38) 13. Million Dollar Smile

GRAMMY® nominated vocalist Catherine Russell, when asked to characterize her new album, Send For Me, replied, “I love romance that swings.” Send For Me features a baker’s dozen of newly recorded tunes on her eighth album as a leader, meeting a simple exacting standard. “Songs that inspire or touch me in some way. When I find a song I like, it haunts me until I learn it.” Her mission is finding songs that you might not have heard but deserve attention.

Russell’s deep connection to her chosen material is part of a calling. As the daughter of pioneering and legendary musicians, pianist/orchestra leader/composer/arranger Luis Russell, and bassist/guitarist/vocalist Carline Ray, Catherine Russell was born into jazz royalty. In culling material for her new album from the likes of Billie Holiday, Nat King Cole, Luis Russell, Betty Carter, Kay Starr, Joe Liggins, Earl King, Jack Teagarden, Helen Humes, Frank Sinatra, Dakota Staton, Henry Red Allen, and Louis Armstrong, the vocalist swims in familiar waters. She sings a language that comes naturally, furthering a profound legacy.

Send For Me is a follow up to Russell’s 2019 release Alone Together, which received a GRAMMY® nomination for Best Jazz Vocal Album, and landed on the JazzWeek year-end radio chart as the #1 most played album. “I like to invite the people in,” she says of her new album, which is also her philosophy of performing live. The album is an invitation, welcoming the audience to come along on a journey. https://www.dottimerecords.com/product/catherine-russell-send-for-me/

Personnel: Catherine Russell – vocals, percussion (5,7); hand claps (2); Matt Munisteri – guitar, musical director, banjo (5,6); Tal Ronen – bass (except 5); Mark McLean – drums; tambourine (5); Mark Shane – piano (1,3,4,7,12); Sean Mason – piano (2,6,8,9,10,11,13); Jon-Erik Kellso – trumpet (1,3,4,7,9,12); John Allred – trombone (1,3,4,6,7,9,12); Evan Arntzen – reeds (1,3,7,9,12); Paul Nedzela – baritone saxophone (9); Mark Lopeman – tenor saxophone (2); Aaron Heick – tenor saxophone (2); Philip Norris – Tuba (5); Paul Kahn – hand claps (2)

Send For Me

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Hal Galper Trio - Invitation to Openness: Live at Big Twig

Styles: Piano Jazz
File: MP3@320K/s
Time: 71:40
Size: 165,1 MB
Art: Front

(11:18) 1. Embraceable You
(10:51) 2. Rapunzel's Luncheonette
( 9:45) 3. Winter Heart
( 6:56) 4. Ambleside
( 8:41) 5. Invitation to Openness
( 8:38) 6. Take the Coltrane
( 7:58) 7. Wandering Spirit
( 7:28) 8. Constellation

Pianist Hall Galper turned away from the life of touring in 2000, and eased into "the shed," to work on some innovative ideas that would change the shape of the piano trio. Rubato is where he went a style of playing that stretches time, making it flexible, unpredictable and free. It takes special trio mates to assist in this, and he found them in his East Coast Trio, with bassist Tony Marino and drummer Billy Mintz, eventually, the group responsible for the fittingly-titled 2006 album, Agents Of Change (Fabola Records).

The change in Galper's trio approach blossomed fully on six subsequent Origin Records recordings with his West Coast Trio, featuring drummer Jeff Johnson. Two of those Origin Records recordings Airegin (2012) and O's Time (2014) stand as late-career masterpieces for Galper. Given the decade and half of productivity and consistent excellence of the West Coast Trio, Galper's work with Marino and Mintz might seem a footnote, with only one album in the books. But that footnote becomes bigger and better with 2022's Invitation To Openess, recorded in 2008 with Galper's east coast crew. This offering catches the threesome in fine form, opening with a eleven-plus minute take on Gershwin's "Embraceable You." This tune in these hands demonstrates just how beautiful odd beauty can be. This conventional (though superior; it is Gershwin) Great American Songbook tune goes to unexpected places straight ahead at times, often aggressive, warped away from recognizability at others, surprises around every corner.

Galper's creative foundation comes, in part, from the straight ahead tradition, having served considerable time with trumpeter Chet Baker and alto saxophonists Cannonball Adderley and Phil Woods. But he also did a stint in saxophonist Sam Rivers' band, which must have nudged him further in the free direction than he might otherwise have gone. In his semi-retirement over the course of time spent in the shed he sounds completely free. Those of a religious persuasion might say "Let go and let God." Of Hal Galper we could say he "Let go and let rubato."

As with all of his rubato releases, Galper makes wise choices in jazz standards and Great American Songbook tunes on Invitation To Openness, exploring the permutations of the previously-mentioned Gershwin composition, pianist John Taylor's "Ambleside," Duke Ellington's "Take the Coltrane" and Charlie Parker's "Constellation," with four of his own distinctive tunes mixed in. All of this moves into exhilarating and unexpected territory, no matter how familiar the source material, in this a look back at the beginnings of Hal Galper's move into rubato.~ Dan McClenaghan https://www.allaboutjazz.com/invitation-to-openness-hal-galper-trio-origin-records

Personnel: Hal Galper: piano; Tony Marino: bass; Billy Mintz: drums.

Invitation to Openness: Live at Big Twig

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Lisa Lovbrand - Embraceable

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 49:16
Size: 117,7 MB
Art: Front

(5:01)  1. Light My Fire
(4:58)  2. Embraceable You With Chris Botti
(3:00)  3. Smile
(4:50)  4. The Man I Love
(3:35)  5. When I Fall in Love With David Foster
(5:08)  6. The Nearness of You
(4:05)  7. Over the Rainbow
(3:39)  8. These Foolish Things
(4:32)  9. Seagulls
(4:58) 10. Come Rain or Come Shine  With Paul Buchanan
(5:25) 11. Good Morning Heartache

Lisa Lovbrand, a swedish singer/actress from Dorotea (Sweden) but now spending her days in Los Angeles. The album “Embraceable” was released by Lisa herself on her own label Lovbrand Productions. “Embraceable” is a soft jazz album with some very familiar songs as well as sparkling new music written by Lisa and composer/arranger Jeremy Lubbock. The album was mainly recorded in Stockholm with some of Sweden’s most prominent jazz musicians (see list below), all songs were arranged by Bengt Lindkvist and Kjell Öhman and the album is featured by international artists such as Chris Botti, Paul Buchanan and David Foster! Paul Buchanan from Blue Nile sings on the lovely duet “Come Rain Or Come Shine” and David Foster sings and plays keyboard on “When I Fall In Love”. http://www.westcoast.dk/artists/l/lisa-lovbrand/

Musicians on the Embraceable album: Lisa Lovbrand, David Foster, Chris Botti, Paul Buchanan, Johan Setterlind, Bengt Lindkvist, Per V. Johansson, Jesper Kviberg, Jan Ottesen, Kjell Öhman, Jorgen Smeby, Joakim Ekberg & Klas Lindquist.

Embraceable

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Maxine Sullivan & Scott Hamilton Quintet - Uptown

Styles: Vocal And Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 46:21
Size: 106,1 MB
Art: Front

(3:34) 1. You Were Meant for Me
(5:10) 2. I Thought About You
(3:49) 3. Goody Goody
(5:22) 4. Something to Remember You By
(5:54) 5. Wrap Your Troubles in Dreams
(3:50) 6. You're a Lucky Guy
(3:48) 7. Georgia on My Mind
(4:21) 8. By Myself
(4:47) 9. I Got a Right to Sing the Blues
(5:41) 10. Just One of Those Things

The first of her two Concord CDs, this set features veteran singer Maxine Sullivan performing ten of her favorite songs, all of which originated from the swing era or before. Sullivan sounds quite happy to be joined by tenor saxophonist Scott Hamilton's very complementary quintet (which also includes guitarist Chris Flory and pianist John Bunch). The best among the familiar songs are Maxine's renditions of "I Thought About You," "Wrap Your Troubles In Dreams," "By Myself" and "I Got a Right to Sing the Blues."~Scott Yanowhttps://www.allmusic.com/album/release/uptown-mr0001470229

Personnel: Maxine Sullivan - vocals; Scott Hamilton - tenor saxophone; John Bunch - piano; Phil Flanigan - bass; Chris Flory - guitar; Chuck Riggs - drums

Uptown

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Arne Domnerus & Rune Gustafsson - Sketches of Standards

Styles: Bop
Year: 1991
File: MP3@320K/s
Time: 57:21
Size: 131,3 MB
Scans: Front

(5:37)  1. Blowing in the wind
(4:11)  2. I'm beginning to see the light
(4:50)  3. Jazz me blues
(6:25)  4. Mean to me
(5:07)  5. Here's that rainy day
(3:49)  6. Autumn leaves
(3:23)  7. Hymn to freedom
(3:23)  8. It don't mean a thing
(5:06)  9. Mood indigo
(3:04) 10. I've got it bad
(3:33) 11. Sweet Lorraine
(4:39) 12. Don't get around much anymore
(4:09) 13. Is God a three letter word for love?

Swedish-born saxophonist Arne Domnérus looms large in the annals of European jazz -- his breakthrough performance at the Paris Jazz Fair of 1949 is widely cited as the tipping point of the Scandinavian bop movement. Born in Stockholm on December 20, 1924, Domnérus studied clarinet as a child and made his professional debut during the early '40s, playing alto sax in popular dance bands led by Lulle Ellboj and Simon Brehm. By 1942 he led his own group and made his recorded debut in 1945, honing an urbane, sophisticated style that nevertheless possessed an urgency often absent from the cool, remote tone often associated with Swedish jazz. American icons Charlie Parker and Dizzy Gillespie were both in attendance for Domnérus 1949 Paris festival gig, a performance which served notice that players of European descent could offer their own authoritative interpretations of music largely considered an African-American phenomenon -- Parker was so impressed that he signed Domnérus for the Scandinavian tour he mounted a year later. Throughout the '50s Domnérus headlined the Stockholm jazz club Nalen, often appearing alongside trumpeter Rolf Ericson and baritone saxophonist Lars Gullin (who both turn up in the 1952 short film Arne Domnérus Spelar). Domnérus also joined Stockholm locals including pianist Bengt Hallberg for a landmark 1953 Swedish tour in support of American trumpeters Clifford Brown and Quincy Jones. From 1956 to 1965 Domnérus served as a member of Harry Arnold's Swedish Radio Big Band, continuing on with its successor Radiojazzgruppen through 1978 -- concurrently he wrote for television and films, most notably scoring 1966's Nattlek, a film produced by Mai Zetterling and based on her own novel. Domnérus' 1977 LP Jazz at the Pawnshop proved an unprecedented hit, selling more than half a million copies upon its original release -- a year later, he returned with Duets for Duke, a collaboration with Hallberg that captures both men at the zenith of their artistry. While remaining true to his bop roots, Domnérus cited traditional Scandinavian folk music as a growing influence throughout the later chapters of his career, and from the '70s on he regularly performed live in churches, inspired by Duke Ellington's own sacred concerts. He also toured the U.S. and Japan, and recorded with American notables including Clark Terry, James Moody and Jimmy Rowles. After several years in poor health, Domnérus died in Stockholm on September 2, 2008 at the age of 83.

Rune Gustafsson - Heavily inspired by generations of blurry-toned jazz guitar maestros such as Jimmy Raney, Jim Hall, and Tal Farlow, this Swedish artist went on to compose critically acclaimed film soundtracks as well as pick and strum. The Swedish music scene in general is where documentation of Rune Gustafsson is most prevalent, his discography on Sonet, Metronome, and other labels even including a tribute to soul genius Stevie Wonder. The guitarist began performing folk music as a young teen, apparently under considerable prodding from an uncle who was already engaged in the same kind of activity. Gustafsson had evolved to playing jazz on stages in the early '50s, his bandleaders including Bert Dahlander, Putte Wickman, Hacke Bjorksten, and Lars Gullin. When profiled in Leonard Feather's Encyclopedia of Jazz in the '70s, Gustafsson talked about his ambitions in composing and arranging concert music, a promise he certainly made good on in the ensuing years. He also expanded his instrumental arsenal for some of these projects, recording on the banjo and the celeste, among other unusual axes. His film credits include the 1992 Ingmar Bergman release with the English title of Sunday's Children.

Sketches of Standards

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Buddy Tate Feat. Clark Terry - Tate-A-Tate (Remastered Version)

Styles: Saxophone And Trumpet Jazz
Year: 1960/2016
File: MP3@320K/s
Time: 35:40
Size: 82,7 MB
Art: Front

(8:12)  1. Groun' Hog
(4:10)  2. Tate-a-Tate
(5:38)  3. Snatchin' It Back
(6:21)  4. 20 Ladbroke Square
(4:13)  5. All Too Soon
(7:04)  6. Take the "A" Train

For more than seven decades, Texas-bred George “Buddy” Tate graced the American jazz scene with his hard-blowing tenor saxophone style. A resilient tone with high register inflections in the so-called “Texas tenor” sound distinguished Tate among his swing era colleagues. He was a member of the Count Basie Orchestra during the late 1930s and 1940s and later became a bandleader in his own right. By most accounts, Tate was born George Holmes Tate on February 22, 1913, in Sherman, Texas. He began performing in 1925 while still in his teens when his brother handed him an instrument and asked him to play tenor saxophone with the family quartet called McCloud's Night Owls. Tate and the Night Owls learned to play largely by listening to recordings by Louis Armstrong and mimicking the sound. The band toured professionally for the next four years, after which Tate continued to play the horn, performing with a series of territory bands and with circus bands until the early 1930s when he toured the south-western United States with Nathan Towles' band. During those early years, Tate spent time with Terrence Holder's band from 1930-33 and toured with Andy Kirk's Clouds of Joy in 1934-35. In 1934 Tate filled in briefly with Count Basie's Orchestra as a replacement for Lester Young. Young eventually returned to the band, and Tate joined up with Towles for another four years beginning in 1935. Tate worked with Towles until 1939 when Herschel Evans, who was Basie's tenor saxophone player, died. Basie then brought Tate back into the orchestra as a permanent fixture for nearly a decade. Perhaps nowhere was the contention for attention between saxophone players of that era more pronounced than among Basie's sidemen. Among the notables were Illinois Jacquet also one of the so-called Texas tenors, Lucky Thompson, and Young, all of whom along with Tate transformed moments of the orchestra's performances into full-scale dueling sets between horns. Tate was heard on many recordings by the Basie orchestra during that era, including selected recordings where Tate performed on alto saxophone as well as tenor. He emerged from Basie's band as a seasoned professional. After Tate parted ways with Basie in 1949, Tate appeared with Hot Lips Page, Lucky Millinder, and Jimmy Rushing until 1952. He then assembled his own house band at Harlem's Celebrity Club in 1953, marking the start of a gig that lasted for 21 years, until the early 1970s. Tate's European tours brought him largely to France where, in 1967 and 1968, he performed as bandleader in a trio comprised of Milt Buckner on organ and Wallace Bishop on drums. 

Tate and Buckner recorded a series of tenor saxophone and organ duets in 1967 on the Black and Blue label, including “Buddy Tate with Milt Buckner,” which is revered among Tate's best works. He made two earlier European tours as a sideman for Buck Clayton, in 1959 and 1961 respectively. In 1967 Tate also appeared with John Hammond in a concert program called Spirituals to Swing and toured with the Saints and Sinners. Tate spent time in the 1970s as a sideman in the Benny Goodman Orchestra. Tate's 1973 release, “Buddy Tate and His Buddies”, featured his former Basie cohort, Jacquet, pianist Mary Lou Williams, and trumpeter Roy Eldridge. Also numbered among the buddies were guitarist Stan Jordan, drummer Gus Johnson, and Milt Hinton on bass. The album, one of Tate's more popular recordings, was re-issued in 1994. In the 1980s, Tate toured extensively with Jacquet's group called the Texas Tenors. The Tenors followed a festival circuit that took the players to the Newport Jazz Festival in 1980 and to the festival in Cork in 1983 and again in 1985. His festival tours with Jacquet in the 1980s included annual visits to the Grande Parade du Jazz in Nice, France. Additionally, Tate's North American agenda included both live and taped performances with Jay McShann and Jim Galloway in Canada. In 1978 Tate taped a collection of recordings for Muse Records under the bill of Buddy Tate & the Muse All Stars.” Those albums included “Live at Sandy's,” “Hard Blowin',” and “Muse All Stars.” In 1991 Tate joined fellow tenor saxophone player James Moody and a collection of others among his peers on the live recording, “Lionel Hampton and the Golden Men of Jazz.” The 1996 album “Conversin' with the Elders,” by saxophonist James Carter marked what would become Tate's final appearance on record. He remained active and performed with Lionel Hampton and the Statesmen of Jazz in the late 1990s until a bout with cancer left him incapacitated. In January of 2001 Tate moved to Phoenix, Arizona, to live near his daughter. He died in Arizona soon afterward, in a nursing home in Chandler on February 10, 2001. https://musicians.allaboutjazz.com/buddytate

Personnel: Tenor Saxophone – Buddy Tate; Trumpet, Flugelhorn – Clark Terry;   Bass – Larry Gales; Drums – Arthur Taylor; Piano – Tommy Flanagan

Tate-A-Tate (Remastered Version)

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