Roy Eldridge and His Central Plaza Dixielanders - Swing Goes Dixie

Styles: Trumpet Jazz, Swing
Year: 1956
File: MP3@320K/s
Time: 74:01
Size: 170,9 MB
Art: Front

(5:38) 1. That`s A Plenty
(6:19) 2. Royal Garden Blues
(4:44) 3. The Jazz Me Blues
(7:35) 4. Tin Roof Blues
(5:34) 5. Struttin` With Some Barbecue
(7:42) 6. (What Did I Do To Be So)Black And Blue
(5:11) 7. Bugle Call Rag
(4:45) 8. Ja-Da
(5:48) 9. Royal Garden Blues [Alternate Take]
(3:21) 10. Baby, What's the Matter with You (Bonus Track)
(2:56) 11. Yard Dog (Bonus Track)
(2:52) 12. Sweet Lorraine (Bonus Track)
(2:49) 13. Jumbo the Elephant (Bonus Track)
(4:01) 14. Music for the Stripteaser (Bonus Track)
(4:40) 15. Sprang (Bonus Track)

The complete original album Swing Goes Dixie (Verve MGV1010), presenting the great Roy Eldridge in an unusual context as the leader of a group playing mostly traditional and Dixieland jazz. The group consists of a sextet, which also features trombonist Benny Morton, and two stars from the classic Count Basie rhythm section: Walter Page and Jo Jones.

As a bonus we have added one complete session that was also recorded for Verve a few years earlier. The date showcases Eldridge in a very similar mood to that of our main album.We have also included the only two tracks featuring Eldridge from a Ralph Burns LP.https://www.jazzmessengers.com/en/8767/roy-eldridge/swing-goes-dixie

Personnel: Roy Eldridge - trumpet; Benny Morton - trombone; Eddie Barefield - clarinet; Dick Wellstood - piano; Walter Page - bass; Jo Jones - drums

Swing Goes Dixie

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Riccardo Arrighini, Paolo Benedetti, Michela Lombardi - La Donna Cannone

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 79:21
Size: 186,3 MB
Art: Front

( 8:20) 1. E Lucean le Stelle
( 9:31) 2. La Donna Cannone
( 7:23) 3. Anatolia
(11:31) 4. Sous le Ciel de Paris
(10:00) 5. E Dimmi Che Non Vuoi Morire
( 7:27) 6. Giu' la Testa
( 5:51) 7. Nel Respiro
( 6:00) 8. Last Tango in Paris
( 8:30) 9. On the Trail
( 4:43) 10. Dream Youfr Fears Away

Riccardo Arrighini is the pianist who fused Classical music with Jazz. With its arrangements, it aims to bring a breath of fresh air to the works of the great composers, passing through the culture and thirty years of experience of studied, played and taught music. Two enormous heritages such as classical and jazz, two basic cultures such as European and American blend in him in a pianism that is finally free from schemes and barriers. He was born in Viareggio on August 28, 1967. He began studying classical piano at the age of seven and after a few months he won the national competition for young pianists in Osimo. After graduating from the 5th year of studies, he obtained admission as an intern at the Conservatory â € œL.Boccheriniâ € in Lucca, where he graduated with full marks in 1986, under the guidance of Prof. Clara Cesa Luporini. After a few years in which he toured all over Italy with pop or dance music orchestras, and as an accompanist for opera singers, he began studying jazz in 1990 at the â € œSiena jazzâ € seminars held by maestro Enrico Pieranunzi and at the summer courses â € œUmbria jazz Clinicsâ € in Perugia, where he won a scholarship to travel to the USA.

In 1991 he enrolled at the Berklee College of Music in Boston, MA - USA, where he attended a semester and where he had the opportunity to take his first professional steps in the world of jazz. After two years of stopover, during which he plays in the best Tuscan clubs, he returns to Boston and studies privately with masters Jerry Bergonzi and Hal Crook for another semester (1993). Between 1995 and â € ™ 97 he attended the Siena Jazz â € œHigh Professional Qualificationâ € courses, held by Mo Stefano Battaglia and where he graduated in 1997.

In 1996 he participated in the television program â € œMedicine a comparisonâ € by Daniela Rosati, broadcast on Retequattro and â € œBaciami Versiliaâ € by Gianni MinÃ, broadcast on Raidue. In the same period he won the â € œBarga jazz 1996â € competition with his trio for the section dedicated to new talents. He then begins to propose himself, as well as an improviser, also as a composer performing a repertoire of only original pieces that will lead to the first recordings of him in his name. In 1999 and 2000 he was called by maestro Bruno Tommaso to be part of the Barga Jazz orchestra, where he had the opportunity to meet and play with some of the most important names in the Italian jazz scene.

In 2003 the meeting with the 14 year old Sicilian, and extraordinary sax talent, Francesco Cafiso, personally invited by Maurizio Costanzo to the Canale 5 studios, for the transmission â € œfriendsâ € by Maria de Filippi and â € œBuona Domenicaâ €. An excellent human and musical partnership was born immediately between the two. In 2004 he plays with Cafiso at the summer edition of Umbria Jazz and the official quartet of the saxophonist is formed with Arrighini on the piano, Aldo Zunino on the bass and Stefano Bagnoli on the drums. The quartet, from 2004 to 2007, will play in the most important Italian and world jazz festivals. The collaboration with Cafiso ends in early 2008. Since 2006 he has had a trio in his name, with Riccardo Fioravanti on bass and Stefano Bagnoli on drums, with whom he recorded the cd â € œCambio di Marciaâ € presented at â € œUmbria jazz â € ˜07â €.

In 2007 he elaborates a double project on the figure of Giacomo Puccini, solo piano and orchestra, which obtains the support of Umbria Jazz and the Pucciniano Festival Foundation with which in 2008 he participates in important international concerts in the IICs of Tokyo, Kyoto, London, Amsterdam, Stockholm Ankara and Izmir and recorded two discs, "Puccini jazz. Recondite harmonie" (piano solo) and "Puccini jazz: E lucevan le stelle" (trio plus Orchestra dei Solisti di Perugia). With the aforementioned orchestra he participates in events of great media importance such as the "International Music Festival" (21.6.'08) in Perugia, where for the occasion the church of San Francesco al Prato is reopened - formerly the temple of UJ for concerts historians such as Sting & Gil Evans of '87 - and Umbria jazz '08 at the Morlacchi theater.

In August '08 he took part in the important "Ischia Piano Jazz" festival, sponsored by UJ, a solo piano festival alongside Danilo Rea, Enrico Pieranunzi and Stefano Bollani. In 2008 he comes out with a new reworking of great classics, â € œVivaldi Jazz: Le 4 Stagioniâ €, in piano solo and trio, whose tour starts in June â € ™ 09 and will touch all of Italy. For many years he has been successfully dedicated to teaching classical and jazz with students who come from all over Italy. He has reworked all the techniques of jazz harmony and improvisation, learned in the seminars and schools mentioned above, merging and reworking them in his own very personal method. For about 3 years he has been holding workshops and seminars in the Conservatories and in the Italian and foreign Music Study Centers based on the fusion between Jazz and Classical. Of note is the one held in 2006 in San Paolo (Brazil) at the Antonio Carlos Jobim Study Center. https://www-amicidellamusicamilano-it.translate.goog/artisti/a/RiccardoArrighini.html

La Donna Cannone

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Carol Sloane - Live At Birdland

Styles: Vocal
File: MP3@320K/s
Time: 72:21
Size: 166,0 MB
Art: Front

(4:36) 1. Havin Myself A Time
(5:57) 2. Blue Turning Grey Over You
(6:13) 3. I Dont Want To Walk Without You
(4:58) 4. As Long As I Live
(7:57) 5. Glad To Be Unhappy I Gotta Right To Sing The Blues
(5:28) 6. If I Should Lose You
(4:48) 7. You Were Meant For Me
(6:55) 8. The Very Thought Of You
(8:23) 9. You're Driving Me Crazy
(6:13) 10. Two For The Road
(4:23) 11. Wrap Your Troubles In Dreams
(6:26) 12. I'll Always Leave The Door A Little Open

Marks the veteran vocalist's 60th anniversary as a recording artist, and her first album in over a decade. Accompanied by all-star jazz trio Mike Renzi on piano, Jay Leonhart on bass, and Scott Hamilton on sax. "Havin' Myself a Time," "Blue Turning Grey Over You," "I Don't Want to Walk Without You," "As Long As I Live," "Glad to Be Unhappy/ I Got a Right to Sing the Blues," "If I Should Lose You," "You Were Meant for Me," "The Very Thought of You," "You're Driving Me Crazy," "Two for the Road," "Wrap Your Troubles in Dreams," "I'll Always Leave the Door a Little Open."

Recorded in 2019. Produced by Joel Moss and Mark D. Sendroff. Liner notes by James Gavin. Sloane: A Jazz Singer, the documentary feature film profiling Carol Sloane's remarkable career and the creation of this album, is currently in production. https://www.broadwayworld.com/recordings/Carol-SloaneLive-at-Birdland-2022-Club44-Records

Personnel: Carol Sloane vocal; Mike Renzi on piano, Jay Leonhart on bass, and Scott Hamilton on saxophone.

More Information https://www.broadwayworld.com/article/Club44-Records-Releases-New-Album-from-Carol-Sloane-Live-at-BIRDLAND-20220408

Live At Birdland

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Jeremy Steig - Fusion

Styles: Flute Jazz
Year: 1970
File: MP3@320K/s
Time: 78:03
Size: 179,5 MB
Art: Front

(4:39) 1. Home
(4:52) 2. Cakes
(4:12) 3. Swamp Carol
(4:50) 4. Energy
(4:14) 5. Down Stretch
(6:47) 6. Give Me Some
(8:02) 7. Come With Me
(2:22) 8. Dance Of The Mind
(5:23) 9. Up Tempo Thing
(5:55) 10. Elephant Hump
(3:03) 11. Rock #6
(6:33) 12. Slow Blues In G
(5:50) 13. Rock #9
(4:14) 14. Rock #10
(7:02) 15. Something Else

Fusion pairs the entirety of Jeremy Steig's landmark 1971 Capitol release Energy alongside unreleased material from the same sessions. Energy is a miracle of alchemy Jeremy Steig transforms his flute from the ethereal to the elemental, forging a heavy, deeply funky jazz-rock record that defies gravity. Paired with keyboardist Jan Hammer, bassists Gene Perla and Eddie Gomez, and drummer Don Alias, Steig creates Technicolor grooves that float like butterflies and sting like bees.

His music doesn't so much fuse jazz and rock as it approaches each side from the perspective of the other, exploring their respective concepts and executions to arrive at a sound all its own. If anything, the tonal restrictions of Steig's chosen instrument push him even farther into the unknown, employing a series of acoustic and electronic innovations to expand the flute's possibilities seemingly into the infinite. While some of the unissued content here is no less astounding, as a whole Fusion feels like too much of a good thing; one can't help but miss the focus and shape of Energy in its original incarnation.~Jason Ankenyhttps://www.allmusic.com/album/fusion-mw0001883206

Personnel: Jeremy Steig - Flute, Flute (Alto), Piccolo; Eddie Gomez - Bass (Electric); Jan Hammer - Gong, Piano (Electric); Don Alias - Percussion, Conga, Drums; Sonny; Gene Perla - Bass, Bass (Electric)

Fusion

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Jared Gold - Out Of Line

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 50:55
Size: 117,8 MB
Art: Front

(5:32)  1. An Aperitif
(6:20)  2. Preachin'
(4:57)  3. Out Of Line
(4:52)  4. You Haven't Done Nothin'
(5:33)  5. It Is Well
(5:15)  6. Down South
(5:45)  7. The Stone Age
(5:44)  8. La-La (Means I Love You)
(6:52)  9. Skylark

Despite the implications that live within a title like Out Of Line, organist Jared Gold's third Posi-Tone release is rather in tune with the history and vibe of organ groups and all that goes with them. Gold is joined by some top notch east coast talent, in the form of guitarist Dave Stryker, drummer Mark Ferber and saxophonist Chris Cheek, and all four musicians seem to gel well from the very start. Gold might have eclectic tastes, with covers ranging from Hank Mobley's "An Aperitif" to Stevie Wonder's "You Haven't Done Nothin,'" but he covers nearly every style in the organ group playbook as he works his way through this nine-song program. The Mobley tune, originally on the saxophonist's lesser-known Third Season (Blue Note, 1967), starts things off with a bang. Gold and Cheek are as tight as can be, as they work their way through the head on this up-tempo number. 

Funk is a healthy part of any organ group's diet and Gold delivers the goods with "The Stone Age" and "You Haven't Done Nothin,'" the Wonder tune coming across as a looser, riff-based workout, while Gold's original is a bit more substantial. Cheek leads the charge, while the rhythm section has some greasy groove-making going on beneath him; the overall sound like a less aggressive version of Joshua Redman's Elastic Band. "Preachin'" is a superb gospel-soul number which highlights Gold's playing and writing, while "It Is Well" is churchy in a different, more reverent manner. This understated number sounds like a jazz take on a hymn, and it shows off a different side of Gold's personality. While Ferber's drums hint at bossa nova on the title track, nothing else on the disc really speaks of Brazil.  A soothing take on The Delfonics' "La-La (Means I Love You)," and an odd-metered arrangement of "Skylark" close the album. Gold's performance of The Delfonics' megahit reflects the understated quality of their rendition; "Skylark," on the other hand, is reshaped and molded to Gold's liking. Cheek and Gold are both in fine form on this one, and Ferber even gets to solo over an energized vamp, as the album draws to a close. ~ Dan Bilawsky https://www.allaboutjazz.com/out-of-line-jared-gold-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Jared Gold: Hammond B3; Dave Stryker: guitar; Chris Cheek: tenor saxophone; Mark Ferber: drums.

Out Of Line

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Mindi Abair - Always and Never the Same

Styles: Vocal And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 34:42
Size: 79,5 MB
Art: Front

(3:25)  1. Good
(3:13)  2. Maybe I
(3:39)  3. Happy
(3:28)  4. Wish I Could
(4:04)  5. True Love
(4:12)  6. First Kiss
(3:29)  7. Free 2000
(4:22)  8. Always and Never the Same
(4:48)  9. Heaven

Born on tour into a musical family, Mindi Abair was playing piano by the age of five. Within three years, she was playing saxophone and writing songs. She made her way through Berklee performing all kinds of music from jazz to rock and R&B. Upon moving back to Los Angeles, Abair started her own band. She also took on session work with artists as diverse as the Gap Band, Adam Sandler, Mandy Moore, John Tesh, Teena Marie, and the Backstreet Boys. During this time, she worked on creating her own sound and released her debut disc in 1999. The Backstreet Boys connection really paid off for her, and her website and CD (entitled Love) took off. The year 2000 saw the release of the follow-up, Always and Never the Same, and shortly thereafter, Abair signed with GRP Records. A sophomore effort, It Just Happens That Way, was issued in 2003. "Lucy's," "Save the Last Dance," and the album's title track went on to impact Top Ten radio. A year later, Abair returned with Come as You Are, her second set produced with her writing partner Matthew Hager. In 2006, Abair released Life Less Ordinary, which featured guest vocals from Lalah Hathaway and Keb' Mo', and also performed at the Governor's Ball, the official Oscars afterparty. The following year, she appeared on guitarist Peter White's (with whom she had performed frequently) Christmas album, but 2008 saw a return to her solo material (and an introduction to Abair as a singer) with Stars. In 2010, Abair delivered the soul-jazz-inspired In Hi-Fi Stereo, which once again featured a mix of instrumental jazz with a few Abair vocal numbers. Abair returned in 2014 with her seventh studio album, Wild Heart, which featured guest spots from Keb' Mo', Joe Perry, Booker T. Jones, and Gregg Allman. It debuted at number one on the jazz album chart, and received a Grammy nomination for Best Contemporary Instrumental Album. In March of 2015, she recorded a live album, Mindi Abair & the Boneshakers: Live in Seattle. Her backing band is actually an all-star, standalone touring and recording unit that includes former Was (Not Was) members Randy Jacobs on guitar and vocalist Sweet Pea Atkinson. The album was released the following September by Concord. ~ Gary Hill https://www.allmusic.com/artist/mindi-abair-mn0000495456/biography 

Always and Never the Same

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Bobby Timmons - Do You Know The Way?

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 40:55
Size: 95,5 MB
Art: Front

(5:54) 1. The Spanish Count
(5:38) 2. I Won't Be Back
(4:25) 3. Last Night When We Were Young
(4:08) 4. Do You Know The Way To San Jose?
(7:44) 5. Come Together
(5:01) 6. Something To Live For
(4:26) 7. Soul Time
(3:35) 8. This Guy's In Love With You

Bobby Timmons came out of Philadelphia at age 19, with a funky gospel tinged piano style, flavored with blues and hard bop. He would, in a recording career that would only span a short time frame, contribute to some of the best recordings on the legendary Blue Note sessions of the ’50’s , and be a member of two of the premier bands of that time, Art Blakey and the Jazz Messengers, and the Cannonball Adderley Quintet.

Robert Henry Timmons was born in Philadelphia in 1935, raised by his grandfather who was a minister in a church. The young Timmons began formal piano lessons at age six, and was the organist at his grandfathers’ church. This early formative period would certainly be a factor in his piano approach. He was be able to innovate and improvise on his gospel foundations and brought them into jazz. He had the lyricism of a Bud Powell in his solos, (who didn’t in the 50’s) combined with a very dominant left hand which was reminiscent of the stride and boogie players, but it was his sense of that down home chording and timing that really identified him.

His musical resume for the period between 1956 and 1969 is very impressive. He was with Kenny Dorham and the Jazz Prophets in 1956, which also included Kenny Burrell on guitar. In the years ’56 through ’57 he was with Chet Baker. The year 1957 would be a very productive and busy one as he worked and recorded with Hank Mobely, Sonny Stitt, Lee Morgan, and Curtis Fuller. In the same year and into ’58 was in Maynard Fergusons’ band, and also did session dates with Art Pepper and Kenny Burrell. He took over the piano chair in Art Blakey and the Jazz Messengers in 1958 at the age of 23. It was in period, that he wrote the classic “Moanin”, that would be a defining tune for that band, and one of his signature tunes throughout his career. He jumped over to the Cannonball Adderley Quintet in ’59 where he then wrote two big hits for them in “Dis Here” and “Dat Dere”. He stayed with Addelry into ’60 then rejoined the Messengers.

He stayed with the Messengers into ’61 then he began a solo career and worked with a trio format for a lot of his own recordings which continued up to 1969. Also in ’60 he did a lot of work with Nat Adderly, Arnet Cobb, The Young Lions, Lee Morgan, and Johnny Griffin. His output was amazing for the time, as it seems in looking at the chronological order of dates, he must have been constantly in the studio, this not counting the live dates on the road. His work is available on the Blue Note, Prestige, and Riverside labels, and many others as reissues and compilations. Quite an achievement by any standard! During the mid 60’s he would continue as leader of his own band and recording trios, and produced an extensive body of work in that period alone. He was able to find work in the smaller venues and clubs into the early ‘70’s where he was still in demand. His piano style would go on to influence Les McCann and Ramsey Lewis, and certainly a lot of the players in the ‘70’s with what would later be called funky or soul fused variations.

Bobby Timmons died of liver ailments in New York in 1974, at the age of 38. Though many would be led to believe that he was just another tragic figure in the annals of jazz, I don’t adhere to that line of thought, and measure and admire the man for his sheer volume of work, his participation and contribution with two of the best ensembles, and his influence, to whatever degree in jazz piano. https://www.allaboutjazz.com/musicians/bobby-timmons

Personnel: Bobby Timmons - piano; Joe Beck - guitar; Bob Cranshaw - electric bass; Jack DeJohnette - drums

Do You Know The Way?

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Joe Lovano - Cross Culture

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 61:45
Size: 142,3 MB
Art: Front

(6:17)  1. Blessings In May
(4:59)  2. Myths And Legends
(6:35)  3. Cross Culture
(4:28)  4. In A Spin
(7:33)  5. Star Crossed Lovers
(5:41)  6. Journey Within
(4:21)  7. Drum Chant
(5:17)  8. Golden Horn
(5:54)  9. Royal Roost
(2:43) 10. Modern Man
(7:51) 11. PM

Joe Lovano's third album featuring his Us Five quintet, 2013's Cross Culture, furthers the adventurous collective aesthetic the saxophonist developed on 2009's Folk Art and 2011's Bird Songs. Once again working with drummers Francisco Mela and Otis Brown III, pianist James Weidman, and bassist Esperanza Spalding, Lovano also employs bassist Peter Slavov on a few tracks here, as well as West African guitarist Lionel Loueke. The result is an album of exploratory jazz that is often more about group interplay on various musical themes rather than straightforward improvisation on melodic compositions  though there is that, too. Tracks like the frenetic "In a Spin" and the sinewy, rambling "Journey Within" sound like Lovano and Loueke might have written them on the spot together and, though thoughtfully composed, evince a conversational, stream-of-consciousness approach. 

Elsewhere, cuts like the ruminative and languid "Journey Within" and the atmospheric, dreamlike "Golden Horn" move back and forth from group interplay to extended solo sections. The musical boundary-crossing title of the album takes on more significance on "Drum Chant," in which Mela, playing the West African balafon (a kind of wooden xylophone), and Brown build an insistent rhythmic palette over which Lovano and Loueke add their knotty, free-leaning improvisational lines. Interestingly, Lovano switches to the double-soprano "autochrome" for his solo on "In a Spin," creating a bright, almost atonal sound that jumps out at you halfway through the track. The autochrome's sound also acts as a kind of response to Loueke's harplike, synthesizer-esque guitar style. In fact, both Loueke and Spalding utilize a percussive style here that complements the two-drummer approach and allows Lovano, who has always leaned more on the rhymically slippery, harmonically advanced end of the spectrum, a large musical bed to spring from. Ultimately, that's what Cross Culture is all about. ~ Matt  Collar   http://www.allmusic.com/album/cross-culture-mw0002460660

Personnel: Joe Lovano (tenor saxophone, shaker, gong); Lionel Loueke (electric guitar); Francisco Mela (whistle, balafon, drums); James Weidman (piano); Otis Brown III (drums).       

Cross Culture

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Manhattan Trinity - Alfie

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 55:30
Size: 128,6 MB
Art: Front

(5:47) 1. Alfie
(6:15) 2. Another Star
(4:02) 3. St. Thomas
(6:10) 4. Mack the Knife
(4:19) 5. I'm Through With Love
(4:53) 6. Mercy Mercy Mercy
(5:06) 7. Doxy
(7:34) 8. If You Could See Me Now
(5:00) 9. Stand By Me
(6:20) 10. Send One Your Love

The fifth work of Manhattan Trinity, which has been gradually powered up. Cyrus Chestnut, an immovable member of George Mraz (b) and Lewis Nash (ds), has been recognized by Ray Bryant as the legitimate successor to the black funky piano. In this work, jazz-born "lonely genius" Sonny Rollins challenges the number that has left eternity, and Nash, who has a reputation for percussive performance, has created a splendid Latin rhythm. Nowadays, there are no bebop drummers, and in an era when the generations below Nash with a new sensation occupy the majority, such a new swing feeling is created here as well.

The charm of this band is that Cyrus Chestnut, George Mraz & Lewis Nash are playing on an equal footing. This is the sixth work, a song selection centered on the Sonny Rollins repertoire. Two songs by Stevie Wonder. It's an elegant trio performance.
https://www-hmv-co-jp.translate.goog/artist_Manhattan-Trinity_000000000186454/item_Alfie_1881980

Personnel: Cyrus Chestnut - Piano; George Mraz - Bass; Lewis Nash - Drums.

Alfie

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Ron Carter, Gonzalo Rubalcaba, Jack DeJohnette - Skyline

Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 60:39
Size: 139,2 MB
Art: Front

(6:51) 1. Lagrimas Negras
(9:02) 2. Gypsy
(6:41) 3. Silver Hollow
(6:43) 4. Promenade
(3:26) 5. Novia Mia
(4:45) 6. Quite Place
(7:36) 7. Ahmad the Terrible
(7:54) 8. Siempre Maria
(7:36) 9. RonJackRuba

Substantial yet serene, sophisticated yet soothing, Skyline oozes with the earthiness of New York City. Here, Ron Carter, Jack DeJohnette, and Gonzalo Rubalcaba merged their broad skills into an assemblage of erudite conversations, each package wrapped with beauty and delicate care. Of the many common threads heard in this collection, none could be more precious than time. Yes, of course, the trio had a wealth of rich pockets, but the reference is made to time of another nature. They were in no rush. They let the music develop at its own pace. Good things come to those who wait. In the case of Skyline, that would be great things.

Befitting a long overdue reunion, the trio chose to play with old friends. Familiar tunes were reimagined and reenergized with the clearly abundant joy of playing together. A snareless DeJohnette created the necessary Afro-Cuban bolero feel for the timeless standard "Lagrimas Negras." Rubalcaba crescendoed softly and again vigorously, while Carter deftly raised the conversational bar. Carter then reached into his hip-pocket for "Gypsy." A tune first recorded some forty years ago with Chick Corea and DeJohnette, had a luster to it, a shiny new coat. Carter's walking bass allowed Rubalcaba to freely move about. Articulating every note, Rubalcaba again took his time, and explored the boundaries of Carter's stellar composition. It was time for DeJohnette to look into his treasure trove. Out came "Silver Hollow." Well sequenced, Rubalcaba was now able to move deeply in turnabout. The mesmerizing tune heightened his emotional scale, eliciting a heartfelt dive, anchored by Carter's steady, sturdy core. Years before, Rubalcaba wrote a piece dedicated to Carter. There was an entirely different vibe this time around with Carter actually playing on "Promenade." The circumstances and the depth of composition coupled to keep the sentiment and warmth of the recording session intact.

After a return to the Afro-Cuban sound of "Novia Mia," the trio transitioned to "A Quiet Place." This vintage Carter work of art was given a makeover. Its appeal, however, was mostly steeped in the grace of connectivity. The trio had reached a zenith of collective happiness and ease of conversation. In 1984, DeJohnette had honored Ahmad Jamal in song with his composition, "Ahmad the Terrible." Rubalcaba had both the pleasure and the challenge of adding his own voice, while capturing a screen shot of Jamal. With DeJohnette's groovy patterns and flair to play off, Rubalcaba moved brightly and boldly, succeeding on both counts. While Carter, forever the centerpiece, the rock, the engaging conversationalist, propelled the vocabulary. After the recording session was finished, or so they thought, the trio stayed in the studio and continued to play. They weren't recording anymore, just having fun noodling around together. Well, perhaps accidentally on purpose, it was still recording. It turned out to be the final track. "RonJackRuba" is the epitome of improvisation. Completely off the cuff, just messing with some grooves. It resulted in a cool fly-on-the-wall moment to be shared by all. ~Jim Worsleyhttps://www.allaboutjazz.com/skyline-gonzalo-rubalcaba-5passion

Skyline is a breath of fresh air, the very definition of jazz. Three cool cats chilling out and digging on each other. Skyline is a Grammy-worthy project.

Personnel: Gonzalo Rubalcaba: piano; Ron Carter: bass; Jack DeJohnette: drums.

Skyline

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Esther Kaiser - Water

Styles: Vocal
File: MP3@320K/s
Time: 54:06
Size: 125,0 MB
Art: Front

(0:48) 1. Vesi (Interlude)
(4:59) 2. Water
(5:30) 3. Duna
(4:28) 4. Wildfires
(4:21) 5. Salty River
(0:38) 6. The Tear (Interlude)
(5:24) 7. Lament of the King's Wife
(0:59) 8. Maji (Interlude)
(3:10) 9. The Sailor
(1:13) 10. Die Flut (Interlude)
(4:15) 11. Don't We Know Better
(3:54) 12. The Red Sea
(2:03) 13. Rain Dance (Interlude)
(5:04) 14. The Ocean's Song
(4:47) 15. Time's a River
(2:25) 16. Salty River - Epilog

The vocal artist and jazz vocalist Esther Kaiser has taken on a theme for her new album that as with the widely praised previous album “Songs of Courage” addresses an important aspect of our time, which is constantly in flux, in which nothing is more constant than the liquid, than the evaporation and liquefaction of everything solid and traditional: Water.

Esther Kaiser therefore takes the ancient and, from today’s perspective, of course not to be taken literally, quote from Thales of Miletus as a poetic-metaphorical image for her album: Water is the origin of all things. It´s the substance from which everything emerges and to which all things will return.

Thus, even the musically and lyrically multifaceted theme of the album repeatedly finds its way back to pure clarity and lightness, despite the shimmering socio-political and climate-related dimension that Kaiser does not disregard in her cleverly nuanced approach.

On this album, Kaiser transports listeners to a sound that is at once contemporary and urban, as well as to enraptured, almost fairy-like worlds of sound, thanks to the use of unusual sound sources such as the water-powered glass harp and extremely exciting musical guests such as Marie-Christine Gitman on oboe and English horn, the Berlin string quartet “Die Nixen” and the renowned trumpeter and multi-instrumentalist Sebastian Studnitzky.

The genesis of the album fits perfectly with the ancestral symbolism of water, which in many cultures is considered a threshold between (dream) worlds. “In the first Corona lockdown and during a prolonged period of drought in the spring of 2020, during which I had also read the book „The end of the ocean” by Norwegian author Maja Lunde, the song “Water” was created practically in my sleep,” says Esther Kaiser about her first initial inspiration for the new album, which could be described as no dream log. And adds: “I dreamed the melody and the complete lyrics of the chorus and wrote the idea down immediately after waking up. Very quickly, almost as if following a dream dictation, I then finished writing the piece. It was quickly joined by other compositions and lyrics, almost all of which were penned by me and my long-time musical companions Tino Derado and Marc Muellbauer. They’re not all explicitly about water, but on a more abstract level there are images, associations and analogies that connect the songs to the common theme"......More... https://www.glm.de/en/product/esther-kaiser-water/

Personnel: Esther Kaiser – voc/ synth/ glasharp/ glockenspiel; Tino Derado – piano/ accordion; Marc Muellbauer – doublebass; Roland Schneider – drums

Featured Guests: Marie Gitman – oboe/ englishhorn; Sebastian Studnitzky – trumpet; Die Nixen* – string quartet( * Rahel Rilling-violin1, Katharina Wildhagen-violin2, Kristina Menzel-Labitzke-viola, Nicola Springler-cello)

Water

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Wayne Shorter - Adam's Apple

Bitrate: MP3@320K/s
Time: 47:55
Size: 109.7 MB
Styles: Saxophone jazz, Bop
Year: 2003
Art: Front

[6:46] 1. Adam's Apple
[6:35] 2. 502 Blues (Drinkin' And Drivin')
[6:28] 3. El Gaucho
[7:26] 4. Footprints
[6:13] 5. Teru
[7:32] 6. Chief Crazy Horse
[6:52] 7. The Collector

Bass – Reginald Workman; Drums – Joe Chambers; Piano – Herbie Hancock; Tenor Saxophone – Wayne Shorter.

By the beginning of '66, Wayne Shorter had already made jazz history twice: forging gospel-drenched hard bop with Art Blakey from '59 to '64 and helping to create the metaphysical artistry of the Miles Davis quintet during the mid-'60s. So it should come as no suprise that Adam's Apple , which was recorded in February of '66, has Shorter compositions in standard AABA blues form and introspective ballads that sound like his work with Davis.

Recorded at the infamous Van Gelder studio for Blue Note Records, Adam's Apple features Shorter leading an all-star rhythm section consisting of pianist Herbie Hancock, bassist Reggie Workman, and drummer Joe Chambers. As in the second "classic" Miles Davis quintet, Hancock and Shorter find solace in each other on Adam's Apple. Shorter's solos throughout the album are encouraged by Hancock's stride-like comping.

Adam's Apple features underrated drummer Joe Chambers, who appeared on four of Wayne Shorter's Blue Note albums during the '60s. Not a well-known Blue Note favorite like Tony Williams or Art Blakey, Chambers still manages to produce outstanding aesthetics of sound on his drums, frequently using the tom-toms in his solos to produce a tympanic effect. Chamber's playing is so controlled throughout Adam's Apple that he manages to keep a swinging tempo during his extremely polyrhythmic solos. ~Aaron Rogers

Adam's Apple

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Claire Martin & Richard Rodney Bennett - Say It Isn't So

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 36:40
Size: 85,0 MB
Scans: Front

(2:20)  1. Steppin' Out with My Baby
(2:40)  2. Change Partners
(3:45)  3. Get Thee Behind Me, Satan - I Got Lost In His Arms
(2:13)  4. He Ain't Got Rhythm
(2:48)  5. Love, You Didn't Do Right by Me
(3:22)  6. How Deep is the Ocean
(3:00)  7. Lonely Heart
(2:44)  8. Shakin' the Blues Away - Blue Skies
(2:58)  9. Better Luck Next Time
(3:13) 10. Say It Isn't So
(3:44) 11. What'll I Do?
(3:37) 12. Waiting at the End of the Road

Following their two previous duo albums, 'When Lights Are Low' and 'Witchcraft', 'Say It Isn't So' presents a final third chapter in the remarkable musical partnership of Claire Martin and the late Richard Rodney Bennett.

Like 'Witchcraft' the new album is a songbook, focusing here on the work of the great Irving Berlin. Such is the rapport between the duo that every one of the 12 songs strikes vocal jazz gold: the emotional honesty, the perfect pacing and the genuine warmth of the music-making is heard in every phrase, not to mention Linn's superb recorded sound.

Martin sprinkles her magic over everything she touches here, from an effervescent ‘Steppin' Out' to a heart melting ‘What'll I Do'. I've never heard the latter sung more beautifully. Bennett really shines in a terrific arrangement of ‘He Ain't Got Rhythm', clearly having a ball with the lyric (He attracted some attention/When he found the fourth dimension/but He Ain't got Rhythm). A magnificent finale to a unique collaboration.
http://www.linnrecords.com/review-claire-martin-richard-rodney-bennett-say-it-isnt-so-jazzwise.aspx

Say It Isn't So

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Rodney Jones - When You Feel The Love

Styles: Guitar Jazz
Year: 1980
File: MP3@320K/s
Time: 47:49
Size: 109,9 MB
Art: Front

(5:05)  1. The Gift
(6:21)  2. When You Feel The Love
(6:09)  3. Gaze
(6:34)  4. The Joy Of Now
(3:24)  5. I'll Always Be With You
(5:02)  6. Just Because
(8:23)  7. Another Bag
(6:48)  8. Song For Jean

Rodney Jones is an excellent guitarist whose style sometimes hints at George Benson, R&B and soul jazz. On this fairly rare 1988 CD, Jones gets into the groove on eight of his originals with a group also including keyboardist Kenny Kirkland, electric bassist Marcus Miller, drummer Buddy Williams, percussionist Rick Cutler and the woodwinds of Fred Lipsius. The music is reasonably enjoyable and lightly funky, if not too substantial. 

~ Scott Yanow http://www.allmusic.com/album/when-you-feel-the-love-mw0000652879

Personnel:  Guitar – Rodney Jones;  Bass – Marcus Miller;  Drums – Buddy Williams;  Percussion – Rick Cutler;  Piano – Kenny Kirkland;  Reeds – Fred Lipsius

When You Feel The Love

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Horace Silver - Song for My Father

Styles: Piano Jazz
Year: 1964
File: MP3@320K/s
Time: 42:28
Size: 97,2 MB
Art: Front

(7:20)  1. Song for My Father
(6:12)  2. The Natives Are Restless Tonig
(8:32)  3. Calcutta Cutie
(7:49)  4. Que Pasa
(5:27)  5. The Kicker
(7:06)  6. Lonely Woman

One of Blue Note's greatest mainstream hard bop dates, Song for My Father is Horace Silver's signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver's flowering fascination with rhythms and modes from overseas the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver's core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. 

Song for My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands. Still, it hangs together remarkably well, and Silver's writing is at its tightest and catchiest. The title cut became Silver's best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non-Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections -- mainstream hard bop rarely comes as good as Song for My Father. ~ Steve Huey   http://www.allmusic.com/album/song-for-my-father-mw0000241423

Personnel: Horace Silver (piano); Carmell Jones, Blue Mitchell (trumpet); Joe Henderson, Junior Cook (tenor saxophone); Teddy Smith, Gene Taylor (bass); Roger Humphries, Roy Brooks (drums).

RIP

Set/1928-Jun/2014

Song for My Father

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Charlie Barnet & His Orchestra - Hop On The Skyliner !!

Styles: Jazz
Year: 2009
File: MP3@320K/s
Time: 35:03
Size: 80,6 MB
Art: Front

(2:59)  1. Skyliner
(3:19)  2. Strollin'
(3:01)  3. Xango
(3:03)  4. Smiles
(3:12)  5. Gulf Coast Blues
(2:40)  6. The Moose
(2:37)  7. Things Ain't What They Used To Be
(3:06)  8. Oh! Miss Jaxson
(2:44)  9. Pow-Wow
(2:18) 10. Drop Me Off In Harlem
(2:52) 11. Shady Lady
(3:06) 12. The Great Lie

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s. And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. 

Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson. In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.

By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. Bio ~ Scott Yanow  http://www.allmusic.com/artist/charlie-barnet-mn0000166767/biography

Hop On The Skyliner !!

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Liz Callaway - Anywhere I Wander: Liz Callaway Sings Frank Loesser

Styles: Cabaret
Year: 1993
File: MP3@320K/s
Time: 64:10
Size: 147,9 MB
Art: Front

(3:46)  1. How To Succeed/I Believe In You
(2:58)  2. Standing On The Corner
(4:25)  3. What Are You Doing New Year's Eve?
(4:52)  4. Joey, Joey, Joey
(5:11)  5. Never Will I Marry
(2:45)  6. On A Slow Boat To China
(5:05)  7. I'll Know/Somebody Somewhere
(4:08)  8. If I Were A Bell
(5:37)  9. Anywhere I Wander
(3:11) 10. Inchworm
(4:00) 11. I Wish I Didn't Love You So
(4:05) 12. Brotherhood Of Man
(6:56) 13. My Heart Is So Full Of You
(3:24) 14. More I Cannot Wish You
(3:40) 15. Spring Will Be A Little Late This Year

Introductory notes on “Anywhere I Wander: Liz Callaway Sings Frank Loesser,” from Oscar Winner, David Shire:
"1958. I’m sitting in the back of the balcony of New York’s Imperial Theatre. Jo Sullivan is singing “My Heart Is So Full of You” as Frank Loesser’s The Most Happy Fella soars towards curtain. I’m crying.

1982. I’m sitting at a ringside table in the King Cole Room of the St. Regis Hotel listening to Liz Callaway sing “I Don’t Want to Walk Without You, Baby”, one of the songs in an all-Loesser revue she’s appearing in. Richard Maltby has brought me here because he feels that Liz is perfect for one of the leads in BABY, a new show we’re writing. I lean over and tell him he’s right.

1983. I’m in the back of another Broadway Theatre, the Barrymore. Liz Callaway is singing “The Story Goes On,” the finale of the first act of BABY. I’m crying again.

1993. I’m driving along a Connecticut highway listening to an advance cassette of Liz Callaway’s first solo album, “Anywhere I Wander” comprised of Frank Loesser songs. She’s making “My Heart Is So Full of You” come alive again, and I only wish Frank could hear it too. He spent a lot of time looking for the most exciting vocal instruments to sing his music, and nothing pleased him more than finding one. I think Liz Callaway would have blown him away as she blew away Richard and me and a lot of other people night after night during the run of BABY. This album is a feast for anyone who appreciates some of the greatest theatre (and pop) music ever written and one of the purest voices to sing it that God ever made.

Rest in peace, Frank. A new generation is taking good care of your music. And if I’m not careful I’m going to be crying again."~ David Shire  http://www.cdbaby.com/cd/lizcallaway2

Personnel: Liz Callaway, Ann Hampton Callaway (vocals); Scott Kuney (guitar); Michelle Stewart (violin); Nick Armstrong (viola); Ted Hoyle (cello); Dave Weiss (reeds); Dan Higgins (saxophone); Dave Rogers (trumpet); Kenny Rupp, Marco Katz (trombone); Alex Rybeck (piano); Rich Ruttenberg (keyboards, programming); Mark Minkler, Jay Leonhart (bass); Ron Tierno (drums).

Anywhere I Wander

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Dave Brubeck - Anything Goes - Plays Cole Porter

Styles: Jazz
Year: 1965
File: MP3@320K/s
Time: 48:15
Size: 110,5 MB
Art: Front

(5:34)  1. Anything Goes
(5:07)  2. Love For Sale
(4:49)  3. Night And Day
(6:11)  4. What Is This Thing Called Love?
(5:16)  5. I Get A Kick Out Of You
(6:14)  6. Just One Of Those Things
(6:34)  7. You're The Top
(8:26)  8. All Through The Night

The Quartet performs eight of Cole Porter's most famous songs on this enjoyable outing. Few surprises occur but the music often swings hard, pianist Brubeck and altoist Paul Desmond take several excellent solos and bassist Eugene Wright and drummer Joe Morello really push the group.~Scott Yanow(http://www.allmusic.com/album/anything-goes-the-music-of-cole-porter-mw0000649427).

Anything Goes

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Jeremy Steig - Temple of Birth

Styles: Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 44:17
Size: 101,6 MB
Art: Front

(8:25) 1. King Tut Strut
(2:33) 2. Gale
(7:52) 3. Ouanga
(3:49) 4. Mountain Dew Dues
(3:52) 5. Goose Bumps
(3:14) 6. Belly Up
(2:11) 7. Temple Of Birth
(9:30) 8. Shifte Telle Mama
(2:47) 9. Rupunzel

In his entire career as an improvisational flutist Steig has challenged the boundaries of conventional categories in music. In his first album Flute Fever (Columbia Records 1963) Steig established himself as one of the most important voices in contemporary music, setting new standards in the performance and appreciation of the flute as improvisational instrument.

Steig's openness to all kinds of music is the key that attracts audience to his music. In his newest CD, Steig teams up as a duo with the prominent guitarist and composer, Vic Juris. Their collaboration covers everything from jazz, blues, rock, free music and even some classical pieces that have been reworked to include improvisation. Improvised, Steig and Juris' first CD together, is a dynamic sonic adventure. They have been invited to the 2004 Yokohama Jazz Promenade, one of the biggest jazz festivals held in Japan.

Steig has also been active as Free Folk, a trio with Perry Robinson (clarinet) and Ed Schuller (bass). The music they play contains elements of folk, classical and jazz. Steig studied flute with Paige Brook, who played in the New York Philharmonic. He went on to study at the High School of Music and Art in New York. Paige encouraged Steig to play “jazz” while providing him with classical tools. Emerging as a leader of the first jazz-rock band, “Jeremy and the Satyrs,” followed by the release of What's New (Verve 1969) with the legendary Bill Evans, proved Steig's versatility as a young musician.

Steig has played and recorded with a wide variety of musicians, such as Jimi Hendrix, Tim Hardin, Jim Hall, Big Joe Williams, Junior Wells, Eddie Gomez, David Amram, Art Blakey, Paul Bley, Joe Chambers, Jan Hammer, Johnny Winter and Tommy Bolin. The Beastie Boys have shaped their hit Sure Shot around Steig's flute. https://www.allaboutjazz.com/musicians/jeremy-steig

Personnel: Jeremy Steig – flute, Armstrong bass flute; Johnny Winter - acoustic guitar, electric guitar; Richie Beirach - acoustic piano, electric piano; Anthony Jackson - bass guitar; Alphonse Mouzon – drums; Ray Mantilla - congas, percussion

Temple of Birth

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Chris Botti - When I Fall In Love

Styles: Trumpet Jazz 
Year: 2004
File: MP3@320K/s
Time: 58:49
Size: 135,7 MB
Art: Front

(4:22)  1. When I Fall In Love
(5:09)  2. What'll I Do
(6:04)  3. No Ordinary Love
(3:21)  4. My Romance
(3:41)  5. Let's Fall In Love
(4:57)  6. Cinema Paradiso
(4:36)  7. Someone To Watch Over Me
(5:31)  8. La Belle Dame Sans Regrets
(3:11)  9. Nearness Of You
(4:03) 10. How Love Should Be
(4:09) 11. Make Someone Happy
(4:53) 12. One For My Baby
(4:44) 13. Time To Say Goodbye (Con te Partiro)

While his ballad album emphasizes the clear tone and gentle spirit that this lyrical trumpeter releases quite naturally, it also serves to exhibit the nuances with which Chris Botti can convince. His subtle improvisations ooze heartfelt emotion from start to finish. Comparisons with Miles Davis and Chet Baker prove valid. While Columbia prefers to market his good looks and youthful, boyish charm, they know they've got a winning formula here, in this evocative trumpet soloist. Backed by a large studio orchestra and close friends and acquaintances, Botti interprets thirteen sensual ballads with passion and understanding. And who can resist "Con te Partiro"? As he closes out the album with this dramatic aria, the clear tones of his open trumpet ring through the halls in glory. It's a triumphant closing for a session that pays homage to centuries of lyrical beauty. Botti has harnessed that spine-tingling feeling into his solemn work. As Sting sings "La Belle Dame Sans Regrets" in French, the session turns light and bouncy. He and Botti pour the gentle bossa gracefully and gently. Paula Cole interprets "How Love Should Be" slowly with a dramatic spirit. She builds the piece gradually and infuses a sincere plea. Botti replies with a muted trumpet whisper that tugs at your heartstrings. His "One for My Baby" seals the message for good. Open and boldly confident, the trumpeter makes no secret of his feelings. Late at night, in the wee hours, he's in love with a ballad. Highly recommended for all lovers this one hits home.
 

Personnel: Chris Botti- trumpet, vocals; Shane Fontayne, Dean Parks- guitar; Federico Gonzalez Pena, Greg Phillinganes- piano; Billy Childs- piano, electric piano; Jon Ossman, Brian Bromberg- bass; Billy Kilson, Vinnie Colaiuta - drums; Paulinho Da Costa- percussion; Dominic Miller- guitar on "La Belle Dame Sans Regrets;" Mitch Dalton- guitar on "Someone to Watch Over Me;" Alec Dankworth- bass on "Someone to Watch Over Me;" Ralph Salmins- drums on "Someone to Watch Over Me;" Jeff Lorber- keyboards on "No Ordinary Love;" Bob Sheppard- tenor saxophone on "No Ordinary Love;" Gil Goldstein- accordion on "La Belle Dame Sans Regrets"Paula Cole- vocal on "What'll I Do?" and "How Love Should Be"Jill Zadeh- vocal on "No Ordinary Love; Sting- vocal on "La Belle Dame Sans Regrets;" The London Session Orchestra: Isobel Griffiths- conductor; Ken Silleto, Rolf Wilson, Roger Garland, Thomas Bowes, Jonathan Evans-Jones, Patrick Kiernan, Boguslaw Kostecki, Julian Leaper, Rita Manning, Steve Morris, Maciej Rakowski, Jackie Shave, Cathy Thompson, Debbie Widdup, Paul Willey, Dave Woodcock- violin; Edward Vanderspar, Peter Lale, George Robertson, Ivo Van Der Werff, Vicci Wardman, Bruce White- viola; Anthony Pleeth, Dave Daniels, Caroline Dearnley, Paul Kegg, Anthony Lewis, Frank Schaeffer- cello; Chris Laurence, Mary Scully, Alec Dankworth, Patrick Lannigan- double bass; Fiona Hibbert- harp; Phil Todd, Stan Sulzmann, Karen Jones, Helen Keen- flute, alto flute; Andy Panayi- bass flute; Jane Marshall- English horn; David Theodore- oboe; Nick Rodwell, Anthony Pike- clarinet; Jamie Talbot- bass clarinet, tenor saxophone; Derek Watkins, John Barclay, Guy Barker- trumpet, flugelhorn; Mike Thompson, David Pyatt, Richard Bissill- French horn; Peter Beachill, Richard Edwards, Mark Nightingale- trombone; Dave Stewart- trombone, bass trombone; Nigel Hitchcock- alto saxophone; Mitch Dalton- guitar; Ralph Salmins- drums.

When I Fall In Love

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