Rosario Giuliani, Pippo Matino, Benjamin Henocq - Trio Ostiko

Styles: Saxophone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 41:34
Size: 95,6 MB
Art: Front


(5:04) 1. Footprints
(3:16) 2. Mimì
(4:25) 3. Special Day
(4:31) 4. Suite et poursuite (Part I)
(3:44) 5. Suite et poursuite (Part II)
(1:41) 6. Suite et poursuite (Bass Solo Interlude)
(3:03) 7. Suite et poursuite (Part III)
(3:26) 8. The Circle
(4:09) 9. Bass Song for Napoli
(3:57) 10. Coffe Shop
(4:14) 11. Essential Blues

Destiny in the name. Perhaps, surely, however, this is not the case with this Trio. At least that, for "ostiko" you don't want to pass off the antithesis of what is cheaply sold, marketed, in the current Italian or overseas musical panorama. In this sense, then, it is easy for us to welcome the "hostilities" feared by the title and name of the group. A trio that was born from a rib of Pippo Matino's Essential Team, when in 1995 it hosted the then young emerging talent Rosario Giuliani. Fourteen years of limbo during which the bassist from Portici has never shelved the idea of giving birth to an ad hoc project.

With the absolute complicity of Peppe Rosato, owner of the Alhambra Birrjazz, a venue in lower Lazio where Giuliani and Matino have performed several times and have been able to hone their weapons, enriched by the meeting with Benjamin Henocq, drummer, composer and arranger, already awarded the "D'jango d'Or" in 1998, the eponymous album was born. Eight songs in all, of which seven originals and only one dedicated to Wayne Shorter with Footprints at the opening, with an intense groove fueled by the up-tempo of Matino and Henocq who launch the solo brilliance of Giuliani's alto sax. The seven autograph songs are well divided.

Mimì is the signature of the saxophonist from Terracina, breezy, with broad and round sonorities, fast and biting, preceded by a long and pressing solo by Henocq, permeated with a dry urban language. The filmic traits of the French drummer's ballad Special Day maintain that New York imprinting, without falling into mainstream mannerisms, and it is sensual and enveloping. Suite et poursuite is articulated in three movements that put the casual instrumental technique of the musicians on a pedestal. From the robust rhythmic architecture the first, fast and vigorous. The jumble of forms leads towards the second movement, pervaded by a gentle halo but always poised with restlessness and which spills over into the solo bass interlude where Matino shows all his mastery of the instrument.

Accelerations, dizzying rhythms, a veritable magma of sound led by Giuliani's torrential phrasing dictate the timing of the third movement. The Circle has the seal of Henocq and its rhythmic tensions come to the surface mixing well with the voices of the group. Bass Song for Napoli and Essential Blues see the theme song by Pippo Matino. The first has a soft and cautious lyricism, with Giuliani careful to juxtapose the notes on the scaffolding of the sounds woven with skill by the Campania bassist.

The second draws on the repertoire dear to Matino, made of expressive intensity conferred by the dynamics of the sound and the power of the phrasing, corroborated by Henocq's robust drive. Coffee Shop is by Giuliani and crosses his sound universe, with sustained tempos and a sense of proportion. A work of excellent workmanship, thick and with a very robust overall system. Alceste Ayroldi for Jazzitalia..Translate By Google http://www.jazzitalia.net/recensioni/trioostiko.asp#.ZCBeINeZOpo

Personnel: Rosario Giuliani alto, soprano sax; Pippo Matino bass; Benjamin Henocq drums

Trio Ostiko

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The Big 18 - Okay for My Baby

Size: 176,5 MB

Time: 77:05

File: MP3 @ 320K/s

Released: 2014

Styles: Jazz: Big Band

Art: Front

01. Easy Does It (5:12)

02. Tuxedo Junction (4:29)

03. Hors D'oeuvre (4:39)

04. Blues On Parade (4:46)

05. Feet Draggin' Blues (5:31)

06. Okay For Baby (3:37)

07. The Campbells Are Swinging (3:48)

08. Parade Of The Milk Bottle Caps (3:50)

09. Five O'clock Drag (5:42)

10. March Of The Toys (3:45)

11. Skyliner (4:39)

12. I'm Prayin' Humble (2:56)

13. Summit Ridge Drive (4:15)

14. Swingtime In The Rockies (4:00)

15. Quaker City Jazz (2:27)

16. Ton O'rock Bump (5:26)

17. Liza (3:26)

18. Organ Grinder's Swing (4:29)

The Big 18 was a studio only big band assembled by RCA Victor Musical Director Fred Reynolds in 1958. Reynold's idea was to use some of the great songs and arrangements of the big band era while showcasing some of the star sidemen of the great bands by allowing ample time for extended solos. There were two releases by The Big 18. They were Live Echoes Of The Swinging Bands and More Live Echoes Of The Swinging Bands.

Hi-fi stereo was of course a post Swing era invention. Extended recorded solos were not a luxury arrangers and band-leaders during the Big Band era were afforded as 78RPM records allowed only about three minutes per side.

Under the leadership of George T. Simon the Jazztone record label in 1957 had already begun the process of grouping former Big Band era soloists in an all-star setting and recording them in hi-fi. While excellent, records like "Cootie And Rex In The Big Challenge" used primarily new material and a smaller group of ten musicians. In the same year, on Capitol, Glen Gray was recreating hits of the big band era in hi-fi with larger bands. The Gray / Capitol recordings are stiff by comparison and not nearly as exciting as the nineteen issued takes done by The Big Eighteen in the summer of 1958.

The solos, the expert arrangements written by Charles Shirley, and the incredible personnel line-up sets the RCA Big Eighteen recordings apart from most other post WWII big band alumni or all-star big band groupings. A veritable who's who of jazz and swing participated in the five recording sessions done between June 10th and July 15th, 1958. Not since the great Metronome All-Star dates during the Swing era was there a group of sidemen of this caliber assembled for recording purposes.

On the June 10th date Billy Butterfield (Shaw, Goodman); Buck Clayton (Basie); Charlie Shavers (Tommy Dorsey, John Kirby); and Rex Stewart (Ellington); are all playing trumpet. On bones we hear Lawrence Brown (Ellington); Vic Dickenson (Basie); Lou McGarity (Goodman); and Dickie Wells (Basie). Walt Levinsky (Tommy Dorsey) is on clarinet and alto; Hymie Schertzer (Goodman, Tommy Dorsey) plays alto; Sam Donahue (bandleader) and Boomie Richman (Teddy Powell, George Paxton) work tenor. Ernie Caceres (Glenn Miller) plays baritone sax.

The rhythm section for the first four sessions consists of Johnny Guarnieri (Shaw, Goodman) piano; Barry Galbraith (Thornhill, McIntyre) guitar; Milt Hinton (Cab Calloway) bass; and Jimmy Crawford (Jimmie Lunceford) on drums. Peanuts Hucko (Bradley, Spivak, Miller) was used on clarinet subbing for Levinsky on June 17th and Yank Lawson (Bob Crosby) subbed for Butterfield on trumpet for the July 8th and 15th dates. Levinsky was back in on clarrey for Hucko on July 8th and 15th. Changes to the rhythm section for 7-15 included Don Lamond (Woody Herman) on drums and Russ Saunders (Thornhill) on string bass.

Okay For My Baby 

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Spanky & Our Gang - Greatest Hits

Bitrate: 320K/s
Time: 48:08
Size: 110.2 MB
Styles: Pop rock, Folk rock
Year: 1999
Art: Front

[2:56] 1. Sunday Will Never Be The Same
[2:33] 2. Makin' Every Minute Count
[4:58] 3. Brother, Can You Spare A Dime
[3:13] 4. Like To Get To Know You
[3:05] 5. Lazy Day
[3:06] 6. Prescription For The Blues
[3:49] 7. Sunday Mornin'
[4:01] 8. Stardust
[2:51] 9. Anything You Choose
[2:43] 10. And She's Mine
[3:43] 11. Yesterday's Rain
[2:31] 12. Without Rhyme Or Reason
[2:27] 13. For Lovin' Me
[3:13] 14. Everybody's Talkin'
[2:54] 15. Give A Damn

Digitally remastered by Suha Gur (Universal Music Studios, Edison, New Jersey). This 15-song compilation supplants a 12-song CD of the same name dating from the 1980s, which, in turn, was adapted from an LP from 1969. This time out, in addition to improving the sound somewhat, the producers have de-emphasized the cheerful, faux hippie pop sound of the group (though that is definitely represented) to show off some other sides of their output. All of the hits are here: "Sunday Will Never Be the Same," "Making Every Minute Count," "Lazy Day," "Sunday Morning" (in its hit version, not the interesting but bizarre outtake from the earlier hits collection), "Like to Get to Know You," "Give a Damn," "Yesterday's Rain," "And She's Mine," and "Anything You Choose." The real inspiration (and limitations) of this compilation lie in the other tracks, which include "Brother Can You Spare a Dime" and "Prescription for the Blues," the latter featuring Little Brother Montgomery, who taught Elaine "Spanky" McFarlane the song originally, and their live version of "For Lovin' Me," which features a quote from Sergie Prokofiev's "Lt. Kije Suite." And isn't it amazing how that piece of music manifests itself here and there in popular music, in locales such as this and Emerson, Lake & Palmer's "I Believe in Father Christmas," among others?. On the down side, the producers have removed one gorgeous and playful number, "It Ain't Necessarily Bird Avenue" and "Three Ways From Tomorrow," the latter a brilliant showcase for guitarist/banjoman Lefty Baker and the closest thing to a heavy psychedelic guitar track that this group ever issued. One gets a broader overview of the group's sound, but one wishes that they could've seen fit to work at least those two songs in, if not the third "missing" track, "Commercial." ~ Bruce Eder

John Seiter (vocals, drums); Elaine "Spanky" McFarlane, Nigel Pickering (vocals); Kenny Hodges (guitar); Lefty Baker (banjo).

Greatest Hits

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Cécile McLorin Salvant - Mélusine

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 45:16
Size: 104,3 MB
Art: Front

(5:26) 1. Est-ce ainsi que les hommes vivent ?
(5:58) 2. La route enchantée
(2:47) 3. Il m'a vue nue
(2:41) 4. Dites moi que je suis belle
(5:34) 5. Doudou
(2:20) 6. Petite musique terrienne
(1:03) 7. Aida
(3:13) 8. Mélusine
(0:58) 9. Wedo
(3:44) 10. D'un feu secret
(3:49) 11. Le temps est assassin
(5:18) 12. Fenestra
(0:44) 13. Domna N'Almucs
(1:33) 14. Dame Iseut

A serpent woman haunts Cecile McLorin Salvant's dreams on her boldly realized seventh album, 2023's Mélusine. Inspired by the European folktale most famously detailed by 14th century French writer Jean d'Arras, Mélusine tells the tale of a shapeshifting maiden, half-serpent/half-woman, whose righteous anger takes on ever-more dualistic meanings under Salvant's dynamic musical sway. Having been lavished with accolades, including several Grammy Awards for her clarion, swinging jazz and French chanson-infused albums, Salvant has increasingly leaned into the more stylistically experimental and personal aspects of her artistry.

It was an approach she took to new levels with 2022's Ghost Song, performing her poetic originals alongside unexpected covers of songs by Kate Bush and Sting. Centered on the title track, which she composed during the Ghost Song sessions, Mélusine is a gorgeously realized production. Although there are some English lyrics here, the album features the most French Salvant has sung on record. Thankfully, she offers translations of each song with a sentence that also highlights how each track illuminates the story.

The album also finds Salvant (who produced the album with Tom Korkidis) pulling together all of her disparate influences, from her moody cabaret jazz reading of Charles Trenet's "La Route Enchantee" to her playfully mischievous interpretation of the 14th century composition "Dites Moi Que Je Suis Belle," the latter of which is done in dancerly duet with djembe percussion master Weedie Braimah. Along with Braimah, she's joined throughout by several longtime associates including pianists Sullivan Fortner and Aaron Diehl, bassists Paul Sikivie and Luques Curtis, drummers Kyle Pool and Obed Calvaire, and saxophonist Godwin Louis.

Shifting the line-up track to track, Salvant offers inspired forays into '70s sci-fi-inspired Canadian musical theater ("Petite Musique Terrienne" from Starmania), the dramatic French pop of Veronique Sanson ("Le Temps est Assassin"), and an Afro-Latin take on 12th century troubadour Almuc Castelnau's "Dame Iseut" that Salvant sings in both Occitan and Haitian Creole, languages that underline her own rich dual heritage.

There's even a synthesizer-accented take on Michel Lambert's haunting 1660 air de coeur "D'un Feu Secret" that sounds like electronic composer Suzanne Ciani, Ella Fitzgerald, and the Modern Jazz Quartet giving a Baroque court performance. Her originals here are just as stylistically wide-ranging as she pulls together jazz and Haitian compas rhythms on "Doudou," accompanies herself on analog synth on "Wedo," and weaves a dreamy overlay of vocals and electric piano on "Aida."

It almost goes without saying that Salvant's voice is utterly sublime on Mélusine, rich with an earthy jazz warmth on one song and shimmering with a brightly attenuated operatic resonance on another. There's also a feeling that for her, the story of a half-serpent half-woman is in keeping with her life as a Black woman raised in Miami by a Haitian father and French mother. Whether it's with the themes of romantic heartbreak and bodily autonomy, or the global boundary-pushing musicality at play on Mélusine, Salvant's work is transcendent.By Matt Collar https://www.allmusic.com/album/melusine-mw0003926207

Mélusine

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Maria Kim - Fotografia

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 60:13
Size: 139,1 MB
Art: Front

(2:49) 1. Samba de Uma Nota Só
(3:40) 2. Call Me
(4:34) 3. Fotografia
(3:30) 4. Desafinado
(5:09) 5. Ela é Carioca
(5:43) 6. Pra Machucar Meu Coração
(3:31) 7. So Danço Samba
(3:51) 8. Chega de Saudade
(4:54) 9. Garota de Ipanema
(2:34) 10. Doralice
(6:29) 11. Corcovado
(4:31) 12. Baubles, Bangles and Beads
(5:13) 13. Triste
(3:39) 14. O Pato

Piano player and vocalist. Maria Kim, a musician who perfectly plays these two roles and who constantly conceives of various projects, has returned with [Fotografia], an album containing Brazilian masterpieces. She started jazz and chose two instruments, piano and vocal, while listening to the music of multi-instrumentalist musicians such as Antonio Carlos Jobim, Eliane Elias, Joao Gilberto, and Gilberto Gil to learn about the organic harmony of melody, harmony, and rhythm.

It was from thinking about it. Like other albums she has conducted so far, Bossa Nova songs using simple but symbolic and lyrical motifs to capture the aesthetics of minimalism that Maria Kim pursues serve as a perfect canvas. As symbolized by Fotografia, the title song of this project and a song that depicts a couple at the beach at sunset as if looking at a picture, Maria Kim expresses a way that her music can convey more words to listeners with fewer words, sometimes silently.

I thought about making it something special that would give comfort even when I was sitting back, and I tried to melt this warm message into the music. This album [Fotografia], which captures the sensibility of existing Brazilian music as it is, adds more splendid performance techniques, delicate recording techniques, and modern arrangements. It is an album that shows the essence of MPB (Musica Popular Brasileira) grafted with. Translate By Google
https://www.musickorea.com/product/MARIA-KIM-FOTOGRAFIA/75004/cid/383.

Fotografia

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Hank Mobley, Donald Byrd - The Birth Of Hard Bop Disc 1, Disc 2

Album: The Birth Of Hard Bop  Disc 1

Styles: Trumpet And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 63:18
Size: 146,6 MB
Art: Front

(7:30)  1. Budo
(6:58)  2. I Married An Angel
(8:02)  3. The Jazz Message
(5:49)  4. There Will Never Be Another You
(3:06)  5. Cattin' - Alternate Take
(4:37)  6. Cattin'
(4:41)  7. Madeline
(3:45)  8. When I Fall In Love
(4:20)  9. Space Flight - Previously Unissued
(4:12) 10. Space Flight
(5:18) 11. Blues Number Two - Previously Unissued
(4:56) 12. Blues Number Two

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Album: The Birth Of Hard Bop  Disc 2

Time: 64:36

Size: 149,2 MB

(6:30)  1. B. For B.B. - Previously Unissued

(6:28)  2. B. For B.B.

(7:01)  3. Hank's Shout

(7:53)  4. Bet

(8:53)  5. Nostalagia

(9:49)  6. Thad's Blues

(5:31)  7. A-1

(5:48)  8. A-1 - Alternate Take

(6:37)  9. Doug's Minor Bouk

This 2-CD set, introducing the Savoy Jazz Rare Sessions series, contains the reissue of four 1956 Savoy albums: The Jazz Message Of Hank Mobley, Hard Bop, The Jazz Message Of Hank Mobley, Volume 2 and A-1: The Savoy Sessions. It includes alternate takes and previously unissued tracks that serve an important purpose. Here, "Cattin’," for example, is played at different tempos: Bird-like on the alternate take with different featured soloists. The version originally issued is looser and more representative of hard bop. "Space Flight," on the other hand, is virtually the same on both takes. Minor flaws in the recorded sound were most likely caused when performers turned away from the microphone. The unissued track of "Blues Number Two" contains serious sound problems as well as artist miscues. But there’s more. The alternate track was performed at a faster bebop tempo without as much soulful expression as that evident in the issued take.

By including the alternate track, Savoy is giving the listener an opportunity to hear what was considered desirable in the recording studio: better sound and a genuine, gospel-influenced, blues-based expression.While the previously unissued take of "B. for B.B." is obviously inferior, both in its poor sound balance and in the faster, uninspired mood; "A-1" appears as two different arrangements, both of great value but independent of each other. Each session leader is well represented. Sweet ballads and driving jams feature the Byrd/Mobley quintet as well as the Morgan/Mobley quintet. Lee Morgan and Hank Mobley appear on the last 7 tracks. Over two hours in length, Savoy’s reissue offers early glimpses of several pioneers, four very different pianists, and an introduction to what folks began calling hard bop. ~ Jim Santella https://www.allaboutjazz.com/the-birth-of-hard-bop-lee-morgan-savoy-jazz-review-by-jim-santella.php

Personnel: Donald Byrd, Lee Morgan- trumpet; Hank Mobley- tenor saxophone; John LaPorta- alto saxophone; Horace Silver, Ronnie Ball, Barry Harris, Hank Jones- piano; Wendell Marshall, Doug Watkins- bass; Kenny Clarke, Arthur Taylor- drums. 

The Birth Of Hard Bop Disc 1, Disc 2

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Scott Robinson - Tenormore

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 67:25
Size: 157,8 MB
Art: Front

( 2:52)  1. And I Love Her
( 5:49)  2. Tenor Eleven
( 7:38)  3. Put On A Happy Face
( 6:08)  4. Morning Star
( 6:34)  5. The Good Life
( 7:46)  6. Tenor Twelve
( 5:21)  7. Rainy River
( 7:01)  8. The Weaver
( 6:53)  9. The Nearness Of You
(11:19) 10. Tenormore

When attempting to lend form to the term "rara avis" in jazz, Scott Robinson instantly appears in the mind's eye. He's most easily recognized these days as a horn heavy on the most standard of heavy horns, adding ballast and low-end individuality to the sound of Maria Schneider's orchestra with his baritone saxophone, but Robinson is also beyond proficient a virtuoso, in fact on numerous instruments that most people don't even know exist. His arsenal includes theremin, ophicleide, sarrusophone, alto clarinet, echo cornet, bass marimba, contrabass banjo, and a few hundred other rarities. Long before Robinson acquired his treasure trove of instrumental curiosities, his heart belonged to the second instrument he ever owned (behind a 1927 Conn alto saxophone from his grandfather) and the first instrument he actually purchased: a silver 1924 Conn tenor saxophone procured from a Maryland antique store in 1975. That tenor has been a constant for Robinson since it came into his life, so it's only fitting that the horn receives its due on what is, surprisingly, the multi-instrumentalist's first all-tenor date. In some respects, such a project seems limiting for a man who thrives on diversification. But the album itself makes an important point which counters that line of thinking: the man, not the vessel, is the music. The range of expression that Robinson is capable of eliciting from a single horn this single horn, for this affair is astounding. Opening on a stratospheric four-note motif that introduces a solo take of "And I Love Her," Robinson's vision proves rangy from the start. There is romance in the music for sure, but also a hint of feral snark. As the program plays on, Robinson works his tenor for all it's capable of while also thriving in the atmospheres he creates with his A-list bandmates pianist/organist Helen Sung, bassist Martin Wind, and drummer Dennis Mackrel. This quartet bumps and grinds its way through an eleven-bar blues aptly named "Tenor Eleven," turns "Put On A Happy Face" into a ballad that balances the scales of emotions with rueful revisionism, sets a cool-headed take on "The Good Life" into motion with some free improvisation, and visits church on Wind's soulful, organ-enhanced "Rainy River." Scott Robinson may typically take instrumental variegation to a level unsurpassed in this music, but that shouldn't diminish his position as a tenor saxophonist of note. In that most crowded of fields, he still stands out.  ~ Dan Bilawsky https://www.allaboutjazz.com/tenormore-scott-robinson-arbors-records-review-by-dan-bilawsky.php

Personnel: Scott Robinson: tenor saxophone; Helen Sung: piano, Hammond B3 organ (7, 9); Dennis Mackrel: drums; Martin Wind: bass, acoustic bass guitar (9, 10); Sharon Robinson: flute (8).

Tenormore

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Robin Mckelle - Alterations

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 49:05
Size: 113,7 MB
Art: Front

(5:14)  1. Back to Black
(4:30)  2. Rolling in the Deep
(3:39)  3. Head High
(5:43)  4. Don't Explain
(5:32)  5. Born to Die
(4:59)  6. Jolene
(5:30)  7. River
(5:25)  8. No Ordinary Love
(3:22)  9. Mercedes Benz
(5:07) 10. You've Got a Friend - Bonus Track

For her ninth album, ‘Alterations’, US soul and jazz chanteuse Robin Mckelle has chosen to do something very different to her previous recordings; she’s chosen to record a set of covers though not just any covers. The song selection on ‘Alterations’ (with one exception) is drawn from the repertoires of celebrated female artists… people like Joni Mitchell, Adele, Nina Simone and Janis Joplin. Robin explains that after recording a few albums of her own original music she wanted to focus once again on her first passion just singing and, by extension, interpreting the music and lyrics of others. So she set about choosing a set of songs which spoke directly to her emotions allowing her interpretative instincts to take flight… and how! ‘Alterations’ is no “karaoke covers” album; rather it’s a personal journey in music with each song given a totally different reading to the original version. That’s most apparent on Robin’s reading of Dolly Parton’s ‘Jolene’. Where the original was sprightly, jaunty even, this new take is almost a southern soul meander on which the lyrics seem to have more desperation and meaning. Janis Joplin’s wish-list ‘Mercedes Benz’ is another southern country/soul steamer. The vocal’s smoother than Joplin’s but no less raunchy.

Much more sombre is the visit to Nina Simone’s ‘Don’t Explain’ which is offered with a pleading reassurance, as is the cover of Lana Del Ray’s ‘Don’t Explain’ where amongst the highlight is Marquis Hill’s trumpet solo… and that’s another of this collection’s attractions. The players, marshalled by keyboardist Shedrick Mitchell (Maxwell’s MD by the way), seem to understand the concept and play with love and empathy. Their CVs tell us that they are all rooted in jazz /soul and rock  and it shows. As an example try ‘Alterations’ version of Sade’s ‘No Ordinary Love’ where the band (notably guitarist, Nir Felder and bassist Richie Goods) work nimbly with Ms McKelle to gear up from a subtle understatement to an electric climax. The only original song on the album is McKelle’s own ‘Head High’ a song that tells a story about the strength and the power the female singer so, lyrically and, importantly, musically it chimes with the album’s theme. The other cover songs are Joni Mitchell’s ‘The River’, Adele’s ‘Rolling In The Deep’, Amy Winehouse’s ‘Back To Black’ and Carole King’s ‘You’ve Got A Friend’ which, with just simple, tasteful piano accompaniment from Shedrick Mitchell, brings the collection to a most satisfying of ends. Find out more about this album by accessing our recent Robin McKelle interview. https://lydialiebman.com/index.php/2020/02/14/review-robin-mckelle-alterations-soul-and-jazz-and-funk/

Alterations

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Kathy Lyon Feat Houston Person - Nothin' but Love

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 56:46
Size: 130,9 MB
Art: Front

(3:40) 1. Candy
(6:33) 2. You Better Go Now
(4:25) 3. Then I'll Be Tired of You
(5:28) 4. Easy Livin'
(4:54) 5. I Remember You
(4:58) 6. Come Rain or Come Shine
(3:46) 7. This Time the Dream's on Me
(3:52) 8. I Wonder Wher Our Love Has Gone
(5:08) 9. Once in a While
(4:15) 10. Good Morning Heartache
(2:30) 11. I Can't Give You Anything but Love
(7:11) 12. Everything Happens to Me

Houston Texas (August 9 2021) – Noted jazz vocalist Kathy Lyon (Pensacola Florida) records her latest album “Nothin’ But Love” featuring tenor sax great Houston Person. The twelve song compilation was recorded at Teaneck Sound Studio, produced by Houston Person and includes Lafayette Harris Jr on piano, Peter Hand on guitar, Matthew Parrish on bass, with Vince Ector on drums.

Engineering, Mixing, Mastering performed by Dave Kowalski. With such a great line up behind her Kathy’s voice becomes the icing on the cake as this performer delivers from the soul and yet retains the vocal discipline required to draw inside the lines. The results of this collaboration are exceedingly enjoyable.

Mr. Person’s signature arrangements allow the standards to remain the familiar standards we know and love yet the instrumentation and vocals are able to breathe and produce a refreshing collection of music . This breath of fresh air is felt from the very beginning until the very end. The “Nothin’ But Love” album title came about as a result of the harmony within the studio between everyone involved. Kathy shares https://www.pumpitupmagazine.com

“It felt great, you couldn’t ask for a more refined and harmonious group of musicians. It was a very memorable collaboration, the room was filled with nothing but love.

Personnel: Houston Person - Sax; Lafayette Harris Jr on piano; Peter Hand on guitar; Matthew Parrish on bass, with Vince Ector on drums.

Nothin' but Love

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Nicola Sabato - Bass Tales

Styles: Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 62:44
Size: 145,6 MB
Art: Front

(6:09) 1. Last Shop
(6:36) 2. Three Views of a Secret
(4:31) 3. First Trip
(3:22) 4. Tale of the Fingers
(5:49) 5. When You Go
(5:17) 6. The Shade of the Cedar Tree
(6:07) 7. What's New
(4:38) 8. Unit Seven
(5:56) 9. Goodbye Porkpie Hat
(3:36) 10. Scarlett's Blues
(6:31) 11. Ain't That Nothing
(4:05) 12. Tricotism

Nicola Sabato is a double bass player capable of developing with harmony and coherence his own path and proposal, which are well rooted in the history of jazz and of his own instrument, without neglecting “modernity” and appeal. As high-value sideman with a great personality, Nicola Sabato has refined his own skill thanks to a legend of double bass as Pierre Boussaguet, whom here in Italy we have maybe somewhat overlooked, and he met along his way two real giant artists like Ray Brown and John Clayton, surely some of the most decisive encounters for Nicola’s musical career.

There are three albums that came out under his name, one of which ‘Lined with a groove’ can count on the extraordinary support of Jeff Hamilton on drums; while ‘Cruisin’ with the Nicola Sabato Quartet’ is a cool work based on a very personal retrieval of an elegant jazz which is certainly not lacking in any flashes. Nicola Sabato is undoubtedly a musician to monitor with a great attention and interest in relation to his own clever and sensible approach to a kind of music, jazz, that is able to look forward in the best way when it doesn’t forget its basic principles, structural debts and the beauty of what has been left to build on itself and beside.
We have told with Nicola Sabato so as to know more datails about his music, his own personal path as well as his undeniable Italian origin. https://www.jazzmusicarchives.com/artist/nicola-sabato

Line-up/Musicians: Bass – Nicola Sabato; Piano – Tamir Hendelman

Bass Tales

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Benny Bailey - For Heaven's Sake

Bitrate: MP3@320K/s
Time: 53:17
Size: 122.0 MB
Styles: Trumpet jazz
Year: 1989
Art: Front

[ 5:25] 1. Little Jazz
[ 6:00] 2. Blues East
[ 7:14] 3. Peruvian Nights
[ 4:47] 4. Mood Indigo
[11:12] 5. For Heaven's Sake
[ 5:36] 6. One For Wilton
[ 7:30] 7. No Mo Blues
[ 5:30] 8. Arrival

Bass – Jimmy Woode; Clarinet – Tony Coe; Drums – Idris Muhammad; Piano – Horace Parlan; Saxophone – Tony Coe; Trumpet – Benny Bailey.

Legendary jazz trumpeter Benny Bailey creates the finest disc of a distinguished career. Featuring an all-star lineup of Tony Coe (tenor & soprano saxes/clarinet), Horace Parlan (piano), Jimmy Woode (bass), and Idris Muhammad (drums), the band swings its butt off with near telepathic interplay, casual sophistication, and a special joie de vivre.

For Heaven's Sake

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San Glaser - The Other Side of the San

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 51:01
Size: 117,6 MB
Art: Front

(3:41) 1. For All We Know
(3:44) 2. I Wish You Love
(6:25) 3. Cheek To Cheek
(5:27) 4. But Beautiful
(4:12) 5. I've Got The World On A String
(4:44) 6. My Funny Valentine
(2:04) 7. Nobody Else But Me
(4:04) 8. 'Round Midnight (Feat. Kaiser Quartett)
(4:47) 9. Visions
(2:54) 10. I Love You For Sentimental Reasons
(4:44) 11. Here's To Life
(4:10) 12. What Are You Doing The Rest Of Your Life

San Glaser, Hamburg's great dame of jazz, is fulfilling a long-cherished dream with her fifth record "The Other Side of The San". Their very own versions of 12 classics from the Great American Songbook, from Irving Berlin to Artie Butler and even Stevie Wonder. Often there are songs that until now have only been known from men like Frank Sinatra, Nat King Cole and Donny Hathaway.

By Ella Fitzgerald, Shirley Horne or Barbara Streisand. From the greats of American music history. Jazz grown from the music of the slaves. From Hollywood films and from Broadway musicals from the 1930s to 1960s. The songs from which, over time and interaction with numerous other cultures, traditions and tonal systems, our western modern music with all its facets and styles has developed.

Music that might sound unfamiliar, but fans of classic-metal-crossover projects like Nightwish will definitely like this wonderful old-soul music. San Glaser has now recorded them with her quartet around husband Arnd Geise on double bass, Felix Dehmel on drums, Mischa Schumann on grand piano and on "'Round Midnight", "Here's to Life" and "Visions" accompanied by the Kaiser Quartet. Recorded in Corona-Blues 2021 by sound engineer Matthias Riediger in the Bluewave Recording Studio in the heart of Hamburg. Intense intimate versions with their very own charm, great warmth and deep truth. A wonderful other side of San Glaser's music. Translate By Google
https://www.be-subjective.de/cd-dvd-reviews/san-glaser-the-other-side-of-the-san-2023/

The Other Side of the San

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Shirley Jones - My Time to Shine

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 54:21
Size: 174,3 MB
Art: Front

(3:58) 1. My Time to Shine
(4:55) 2. Ready to Go
(4:00) 3. Totally Confused
(4:25) 4. Merry Go Round
(4:52) 5. When a Womans' in Love
(4:20) 6. All I Want
(4:47) 7. Say
(5:13) 8. What About Me ?
(3:56) 9. I'm at Your Mercy
(3:56) 10. Because You Love Me
(4:56) 11. We Are All One
(4:59) 12. One More Time

As lead vocalist on Jones Girls hits that have etched a permanent place in the minds and hearts of soul fans, Shirley Jones has a straight-ahead, uncomplicated style which makes tunes such as “You Gonna Make Me Love Somebody Else” and “Nights over Egypt” sound just as fresh today as they did 30-some years ago. She proved her ability to go it alone in 1986 with the quiet-storm favorites “Do You Get Enough Love” and “Last Night I Needed Somebody”; but most listeners probably don’t realize that her new album, My Time to Shine, is actually her fourth solo collection. After reuniting briefly with her sisters in the early ‘90s for Coming Back (see our review of the CD reissue), she released the sophisticated With You in 1994 on London-based Diverse Recordings, and sixteen years later issued Feels Like Heaven independently.

My Time to Shine, however, might be Jones’s strongest album yet. Where many of today’s neo-soul and retro-styled R&B recordings often bow to commercial interests in one way or another, the singer and her producers steer clear of easy tricks and frilly enhancements. Whether the soundscape be the take-no-prisoners groove of “Ready to Go” or the bluesy sway of “One More Time,” Jones treats each melody with a delicate balance of grace and sass, fully evoking the pure and heartfelt lyrical canvases. Perfectly embodying her grasp of forthright phrasing while enhancing the instrumental components of a tune, the title track, indeed, shines with Stax-inspired horn stylings, an irresistible rhythm track, and sly guitar licks working in tandem with Jones’s assertive stance of self-assurance and keeping it real. Meanwhile, the soothing, slow-swingin’ “Say” (lifted from the aforementioned With You) is a glowing reminder of her innate talent as a balladeer.

Bringing home Jones’s continually positive stance of faith and patience, the introspective stepper “Because You Love Me” (released last year as a single) incorporates a classic Jones Girls vibe courtesy of songwriter/producer Errol Henry that is mellow in tone and celestial in melody. Gliding seamlessly from alto verses to soprano riffing after an appropriately spirit-lifting key change, Jones presents a convincing case for spirituality without any over-the-top semantics or preachy antics. Bearing a more contemporary rhythmic sensibility, the thought-provoking “We Are All One” shines the spotlight on excessive violence in society via simple yet affecting words: “Black lives matter/White lives matter/We’re in this together, we’re one.” Although the cameo male vocalist adds lyrically to the platform, his style is not quite in tandem with Jones and thus distracts the listener a bit from the overall atmosphere.

Consistently authentic in its material and Jones’s delivery, My Time to Shine notably borrows several tracks from the previously alluded to Coming Back. While it’s a bit questionable that these Jones Girls selections would be included on a Shirley Jones solo album (without mention of the original source), they are stylistically in sync enough with the new material to warrant an appearance here especially as many stateside listeners are likely unfamiliar with them. The sunny “Merry Go Round” and entrancing “All I Want” are rich uptempo selections that add a nice balance to the set and further demonstrate Jones’s and producer Errol Henry’s organic chemistry. Recommended. By Justin Kantor
https://www.soultracks.com/album-review-shirley-jones-my-time-to-shine

My Time to Shine

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Oliver Nelson - ZigZag

Styles: Stage & Screen
Year: 1970
File: MP3@320K/s
Time: 28:53
Size: 67,2 MB
Art: Front

(1:38) 1. All You Did Was Smile
(2:30) 2. Main Title From Zigzag
(1:50) 3. Guilty, Your Honor
(2:32) 4. It Was You, It Was You
(2:41) 5. Love Theme (Bossa)
(2:07) 6. Earphones
(2:52) 7. Zigzag
(4:00) 8. The Other Car
(4:53) 9. Variation Of Themes
(2:34) 10. I Call Your Name
(1:11) 11. End Title

Oliver Nelson (1932-1975) was a U.S. jazz saxophonist, composer, and bandleader. Nelson was born on 4th June 1932 in St Louis, Missouri. His family was musical: his brother was a saxophonist who played with Cootie Williams in the 1940s, and his sister sang and played piano. Nelson began learning to play the piano when he was six, and started on the saxophone at eleven. From 1947 he played in territory bands around St Louis, before joining the Louis Jordan big band from 1950 to 1951, playing alto sax and arranging. After military service in the marines, he returned to Missouri to study music composition and theory at Washington and Lincoln Universities, graduating in 1958.

After graduation, Nelson moved to New York, playing with Erskine Hawkins and Wild Bill Davis, and working as the house arranger for the Apollo Theatre in Harlem. He also played on the West Coast briefly with the Louie Bellson band in 1959, and in the same year began recording as leader with small groups. From 1960 to 1961 he played tenor sax with Quincy Jones, both in the U.S. and on tour in Europe.

After six albums as leader between 1959 and 1961 for the Prestige label, Nelson's big breakthrough came with The Blues and the Abstract Truth, on Impulse!, featuring the tune "Stolen Moments", now considered a standard. This made his name as a composer and arranger, and he went on to record a number of big-band albums, as well as working as an arranger for Cannonball Adderley, Sonny Rollins, Eddie Davis, Johnny Hodges, Wes Montgomery, Buddy Rich, Jimmy Smith, Billy Taylor, Stanley Turrentine, Irene Reid, Gene Ammons, and many others. He also led all-star big bands in various live performances between 1966 and 1975. Nelson continued to perform as a soloist during this period, though increasingly on soprano saxophone.

In 1967, Nelson moved to Los Angeles. Apart from his big-band appearances (in Berlin, Montreux, New York, and Los Angeles), he toured West Africa with a small group. He also spent a great deal of time composing music for television (Ironside, Night Gallery, Columbo, The Six Million Dollar Man, The Bionic Woman, and Longstreet) and films (Death of a Gunfighter ,and he arranged Gato Barbieri's music for Last Tango in Paris).

He produced and arranged for pop stars such as Nancy Wilson, James Brown, The Temptations, and Diana Ross. Less well-known is the fact that Nelson composed several symphonic works, and was also deeply involved in jazz education, returning to his alma mater, Washington University, in the summer of 1969 to lead a five-week long clinic that also featured such guest performers as Phil Woods, Mel Lewis, Thad Jones, Sir Roland Hanna, and Ron Carter. Nelson died of a heart attack on 28th October 1975, aged 43.https://www.jazzmusicarchives.com/artist/oliver-nelson

ZigZag

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Stan Kenton & His Orch. - Stan Kenton Live in Europe (1977)

Styles: Jazz, Swing, Big Band
Year: 1977

File: MP3 @ 320K/s
Size side 1: 53,1 MB
Size side 2: 52,5 MB
Art: Front

(23:08) side 1: Lush Life, Love for Sale, Turtle Talk, My Old Flame

(22:53) side 2: Tattooed Lady,I'm Glad There Is You, Fire and Ice, Eager Beaver,Artistry in Rhythm

Though Stan Kenton would lead his band on tours in 1977 and 1978, this live recording from September 1976 is the band's last official recording. This is a thrilling, if unplanned, finale to Kenton's recording career.

In a way, "Live in Europe" summarizes Kenton's career. Charts are drawn from all 4 decades of the band's history - "Eager Beaver/Artistry in Rhythm" from the `40's; "Love For Sale" and "My Old Flame" from the `50's; "Turtle Talk" and " I'm Glad There is You" from the 60's; and the remaining 3 charts," Lush Life"," Tattooed Lady" and "Fire and Ice" are from the 70's, written especially for this band by arranger Alan Yankee. Other arrangers include Pete Rugolo, Dee Barton, Marty Paich, and Kenton himself - an impressive line-up, indeed.

Throughout the program you hear the Kenton band's great command of dynamics from extremely soft to all-out fortissimo. The band cuts its Latin speciality ("Love For Sale"); swings hard ("Tattooed Lady" and parts of "Lush Life"); caresses a ballad ("I'm Glad There is You"); plays with tremendous control building up to a dramatic climax at a very slow tempo ("My Old Flame"), and tackles modern harmonic material like "Turtle Talk" and the awe-inspiring "Fire and Ice." And it's great to hear Stan do the band call before the out-chorus on "Artistry in Rhythm."

The band's performance is typically Kentonian, which is to say tight and powerful, and includes strong solos from trombonists Dick Shearer and Jeff Uusitalo, alto saxophonist Terry Layne, trumpeter Steve Campos, and especially from tenor saxophonist Roy Reynolds and trumpeter Tim Hagans, who blow two of the hottest solos ever captured on a Kenton recording on "Fire and Ice". The rhythm section of John Worster, bass Gary Hobbs, drums, and Ramon Lopez, Latin percussion drives the band hard and is right on the money at every tempo. And of course, one must never forget the lyrical piano solos of Stan Kenton and especially his inspiring leadership and personality which were the keys to the band's success.

"Live In Europe" is full of atmosphere and good memories, and proves once again why the Stan Kenton Orchestra was such a powerful and popular musical force for four decades. Warmly recommended to Kenton fans and those discovering the Kenton sound for the first time.
(John Tapscott, https://www.amazon.com/Live-Europe-Stan-Kenton/dp/B000ANDBGM)

Personnel: Alan Yankee - Arranger (A1, B1, B3), Baritone Saxophone; Allan Morrissey - Bass Trombone; Dave Kennedy, Jay Sollenberger, Joe Casano, Steve Campos (Soloist on B1), Tim Hagans (Soloist on A3, A4, B3) - Trumpets; Dick Shearer - Trombone (Soloist on A1, A2), Associate Producer; Doug Purviance - Bass Trombone, Tuba; Gary Hobbs - Drums; Jef Uusitalo (Soloist on A3, B1), Mike Egan - Trombones; Ramon Lopez - Percussion; Roy Reynolds (Soloist on A4, B3), Teddy Andersen - Tenor Saxophones; Stan Kenton - Arranger (B2, B4, B5), Solo Piano (B2, B4), Piano (Soloist on A1, B5); Terry Layne - Alto Saxophone (Soloist on A3)

Notes: Recorded live in Veghel, Holland, September 18, 1976.

Stan Kenton Live in Europe

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Lorraine Desmarais - Street Beat Suite

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 44:34
Size: 102,5 MB
Art: Front

(5:56) 1. Orange Brûlé
(5:10) 2. Valse Saint-germain
(5:09) 3. Street Beat
(5:10) 4. Promenade De La Mer
(4:30) 5. Le Président Aime Chick
(8:06) 6. Jam Session
(5:21) 7. Paquito
(5:08) 8. À L'aube... Vers Le Fleuve...

At the height of her art, the composer and jazz pianist Lorraine Desmarais offers a new work that celebrates the estuary of St. Lawrence River, connecting the Great Lakes to the North Atlantic Ocean. Reminiscences of landscapes surveyed and loved, of people met and appreciated feed the movements of the music suite with pictorial accents.

Requisitioning the full potential of the piano, an instrument that is at once melodic, harmonic, and percussive, Lorraine Desmarais paints a fresco with an extensive palette, sometimes figurative, sometimes abstract.By Editorial Reviews
https://www.amazon.com/Street-Beat-Suite-Lorraine-Desmarais

Personnel: Lorraine Desmarais, piano; Alec Walkington, double bass; Camil Belisle, drums

Street Beat Suite

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Clifford Jordan - The Adventurer

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 35:11
Size: 81,0 MB
Art: Front

(5:17)  1. He's A Hero
(7:08)  2. Quasimodo
(4:54)  3. No More
(5:06)  4. Blues For Muse
(6:49)  5. Adventurer
(5:55)  6. I'll Be Around

Clifford Jordan was a fine inside/outside player who somehow held his own with Eric Dolphy in the 1964 Charles Mingus Sextet. Jordan had his own sound on tenor almost from the start. He gigged around Chicago with Max Roach, Sonny Stitt, and some R&B groups before moving to New York in 1957. Jordan immediately made a strong impression, leading three albums for Blue Note (including a meeting with fellow tenor John Gilmore) and touring with Horace Silver (1957-1958), J.J. Johnson (1959-1960), Kenny Dorham (1961-1962), and Max Roach (1962-1964). After performing in Europe with Mingus and Dolphy, Jordan worked mostly as a leader but tended to be overlooked since he was not overly influential or a pacesetter in the avant-garde. 

A reliable player, Clifford Jordan toured Europe several times, was in a quartet headed by Cedar Walton in 1974-1975, and during his last years, led a big band. He recorded as a leader for Blue Note, Riverside, Jazzland, Atlantic (a little-known album of Leadbelly tunes), Vortex, Strata-East, Muse, SteepleChase, Criss Cross, Bee Hive, DIW, Milestone, and Mapleshade.
By Scott Yanow https://www.allmusic.com/artist/clifford-jordan-mn0000157487/biography

Personnel:  Clifford Jordan - tenor saxophone, alto saxophone, flute; Tommy Flanagan - piano; Bill Lee - bass; Grady Tate - drums

The Adventurer

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The Quentin Collins/ Brandon Allen Quartet - What's It Gonna Be?

Styles: Jazz
Year: 2011
File: MP3@320K/s
Time: 55:58
Size: 128,4 MB
Art: Front

(5:57)  1. What's It Gonna Be?
(8:18)  2. Until The Sun Rises
(8:22)  3. No Way Jose
(5:37)  4. Dark Shadows
(9:03)  5. Unfinished
(7:22)  6. Soluble Aspirin
(6:38)  7. Smile Please
(4:38)  8. Teeth For Tooth

Trumpet, tenor saxophone, organ and drums? Must be retro hard-bop in the classic Blue Note mould. Er, not exactly. Collins certainly plays bright, crackling trumpet and Allen's tenor is declamatory in the grand manner, but there's a restlessness about this band's music that defies expectations. Instead of grooving comfortably along, the drums (Enzo Zirilli) chatter away busily and the organ (Ross Stanley) produces sudden changes of register and great washes of harmonic colour. The compositions, Collins's especially, keep you guessing, too. It's disconcerting but wonderfully energising, once you get over the surprise. ~ Dave Gelly   http://www.theguardian.com/music/2011/may/01/quentin-collins-brandon-allen-review

Personnel: Omar (vocals/keys), Quentin Collins (trumpet), Brandon Allen (saxophone/flute), Ross Stanley (organ), Enzo Zirilli (drums).

What's It Gonna Be?

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Gunhild Carling & The Carling Big Band - Variete

Size: 99,0 MB
Time: 41:47
File: MP3 @ 320K/s
Released: 2013
Styles: Big Band, Vocal Jazz Swing
Art: Front

01. I Love You Forever (2:57)
02. Million Melodies (3:19)
03. Bunk Johnson Stomp (2:38)
04. Lonesome With a Sweet Melody (3:12)
05. Die Sternen (2:26)
06. Panama Rag (4:57)
07. Universe (3:05)
08. Loosers Weaper (2:21)
09. Flamingo (2:10)
10. Love Letter (2:15)
11. Haya Sue Blues (2:48)
12. Monday Through Sunday (3:09)
13. Sophisticated Lady (3:33)
14. Carolina (2:52)

Carling Big Band with Gunhild herself in the forefront is the band that hit knockout on the entire world of music, dancers and audience. There is no band in the whole world that this original orchestra where all the musicians play multiple instruments composes dances and plays to the crowd roar.

The album variety show is a collection of Gunhild Carling Big Band's acclaimed show of the same name from the summer (2013) live performances.

This collection is also called the "Royal Edition" where all the songs from the album were performed in the Swedish king's palace in September-13, when the king was celebrating 40 years as a regent.

QUOTES ABOUT THE SHOW AND GUNHILD CARLING FROM THE PRESS:
“At the center of this multi-faceted and sometimes circus -like jazz show are the charismatic and multitalented Gunhild Carling. Her ability to articulate musical perfect score on just about any instrument is rather sensational.
Although it did Gunhild Carling vocal onslaught splendidly, mainly unmistakable Billie Holiday influence in “You are my only universe” and their own bittersweet song “Open love letter”.”

Mattias Carlsson - Orkesterjournalen
"Rafting, surprising and diverse"
Sydsvenskan

"True Fucking Jazz, straight out!"
Ulf Johansson Werre, Trombonist

Variete

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Libby York - DreamLand

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 55:09
Size: 127,1 MB
Art: Front

(4:14) 1. Hit The Road To Dreamland
(5:33) 2. Estrada Branca (This Happy Madness)
(3:15) 3. Mountain Greenery
(4:59) 4. Cloudy Morning
(7:14) 5. Throw It Away
(3:44) 6. Rhode Island Is Famous For You
(4:32) 7. Still On The Road
(4:17) 8. When October Goes
(2:57) 9. Moonray
(4:27) 10. An Occasional Man
(5:24) 11. Something Cool
(4:27) 12. It's Love

The Johnny Mercer classic “Hit the Road To Dreamland” evoked the state of mind for singer Libby York and so many performers as stages in 2020 long went dark, but ultimately gifting the thrill of revival two years later. Dedication to the music and craft has flourished since, along with the connection to audiences and the music itself.

DreamLand was born from that landscape and York's chance encounter with guitarist Randy Napoleon, who was accompanying Freddie Cole at Chicago's Jazz Showcase. Randy’s playing and warm enthusiastic manner set the stage for their gathering in the studio in Fall 2021 for this intimate set of songs, each pure, classic, compositional gems in themselves. "..a gifted and experienced singer whose warm tone and sharp sense of humor bolster her restrained artistry." By The New Yorker
https://www.allaboutjazz.com/media/track-hit-the-road-to-dreamland-by-libby-york

Personnel: Libby York - vocals; Randy Napoleon - guitar; Rodney Whitaker - bass; Keith Hall - drums

DreamLand

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