Sonny Criss - Live In Italy

Bitrate: MP3@320K/s

Time: 62:45

Size: 143.6 MB

Styles: Bop, Saxophone jazz

Year: 2003/2010

Art: Front

[ 9:43] 1. Tin Tin Deo

[ 8:29] 2. Lover Man

[ 4:34] 3. Sonny's Blues

[ 8:02] 4. Summertime

[10:58] 5. Willow Weep For Me

[ 8:58] 6. Sunny

[ 9:06] 7. Hooti's Blues

[ 2:51] 8. Untitled Blues

Sonny Criss (as), George Arvanitas (p), Jacky Samson (b), Charles Saudrais (d). Recorded Live in Bologna, Italy, January 28, 1974.

This live set by the unjustly underappreciated alto saxophonist Sonny Criss from Italy in 1974 is a case in point for his tremendous lyricism, original tone, and hard-swinging soulfulness. Fronting the Georges Arvanitas Trio, Criss ushers the company through a series of fine pop and jazz standards, including Bobby Hebb's "Sunny" (a tune that was a Criss signature), Gershwin's "Summertime," "Willow Weep for Me," "Lover Man," Jay McShann's "Hooti's Blues," and a stunning, driving read of the Latin-infused "Tin Tin Deo." Criss also contributes his lovely "Sonny's Blues," as it comes out of "Lover Man" and changes the deeply grooving slow pace with a moaning blues, Bobby Timmons-style. Criss, despite his often heartbreakingly beautiful melodicism, is a blues shouter in the old tradition, as informed by Charlie Parker's brand of bop. And while the critics are dead wrong when comparing him to Bird or Sonny Stitt, this set shows he could play a cutting session with either of them. But with a decent rhythm section, and this one is more than that, Criss could display his greatest gift, making the improvisation in any tune a song of its own. Fresh Sounds gets high marks for issuing one of the rare live Criss sides on CD -- with two added unreleased tracks from the gig making it complete. The sound is a little thin in places, but the performance, including the over the top cover of "Summertime," more than compensates. ~Thom Jurek

Live In Italy

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Colleen McCollough - To Be Loved

Bitrate: MP3@320K/s
Time: 21:48
Size: 49.9 MB
Styles: Vocal jazz
Year: 2017
Art: Front

[1:53] 1. Almost Like Being In Love
[3:57] 2. Nature Boy
[2:32] 3. Orange Colored Sky
[3:30] 4. P.S. I Love You
[2:56] 5. Route 66
[4:25] 6. Tenderly
[2:32] 7. It's Only A Paper Moon

To Be Loved

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Chet Baker - This Is Always

Bitrate: MP3@320K/s
Time: 48:56
Size: 112.0 MB
Styles: Trumpet jazz
Year: 1986
Art: Front

[11:29] 1. How Deep Is The Ocean
[ 7:42] 2. House Of Jade
[10:30] 3. Love For Sale
[ 9:14] 4. This Is Always
[ 9:59] 5. Way To Go Out

Bass – Niels-Henning Ørsted Pedersen; Guitar – Doug Raney; Trumpet, Vocals – Chet Baker. Recorded live at Montmartre, Copenhagen, October 4, 1979.

Chet Baker was a primary exponent of the West Coast school of cool jazz in the early and mid-'50s. As a trumpeter, he had a generally restrained, intimate playing style and he attracted attention beyond jazz for his photogenic looks and singing. But his career was marred by drug addiction.

Baker's father, Chesney Henry Baker,Sr., was a guitarist who was forced to turn to other work during the Depression; his mother, Vera (Moser) Baker, worked in a perfumery. The family moved from Oklahoma to Glendale, CA, in 1940. As a child, Baker sang at amateur competitions and in a church choir. Before his adolescence, his father brought home a trombone for him, then replaced it with a trumpet when the larger instrument proved too much for him. He had his first formal training in music in junior high and later at Glendale High School, but would play largely by ear for the rest of his life. In 1946, when he was only 16 years old, he dropped out of high school and his parents signed papers allowing him to enlist in the army; he was sent to Berlin, Germany, where he played in the 298th Army Band. After his discharge in 1948, he enrolled at El Camino College in Los Angeles, where he studied theory and harmony while playing in jazz clubs, but he quit college in the middle of his second year. He re-enlisted in the army in 1950 and became a member of the Sixth Army Band at the Presidio in San Francisco. But he also began sitting in at clubs in the city and he finally obtained a second discharge to become a professional jazz musician. ~Willim Ruhlmann

This Is Always

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Hank Crawford - Midnight Ramble

Styles: Saxophone Jazz
Year: 1983
File: MP3@320K/s
Time: 39:30
Size: 96,0 MB
Art: Front

(6:09)  1. Midnight Ramble
(5:35)  2. Forever Mine
(5:55)  3. Theme For Basie
(5:57)  4. Mister C
(5:09)  5. Street Of Dreams
(4:50)  6. Next Time You See Me
(5:52)  7. Deep River

Midnight Ramble, released in 1983 on Milestone, was saxophonist Hank Crawford's return to recording after a four-year break following his departure from Kudu. It was the beginning of a decades-long relationship with the prestigious jazz label. Crawford, a veteran of Ray Charles, had long been associated with soul-jazz groove-oriented music. On this date, he delivers a solid, straight-ahead session with some notable surprises. 

The first is that he plays not only his trademark alto saxophone, but also electric piano. Next is his rhythm section: Dr. John on piano and organ, Charles "Flip" Greene on bass, guitarist Calvin Newborn (brother of Phineas), and stone-cold soul-jazz drummer Bernard Purdie. But that isn't all. Crawford also includes five other horns: two trumpets, trombone, bass saxophone, and David "Fathead" Newman on tenor. Needless to say, Crawford's idea of "straight-ahead" still contains plenty, plenty soul. The program is solid, top to bottom; it's amiable, relaxed, and deeply rooted in the blues. Phineas Newborn's "Theme for Basie" and the saxophonist's own composition of the title track are highlights, as is the gospel-oriented blues of "Deep River," with Dr. John's piano leading the band. Among his better offerings, Midnight Ramble stands as one of the more inspired records Crawford cut after leaving Atlantic in 1969, and reveals that the extended downtime had helped him to regain his focus and his power (both imaginatively and compositionally) as one of the great soul and blues-oriented jazzmen in history. ~ Thom Jurek http://www.allmusic.com/album/midnight-ramble-mw0000674658

Personnel: Hank Crawford (alto saxophone, electric piano); David "Fathead" Newman (tenor saxophone); Howard Johnson (baritone saxophone); Waymon Reed, Charlie Miller (trumpet); Dick Griffin (trombone); Dr. John (piano, organ); Calvin Newborne (guitar); Charles "Flip" Greene (bass); Bernard Purdie (drums).

Midnight Ramble

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Ernie Watts Quartet - Oasis

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 73:20
Size: 169,9 MB
Art: Front

( 7:19)  1. Konbanwa
(11:03)  2. Oasis
( 6:22)  3. One Day I'll Fly Away
( 7:18)  4. Blackbird
( 5:20)  5. Palmito
( 9:42)  6. Crescent
( 7:33)  7. Twilight Waltz
( 6:55)  8. Bass Geige -Bahss Guy-Geh?
( 5:19)  9. You Are There
( 6:26) 10. Shaw Nuff

Setting up Flying Dolphin Records in 2004 has given tenor saxophonist Ernie Watts wings. After 35 years calling on an ever-changing array of some of the greatest names in jazz to play on his records, Watts has now settled into two quartets: his American and European groups. The continuity of these ensembles and the complete artistic freedom that he's wrestled free have resulted in some of his strongest recordings. Four Plus Four (Flying Dolphin Records, 2009), To the Point-Live at the Jazz Bakery (Flying Dolphin Records, 2008), Spirit Song (Flying Dolphin Records, 2005), and Analog Man (Flying Dolphin Records, 2007) winner of the Independent Music Award for Best Jazz Album show Watts to be in a very good place artistically, writing and playing better than ever. Oasis- continues the run of fine form. Drummer Heinrich Koebberling's "Konbawna" is a lyrical limbering-up exercise which features brief but impressive solos from bassist Rudi Engel and pianist Christof Saenger. Saenger, in turn, contributes the elegant "Palmito," featuring a fired-up Watts. After 13 years together, there is a generosity in the quartet's writing process, and the personalities of all four members are prominent throughout. One of two co-written by longtime collaborator, pianist Jeremy Monteiro, the title track shows the influence of tenorist John Coltrane with its brooding, spiritual intro. This gripping slow burner, with its suggestive Arabic underbelly, takes a number of deft turns, with Watts at his most expressive; whether stating the melody or unleashing tumultuous, tumbling lines which rattle the bones, the saxophonist's sincerity is powerful. 

Watts' innate feel for a ballad finds expression in Will Jennings/Joe Sample's "One Day I'll Fly Away," and Johnny Mandel/Dave Frishberg's "You Are There." These beautiful tunes bring Saenger and Watts together into the spotlight, and their tender exchanges are softly voiced and full of warmth and lyricism. The Beatles' classic "Blackbird" is given a robust workout, Watts' burly tone steering the quartet away from the initial melody into more exploratory terrain, with the quartet shifting gears effortlessly. Watts signs off with a full-throated, honking cadenza, which typifies his original approach to this much-covered tune. Coltrane's "Crescent" swings beautifully, Saenger laying down the marker with an extended solo of great fluidity before Watts replies with instant intensity, stretching himself in a searching, soaring run. Coltrane has long provided Watts with inspiration, but like another great tenorist, Charles Lloyd, Watts draws from Coltrane's spirit while maintaining his own, very personal identity. Soulfulness and blues characterize Watts' playing, and this is also heard on Watts and Monteiro's lovely "Twilight Walt"; even when mapping the contours of a simple melody, Watts commands attention. Another Watts original, "Bass Geige" swings hard, with all four musicians displaying their fine wares. Dizzy Gillespie/Charlie Parker bop classic, "Shaw Nuff," takes the quartet out on a high, with Saenger and Watts locking horns in thrilling foot-to-the-floor unison lines. With Oasis Watts confirms as if confirmation were needed that he is one of the greatest living tenor saxophonists at the top of his game. A joy from start to finish. ~ Ian Patterson https://www.allaboutjazz.com/oasis-ernie-watts-flying-dolphin-records-review-by-ian-patterson.php

Personnel: Ernie Watts: tenor saxophone; Christof Saenger: piano; Rudi Engel: bass; Heinrich Koebberling: drums.

Oasis

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Dianne Reeves - For Every Heart

Styles: Jazz, Vocal 
Year: 1984
File: MP3@320K/s
Time: 46:20
Size: 128,0 MB
Art: Front

(3:45)  1. Sneaky
(4:06)  2. Who Knows Where Love Goes
(3:57)  3. For Every Heart That's Been Broken
(6:51)  4. Willow
(3:47)  5. Lovers
(6:50)  6. Sitting in Limbo
(4:02)  7. Be My Husband
(6:07)  8. Separate Vacations
(6:52)  9. Heed the Signs (of the Times)

Dianne Reeves has been one of the top singers in jazz ever since the late '80s. A logical successor to Dinah Washington and Carmen McRae (although even she can't reach the impossible heights of Ella and Sarah Vaughan), Reeves is a superior interpreter of lyrics and a skilled scat singer. She was a talented vocalist with an attractive voice even as a teenager when she sang and recorded with her high school band. She was encouraged by Clark Terry, who had her perform with him while she was a college student at the University of Colorado. There have been many times when Reeves has explored music beyond jazz. She did session work in Los Angeles starting in 1976, toured with Caldera, worked with Sergio Mendes in 1981, and toured with Harry Belafonte between 1983 and 1986. Reeves began recording as a leader in 1982 and became a regular at major jazz festivals. Her earlier recordings tended to be quite eclectic and many of her live performances have included original, African-inspired folk music (which is often autobiographical), world music, and pop.  After signing with Blue Note in 1987, however, and particularly since 1994, Reeves has found her place in jazz, recording several classic albums along the way, most notably I Remember, The Grand Encounter, The Calling: Celebrating Sarah Vaughan, and A Little Moonlight. In 2005, she appeared onscreen singing '50s standards in the George Clooney film Good Night, And Good Luck. When You Know was released in 2008. Reeves left Blue Note in 2009. After touring and an extended break, she eventually signed with Concord and began working on a new record produced by Terri Lynne Carrington. The pair enlisted an all-star cast including Esperanza Spalding, Sheila E, Robert Glasper, and George Duke (who passed away shortly after the album was completed). Beautiful Life was released just in time for Valentine's Day, 2014 ~ Scott Yanow http://www.allmusic.com/artist/dianne-reeves-mn0000211570/biography

Dianne Reeves (Vocal); Richard Cummings (Keyboards, Vocal #8); Don Menza (Saxophone); Tom Scott (Saxophone); Dan Carillo (Guitar); Angus Nunes (Bass); Larry Hall (Trumpet); Jon Bonine (Trombone); Charlie Davis (Trumpet); Bruce Paulson (Trombone); Neil Clarke (Percussion); Kenwood Dennard (Drums); Charles Veal Jr., Noel Pointer, Jeremy Cohen (Violin); Barbara Thomason, Linda Lipsett (Viola); Nancy Stein (Cello).

For Every Heart

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Jackie McLean - Dynasty

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 70:18
Size: 161,5 MB
Art: Front

(7:37)  1. Five
(3:07)  2. Bird Lives
(5:33)  3. A House Is Not A Home
(7:50)  4. Third World Express
(6:13)  5. Dance Little Mandissa
(9:59)  6. J. Mac's Dynasty
(7:08)  7. Knot The Blues
(7:52)  8. Zimbabwe
(8:50)  9. King Tut's Strut
(6:05) 10. Muti-Woman

This is one of the great Jackie McLean albums. After nearly a decade away from recording, the veteran altoist teamed up with his son, René McLean (who triples on tenor, soprano, and flute), pianist Hotep Idris Galeta, bassist Nat Reeves, and drummer Carl Allen for a very passionate and high-powered live set. Whether it be originals by René (including "J. Mac's Dynasty") or Galeta, a very intense version of "A House Is Not a Home," or Jackie's "Bird Lives," this is dynamic and consistently exciting music. The go-for-broke solos (which transcend any easy categories) and Jackie's unique sharp tone make this an essential CD, one of the top recordings to be released in 1990. ~ Scott Yanow http://www.allmusic.com/album/dynasty-mw0000275425

Personnel:  Alto Saxophone – Jackie McLean;  Bass – Nat Reeves;  Drums – Carl Allen;  Piano – Hotep Idris Galeta;  Tenor Saxophone, Soprano Saxophone – René McLean

Dynasty

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Jimmy McGriff - A Thing To Come By

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 35:41
Size: 82,3 MB
Art: Front

( 4:01)  1. A Thing To Come By
( 4:38)  2. Charlotte
(10:17)  3. Down Home On The Moon
( 3:18)  4. Oh Happy Day
( 5:23)  5. Don't Let Me Lose This Dream
( 3:07)  6. Up There, Down Here
( 4:55)  7. A Thing To Come By - Part II

One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification. His sound deep, down-to-earth grooves drenched in blues and gospel feeling -- made him quite popular with R&B audiences, even more so than some of his peers; what was more, he was able to condense those charms into concise, funky, jukebox-ready singles that often did surprisingly well on the R&B charts. His rearrangement of Ray Charles' "I Got a Woman" was a Top Five R&B hit in 1962, and further hits like "All About My Girl," "Kiko," and "The Worm" followed over the course of the '60s. McGriff spent much of the '70s trying to keep pace with the fusion movement, switching to various electric keyboards and adopting an increasingly smooth, polished style. As the '80s dawned, McGriff gave up trying to sound contemporary and returned to his classic organ-trio sound; as luck would have it, vintage soul-jazz soon came back into vogue with a devoted cult of fans and critics, and McGriff was able to recover his creative vitality and take his place as one of the genre's elder statesmen.

James Harrell McGriff, Jr. was born April 3, 1936, in Philadelphia. His mother and father both played the piano, and he counted saxophonist Benny Golson and soul singer Harold Melvin among his cousins. First getting involved in music through his family's church, he received his first instrument, a drum set, at age eight; by his teen years, he had taken up acoustic bass and alto sax, and also learned vibes, piano, and drums by the time he finished high school. Bass remained his primary instrument for a while, although he was inspired to try his hand at the Hammond organ after seeing Richard "Groove" Holmes at a club in Camden, NJ. However, McGriff was drafted into the military after high school, and served in the Korean War as a military policeman. Upon returning to the United States, he decided to make law enforcement a career, and after completing the necessary training, he worked on the Philadelphia police force for two and a half years. Still, he never lost interest in music, and around 1955 he augmented his day job by working as a bass player behind vocalists like Carmen McRae and, most frequently, Big Maybelle, who had a regular gig at the local Pep's Showboat club. With the Hammond organ rising in popularity around Philadelphia, jobs for bass players were scarce, and McGriff contacted Groove Holmes about learning the organ, this time in earnest. He bought his own Hammond B-3 in 1956, and spent the next six months practicing as hard as he could, either at Holmes' house or at Archie Shepp's house (where he stored the instrument). Skipping more and more work time to play gigs, he finally quit the police force, and enrolled at the local Combe College to study music. He later moved on to the prestigious Juilliard School of Music in New York, and also studied privately with Milt Buckner, Jimmy Smith, and Sonny Gatewood. McGriff's first recording was the single "Foxy Due," cut for the small White Marsh label in 1958; it featured a young saxophonist named Charles Earland, who subsequently learned the organ from McGriff and, like his mentor, went on to become one of the instrument's quintessential performers.  McGriff was performing in a small club in Trenton, NJ in 1962 when a talent scout from the small Jell label heard him and offered him a chance to record. McGriff's instrumental soul-jazz rearrangement of Ray Charles' classic "I've Got a Woman" was released as a single, and sold well enough for Juggy Murray's New York-based Sue label to pick it up for wider release. With better distribution and promotion behind it, "I've Got a Woman" hit the national charts and became a bona fide hit, climbing into the Top Five on the R&B charts and the Top 20 over on the pop side. Sue issued McGriff's debut album, naturally also titled I've Got a Woman, in 1963; it too was a hit, nearly making the pop Top 20, and it spun off two more charting singles in the McGriff originals "All About My Girl" (number 12 R&B, Top 50 pop) and "M.G. Blues." Sue released several more McGriff albums over the next two years, including the live At the Apollo, Jimmy McGriff at the Organ (which produced the chart single "Kiko"), the holiday hit Christmas With McGriff (actually his highest-charting album at number 15 pop), the charting Topkapi (a collection of soundtrack themes with orchestral backing), and another chart hit, Blues for Mister Jimmy, which proved to be his last on Sue.

In 1966, McGriff moved over to the Solid State label, where he hooked up with producer Sonny Lester, who would helm most of his records through the '70s. He debuted with Jimmy McGriff and the Big Band, which found him fronting an all-star swing orchestra featuring many Count Basie alumni (it was later reissued as A Tribute to Count Basie). McGriff recorded prolifically for Solid State over the remainder of the decade, including albums like A Bag Full of Soul (1966), A Bag Full of Blues (1967), and I've Got a New Woman (1968; mostly a look back at his Sue material). Most notably, though, McGriff scored another hit single with "The Worm," which made the R&B Top 30 and sent the LP of the same name rocketing into the R&B Top Ten in early 1969. In addition to his Solid State recordings, McGriff cut several albums for Blue Note over 1969-1971, most notably Electric Funk, an early foray into jazz-funk fusion that teamed him with arranger/electric pianist Horace Ott; a similar outing that featured pop/rock and R&B covers, Soul Sugar, was released on Capitol during the same period. Additionally, McGriff toured as part of Buddy Rich's band during the late '60s, and again from 1971-1972. McGriff made Groove Merchant his primary label in 1971, and although he briefly quit the business in 1972 to start a horse farm in Connecticut, the lure of music proved too powerful to overcome. Early in the decade, he alternated between funky electric outings (usually with covers of contemporary rock and R&B hits) and more traditional, small-group organ-jazz settings.

 Notable albums included 1973's Giants of the Organ Come Together, a summit with mentor and longtime friend Groove Holmes; a duo album with bluesman Junior Parker; 1976's Mean Machine, a slicker jazz-funk LP that returned him to the R&B album chart's Top 50; and the 1977 follow-up Red Beans, which also sold respectably. After 1977's Tailgunner (on LRC), McGriff's recorded output tailed off over the next few years. He resurfaced on the Milestone label in 1983, debuting with Countdown, a return to his classic, bluesy soul-jazz style that started to bring him back into the jazz spotlight. A series of strong albums followed during the '80s, including 1984's Skywalk, 1985's State of the Art, 1986's acclaimed The Starting Five, and 1988's Blue to the 'Bone (a near-Top Ten hit on the jazz LP charts); he also recorded a one-off session for Headfirst in 1990, You Ought to Think About Me, that made the jazz Top Ten. Additionally, McGriff co-led a group with saxophonist Hank Crawford during the late '80s, which released several albums, including 1990's popular On the Blue Side (number three on the jazz charts). He also returned to his roots in the church by playing on gospel singer Tramaine Hawkins' 1990 live album. McGriff and Crawford moved over to Telarc for a pair of albums over 1994-1995, Right Turn on Blue and Blues Groove. As soul-jazz returned to cult popularity in both America and the U.K., McGriff found himself playing higher-profile gigs and venues on both sides of the Atlantic. He returned to Milestone and resumed his solo career in 1996 with The Dream Team, which featured saxman David "Fathead" Newman and drummer Bernard "Pretty" Purdie, both of whom would become familiar faces on McGriff recordings in the years to come. Follow-ups included solid records like 1998's Straight Up, 2000's McGriff's House Party, 2001's Feelin' It, and 2002's McGriff Avenue, which looked back on some of his '60s hits. ~ Steve Huey http://www.allmusic.com/artist/jimmy-mcgriff-mn0000076658/biography

Personnel:  Jimmy McGriff - piano, organ;  Blue Mitchell – trumpet;  Fats Theus - tenor saxophone;  Larry Frazier - guitar

A Thing To Come By

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Dave Grusin - Out of the Shadows

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 43:34
Size: 100,2 MB
Art: Front

(5:15)  1. Last Train To Paradiso
(5:19)  2. She Could Be Mine
(5:50)  3. Crystal Morning
(6:05)  4. Five Brothers
(6:58)  5. Anthem Internationale
(6:50)  6. Serengeti Walk
(1:59)  7. Hokkaido
(5:15)  8. Sweetwater Nights

Dave Grusin has been a highly successful performer, producer, composer, record label executive, arranger, and bandleader. As a pianist, Grusin tends toward the fusion and smooth end of jazz, but he's primarily an accomplished film and television soundtrack composer. Grusin played with Terry Gibbs and Johnny Smith while studying at the University of Colorado. He was the assistant music director and pianist for Andy Williams from 1959 to 1966, and then started his television composing career. Grusin recorded with Benny Goodman in 1960, and with a hard bop trio which included Milt Hinton and Don Lamond in the early '60s. He also played and did a session with a quintet including Thad Jones and Frank Foster. Grusin did arrangements and recorded with Sarah Vaughan, Quincy Jones, and Carmen McRae in the early '70s. He played electric keyboards with Gerry Mulligan and Lee Ritenour in the mid-'70s, then helped to establish GRP Records out of a production company. GRP developed into one of the top contemporary jazz and fusion companies; they were later taken over by Arista, then by MCA. Grusin continued recording through the '80s and '90s, doing numerous projects, from fusion and pop to working with symphony orchestras. He has also conducted the GRP Big Band, scored such films as The Fabulous Baker Boys, and performed duet sessions with his brother, Don, and Ritenour. In addition to his numerous GRP releases, Grusin has also recorded for Columbia, Sheffield Lab, and Polygram. 

In 2011, he released the concert album and DVD An Evening with Dave Grusin, which featured him backed by the 75-piece Henry Mancini Institute Orchestra revisiting works from throughout his varied career. ~ Ron Wynn https://itunes.apple.com/us/album/out-of-the-shadows/id21802007

Personnel: Dave Grusin (piano, Fender Rhodes piano, keyboards, synthesizer); Lee Ritenour (guitar, acoustic guitar, electric guitar); Don Grusin (Fender Rhodes piano, synthesizer); Lincoln Goines (upright bass, electric bass); Steve Gadd (drums); Rubens Bassini (percussion).

Out of the Shadows

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Harcsa Veronika - You Don't Know It's You

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 59:34
Size: 137,5 MB
Art: Front

(3:45)  1. Too Early
(3:13)  2. What Is Our Love For
(3:58)  3. Play Me, Play Me
(3:21)  4. If You
(5:21)  5. But I'm Not
(7:38)  6. Maybe Neverending
(6:43)  7. All That You Say
(4:14)  8. Nothing's Left
(4:35)  9. Losing Ground
(5:56) 10. Luring
(4:59) 11. Pirate Ballad
(1:28) 12. Something New
(4:19) 13. You Don't Know It's You

Harcsa Veronika was born in Budapest. During her school years she went to several music schools learning to play the piano, the saxophone, classical and jazz singing. She is graduating from the vocal jazz faculty of the Ferenc Liszt College of Music Budapest in June 2008. She formed her own jazz quartet in 2005, featuring leading young Hungarian jazz musicians. She produced and released their debut jazz standard album Speak Low in Hungary in 2005. . https://musicazon.com/artist/harcsa-veronika

You Don't Know It's You

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John Fedchock - Hit The Bricks

Styles: Trombone Jazz
Year: 2000
File: MP3@256K/s
Time: 62:18
Size: 114,6 MB
Art: Front

(5:59)  1. This Just In
(9:14)  2. Moon Alley
(6:24)  3. Steps En Trois (Giant Steps)
(8:48)  4. Twilight
(5:43)  5. Hit The Bricks
(6:10)  6. Cool Customer
(5:33)  7. I'm Thru With Love
(7:33)  8. Empty Promises
(6:51)  9. Brazilian Fantasy

His two big band albums are terrific. Now trombonist John Fedchock leads a quartet on a session that incorporates ballads with up-tempo romps and fresh originals with existing compositions. Three tracks add trumpet and tenor saxophone for a larger sound. The title track comes from Fedchock's vast experience, placing a big band chart in the hands of a sextet. Driving with a hard-nosed direction, the sextet covers the territory well. Kenny Barron's "Twilight" stands out as another high point of the album, with Fedchock's buttery trombone tone pushing a deliberate tempo. In 3/4 time, "Giant Steps" runs amok like a busy, intellectually occupied parody of "My Favorite Things." "Brazilian Fantasy" lays it out gently like a walk on the beach, while Fedchock's "Cool Customer," another session high point, lets loose with a Count Basie big band swing. Never one to pull any punches, John Fedchock has made a subtle change in direction while keeping the central focus of his music at its trombone-lover's best. ~ Jim Santella https://www.allaboutjazz.com/hit-the-bricks-john-fedchock-reservoir-music-review-by-jim-santella__1907.php

Personnel: John Fedchock- trombone, Scott Wendholt- trumpet (tracks 2,5, & 8 only), Chris Potter- tenor & soprano saxophones (tracks 2, 5, 8, & 9 only), Allen Farnham- piano, Rufus Reid- bass, Dave Ratajczak- drums, Adrian D Souza- percussion (track 9 only)

Hit The Bricks

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Charlie Barnet And His Orchestra - Clap Hands, Here Comes Charlie

Styles: Jazz, Big Band
Year: 1987
File: MP3@320K/s
Time: 63:49
Size: 151,6 MB
Art: Front

(2:59)  1. Knockin' At The Famous Door
(3:22)  2. The Girl From Joe's
(3:20)  3. Cherokee
(3:04)  4. The Duke's Idea
(3:23)  5. The Count's Idea
(3:14)  6. The Right Idea
(2:56)  7. Between 18th And 19th On Chestnut Street
(2:42)  8. Clap Hands, Here Comes Charlie
(2:45)  9. Leapin' At The Lincoln
(3:25) 10. Afternoon Of A Moax
(2:55) 11. Flying Home
(2:53) 12. Six Lessons From Madame La Zonga
(3:09) 13. Rockin' In Rhythm
(3:00) 14. Pompton Turnpike
(3:15) 15. Wild Mab Of The Fish Pond
(3:24) 16. Southern Fried
(2:39) 17. Redskin Rhumba
(2:29) 18. Lumby
(3:15) 19. You're My Thrill
(2:37) 20. Charleston Alley
(2:54) 21. Murder At Peyton Hall

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. ~ Scott Yanow http://www.allmusic.com/artist/charlie-barnet-mn0000166767/biography

Clap Hands, Here Comes Charlie

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John Lewis & Sacha Distel - Afternoon In Paris

Bitrate: MP3@320K/s
Time: 43:10
Size: 98.8 MB
Styles: Bop, Piano jazz
Year: 1958/2006
Art: Front

[6:51] 1. I Cover The Waterfront
[6:04] 2. Dear Old Stockholm
[9:20] 3. Afternoon In Paris
[5:13] 4. All The Things You Are
[6:09] 5. Bags' Groove
[9:31] 6. Willow Weep For Me

It was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well-known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on Afternoon in Paris -- neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well-known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from "Willow Weep for Me," "All The Things You Are," and "I Cover the Waterfront" to Milt Jackson's "Bags' Groove" and Lewis' title song. The big-toned Wilen was only 19 when Afternoon in Paris was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a saxman. It should be noted that all of the Americans on this album had been members of the Modern Jazz Quartet; the only MJQ member who isn't on board is vibist Jackson. ~Alex Henderson

Afternoon In Paris

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Jack McDuff - The Prestige Years (Remastered)

Bitrate: MP3@320K/s
Time: 78:40
Size: 180.1 MB
Styles: Soul jazz
Year: 2004
Art: Front

[8:13] 1. The Honeydripper
[2:59] 2. Brother Jack
[4:49] 3. Sanctified Waltz
[8:55] 4. Yeah, Baby
[5:00] 5. Mellow Gravy
[6:01] 6. He's A Real Gone Guy
[6:22] 7. Candy
[7:00] 8. Tough 'Duff
[2:23] 9. Grease Monkey
[6:46] 10. Jive Samba
[2:59] 11. Organ Grinder's Swing
[7:18] 12. Screamin'
[2:56] 13. Hot Barbeque
[6:54] 14. Opus De Funk

Alto Saxophone – Leo Wright; Bass – Wendell Marshall; Drums – Bill Elliot, Joe Dukes; Guitar – Bill Jennings, Eddie Diehl, George Benson, Grant Green, Kenny Burrell; Organ – Brother Jack McDuff; Tenor Saxophone – Gene Ammons, Harold Vick, Jimmy Forrest, Red Holloway; Vibraphone – Lem Winchester.

The history of jazz is full of great musicians who died tragically young; Clifford Brown, Bix Beiderbecke, Eric Dolphy, Fats Navarro, Charlie Christian, Booker Little, and the seminal Charlie Parker were among the many legendary improvisers who died in their twenties or thirties. But when Jack McDuff passed away on January 23, 2001, at the age of 74, his fans could take some comfort in knowing that he had lived a long and productive life. The soul-jazz/hard bop organist left behind a huge catalog, which is why best-of releases like The Prestige Years and The Best of the Concord Years are sorely needed. While the latter is devoted to McDuff's Concord Jazz recordings of the '90s and early 2000s, this 79-minute CD focuses on his Prestige output of 1960-1965. Although McDuff only spent a fraction of his career at Prestige and was still keeping busy 35 years after leaving the label, Prestige was the company that put him on the map as a recording artist -- and most soul-jazz enthusiasts would agree that he recorded some of his most essential work there. The Prestige Years bears that out; "Rock Candy," "Yeah, Baby," and McDuff's 1960 version of Joe Liggins' "The Honeydripper" are required listening for anyone with even a casual interest in gritty, down-home organ combos. The list of musicians who join McDuff on these recordings reads like a who's who of '60s soul-jazz; Gene Ammons, George Benson, Red Holloway, Jimmy Forrest, and Grant Green are among the major names appearing in the credits. The Prestige Years is far from the last word on McDuff's long recording career -- for that matter, it's far from the last word on his Prestige output. But if one is seeking an introductory overview of McDuff's five years at that label, The Prestige Years wouldn't be a bad investment at all. ~Alex Henderson

The Prestige Years (Remastered)

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Christie Winn - C'est Magnifique

Bitrate: MP3@320K/s

Time: 38:29

Size: 88.1 MB

Styles: Jazz vocals

Year: 2011

Art: Front

[2:55] 1. You Don't Know What Love Is

[2:30] 2. Angel Eyes

[3:29] 3. Bye Bye Blackbird

[3:09] 4. C'est Magnifique

[2:00] 5. Sai Dessa

[4:41] 6. Like A Lover

[3:18] 7. Dos Gardenias

[1:33] 8. Paper Moon

[5:48] 9. Body And Soul

[3:51] 10. Inutil Paisagem

[3:24] 11. Estate

[1:45] 12. C'est Magnifique (Reprise)

Vocalist/Pianist Christie Winn switches gears on her latest release, ʻCʼest Magnifiqueʼ, her first truly solo endeavor without the support of her band, ʻThe Lowdownsʼ. While her former recordings highlight her songwriting, this new release is comprised of jazz standards from around the globe. The minimalistic treatments of these classics conjure an intimate feel, allowing Winnʼs smoky vocal stylings to be in the spotlight. Accompanied only by Joe Kyle on bass and herself on piano (and occasionally melodica), Christie Winn sings her way to your heart, imbuing each phrase with pure emotion. Be it sadness or joy, Winn explores the depths on ʻCʼest Magnifiqueʼ.

C'est Magnifique   

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Guy Sebastian - The Memphis Album

Bitrate: MP3@320K/s
Time: 57:07
Size: 130.8 MB
Styles: Soul/R&B
Year: 2007
Art: Front

[2:55] 1. Soul Man
[3:13] 2. Hold On I'm Coming
[3:15] 3. In The Midnight Hour
[3:59] 4. I Can't Stand The Rain
[5:29] 5. Take Me To The River
[3:41] 6. Knock On Wood
[4:21] 7. Respect Yourself
[3:35] 8. Guy Sebastian - (Sittin' On) The Dock Of The Bay
[2:53] 9. Hard To Handle
[4:08] 10. Let's Stay Together
[4:09] 11. I've Been Loving You Too Long
[3:22] 12. Hallelujah I Love Her So
[4:11] 13. I'd Like To Get To Know You
[5:00] 14. Under The Boardwalk
[2:49] 15. That's It, I Quit, I'm Movin' On

2007 release from the acclaimed Malaysian-born and Australian-raised Pop singer who won the coveted title of Australian Idol on the show's first season. On The Memphis Album, Guy pays tribute to a selection of classic Soul tunes, with his own fantastic versions of tracks including 'Soul Man', 'In The Midnight Hour', 'Knock On Wood', 'Take Me To The River' and 'I Can't Stand The Rain'. Guy recorded the album in Memphis with various legendary Stax musicians including Steve Cropper, Donald `Duck' Dunn, Steve Potts, Lester Snell and Dave Smith.

The Memphis Album

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Dave Moretti Blues Revue - That's Swing!

Bitrate: MP3@320K/s
Time: 40:11
Size: 92.0 MB
Styles: Swing, Jump Blues
Year: 2014
Art: Front

[4:09] 1. Good Morning Judge
[4:11] 2. That's Swing!
[3:27] 3. Dancin'
[2:49] 4. Straighten Up & Fly Right
[5:35] 5. Just Like A Dog
[3:42] 6. Bad
[4:31] 7. Gsus
[4:45] 8. Cattle Raiding
[3:26] 9. I Walked Away
[3:32] 10. You Know Why

These Italian bluesmen certainly know, love and play the blues with a devoted intensity. Dave Moretti is a first class harmonica player. His gruff voice is fitting for the blues, but his heavy accent tends to detract from enjoying the songs at times. The first track is relatively easy to understand. After that deciphering the words gets to be a chore. That said, the musicianship throughout is top notch and possessing an authentic vibe along with genuine enthusiasm. Damir Nefat is in command of his jump blues guitar skills. The rhythm section can stop on a dime and give you nine cents change.

“Good Morning Judge” draws you right in with its’ energy. It’s great! It sounds like Louis Prima sings the blues. The title track is the first sign of accent problems and the song is too repetitive. We get it already…”That’s Swing”. We want the funk and we get it on “Bad” with jumpy saxes, harmonica and guitar fighting it out with the tricky rhythm section. These guys can surely play.

Blues perfection rears its’ head on “Gsus” were Dave displays his flexible harmonica chops along with Damir’s slow, well thought out guitar solo. “Cattle Raiding” could of just as well been sung in a Italian. You can pick out the occasional word. As usual the music is just fine. Maurizio Pugno contributes some nice guitar to the splendid jump blues of “I Walked Away”. Things close out with the snappy “You Know Why” which features for my money the best harmonica workout on this recording.

At the conclusion I’m left in a quandary. The music is superb and uplifting. Getting through the thick accent detracts from the listening experience. After all music is a form of communication as well as a means of enjoyment. If the message or story doesn’t get across there is a problem. It’s too bad because everyone involved delivers quality and heartfelt music. ~Greg "Bluesdog" Szalony

That's Swing!

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Gary LeMel - How Fast Forever Goes

Bitrate: MP3@320K/s
Time: 37:33
Size: 86.0 MB
Styles: Contemporary jazz vocals
Year: 2002
Art: Front

[2:51] 1. (I'm Afraid) The Masquerade Is Over
[4:21] 2. Bluesette
[4:30] 3. Everything Must Change
[3:48] 4. Forget To Remember
[4:15] 5. How Fast Forever Goes
[3:05] 6. Satin Doll
[3:37] 7. Send In The Clowns
[3:47] 8. Softly As I Leave You
[4:07] 9. She Was Too Good To Me Since You Stayed Here
[3:08] 10. I'm All Smiles

Less well known as a performer than as a music industry executive, Gary LeMel began his showbiz career as vice president at Jerry Weintraub's Management III. A stint at First Artists Music followed, and it was there that LeMel was tapped by Warner Bros. to supervise the music for the Barbra Streisand films A Star Is Born and The Main Event; the soundtrack to the former was particularly successful, selling over six million copies in the U.S. alone. After serving as senior VP at Neil Bogart's Boardwalk Company, LeMel moved to Columbia Pictures in 1983; there he supervised a series of smash soundtracks including The Big Chill, Ghostbusters, Against All Odds and St. Elmo's Fire. Three years later he accepted an offer from Warner Bros., in the years to follow moving up the corporate ladder to become the president of the company's music division; again working extensively in film soundtracks, he launched hits including The Bodyguard, Singles and Space Jam. As a jazz vocalist, LeMel also recorded the occasional LP, including 1994's Romancing the Screen and 1999's Bobby Darin tribute Moonlighting. Lost In Your Arms appeared in summer 2001. ~bio by Jason Ankeny

How Fast Forever Goes

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The Deep River Boys - London Harmony (2-Disc Set)

The Deep River Boys left a legacy of fine recordings during their 50 years of performing, setting a standard for professionalism and longevity that is to be envied. They began recording as a gospel act in the late '40s and later switched over and became an R&B act and were more popular in Europe for periods of time before coming home to the States for triumphant return engagements.

Their story begins in 1936, when all of the Boys — Harry Douglas (baritone), Vernon Gardner (first tenor), George Lawson (second tenor), Jimmy Lundy, and Edward Ware (bass) — were still students at Hampton Institute in Virginia in the mid-'30s, singing in the school choir. They began appearing on radio and in 1937, landed a job on the CBS network replacing the Oleanders (whose lead singer, Billy Williams, had left to form the Charioteers). The Deep River Boys signed with Bluebird Records in 1940 and began recording material, including "By the Light of the Silvery Moon" (which featured Fats Waller on piano). When Harry Douglas went into the Army, he was replaced by Leroy Wayman, who in turn was replaced by Rhett Butler. Douglas returned to the group in 1946 and the Deep River Boys began enjoying their biggest success, appearing on Milton Berle's and Kate Smith's shows and touring with Bill "Bojangles" Robinson.

Like many vocal groups in their day, the Deep River Boys had more success with live performance than record sales, and it wasn't until 1948's "Recess in Heaven" that they enjoyed their first hit. Unfortunately, the newer R&B was just then emerging and their gospel sound was being pushed aside by popular vocal groups like the Dominoes, the Orioles, and the Ravens. Unlike the 5 Royales (a gospel group who began recording R&B sides for Apollo), the Deep River Boys were reluctant to change; instead, they followed the path of another great gospel group of the '40s — the Delta Rhythm Boys — and began performing more often in Europe.

They spent the early '50s shuttling back and forth, working in America with the Count Basie Band during 1951 and Erskine Hawkins, but also signed on for a record-breaking ten-week engagement at the London Palladium. They later left RCA for the independent Beacon Records label, which had been reactivated by owner Joe Davis. However, several singles for Beacon failed to generate any new interest and the Boys returned to RCA. In September of 1953, Cam Williams replaced Jim Lundy and the newly configured Deep River Boys returned to England and signed on for a nine-week appearance at the London Palladium. In the springtime of 1954, they once again found themselves back on Davis' Beacon Records for a second time. Throughout the rest of their career, the Deep River Boys continued to have sporadic releases on labels such as the RCA-subsidiary Vik Records, as well as Gallant and Wand.

George Lawson retired in 1950, followed six years later by Ed Ware in 1956 (he died shortly after). Vernon Gardner also left in 1956. Bass vocalist Ronnie Bright replaced Ware (he'd previously been in the Cadillacs). In 1963, Bright had a hit of his own, "Mr. Bass Man" (number 16) with Johnny Cymbal. He later joined Carl Gardner's lineup of the Coasters. Amazingly, a Harry Douglas-led Deep River Boys (with a revolving lineup of new members) continued to make appearances well into the 1980s, 50 years after their founding. In his 80's, Douglas continues to perform occasionally.

Album: London Harmony (Disc 1)
Bitrate: MP3@320K/s
Time: 63:28
Size: 145.3 MB
Styles: R&B, Vocal harmonies
Year: 2004
Art: Front

[2:23] 1. That Lucky Old Sun
[3:00] 2. Too-Whit, Too Whoo
[3:15] 3. Down In The Glen
[3:08] 4. Oh Tell Me Gypsy
[2:52] 5. Bewitched
[2:44] 6. Ashes Of Roses
[2:09] 7. I Still Love You
[2:39] 8. Sept..Ember Song
[2:41] 9. The Stars Are The Windows Of Heaven
[3:07] 10. Mister & Mississippi
[2:46] 11. May The Good Lord Bless & Keep You
[3:04] 12. Too Young
[3:24] 13. My Yiddisher Momma
[3:43] 14. Eili Eili
[2:22] 15. Deep Water
[2:38] 16. I Won't Cry Anymore
[2:46] 17. (It's No) Sin
[2:56] 18. Glad Rag Doll
[3:06] 19. Don't Trade Your Love For Gold
[3:41] 20. Only Fascination
[2:45] 21. Trying
[2:07] 22. Tennessee News Boy

London Harmony (Disc 1)

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Album: London Harmony (Disc 2)
Bitrate: MP3@320K/s
Time: 54:24
Size: 124.5 MB
Styles: R&B, Vocal harmonies
Year: 2004
Art: Front

[2:22] 1. A Kiss & A Cuddle Polka
[2:27] 2. Sweet Mama Tree Top Tall
[2:42] 3. My Castle On The Nile
[2:22] 4. Lucky Black Cat
[2:49] 5. Romance Al A Mode
[2:18] 6. Shake Rattle & Roll
[2:49] 7. St Louis Blues
[2:58] 8. Smack Dab In The Middle
[2:33] 9. I Wonder
[2:36] 10. Rock Around The Clock
[3:08] 11. Adam Never Had A Mummy
[2:34] 12. Rock A Beatin' Boogie
[2:20] 13. Just A Little Bit More
[2:45] 14. That's Right
[2:13] 15. Honey Honey
[2:36] 16. Whole Lotta Shaking Goin' On
[2:38] 17. There's A Goldmine In The Sky
[2:04] 18. Not Too Old To Rock And Roll
[2:18] 19. Slow Train To Nowhere
[3:17] 20. I'm Confessin'
[2:26] 21. TItchy Twitchy Feelin'

London Harmony (Disc 2)

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Tori Sparks - La Huerta

Bitrate: MP3@320K/s
Time: 54:04
Size: 123.8 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:54] 1. Nature Boy
[3:07] 2. Bitter Seeds
[4:54] 3. La Leyenda Del Tiempo
[5:27] 4. Kashmir
[4:00] 5. La Huerta
[5:15] 6. Until Morning
[4:45] 7. Veinte Anos
[3:24] 8. Little Wars
[3:29] 9. On My Mind
[4:05] 10. Vete
[5:55] 11. Malena
[5:43] 12. Wade In The Water

American singer-songwriter Tori Sparks made the move from Nashville, TN (US) to Barcelona. Her fifth album El Mar (Glass Mountain Records, 2014) was a collaboration with flamenco fusion trio Calamento. The album began as a curious experiment after a chance meeting at a benefit concert. Over months of rehearsals in a basement in Barcelona, a strange and beautiful synthesis sprang from the mix of Tori's blues, rock, and folk sensibilities with the Spanish musicians' atypical take on flamenco and jazz fusion. The bilingual project was an unexpected international success, called "indescribable, incredible" (Deruting), "adventurous, pushing the envelope" (Rolling Stone), and "extremely special, a monster of a record [Top 20 Albums of the Year]" (Orpheo). The band went on to triumph on the festival circuit (Voll-Damm International Jazz Festival, (In)Fusion Flamenca, the GREC Festival, others) as well as in tours in Germany, Spain, Portugal, Italy, and beyond. Two years later, Tori Sparks + Calamento have returned to the studio, but with one major difference: The quartet has become a quintet.

“La Huerta” (la ware-tah), means “the garden” in Spanish. This isn’t a garden composed of hothouse flowers and luxury landscaping – it’s the garden you’d find behind your house, full of nourishing plants, wild creatures, and weeds. It’s the patch of land where you plant your expectations, decisions, dreams, hopes, hatreds, losses, wishes, loves, mistakes. This is where the fruit of every seed you have ever planted grows… and grows.

Tori Sparks, Calamento and El Rubio presented the new album La Huerta for the first time in concert at Luz de Gas in Barcelona on February 23rd, and at Sala Clamores in Madrid on March 30th.

La Huerta

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