Ari Hoenig - Inversations

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 57:56
Size: 133,9 MB
Art: Front

(6:07)  1. Anthropology
(5:15)  2. Dark News
(7:51)  3. Rapscallion Cattle
(5:59)  4. WB Blues
(8:18)  5. Farewell
(7:42)  6. Falling in Love With Love
(7:58)  7. Without Within
(5:55)  8. Newfound Innocence
(2:47)  9. This Little Light of Mine

Drummer Ari Hoenig has always created emotionally satisfying and challenging jazz, and his streak continues with Inversations. The bebop classic "Anthropology begins with an interplay between Hoenig on drums and pianist Jean-Michel Pilc, with bassist Johannes Weidenmueller on pizzicato. The trio executes this classic jazz groove to perfection, playing with the tempo and displaying the tune's plasticity. "Dark News, an impressionistic yet sly piece written by Hoenig, complete with haunting piano and moody arco, begins as though it will be a free piece but Hoenig throws the listener a head fake by having it become something more conventional.  Will Vinson's full-bodied alto sax gives "Rapscallion Cattle an extra kick. The varied rhythms of the tune fit the title, with Hoenig laying down the law on the drums like Elvin Jones and Vinson's urgent, rock-solid playing the highlight. "WB Blues opens with a plodding, melancholy walk by Weidenmueller, with handmade drum highlights by Hoenig that sound like a talking drum instead of a drum kit. Pilc adds a piano full of Scotch and cigarette smoke. "Farewell is in the best ECM tradition, particularly in the interplay between piano and bass. The trio's interpretation of "Falling In Love With Love is almost muted until the song brightens up into mid-tempo. "Without Within features Jacques Schwarz-Bart on tenor saxophone on a nice mid-tempo turn; and "New Found Innocence is an off-center, driving and riveting waltz with more great, solid play all around. Hoenig returns to his 'talking drum' technique on "This Little Light of Mine, on which he also sings. That he sings off-mic indicates that the song isn't about his vocal but about the music itself. ~ Terrel Kent Holmes https://www.allaboutjazz.com/inversations-ari-hoenig-dreyfus-records-review-by-terrell-kent-holmes.php

Personnel: Ari Hoenig: drums, vocals; Jean-Michel Pilc: piano; Johannes Weidenmueller: bass; Will Vinson: alto sax (3); Jacques Schwarz-Bart: tenor sax (7).

Inversations

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Astrud Gilberto - Windy

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 27:46
Size: 65,1 MB
Art: Front

(2:02)  1. Dreamy
(2:05)  2. Chup Chup I Got Away
(2:50)  3. Never My Love
(3:23)  4. Lonely Afternoon
(2:41)  5. On My Mind
(2:34)  6. The Bare Necessities
(2:48)  7. Windy
(2:09)  8. Sing Me A Rainbow
(2:26)  9. In My Life
(1:33) 10. Crickets Sing For Anamaria (Os Grillos)
(3:12) 11. Where Are They Now?

While assembled from seemingly disparate sessions arranged by Eumir Deodato, Don Sebesky, and Pat Williams, Windy nevertheless proves one of Astrud Gilberto's most consistent and sublime efforts, artfully straddling the division between Brazilian bossa nova and American sunshine pop. Credit the aforementioned arrangers for much of the LP's appeal from a percolating rendition of the Association's title cut to a neo classical reinvention of the Beatles' "In My Life," the songs possess a lithe, shimmering beauty that perfectly complements Gilberto's feathery vocals. Still, she can't quite skirt the cloying sweetness that undermines so many of her mid-period Verve LPs son Marcelo, who first joined his mother on the previous Beach Samba for an excruciating duet version of the Lovin Spoonful's "You Didn't Have to Be So Nice," resurfaces here for a reading of The Jungle Book's "The Bare Necessities," proving yet again that children should be seen and not heard. ~ Jason Ankeny https://www.allmusic.com/album/windy-mw0000384258

Personnel: Astrud Gilberto - vocals; Marcelo Gilberto - vocals on "The Bare Necessities"; Patrick Williams - arranger, conductor (on track 4); Eumir Deodato - arranger, conductor (on tracks 1, 2, 5 and 7); Don Sebesky - arranger, conductor (on tracks 3, 6, 8, 9 and 11)

Windy

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Benny Goodman - The Harry James Years Vol. 1

Styles: Clarinet Jazz, Swing, Big Band 

Year: 1993
File: MP3@320K/s
Time: 66:19
Size: 156,6 MB
Art: Front

(2:38)  1. I Want To Be Happy (From "No, No, Nanette")
(3:12)  2. Chloe (Song of the Swamp)
(2:40)  3. Rosetta
(3:29)  4. Peckin' (From "New Faces of 1937")
(3:01)  5. Can't We Be Friends? (From "The Little Show") - Take 2
(4:05)  6. Sing, Sing, Sing (Introducing "Christopher Columbus")
(4:38)  7. Sing, Sing, Sing - Part 2
(3:11)  8. Roll 'Em
(2:43)  9. When It's Sleepy Time Down South - Take 2
(2:25) 10. Changes - Take 3
(2:47) 11. Sugarfoot Stomp - Take 1
(3:35) 12. I Can't Give You Anything But Love
(2:58) 13. Minnie the Moocher's Wedding Day (From "Cotton Club Parade")
(2:47) 14. Camel Hop - Take 1
(2:40) 15. Camel Hop - Take 2
(3:05) 16. Life Goes To A Party - Take 1
(3:07) 17. Life Goes To a Party - Take 3
(3:19) 18. Don't Be That Way - Take 1
(3:22) 19. Don't Be That Way - Take 2
(3:14) 20. One O'Clock Jump - Take 1
(3:14) 21. One O'Clock Jump - Take 2

This is a really cool mid-price collection, the first of two assembling all of the Goodman band's work with Harry James. There are 21 tracks, covering a 13-month period that saw the Goodman band at the peak of its personnel and popularity, every day breaking new ground for swing even as that music had already swept the country. And, as Loren Schoenberg points out in his superb notes, with Harry James in the lineup, the band had a trumpet man who could match Goodman himself, plus a drummer in Gene Krupa who kept the rhythm section tight. 

Most of this material ("Sing Sing Sing," etc.) has been out before somewhere, although it's been very carefully remastered here using the CEDAR system, placing it a cut above other reissues for sound quality. Additionally, there are three distinctly different, newly discovered outtakes of "Camel Hop" and "One O'Clock Jump," plus alternate takes on "Life Goes to a Party" and "Don't Be That Way." One couldn't pick better tracks to have become available in variant forms, representing the Goodman band at its most accessible and swinging. ~ Bruce Eder https://www.allmusic.com/album/the-harry-james-years-vol-1-mw0000096367

Personnel:  Clarinet – Benny Goodman; Alto Saxophone – Dick DePew (tracks: 1 to 3), George Koenig (tracks: 4 to 21), Hymie Schertzer; Bass – Harry Goodman; Drums – Gene Krupa; Guitar – Allen Reuss; Piano – Jess Stacy; Tenor Saxophone – Arthur Rollini, Babe Russin (tracks: 18 to 21), Vido Musso (tracks: 1 to17); Trombone – Murray McEachern (tracks: 1 to 17), Red Ballard, Vernon Brown (tracks: 18 to 21); Trumpet – Gordon Griffin, Harry James (2), Ziggy Elman

The Harry James Years Vol. 1

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Chris Barber - Chris Barber & His New Orleans Friends

Styles: Trombone Jazz
Year: 1993
File: MP3@320K/s
Time: 68:20
Size: 158,7 MB
Art: Front

(4:17)  1. Birth Of The Blues
(5:21)  2. Coquette
(3:13)  3. Ma She's Making Eyes At Me
(3:11)  4. Over In The Gloryland
(5:43)  5. Sentimental Journey
(3:56)  6. Yes Sir, That's My Baby
(5:01)  7. The Eyes Of Texas Are Upon You
(3:17)  8. Mood Indigo
(5:15)  9. My Blue Heaven
(5:58) 10. Let Me Call You Sweetheart
(5:20) 11. Nobody's Sweetheart
(5:49) 12. I Ain't Got Nobody
(3:34) 13. Lord Lord Lord
(8:18) 14. Panama

Barber/Ball/Bilk are a British traditional jazz trio comprised of trombonist Chris Barber, trumpeter Kenny Ball, and clarinetist Acker Bilk, whose individual recordings were compiled from time to time on joint best-of collections such as At the Jazz Band Ball (1994) and Boaters Bowlers & Bowties (2009). The recordings of Barber (born on April 17, 1930, in Welwyn Garden City, Hertfordshire, England), Ball (born on May 22, 1930, in Ilford, Essex, England), and Bilk (born on January 28, 1929, in Pensford, Somerset, England) were first compiled jointly in 1962 on The Best of Ball, Barber & Bilk, which was released in the wake of "Stranger on the Shore." Performed by Mr. Acker Bilk & the Leon Young String Chorale and originally released in October 1961, "Stranger on the Shore" was one of the biggest hits of 1962 in not only the U.K., where it was the best-selling single of the year, but also the U.S., where it topped the Billboard singles chart for a week in May. Even though "Stranger on the Shore" isn't featured on The Best of Ball, Barber & Bilk, which includes songs by Mr. Acker Bilk & His Paramount Jazz Band, Kenny Ball & His Jazzmen, and Chris Barber & His Jazz Band, the song's popularity, along with that of the British traditional jazz movement, propelled the compilation to the top of the U.K. albums chart in September 1962. From time to time over the years, the recordings of Barber, Ball, and Bilk were likewise compiled jointly. 

At the Jazz Band Ball (1994) is a particularly notable compilation of 1962 recordings drawn from the BBC Archives. In addition, Boaters Bowlers & Bowties (2009) is notable for its double-disc length as well as for its inclusion of "Stranger on the Shore." ~ Jason Birchmeier https://www.allmusic.com/artist/chris-barber-mn0000105761/biography

Chris Barber & His New Orleans Friends

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Joe Lovano - Trio Tapestry

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 48:11
Size: 111,5 MB
Art: Front

(3:42)  1. One Time In
(5:13)  2. Seeds Of Change
(3:40)  3. Razzle Dazzle
(4:07)  4. Sparkle Lights
(8:25)  5. Mystic
(3:40)  6. Piano/Drum Episode
(2:01)  7. Gong Episode
(6:18)  8. Rare Beauty
(3:49)  9. Spirit Lake
(4:16) 10. Tarrassa
(2:55) 11. The Smiling Dog

With all tonalities being created equal, on Trio Tapestries, Joe Lovano's first as a leader for ECM and one of the first releases of the label's fiftieth year, silence abides. Both as concept and as actuality, silence lays at the heart of this eleven song lattice. Even the spacing between the tracks hangs appended, allowing the music to arise and fall, like thoughts and non-thoughts amid meditation.  By way of an invocational duet, "One Time In" with its gongs, airy, ghostly cymbals and Lovano's brooding, deep-tone tenor saxophone, welcomes the listener into the deep space that Trio Tapestries becomes. Drummer and teenaged band mate Carmen Castaldi absolutely absorbs the spirit forces at work. Marilyn Crispell's piano, her touch more rounded and yielding than on her most recent trio outing, the often volcanic Dreamstruck (Not Two, 2018) with Harvey Sorgen and Joe Fonda, enters like a guiding dove on the near reverent "Seeds Of Change." Long connected as Crispell and Lovano are by their ties to the late Paul Motian, it's no small wonder they become two seeking, monk-like voices here. No bassist appears on Trio Tapestries and that suits these the trio just fine. Each instrument supplies its own supple bedrock. The impressionist's dream that is "Sparkle Lights" holds the true essence of the sound: three voices, space, and the will, or more likely the absolute human need to listen. "Mystic" highlights Lovano's beloved tarogato, a Hungarian folk instrument used in the past to rally the troops to battle, soars mournful yet blessed over Castaldi's tempered, sustained percussive-rumble. As they appear on several tracks, Chinese gongs have become central to Lovano's writing and questing nature. "Spirit Lake" looks onto some troubled water, reminding us that peace can fall prey to anxious intensity at any given moment. And even if "The Smiling Dog" closes Trio Tapestries on a most song-like note, it doesn't distract from the affirmative, ruminative arc of Lovano's larger, spiritual intent. ~ Mike Jurkovic https://www.allaboutjazz.com/trio-tapestry-joe-lovano-ecm-records-review-by-mike-jurkovic.php

Personnel: Joe Lovano: tenor saxophone, tarogato, gongs; Marilyn Crispell: piano; Carmen Castaldi: drums, percussion.

Trio Tapestry

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Ernie Watts - Analog Man

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 70:25
Size: 162,2 MB
Art: Front

(11:15)  1. Analog Man
(10:33)  2. Elements
( 6:45)  3. Paseando
( 6:59)  4. Clinton Parkview
( 5:37)  5. Company
(10:05)  6. Joshua
( 9:44)  7. A Lilac Grows
( 6:26)  8. Gee Baby
( 2:58)  9. Morning Prayer

The opening two-note piano riff, the crisp rim shots from the drums and the walking bass line on the opening number and title track get Analog Man off to the most swinging of starts. Saxophonist Ernie Watts introduces the melody and proceeds to craft a solo so full of invention, strength and lyricism that when he lays out to allow pianist Christof Saenger his turn the surprise is that only three minutes have passed.Watts' playing on "Analog Man is fluid and elegant and he raises the bar high for the musicians in his quartet. First pianist Saenger and then bassist Rudi Engel prove that they are up to the challenge of playing with one of jazz's premier saxophonists."Elements opens with drummer Heinrich Koebberling and Watts engaging in a highly charged duet, or rather duel, as the two seem to stoke each other's fire, recalling saxophonist John Coltrane and drummer Rashied Ali's sparring of forty years ago. Saenger maintains the tempo with a brief but lightning solo before the tune turns a corner and emerges into a short free-form, quasi-psychedelic passage with bowed bass, bird-like squawks from the saxophone and splashes of high register piano. Watts then steers the quartet into slightly more conventional territory but the tension never dips on the album's most ambitious track. Saenger's beautiful "Paseando sees Watts switch to soprano , and his gently soaring, snaking solo evokes the magic of Wayne Shorter, one of his primary influences. Saenger responds with a solo full of blues, space and teasing runs. 

There are three non-originals on Analog Man: French bassist Francois Moutin's "Clinton Parkview, Victor Feldman's classic "Joshua and, sandwiched between the two, Rickie Lee Jones' tender ballad, "Company. On "Joshua Watts plays some of his most inspired lines, a breathless, exciting and full-blooded tenor assault which sets the tone for his excellent quartet to follow. It is the Watts originals, however, which stand out. "A Lilac Grows shows that the saxophonist can pen a ballad as well as anybody, and the soulful, uplifting melody and elegant playing again recall Blue Note-era Shorter. The quartet turns to the blues on "Gee Baby, which bounces and shuffles along propelled by Engel's bass line. Watts serves up a typically robust, colorful solo before drums and piano enter and swing the tune all the way home. "Morning Prayer succeeds in capturing the essence of the sacred, that indefinable beauty particular to so much devotional music; Patricia Watts on Burmese temple bells sets off her husband's heartfelt unaccompanied improvisations. Analog Man is Watts' third quartet album on his own Flying Dolphin Records label and perhaps his strongest to date. Watts' writing and playing is better than ever. At least two tracks, the title track and "A Lilac Grows bear the hallmarks of instant classics, compositions which will inspire current and future generations of musicians, and there can surely be no higher compliment than that. ~ Ian Patterson https://www.allaboutjazz.com/analog-man-ernie-watts-flying-dolphin-records-review-by-ian-patterson.php

Personnel: Ernie Watts: saxophones; Christof Saenger: piano; Rudi Engel: bass; Heinrich Koebberling: drums; Patricia Watts: Burmese temple bells (9).

Analog Man

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Bill Frisell, Fred Hersch - Songs We Know

Styles: Guitar And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 56:51
Size: 131,0 MB
Art: Front

(3:05)  1. It Might as Well Be Spring
(4:44)  2. There Is No Greater Love
(6:03)  3. Someday My Prince Will Come
(3:44)  4. Softly as in a Morning Rise
(5:27)  5. Blue Monk
(5:53)  6. My One and Only Love
(5:29)  7. My Little Suede Shoes
(6:19)  8. Yesterdays
(5:07)  9. I Got Rhythm
(6:31) 10. Wave
(4:22) 11. What Is This Thing Called Love

Pairing two such superior soloists as guitarist Bill Frisell and pianist Fred Hersch seems a most unlikely match. Despite having gigged together a couple times in the 1980s, the only thing the two seem to have in common is they both record for Nonesuch Records. As it turns out, it was Fred Hersch's idea to finally get the two together in the studio - and it couldn't have been a more inspired combination. The brilliant, eclectic Frisell is perhaps the most original guitarist of the last two or three decades and he's hardly ever combined his unique sound arsenal with a pianist. Hersch, on the other hand, has carved out a substantial body of work illustrating his sensitivity as a soloist and finesse as a superior accompanist (particularly for singers), yet he's almost never heard with a guitarist. The result is the marvelous new Songs We Know, a fine song cycle of contemporary jazz standards, played with a laid-back ease that only two such sharp and original stylists can bring to such well-known music. Frisell and Hersch concur that the session could have gone many different ways, but it was their mutual love for the standards, with their open palette of simplicity, history and potential for new interpretation that lead to the inspired sounds heard on Songs We Know. Both leaders have logged many miles playing these and other standards too: Frisell, as part of Paul Motian's trio with tenor giant Joe Lovano, and Hersch, through his recent Plays Monk and Plays Rogers & Hammerstein discs and, even more substantially, on his jazz-the-classics Angel recordings. But, together, Frisell and Hersch - like Bill Evans and Jim Hall did together before them bring to bear a fresh chemistry that is too rarely applied to such oft-played material. Hersch remains a melodic, sensitive even erudite explorer. And Frisell maintains his sense of humor and displays his ever-inspired internal logic. Together, they explore and experiment with the contours of each other's sound and style and arrive some place that neither might have approached on their own before. The eleven Songs We Know have many highlights. Chief among the pleasures to be heard here include the playful and unusually funky "There Is No Greater Love," where Frisell's textbook witticisms engage with Hersch's perky, almost abstract commentary. 

Likewise, Antonio Carlos Jobim's "Wave" is creative music at its most expressive: where Hersch's piano provides the soft undercurrent while Frisell's sprite, melodic tones carry the tide in, conveying the hypnotic beauty of the sea that Jobim intended. The two engage most spectacularly, and so nearly at odds, on "What is This Thing Called Love," where the metallic Frisell frolics in the warm cushions Hersch's block chords provide. Then, the pair commiserates romantically (a Hersch specialty) on the lullaby-like (a Frisell specialty) "Someday My Prince Will Come." For real fireworks, listen to how quickly the two depart from the corniness of "Softly As In A Morning Sunrise" to explore a Monk-like tango of arched, deconstructed sonorities. Then, hear how their dissimilarities are unified on the dance-like "My Little Suede Shoes," where Frisell lays down a jig style head while Hersch's interacts brilliantly with lovely tango cadences. Songs We Know is a success - and, more notably, a singularly pleasurable listening experience because it's about more than songs. It's about sounds. 

Separately, these two stylists have crafted much music that is about the creation and interaction of sounds. Together, they have achieved something special, or what Boston Globe jazz critic Bob Blumenthal calls in his excellent liner notes, "an example of how texture works to shape a performance as directly as melodic or rhythmic invention." Recorded in San Francisco last year, Songs We Know pins down the provocative sensitivity both Fred Hersch and Bill Frisell bring to creative music. But more importantly, it captures the wondrous result of two great minds spontaneously being expressed as one strong voice. It is a collection that calls out for more, hopefully an added set of the pair's originals. Until then, Songs We Know are songs creative music listeners will want to hear. ~ Douglas Payne https://www.allaboutjazz.com/songs-we-know-fred-hersch-nonesuch-records-review-by-douglas-payne.php?width=1920

Personnel:  Fred Hersch - piano; Bill Frisell - guitar

Songs We Know

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Lester Young - Lester Young Exercise In Swing

Styles: Saxophone Jazz, Swing
Year: 2012
File: MP3@320K/s
Time: 63:08
Size: 147,9 MB
Art: Front

(4:07)  1. I've Found A New Baby (I Found A New Baby)
(4:50)  2. The Man I Love
(4:04)  3. Peg O' My Heart
(4:11)  4. Mean To Me
(3:54)  5. Back To The Land
(4:05)  6. I Cover The Waterfront
(3:08)  7. It's Only A Paper Moon
(4:28)  8. Lester Leaps Again
(3:11)  9. Afternoon On A Basie Ite
(2:56) 10. Three Little Words
(3:08) 11. Sometimes I'm Happy
(4:46) 12. After Theatre Jump
(4:11) 13. Six Cats And A Prince
(3:54) 14. Destnation K.C.
(5:07) 15. Body And Soul
(2:59) 16. Exercise In Swing

While Giants of Jazz might not be considered a very prestigious or comprehensive label, there's no denying that some of their reissue compilations serve jazz lovers as mini-surveys illuminating great moments in swing and bop. One of the best entries in the entire Giants of Jazz catalog is probably the magnificent Bud Freeman's 1928-1939. Similarly wonderful and highly recommended for those who are forever in love with the spirit and sounds of Lester Young, Exercise in Swing is a sublime if chronologically obfuscated sampler of Prez's best recorded performances dating from a slice of time running between the summer of 1942 and the spring of 1946. The album opens with most of the master takes from a trio session produced by Norman Granz in either March or April of 1946; here Prez collaborated with pianist Nat King Cole and drummer Buddy Rich. Without any exaggeration whatsoever let it be said that these tracks (one through six) constitute some of Lester Young's most inspired work and indeed some of the best intimate small group swing ever played in a recording studio. After the famous January 1946 Aladdin recording of "It's Only a Paper Moon" the rest of this compilation dwells mainly upon Young's adventures as a Keynote recording artist. "Sometimes I'm Happy" and "Afternoon of a Basie-ite" come from Prez's first-ever recording date as a leader (not counting a relatively obscure series of sessions co-led with his brother Lee Young). Four other vintage Keynote selections feature the Kansas City Seven, which was essentially a scaled down Count Basie band with Basie billed as "Prince Charming." 

"Three Little Words" was performed by the Kansas City Six, a Commodore jam band that included trumpeter Bill Coleman, trombonist Dicky Wells and pianist Joe Bushkin. This outstanding Lester Young sampler closes with a marvelous 1942 rendering of "Body and Soul" (another daydream for trio involving Cole and bassist Red Callender) and the stimulating "Exercise in Swing," an aerobic romp recorded for the Savoy label on April 18, 1944. Without piling on superlatives let's just say this is a knockout Lester Young disc that you probably need more than you even realize at this moment; ideally it would incite you to obtain this man's complete Keynote, Aladdin, Commodore, Savoy and Verve recordings. ~ arwulf arwulf https://www.allmusic.com/album/exercise-in-swing-mw0000603215

Lester Young Exercise In Swing

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Tim Allhoff - Lovebox Sessions

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 45:26
Size: 105,4 MB
Art: Front

(2:39)  1. Regen
(2:51)  2. Feivel
(6:39)  3. Rabbit in Your Headlights
(4:08)  4. Sarabande
(2:56)  5. October Song
(3:26)  6. Satoru Nakata's Dream
(5:44)  7. Improvisation on Ravel's Piano Trio (Mvt. III)
(2:27)  8. End of Story
(3:54)  9. O Que Sera
(3:28) 10. Beyond the Clouds
(7:09) 11. Julia

Three highly acclaimed trio albums have been given time by ECHO award winner Tim Allhoff, and his first solo album is now being released with »Lovebox Sessions«. Honest, informal and charming makes the celebrated pianist a very personal statement that lives above all from the reduction. It sounds like handmade songs and a living room atmosphere and looks amazingly authentic and »new«. An old, creaking piano, the warm rustling of vintage keyboards, a dusty dulcimer, an aged harmonium. The Augsburger "Lovebox-Studios" last winter served for three weeks as a musical playground for Allhoff and the producer Michael Kamm. Translate By Google https://www.amazon.de/Lovebox-Sessions-Tim-Allhoff/dp/B015GH036M

Personnel:  Piano, Synth, Melodica, Glockenspiel – Tim Allhoff; Bass – Michael Kamm; Drums – Jakob Mader; Guitar – Martin Schmid

Lovebox Sessions

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Nicki Parrott - From New York To Paris

Styles: Vocal, Post Bop
Year: 2019
File: MP3@320K/s
Time: 59:01
Size: 136,6 MB
Art: Front

(3:51)  1. I Love Paris
(4:27)  2. There's A Boat Leaving Soon For New York
(5:30)  3. I Will Wait For You
(4:32)  4. On Broadway
(4:03)  5. The Brooklyn Bridge
(4:29)  6. If You Go Away
(4:15)  7. Under Paris Skies
(4:28)  8. I'll Take Manhattan
(5:09)  9. Broadway
(4:13) 10. April In Paris
(4:28) 11. Do You Miss New York
(1:29) 12. Slaughter On Tenth Avenue
(3:59) 13. If You Love Me
(4:01) 14. La Mer

Jazz bass and vocal star Nicki Parrott performs her magic on fourteen city-themed tunes. Multifaceted jazz bassist and singer, Nicki Parrott, showcases the warm phrasing of her unique vocals while swinging the music to perfection. New York and Paris are two cities for which vocalist/bassist NICKI PARROTT has deep affection. About six years ago she recorded an album titled The Last Time I Saw Paris that contained a variety of songs related to France, either by subject or by composer. On her latest album, From New York to Paris (Arbors 19466), she splits her attention between songs related to France or to New York City. To assist her in her explorations she has enlisted Harry Allen on tenor sax, Gil Goldstein on accordion, John di Martino on piano and Alvin Atkinson on drums. 

The group has a ripping good time addressing the 14 songs on the program. Parrott has developed into one of the elite singers on the jazz scene, and her bass playing is on the same level. Her cohorts are equally adept. Whether attending to songs about New York like ''On Broadway,'' ''Manhattan,'' with some new lyrics by Parrott and Brian Wittman, ''Broadway'' or ''Do You Miss New York,'' or looking for inspiration across the Atlantic on tunes such as ''I Love Paris,'' ''Under Paris Skies,'' ''April in Paris'' or ''La Mer,'' they find spot on ways to present them. 

An added bonus is the set of liner notes by Roger Crane that add some intelligent commentary to accompany the music. Parrott has given us another winner! https://www.amazon.com/New-York-Paris-Nicki-Parrott/dp/B07NHPMMW1
 

''Nicki brings clear articulation, beautiful tone, a sense of rhythmic assuredness and a touch of allure to inventive arrangements.'' ~ Jazz Times

''She has that special gift you cannot buy in a music store.'' ~Les Paul

''Nicki Parrott could make anyone love jazz.'' ~ Cabaret Scene

From New York To Paris

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Freddie Hubbard - Jazz Moods - Hot

Styles: Trumpet Jazz
Year: 1970
File: MP3@320K/s
Time: 72:03
Size: 165,8 MB
Art: Front

(12:09)  1. Red Clay
( 7:01)  2. Take It To The Ozone
(11:03)  3. First Light
(10:42)  4. The Intrepid Fox
( 7:34)  5. Sky Dive
( 6:04)  6. Theme From Kareem
(17:26)  7. Straight Life

Jazz Moods: Hot collects various tracks from trumpeter Freddie Hubbard's '70s CTI label recordings. These are stellar, funky, and forward-thinking cuts that, while highly regarded, are often overlooked in favor of Hubbard's '60s Blue Note recordings. While fans of '70s fusion will want to pick up the complete albums, this works as a solid introduction to the second half of Hubbard's career. Included are all the title songs from the albums, including 1970's "Red Clay" and 1972's "First Light" as well as such standout album tracks as "Theme From Kareem" off 1978's Super Blue. ~ Matt Collar https://www.allmusic.com/album/jazz-moods-hot-mw0000475807

Jazz Moods - Hot

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Anita Harris Quartet - Moments in Time

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 66:34
Size: 153,7 MB
Art: Front

(3:59)  1. Sunday
(3:35)  2. You've Changed
(4:12)  3. Like Someone in Love
(5:42)  4. Laura
(4:01)  5. I Can't Give You Anything but Love
(5:12)  6. More Than You Know
(4:03)  7. At Long Last Love
(3:31)  8. Solitude
(5:47)  9. I Dedicate This to You
(3:43) 10. Prelude to a Kiss
(4:48) 11. I'm Old Fashioned
(3:52) 12. You Took Advantage of Me
(5:31) 13. I Remember Clifford
(4:16) 14. Lover Come Back to Me
(4:13) 15. My Romance

Anita Harris made her debut before a jazz audience in 1993, at the 13th Merimbula Jazz Festival, accompanied as she is here by Kim Harris on piano, Evan Harris on electric bass and Alan Richards on drums. Her debut CD, Moments in Time, originally recorded in 1998, is now re-released under the Newmarket Music label, following upon the success of her 2005 release, The Wee Small Hours. http://newmarketmusic.com/album/Anita-Harris-%252d-Moments-In-Time.html

Moments in Time

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Yusef Lateef - Prayer To The East

Styles: Saxophone, Flute and Tambourine Jazz 
Year: 1957
File: MP3@320K/s
Time: 44:46
Size: 103,5 MB
Art: Front

( 9:54)  1. A Night In Tunisia
(13:09)  2. Endura
( 8:18)  3. Prayer To The East
( 6:45)  4. Love Dance
( 6:37)  5. Lover Man

A half-a-century following its original release, Prayer to the East by Yusef Lateef remains a seemingly blessed moment of creative interaction between American modern jazz and the music of the so-called Arab East, the latter evoked in essences ranging from snippets of traditional musical scales to picture postcards of Tunisian nightlife. The second half of the '50s was a busy period for Lateef, at that time under contract to the Savoy imprint. This album as well as three others were all cut in October of 1957, establishing as much documentation as could ever be needed of a transition from a player in the swing context of bandleaders such as Lucky Millinder and Hot Lips Page to a bold adventurer. Extended improvisations and the introduction of unusual instruments were important parts of this development and these recordings, yet the impression should not be one of austerity. Lateef's use of the flute turned out to be commercial, one of many instances of this particular axe finding more favor among the listening public than it tends to within the ranks of musicians themselves. Lateef and comrades may have been going for deep listening, still it is worth pointing out that an admirer of sides such as Prayer to the East pointed out how much fun him and his buddies used to have listening to this music while playing pool. The lengthy "Night in Tunisia" is nothing but a great moment in small modern jazz combo recordings, allowing Lateef's budding interest to bloom in an intriguing light. Flugelhornist Wilbur Harden was also a collaborator of John Coltrane's in the same period. The brassman dodges imitations of the song's composer, high-note trumpet maestro Dizzy Gillespie, instead hovering in his mid-register, revealing a joke in a turn of phrase as if he was being spied on. The album's title track comes from drummer Oliver Jackson, so tightly affiliated with swinging syncopation that his nickname was "Bops Junior." Later drummers working in Lateef's combos such as Frank Gant and of course Elvin Jones would introduce more polyrhythms, percolating a brew that by the end of the '50s had much less of the aroma of a mainstream cup of jazz. Some listeners may find, however, that a player such as Jackson creates more excitement, more workable dynamics, the tension of a stylistic clash that is inevitably hinted at rather than shouted. "Lover Man" may have been an overdone number in the jazz combo repertory even by 1957; the subsequent years would only redeem this particular performance were it more substantial. A formidable Lateef original and Les Baxter's "Love Dance" are the two concluding numbers, each in the six-minute range without a wasted moment in either case. The leader's improvisations are perfect, full of interesting choices of register, a man in motion who somehow masks his true dimensions. ~ Eugene Chadbourne https://www.allmusic.com/album/prayer-to-the-east-mw0000120364

Personnel:  Yusef Lateef - tenor saxophone, flute, tracks 3 and 4, tambourine; Wilbur Harden - flugelhorn; Hugh Lawson - piano, ocarina; Ernie Farrow - bass; Oliver Jackson - drums, gong

Prayer To The East

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Freddie Roach - Down To Earth

Styles: Jazz, Post Bop
Year: 1962
File: MP3@320K/s
Time: 38:46
Size: 89,6 MB
Art: Front

(6:43)  1. De Bug
(5:50)  2. Ahm Miz
(6:30)  3. Lujan
(8:09)  4. Althea Soon
(6:36)  5. More Mileage
(4:55)  6. Lion Down

Freddie Roach differentiated himself from the legions of soul-jazz organists on his debut album, Down to Earth. Many jazz organists played the instrument down and dirty, and while there's funk in Roach's playing, his style is ultimately lighter than many of his peers, with clean, concise solos and chords. His backing trio guitarist Kenny Burrell, tenor saxophonist Percy France, and drummer Clarence Johnston follows his lead, providing supple instrumental support that never loses sight of the groove. Furthermore, Burrell and France both have their chances to shine, contributing some nicely understated solos. Nevertheless, Down to Earth remains Roach's show; he wrote five of the six songs and his organ is at center stage on each number. The legato blues of "De Bug" is a terrific showcase for Roach's elegantly funky style, while the sprightlier "Ahm Miz" proves that he can get gritty if he so chooses. But the signature of Down to Earth is Roach's tasteful bluesy grooves, which prove to be just as entertaining as the hotter styles of his Blue Note peers Jimmy Smith and John Patton. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/down-to-earth-mw0000759652

Personnel:  Freddie Roach - organ; Percy France - tenor saxophone; Kenny Burrell - guitar; Clarence Johnston - drums

Down To Earth

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Cory Weeds - Live At Frankie's Jazz Club

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 65:15
Size: 149,9 MB
Art: Front

(8:22)  1. Bluesanova
(6:39)  2. Mood Malody
(6:55)  3. Gypsy Blue
(6:10)  4. Consequence
(7:24)  5. Fabienne
(7:28)  6. Formidable
(8:15)  7. Up Tight's Creek
(5:21)  8. Tolypso
(8:38)  9. The Three Minros

Yes, this is saxophonist/master of all livelihoods Cory Weeds' quintet, the year is 2018, and the group is beyond a doubt Live at Frankie's Jazz Club in Vancouver, British Columbia. But close your eyes, open your ears and it's the unapologetic re-creation of a quintessential hard-bop session from the historic Blue Note / Prestige years of the 1950s-60s. Indeed, to underscore the point, the quintet's pianist is the venerable Harold Mabern who actually performed and/or recorded back in the day with such giants as Lee Morgan, Jackie McLean, Freddie Hubbard, Tina Brooks and a who's who of celebrated masters from a glorious age that may never return but whose legacy rests secure in the earnest hands of Weeds and his dexterous teammates. The buoyant concert gets under way on an assertive note with Morgan's walking "Bluesanova" (introduced by Michael Glynn's resonant bass) and segues into Mal Waldron's lyrical "Mood Malody" before delving into impressive original compositions by Brooks, McLean, Walter Davis Jr. and Swiss alto overseer George Robert. 

Davis' three-quarter time "Formidable" is one of several highlights with the ensemble in lock-step to undergird perceptive solos by Weeds, Terell Stafford and Glynn. Brooks' freewheeling "Up Tight's Creek," which follows, offers more of the same with Stafford's nimble trumpet brightening the landscape, Weeds in blue-chip form and Glynn adding another thoughtful statement. McLean, whose high-speed "Consequence" is heard earlier in the program, caps the evening with his sunny Caribbean-flavored "Tolypso" and "The Three Minors," whose irrepressible tempo and boppish licks epitomize the time in which it was written. Weeds, Stafford and Mabern are in superior form again, as is drummer Julian MacDonough who adds another driving solo on "Consequence." Robert (Weeds' longtime mentor who died far too soon, in 2016) wrote the handsome ballad "Fabienne," on which Weeds is featured, Brooks the smooth, Latin-leaning "Gypsy Blue," wherein Stafford, Weeds and Mabern are at their self-controlled and lyrical best. 

While tipping their hats to the past, Weeds and his able colleagues prove conclusively that music of this caliber is essentially timeless. A superior concert in every respect, one that should especially gladden the hearts of those who call to mind with fondness the short-lived but incomparable era of hard-bop jazz. ~ Jack Bowers https://www.allaboutjazz.com/live-at-frankies-jazz-club-cory-weeds-cellar-live-review-by-jack-bowers.php

Personnel: Cory Weed: alto saxophone; Terell Stafford: trumpet; Harold Mabern: piano; Michael Glynn: bass; Julian Macdonough: drums.

Live At Frankie's Jazz Club

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Don Elliott - Double Trumpet Doings

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 40:34
Size: 94,6 MB
Art: Front

(3:06)  1. Mine
(5:03)  2. Vampire Till Ready
(4:59)  3. Your Own Iron
(4:55)  4. Easy To Remember
(3:19)  5. The Bull Speaks
(5:07)  6. Dominick Seventh
(4:40)  7. Gargantuan Chant
(5:06)  8. When Your Lover Has Gone
(2:14)  9. Henry's Mambo
(2:00) 10. Theme And Inner Tube

Originally issued under the slightly more esoteric title “New Counterpoint for Six Valves” this is a disc dominated mainly by the frequent dialogues between its two principle soloists. Elliott and Dedrick make a disparate pair and their contrasting sounds are prime reason for the program’s more interesting outcomes. Elliott was a follower of bebop and renowned more for his talents as a vibraphonist than as a brassman. A collaborator at various times with the likes of George Shearing, Benny Goodman and Buddy Rich his artistic enterprises also moved beyond the realms of jazz into Broadway musicals and novelty tunes. Dedrick was more the product of a swing upbringing and his tone is shaped by a mellower, less overtly complicated approach. In spite of Elliott’s positioning as leader of the session it is Hyman who crafts all arrangements for the tunes and pens the creatively titled original compositions that dominate the disc. In fact it’s these originals that often prove more intriguing harmonically and melodically than the three time-worn standards that round out the group’s songbook. The pianist makes excellent use of the two-trumpet front line and also writes a variety of interesting passages for Lowe’s guitar strings. To aid listeners in distinguishing between the two trumpeters Dedrick affixes a mute to the bell of his horn on the majority of his solos. With mute in place his already sonorous sound takes on an even more euphonious dimensions. Expectedly the rhythm team of Safranski and Lamond usually play the wallflowers in the sextet only stepping up to take a crack at solos on rare occasions such as Safranski’s brief break on “Dominick Seventh.” Hyman however doesn’t relegate himself to the backdrop and submits comely statements on several of the numbers including an attractive solo on “Easy to Remember.” In the final analysis this disc is far from essential and sometimes strays into the schmaltzy side as on the Herb Alpert-tinged “The Bull Speaks.” But it does offer an intriguing diversion and listeners looking for a session where the focus is planted firmly on trumpet will probably be pleased by what they find here. ~ Derek Taylor https://www.allaboutjazz.com/double-trumpet-doings-don-elliott-jazzland-recordings-review-by-derek-taylor.php

Personnel: Don Elliott- trumpet; Rusty Dedrick- trumpet; Mundell Lowe- electric guitar; Dick Hyman- piano; Eddie Safranski- double bass; Don Lamond- drums.

Double Trumpet Doings

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Donny McCaslin - Blow.

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 55:10
Size: 127,2 MB
Art: Front

(4:29)  1. What About The Body
(4:53)  2. Club Kidd
(9:13)  3. Break the Bond
(4:30)  4. New Kindness
(4:02)  5. Exactlyfourminutesofimprovisedmusic
(6:18)  6. Tiny Kingdom
(4:22)  7. Great Destroyer
(5:52)  8. The Opener
(5:40)  9. Beast
(1:12) 10. Tempest
(4:33) 11. Eye of the Beholder

At first listen, Blow sounds more like a rock album than a jazz one. The catchy "What About The Body" could arguably be mistaken for one of King Crimson's more vituperative numbers featuring Adrian Belew. Ryan Dahle's emotionally-charged vocals are equally at the forefront of the explosive "Club Kidd." But the selection also includes three instrumental tracks too, such as the grungy, anthemic "Break The Bond," the polyrhythmic "Beast," and "Exactlyfourminutesofimprovisedmusic" (which speaks for itself) all underpinned by Tim Lefebvre's pulsating bass lines. This is way different from McCaslin's previous albums Beyond Now ( Motéma Music, 2016), which exuded a ruminative quality, or its impressive predecessor Fast Future (Greenleaf, 2015). Then of course there was the 2016 paradigm shift that was David Bowie's Blackstar, which almost overnight transformed McCaslin from an imaginative and well-respected New York jazz saxophonist and composer into an internationally renowned musician, partly due to its principal's death two days after its release but also because his contribution helped make Bowie's swan song one of his best and certainly most poignant albums. The darkly melodramatic "Tiny Kingdom" offers semblances of Jim Morrison or even Bowie, whilst the airy pop-ish vocal harmonies on "Great Destroyer" channel R.E.M. or even, at a pinch, the Beach Boys. On "The Opener," featuring Mark Kozelek's (from Sun Kil Moon) spoken vocals, the hypnotic music and narrative are complemented by Kozelek's engaging voice. The closer, "Eye Of The Beholder" features sultry vocals by fellow Bowie collaborator Gail Ann Dorsey and is unequivocally beautiful; arguably, the album's masterstroke. ~ Roger Fabey https://www.allaboutjazz.com/blow-donny-mccaslin-motema-music-review-by-roger-farbey.php

Personnel: Donny McCaslin: tenor saxophone; Ryan Dahle, Jeff Taylor, Gail Ann Dorsey: vocals; Jason Lindner: synths, piano; Tim Lefebvre: electric bass; Mark Guiliana, Zach Danziger: drums, programming.

Blow.

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Keith Brown - Sweet & Lovely

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 64:29
Size: 148,6 MB
Art: Front

(1:07)  1. Meudon-by Night
(6:01)  2. The Very Thought of You
(5:03)  3. Golden Lady
(5:01)  4. All of You
(7:18)  5. Lady In Jazz
(5:48)  6. Sweet & Lovely
(4:54)  7. What Is This Thing Called Love
(4:50)  8. J Roll
(5:39)  9. Sophisticated Lady
(4:13) 10. Just Friends
(6:56) 11. Stablemates
(7:34) 12. You Don't Known What Love Is

Keith L. Brown is a pianist, composer, bassist and educator. This son of three-time Grammy nominated jazz pianist/composer Donald Brown was born in Memphis, TN and raised in Knoxville, TN. Keith earned his Bachelor of Music degree from the University of Tennessee at Knoxville in 2009 and completed his Masters of Music Degree in May 2011. In 2010, Keith was invited to Meudon, France to record his debut jazz CD entitled “Sweet and Lovely” on the Space Time Records label. CD personnel included Essiet Essiet, Marcus Gilmore, Stephane Belmondo, and Baptiste Herbin. His CD was released world-wide on April 15th, 2011 to rave reviews. Keith’s piano virtuosity has placed him in demand on the international jazz scene. Keith L. Brown began playing piano and bass at an early age. Born into a musical family, both Keith's parents played music and many of his aunts and uncles are exceptionally musically talented as well. His father Donald is a world renowned jazz pianist having performed with many greats and his mother Dorothy is a pianist also and plays various woodwind instruments. Keith first learned to play songs of R&B artists like Stevie Wonder by ear and then started classical piano lessons at 8yrs old. 

Donald Brown nurtured Keith’s musical ambitions by teaching him how to play his original compositions and jazz standards. Keith was also influenced by artists such as Phineas Newborn Jr., James Williams, and Mulgrew Miller. Keith and his brothers, Kenneth (drums) and Donald Brown Jr., were deep into hip-hop and rap music growing up. Keith began to study jazz seriously after he graduated high school. By age 18, Keith was playing piano and bass around Knoxville in a variety of jazz, r&b, funk, and country bands. Since he began playing jazz, at the age of 18, Keith has been fortunate to perform and record with some amazing musicians. Keith has shared the stage with great jazz artist such as Mike Clark, Jeff Coffin, Essiet Essiet, Bill Mobley and his String Orchestra, Billy Pierce, Greg Tardy, Terreon Gully, Warren Wolf, Benny Golson, and Russell Gunn. Keith has also toured with such greats as Bobby Watson, Ray Drummond, and Marvin “Smitty” Smith. In addition, he has also performed with some of the great young musicians of today such as Kenneth Whalum III, Marcus Gilmore, French saxophonist Baptist Herbin and many others. Keith continues to draw inspiration from his roots in R&B, Funk, Classic, Jazz and Hip-Hop and constantly explores new ways of integrating these influences. “I always try to write and perform in a way that is intellectual but that has a strong sense of melody or groove that can touch those who are open enough to listen.” Keith recently completed a new recording project released on August 29, 2015 on the Space Time Record Label. The album features mostly original compositions by Keith and features saxophonist Greg Tardy on tenor, Kenneth Whalum III on tenor and soprano saxophones, Clint Mullican on bass, Jamel Mitchell on tenor saxophone, Mike Seal on guitar, and Grammy Award Winning drummer Terreon “Tank” Gully who also serves as the producer. https://musicians.allaboutjazz.com/keithbrown

Personnel:  Keith Brown - piano; Essiet Essiet - bass; Marcus Gilmore - drums; Stephane Belmondo - trumpet, flugelhorn; Baptiste Herbin - alto, soprano sax

Sweet & Lovely

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Larry Coryell - The Power Trio: Live in Chicago

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 64:31
Size: 149,8 MB
Art: Front

( 0:07)  1. Spoken Intro to Autumn leaves
( 9:58)  2. Autumn Leaves
( 8:07)  3. Black Orpheus
( 4:39)  4. Love Is Here to Stay
(11:03)  5. Star Eyes
( 4:54)  6. Something
( 7:10)  7. Bumpin' on Sunset
( 8:08)  8. Good Citizen Swallow
(10:21)  9. Bag's Groove

After two recent electric fusion project records with drummer Steve Smith ( Cause and Effect and Count's Jam Band Reunion ), veteran fusion guitarist and composer Larry Coryell returns with Power Trio: Live in Chicago. In this live set captured at the Jazz Showcase, this trio swings through mellow moods with traditional jazz sonic textures, in contrast to the classic fusion that won Coryell fame in the early '70s. The sparse instrumentation, consisting of Larry Gray on upright and electric bass and Paul Wertico on drums, leaves plenty of room for Coryell's guitar to shine. His playing shifts immaculately from bright comping to nimble clean runs or plucked arpeggios, and the rhythm section backs him with subtle confidence. The songs on Live in Chicago range from snappy electric jazz like "Autumn Leaves" through slow dirges like "Black Orpheus" and "Bumpin' on Sunset," to acoustic ballads like "Love is Here to Stay," and Coryell's guitar stirs with beauty in the solo piece "Something." He displays mastery of all these varied styles, but the melodies can't match the catchy heads from his fusion work, like "Scotland I." Coryell and his band perform a solid set of traditional electric and acoustic jazz on Live in Chicago , and the recording captures the crisp feel of live performance, but the music doesn't have the same memorable spark as Coryell's classic or recent fusion. ~ Scott Andrews https://www.allaboutjazz.com/power-trio-live-in-chicago-larry-coryell-review-by-scott-andrews.php

Personnel: Larry Coryell: guitars, Larry Gray: basses, Paul Wertico: drums.

The Power Trio:  Live in Chicago

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Claudia Acuña - Turning Pages

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 37:55
Size: 87,1 MB
Art: Front

(4:17)  1. Aguita de Corazon
(3:19)  2. Hey
(4:52)  3. But Beautiful
(4:11)  4. Los Tres Deseos de Siempre
(3:56)  5. Futuro
(5:07)  6. Bird Alone
(5:29)  7. Silencio
(3:12)  8. Home
(3:29)  9. Tu Sonrisa

There's no sense in calling Claudia Acuña’s Turning Pages a comeback. Just in the past two years she’s collaborated with heavyweights such as Henry Threadgill, Susie Ibarra, Elio Villafranca and Billy Childs (singing on the title track of his 2017 album Rebirth, a tune based on her composition). But this is the Chilean vocalist’s first album in a decade after releasing five widely heralded CDs in the aughts, projects that documented her central position in the wave of Latin American artists who brought so much creative energy to the New York scene around the turn of the century. Turning Pages isn’t so much a comeback as a reintroduction to an artist who is stepping forward as a songwriter too. Working closely with Colombian-born string wizard, arranger, and producer Juancho Herrera (whose credits include collaborations with Lila Downs, Sofia Rei, and Marta Gomez), she co-composed five of the album’s nine tunes, including the graceful nuevo cancion-style “Aguita de Corazón” and the celebratory anthem “Hey,” both written with pianist Ray Angry. The other three co-writes are with Herrera, most memorably “Futuro,” a love song to her son. https://jazztimes.com/reviews/albums/claudia-acuna-turning-pages-defin/

Turning Pages

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