Steve LaSpina - When I'm Alone

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 64:49
Size: 149,4 MB
Art: Front

(8:29) 1. Soaring
(7:23) 2. Young hearts
(5:03) 3. Last time out
(9:15) 4. When I'm alone
(9:32) 5. Explorations
(4:09) 6. My romance
(7:07) 7. Mirage
(7:38) 8. Anesthesia
(6:07) 9. Only trust your heart

Bassist Steve LaSpina had an opportunity to record seven of his originals (plus two standards) on the post-bop quintet date When I'm Alone. The music ranges greatly in emotions and is highlighted by the intense "Soaring," the waltz "Young Hearts" (with Billy Drewes sounding quite fluent on soprano), a solo bass feature on "My Romance," and a spooky "Anesthesia." Although guitarist Vic Juris and pianist Marc Copland have plenty of fine spots, the solo honors are usually taken by Drewes (particularly on soprano) and LaSpina. The individual melodies are not particularly memorable, but the moods are often haunting and the playing by the quintet is superlative. Overall When I'm Alone is a high-quality example of modern jazz.~ Scott Yanow https://www.allmusic.com/album/when-im-alone-mw0000509244

Personnel: Bass – Steve LaSpina; Drums – Jeff Hirshfield; Guitar – Vic Juris; Piano – Marc Copland; Saxophone [Saxophones] – Billy Drewes

When I'm Alone

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Judith O'higgins, Dave O'Higgins - His'n'Hers

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 45:26
Size: 104,4 MB
Art: Front

(6:10) 1. Fourth Dimension
(5:20) 2. We'll Forget March
(6:02) 3. Spring Can Really Hang You Up the Most
(6:55) 4. Los Bandidos Bogarolles
(5:46) 5. Save Your Love For Me
(6:34) 6. Soy Califa
(8:36) 7. Hanky Panky

Here is a great idea for a tough tenors face-off in the tradition of the Johnny Griffin / Eddie "Lockjaw" Davis group... Get hold of a tenor duo comprising a husband and wife who are on the verge of divorce and can barely stand being in the same room together and record them as they try to cut each other to ribbons. Nice. Better still, perhaps, get hold of a happily married tenor-wielding couple such as London-based Dave O’Higgins and Judith O'Higgins, set them up in their self-dubbed Judy Van Gelder home studio, and let them loose in the style of the Griffin and Davis group on set of originals, Great American Songbook tunes and jazz standards. Dave O'Higgins is well known in this parish, most recently for the Darius Brubeck Quartet's Live In Poland and his co-led album with guitar wunderkind Rob Luft, O'Higgins & Luft Play Monk And Trane (both Ubuntu, 2019). Judith O'Higgins is a forensic pathologist whose CV also includes the Matthew Herbert Big Band, Two Minds Big Band and the Abstract Truth Big Band. His 'n' Hers includes Tommy Wolf and Fran Landesman's "Spring Can Really Hang You Up The Most," Buddy Johnson's "Save Your Love For Me" and Dexter Gordon's "Soy Califa" and "Hanky Panky," and three originals. The rhythm section is pianist Graham Harvey, double bassist Jeremy Brown and drummer Josh Morrison. The album may not break any new ground but it delivers forty-five minutes of easy-going fun.~ Chris May https://www.allaboutjazz.com/his-n-hers-judith-and-dave-ohiggins-ubuntu-music

Personnal: Dave O'Higgins: saxophone, tenor; Judith O'Higgins: saxophone, tenor; Graham Harvey: piano; Jeremy Brown: bass; Josh Morrison: drums.

His'n'Hers

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Donald Byrd - Blue Byrd. Disc 1 And Disc 2

Album: Blue Byrd. Disc1
Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 40:19
Size: 99,7 MB
Art: Front

(8:30) 1. Witchcraft
(8:27) 2. Here Am I
(4:43) 3. Devil Whip
(6:43) 4. Bronze Dance
(5:42) 5. Clarion Calls
(6:11) 6. The Injuns

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Album: Blue Byrd. Disc2
Time: 40:13
Size: 99,4 MB

(7:22) 1. Ghana
(7:30) 2. Little Boy Blue
(5:06) 3. Gate City
(7:40) 4. Lex
(6:36) 5. Bo
(5:56) 6. My Girl Shirl

Trumpeter Donald Byrd was born in Detroit in 1932, his studies at Wayne State University (1954) were interrupted by military service, during which he played in an Air Force band. He then attended the Manhattan School of Music (MA in music education). At the same time he was the favorite studio trumpeter of the bop label Presitge (1956-58), though he also recorded frequently for Riverside and Blue Note. He gave performances with George Wallington (1955), Art Blakey (1956), and along with Gigi Gryce was a member of the Jazz Lab Quintet (1957). He also performed with Max Roach, Sonny Rollins, John Coltrane, and others, before settling into a partnership with Pepper Adams (1958-61). After studying composition in Europe (1963-63) Byrd began a career in black music education, teaching at Rutgers, the Hampton Institute, Howard University, and (after receiving a law degree, 1976) North Carolina Central University; in 1982 he was awarded a doctorate by Columbia Teachers College. Following the death of Clifford Brown in 1956, Byrd was for a few years arguably the finest hard-bop trumpeter. He had not only a masterful technique, displayed on all his albums from this period, but also a beautiful tone. He resumed playing in the 1970s and made several pleasant recordings in a jazz-rock style. His best-selling album Black Byrd led to the formation of his students into the Blackbyrds, a hit group of the mid-1970s. https://musicians.allaboutjazz.com/donaldbyrd

Blue Byrd.Disc 1,Disc2

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Toni Tennille - All Of Me

Styles: Vocal
Year: 1986
File: MP3@320K/s
Time: 38:58
Size: 89,6 MB
Art: Front

(2:26) 1. How High The Moon
(3:35) 2. Easy Street
(4:03) 3. Moon Glow
(3:53) 4. The Very Thought of You
(3:21) 5. They All Laughed
(3:53) 6. Happiness Is Just A Thing Called Joe
(3:29) 7. All Of Me
(3:06) 8. Honeysuckle Rose
(2:44) 9. Nature Boy
(4:18) 10. Then I'll Be Tired Of You
(4:06) 11. Dream

Cathryn Antoinette "Toni" Tennille (born May 8, 1940) is an American singer-songwriter and keyboardist, best known as one-half of the 1970s duo Captain & Tennille with her former husband Daryl Dragon; their signature song being "Love Will Keep Us Together". Tennille has also done musical work independently of her husband, including solo albums and session work. Tennille has a contralto vocal range, spanning over 2 and a half octaves. Tennille was born and raised in Montgomery, Alabama and has three younger sisters.:2 Her father Frank owned a furniture store and also served in the Alabama Legislature from 1951 to 1954.:2 He had been a singer with Bob Crosby's Bob-Cats. Her mother Cathryn hosted a local television show.Tennille graduated from Sidney Lanier High School then attended Auburn University in Alabama for two years where she studied classical piano and sang with the university's big band, the Auburn Knights.

In 1959, Tennille's family moved from Montgomery to Balboa, California where she worked first as a file clerk and then as a statistical analyst for North American Rockwell Corporation.:2 While living in Corona del Mar in Newport Beach, California during the late 1960s, Tennille was a member of the South Coast Repertory. Ron Thronsen, one of the directors of the reporatory, asked Tennille in 1969 to write the music for a new rock musical he was working on called Mother Earth. The musical was a success locally, went on the road to San Francisco and Los Angeles in 1971 and eventually made it to Broadway for a few dates at the Belasco Theatre in October 1972. Although Tennille was no longer associated with the musical by the time it reached Broadway, she was credited as the composer under her married name Shearer. In 1971 Tennille met her future husband Dragon during auditions in San Francisco for band members for the musical. Dragon had previously toured with The Beach Boys and had appeared on a couple of their albums as a back up musician. After Mother Earth ended, Dragon returned to The Beach Boys and introduced Tennille to the band. Tennille played electric piano with the band during their 1972 tour. In 1973, Tennille and Dragon left to form Captain & Tennille and began performing at local clubs. The two released their self-financed debut single "The Way I Want to Touch You" in September 1973, which was a success locally and helped them to get a record contract from A&M records. The duo recorded a cover version of the Neil Sedaka song "Love Will Keep Us Together" in 1975 that became a huge success and eventually went on to win the 1975 Grammy Award for Record of the Year.

In 1974, Tennile sang background vocals on Elton John's Caribou album. She also sang background vocals on Pink Floyd's The Wall in 1979. On July 8, 1980, Tennille sang the national anthem at the Major League Baseball All-Star game at Dodger Stadium in Los Angeles. From September 1998 to June 1999, Tennille performed as "Victoria Grant/Count Victor Grazinski" in the national tour of the play Victor Victoria. In April 2016, Tennille released her memoir and went on a book tour to promote it later that summer. An 'audiobook' of the memoir was also released on the audiobook service Audible. Tennille married her first husband Kenneth Shearer in June 1962 at the age of 22. They divorced in late 1972. She then married Daryl Dragon on November 11, 1975. The couple moved from Reno, Nevada to Prescott, Arizona in 2007. Tennille filed for divorce after 39 years of marriage on January 16, 2014. Dragon said he was unaware of any discontent until being served with the divorce papers. The divorce was finalized in July, 2014. In 2015, Tennille moved to Florida at the suggestion of her sister, Jane. During the promotion of her autobiography, on The Today Show in the spring of 2016, Tennille said the reason for their divorce was Dragon's "inability to be affectionate". However, she later implied that Daryl reacted positively to her memoir and the reveal; he said "I saw you on The Today Show. I was proud of you".https://peoplepill.com/people/toni-tennille/

All Of Me

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Jackie Cain & Roy Kral - Double Take

Styles: Vocal And Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 34:59
Size: 80,7 MB
Art: Front

(2:02) 1. Cheerful Little Earful
(2:54) 2. You Smell So Good
(3:05) 3. Let's Get Away from It All
(2:44) 4. Season in the Sun
(2:43) 5. Glasses and Ashes and Bottles and Cans
(3:45) 6. Could You Use Me
(3:40) 7. The Continental
(2:50) 8. Let's Take a Walk Around the Clock
(3:18) 9. Side by Side
(2:44) 10. I Wish I Were in Love Again
(2:26) 11. Daahud
(2:43) 12. Together Wherever We Go

Jackie Cain & Roy Kral • Double Take This stereo LP record was released as Columbia Records CS 8504 in 1961...the record has the red, black and white Columbia 6-eye label. Jackie Cain (vocals) and Roy Kral (vocals/piano) are featured with Ted Snyder (bass) and Stan Harris (drums). The track listing is as follows: Cheerful Little Earful • You Smell So Good • Let's Get Away From It All • Season In The Sun • Glasses and Ashes and Bottles and Cans • Could You Use Me • The COntinental • Let's Take A Walk Around The Block • Side By Side • I Wish I Were In Love Again • Daahud • Together Wver We Go The album cover shows wear with a partial splits in the top and bottom seam and spine and is graded "VG" • the vinyl has it's original sheen with with scuffs and light scratches some of which may be audible when played and is graded "VG+". [42731] All Grading is visual - Grading is as follows: •N EW : Still factory sealed…brand new product •M-: Mint minus…used product in near new condition •EX: Excellent…used product with minor flaws not affecting play •VG: Very Good…used product with some damage possibly audible •G: Good…used product that will play, but not with passable quality Check out the extensive listing of records, CDs and other items in our eBay store. Pay ment: You may pay using PayPal Orders not paid within 10 days of purchase will be listed as "Unpaid Orders" Shipping & Handling: All items are shipped via The United States Post Office. Charges to you are computed as postage costs plus a $2 service charge per order. All items in our eBay store and auctions should now be set up to automatically figure postage on single items. If you are ordering multiple items, place your order with us and wait for us to send you an invoice with a combined shipping and handling cost. All domestic orders are shipped with delivery confirmation at no extra charge to enable you to track your shipment. International orders up to four pounds in weight can be shipped USPS First Class International...these packages can be sent registered for an additional $10.15, but cannot be insured. Packages over four pounds must be shipped either USPS Priority International or USPS Express International...these rates will include insurance. We have no control over mail shipments once they are processed at the post office and cannot assume any responsibility for uninsured items that are lost or broken in transit...please be aware of delays in the delivery of International shipments in customs and postal departments The free listing tool. List your items fast and easy and manage your active items. https://www.worthpoint.com/worthopedia/jackie-cain-roy-kral-jackie-roy-75357656

Pessoal: Jackie Cain - vocals; Roy Kral - piano, vocals; Ted Snyder - bass, tuba (#12); Stan Harris - drums

Double Take

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Dave Koz And Friends - Summer Horns II From A To Z

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 54:54
Size: 126,3 MB
Art: Front

(4:28) 1. Medley: Getaway / That’s The Way (I Like It)
(5:05) 2. More Today Than Yesterday
(4:50) 3. Keep That Same Old Feeling
(5:28) 4. Medley: From A To Z (Take The “A” Train / Make The Road By Walking)
(4:10) 5. This Will Be (An Everlasting Love) (feat. Kenny Lattimore & Sheléa)
(4:55) 6. Before I Let Go
(5:09) 7. Late In The Evening (feat. Jonathan Butler)
(4:43) 8. If You Really Love Me
(4:44) 9. Conga (feat. Aubrey Logan & Gloria Estefan)
(5:58) 10. Earth Song
(5:19) 11. Route 66 (feat. Aubrey Logan)

It’s easy to see why Dave Koz wanted to record a part two to his Summer Horns album. Part 1, which dropped in 2013, brought together four of contemporary jazz’s best-known saxophonists Koz, Gerald Albright, Mindi Abair, and Richard Elliott - to cover tunes from pop and R&B bands that had world famous horn sections. The original Summer Horns featured cuts by Chicago, Tower of Power, Sly and the Family Stone, the Beatles and Earth, Wind & Fire (actually two EW&F songs, since their 1978 cover of the Fab Four’s “Got to Get You Into My Life” served as the inspiration for the track included on Summer Horns.)Summer Horns became a commercial and creative success, earning a Grammy nod, and receiving considerable airplay on terrestrial, satellite and internet radio. The band also spent two years touring following its release. With all that positivity surrounding the original, a sequel could be viewed as an economic necessity. However, the music industry is like a river in that artists never creatively cross twice. It’s been five years since the original Summer Horns dropped, and so it’s not surprising that the four principles were not in the same place.

Changing times presented Koz with an opportunity to make the same type of album different, and he took advantage on Summer Horns II: From A to Z by adding trumpeter Rick Braun and trombonist and vocalist Aubrey Logan to give the brass ensemble a larger and more diverse sound to accompany the returning Albright and Elliott. Summer Horns II also features more vocals from Logan, as well as Kenny Lattimore, Shelea, Gloria Estefan and Jonathan Butler. The addition of trumpet and trombone seemed to inform the album’s musical selections. “This Will Be,” the album’s best track, opens with a honking baritone saxophone and is joined in with the other players giving the track a big band sound. And while the balance of the track plays it pretty close to Natalie Cole’s original, the decision to turn the cut into a duet featuring Lattimore and Shelea pays off, as they transform Cole’s loving soliloquy about the eternal nature of that special love into a swinging yet sensual conversation between two lovers. The horns combine with the African infused percussion, backing vocals and Jonathan Butler’s acoustic guitar work and rangy vocals on the cover of Paul Simon’s “Late in the Evening.” Whereas Simon’s vocals were subdued and wry, Butler brings elements of his gospel roots to this soulful rendition. Acoustic bass and the harmonic horn play combine with Logan’s vocals to create a swinging version of “Route 66.” The vocal tracks on Summer Horns II are so strong that I had to wonder if the group missed some opportunities with sticking primarily with instrumentals on several covers. I would love to see what creative arrangements Koz and his crew could have come up with if Lattimore had been turned loose on “More Today than Yesterday,” “Before I Let Go,” or if paired in duet with Estefan (who paired with Logan on a remake of her 1986 hit “Conga”) on “If You Really Love Me.” But, my desire for a few more vocals aside, this is a worthy follow up to the smash original collaboration, and an extremely enjoyable soundtrack to Summer 2018. Recommended. By Howard Dukes https://www.soultracks.com/album-review-dave-koz-summer-horns-II-from-a-to-z

Personnel: Dave Koz, Gerald Albright, Gloria Estefan, Jonathan Butler, Mindi Abair, Richard Elliot

Summer Horns II From A To Z

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Carmen McRae - The Very Thought Of You: The Definitive Singles Collection Disc 1, Disc 2

Album: The Very Thought Of You: The Definitive Singles Collection Disc 1

Marcel Loeffler - Source manouche

Styles: Gypsy Jazz, Swing
Year: 2005
File: MP3@320K/s
Time: 58:01
Size: 133,4 MB
Art: Front

(3:23) 1. Swing suspens
(3:36) 2. Ma référence
(4:10) 3. Fiso Place
(4:40) 4. Douce ambiance
(3:11) 5. Them There Eyes
(5:07) 6. All the Things You Are
(3:36) 7. Passion
(3:36) 8. Pont de Venise
(5:33) 9. Ruby
(2:30) 10. Joshua Fit the Battle of Jericho
(4:53) 11. Double scotch
(3:06) 12. H.C.Q. STRUT
(5:25) 13. Où es-tu mon amour ?
(5:07) 14. La ballade irlandaise

As he rubs many accordionists, he wants to see his son play. Although having lost his sight at the age of 5 (genetic problem), the little Marcel is left with an accordion in his hands when he is only 6 years old. Four years later he begins to accompany his father in country balls with one of his brothers on drums; Marcel is of course brought up in the love of music; Because if his father likes Django, the idol of the community, he is also a lover of American jazz; with him, Marcel discovers Sinatra, Nat king Cole, Ellington … but playing the accordion in the 70s, when the instrument is relegated to the commercial register, you immediately rank in the category of nerds, even if you like Art Van Damme, Gus Viseur or Marcel Azzola, working hard to decipher their pieces. At the end of adolescence, Marcel abandons a time accordion in favor of an electric bass. Engaged in the Jacky Coulé Variety Orchestra, he performed at Niederbronn Casino; for four years he discovers and learns at the same time all the jazz standards within this orchestra. In the 80s he is interested in synthesizers, playing in various rock bands or varieties. These fifteen years of bells were still a solid school, allowing Marcel to be comfortable in all styles and everywhere at home in music; not to mention family reunions and parties where music is a daily sharing.

If Marcel started composing in the mid-80s, without ever having learned the theory, it was not until 1996 that he recorded « Vago » his first record as a leader, on which he signed most of the compositions and let his explosions multiply. talents. Having inherited from his father the faculty of not being content to stay in a single genre of music, Marcel announces here what will be a constant of his approach: his ability to propose different musical universes while keeping a real homogeneity. Sideman highly sought after, Marcel multiplies meetings and experiences. The essential for him being to play in public, he will share the stage with partners who are mostly his friends: guitarists Wawau Adler (participates in albums « Roots » in 2006 and 2007), Tchavolo, Dorado, Engé and Railo Helmstetter, accordionists Jean-Louis Matinier, Frédéric Schlick (Marcel will be one of his guests on « Jazz nuances » in 96), René Sopa (who will be inviting him on « Carinhos tango », recorded in 2008), Raul Barboza (Schiltigheim’s White Horse in 2000), Azzola the following year in the same place, saxophonist Franck Wolf and James Carter, violinist Costel Nitescu and bassist Gilles Coquard who will invite him on « Reïsa », a disc on which he meets Mino Cinélu and Bireli Lagrène … the list is long and not exhaustive.

An open and curious musician, Marcel likes Django and Viseur, of course, but also Art Van Damme, Piazzolla, Bach, the great American jazzmen with a predilection for Miles Davis, Herbie Hancock, Chick Corea or Joe Zawinul. He also likes music from Central Europe, Africa and French songs; he always takes one on his records (wax doll, sound doll on « Vago », say when will you come back from Barbara, the song of the old lovers of Brel or the Irish ballad immortalized by Bourvil on the following ones). Marcel is always ready for new musical adventures, as for the Spring straps which gives him carte blanche every year; In 2013, he set up a Quincy Jones big band with Pascal Beck, the trombonist and arranger of Strasbourg, choosing the best French musicians to take back standards and original compositions; if Marcel records regularly (see all his albums in the discography page), he likes to play in public because it is there that he perceives intimately what his music brings or not to others. This does not prevent him from transmitting, since 2016, he teaches Jazz at the conservatory of music in Strasbourg. Marcel Loeffler, an exceptional stylist. First of all, a clear, airy phrasing that combines light swing, elegance and lyricism, a constant focus on punctuations and contrechnts and a keen sense of improvisation; he can linger around the melody with an unfailing inspiration or punctuate his speech with some virtuoso accelerations never gratuitous; for Marcel has long since passed the stage of virtuosity; what interests him is to play in a thoughtful, more elaborate way, to build something coherent, to play on the nuances, to keep the note; for him, music is above all emotional. https://marcel-loeffler.fr/en/

Source manouche

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Toni Tennille - Do It Again

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 50:44
Size: 120,4 MB
Art: Front

(3:07) 1. Do It Again
(3:50) 2. More Than You Know
(3:48) 3. Close Your Eyes
(4:05) 4. I Got It Bad (And That Ain't Good)
(3:25) 5. Can't Help Lovin' Dat Man
(2:38) 6. I'll Only Miss Him When I Think Of Him
(4:51) 7. Love Is Here To Stay
(3:45) 8. Someone To Watch Over Me
(3:45) 9. Let's Do It (Let's Fall In Love)
(3:07) 10. I Thought About You
(4:40) 11. Day Dream
(2:08) 12. Guess Who I Saw Today?
(3:47) 13. Do Nothin' Till You Hear From Me
(3:41) 14. But Not For Me

Cathryn Antoinette "Toni" Tennille (born May 8, 1940) is an American singer-songwriter and keyboardist, best known as one-half of the 1970s duo Captain & Tennille with her former husband Daryl Dragon; their signature song being "Love Will Keep Us Together". Tennille has also done musical work independently of her husband, including solo albums and session work. Tennille has a contralto vocal range, spanning over 2 and a half octaves....More... https://peoplepill.com/people/toni-tennille/

Do It Again

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Richard 'Groove' Holmes - Get Up & Get It!

Styles: Jazz, Post Bop
Year: 1967
File: MP3@320K/s
Time: 40:01
Size: 92,1 MB
Art: Front

(5:40) 1. Get Up And Get It
(5:08) 2. Lee-Ann
(9:21) 3. Body And Soul
(5:23) 4. Broadway
(8:02) 5. Groove's Blues Groove
(6:25) 6. Pennies From Heaven

The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy.~Steward Mason https://www.allmusic.com/album/get-up-and-get-it%21-mw0000893219

Personnel: Organ – Richard "Groove" Holmes, Bass – Paul Chambers (3), Drums – Billy Higgins, Guitar – Pat Martino; Tenor Saxophone – Teddy Edwards

Get Up & Get It!

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Bill Coleman - The Complete Philips Recordings (disc 1), (Disc 2)

Album: The Complete Philips Recordings (disc 1)
Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 69:11
Size: 163,2 MB
Art: Front

(2:36) 1. Jumpin' At The Pleyel
(3:07) 2. Si Jolie
(2:55) 3. The Blues Jumped Up And Got Me
(2:59) 4. I'm Coming Virginia
(3:22) 5. Come On A My House
(3:09) 6. Tenderly
(3:53) 7. Knucklehead
(5:23) 8. Baby Won't You Please Come Home
(5:48) 9. One O'Clock Jump
(3:34) 10. Perdido
(3:02) 11. When The Saints Go Marching In
(5:01) 12. Ghost Of A Chance
(5:39) 13. Basin' Street Blues
(3:15) 14. Lover Man
(2:02) 15. Summertime
(2:16) 16. Jumpin' With Symphony Sid
(1:58) 17. Trombone Blues
(5:20) 18. St. James Infirmary
(3:42) 19. Sheik Of Araby

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Album: The Complete Philips Recordings (disc 2)
Time: 77:53
Size: 183,1 MB

(4:31) 1. Red Top
(4:45) 2. Royal Garden Blues
(5:39) 3. Solitude
(3:31) 4. Tea For Two
(2:11) 5. Chinatown
(5:31) 6. Drum Face
(3:45) 7. Muskrat Ramble
(4:09) 8. Black And Blue
(5:16) 9. Idaho
(4:34) 10. Out Of Nowhere
(3:34) 11. Indiana
(9:05) 12. Saint Louis Blues
(2:37) 13. Jumpin' At The Pleyel
(3:13) 14. Si Jolie
(2:51) 15. The Blues Jumped Up And Got Me
(2:51) 16. The Blues Jumped Up And Got Me
(3:20) 17. Come On A My House
(3:17) 18. Come On A My House
(3:05) 19. Tenderly

Trumpeter Bill Coleman (1904-81) played in a host of orchestras (led by Benny Carter, Teddy Wilson, Luis Russell and Don Redman) in the 1930s, with the same vibrato and finesse as his contemporary, Buck Clayton, but not quite the same bravura and vocabulary. To make an analogy using trumpeters from another jazz era, Coleman is to Clayton as Kenny Dorham is to Clifford Brown. Coleman would eventually settle in France, where these recordings were made and recently reissued, and where he would co-found the Marciac Jazz Festival. A geographical serendipity allowed him to entitle his memoirs De Paris (Kentucky) à Paris (France). The Complete Philips Recordings centers around a somewhat rowdy (on and off-stage) October 1952 concert at the Salle Pleyel in Paris, an apparently totemic event for budding French jazz fans of the era. (At least that's the sense conveyed by veteran critic Michel Boujut's dewy-eyed review of this disc in Jazz Magazine.)

In addition to its sentimental value to listeners of a certain generation, however, the concert recording is of real musical interest as well. It's easy to joyfully submit to the crazy juxtaposition of styles in the set list. 1920s chestnuts are played with rollicking gusto, only to be followed by loping 1930s swing numbers, not to mention urbane 1950s vocal R&B. Similarly, the musicians are a temporal and stylistic grab bag. Drummer Zutty Singleton, having wandered out of the Mezz Mezzrow band, pounds raucously through "When the Saints Go Marching In, "Idaho" and "Drum Face," sounding like a voice speaking to us directly from the New Orleans of another century (which, of course, he is). Trombonist Dicky Wells' playing does nothing to dispel the impression that he was, as he himself admitted, "half-high and half-frozen" during his European sojourn. This condition does not prevent credible, big-hearted solos on "Saints" and "Black and Blue." Saxophonist Guy Lafitte is consistently good, offering easygoing solos in the Ben Webster manner. Randy Downes is a bop pianist Singleton is alleged to have approved his membership in a cannabis-induced haze, only to judge him too modern once the smoke had cleared with a nice feature on "Out of Nowhere." He deftly negotiates the swing numbers, even if Singleton is entirely uninterested in meeting him halfway. Coleman weaves in and out of this vaguely chaotic mise en scène, playing his lovely solos ("St James Infirmary," "Red Top," "Royal Garden Blues"), singing blues affably, joking with the audience in good French with an upbeat but cool composure to which a Zen monk could aspire. The two-CD package is complemented by six 1951 studio numbers. These septet tracks, with a far more coherent band and fine arrangements by trombonist Bill Tamper, present Coleman as a quite serious and forward-looking bandleader.~ Jeff Dayton Johnson https://www.allaboutjazz.com/the-complete-philips-recordings-bill-coleman-universal-music-france-review-by-jeff-dayton-johnson.php

Personnel: Bill Coleman: trumpet, vocal; Bill Tamper: trombone; Jay Cameron: alto saxophone; William Boucaya: baritone saxophone; Art Simmons: piano; Jean-Pierre Sasson: guitar; Guy de Fatto: bass; Gérard "Dave"

The Complete Philips Recordings (disc 1) (disc 2)

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Ernie Watts & Chick Corea - 4Tune

Styles: Saxophone And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 66:52
Size: 153,6 MB
Art: Front

(9:27) 1. Swing Dentz Swing
(5:57) 2. My One And Only Love
(2:52) 3. Boom Bap
(7:00) 4. Miyako
(7:19) 5. Night And Day
(6:53) 6. Invitation
(6:39) 7. Blues For John C
(7:38) 8. Bud Powell
(3:57) 9. Sifu
(2:31) 10. Andy Meets Chick
(6:35) 11. Oleo

Originally released on the RealTime label as a double LP, this CD (which contains 11 of the 14 selections) is quite notable for containing some brilliant playing by Ernie Watts (during a period when his own recordings were very commercial). Chick Corea (sticking to acoustic piano) is also in excellent form as are bassist Andy Simpkins and drummer John Dentz (who was the actual leader). Although a few of the shorter numbers have their free moments, the highpoints are "My One and Only Love," "Night and Day," "Invitation," "Blues for John C.," "Bud Powell" and "Oleo," intense straightahead explorations that allow Watts and Corea opportunities to stretch out. ~Scott Yanow https://www.allmusic.com/album/release/four-tune-mr0000093637

Personnel: Tenor Saxophone, Alto Saxophone – Ernie Watts; Piano – Chick Corea; Acoustic Bass – Andrew Simpkins; Drums – John Dentz

4Tune

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Toni Tennille - More Than You Know

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 37:00
Size: 85,1 MB
Art: Front

(3:48) 1. More Than You Know
(3:07) 2. Do It Again
(4:01) 3. I Got It Bad (And That Ain't Good)
(3:23) 4. Can't Help Lovin' Dat Man
(4:48) 5. Our Love Is Here To Stay
(3:43) 6. Let's Do It (Let's Fall In Love)
(3:40) 7. But Not For Me
(4:36) 8. Day Dream
(2:04) 9. Guess Who I Saw Today
(3:45) 10. Do Nothin' Till You Hear From Me

With her husband, Daryl Dragon, pop singer Toni Tennille made up the popular '70s duo the Captain & Tennille. Tennille was the vocalist for the group, while Dragon played the keyboard and other instruments. She is known for her pop, rock, jazz and orchestral music and has sold more than a million records with popular hits like "Do That to Me One More Time" and "The Way I Want to Touch You." Toni Tennille was born into a musical family in Montgomery, Alabama. Her father, Frank Tennille, sang and recorded under the pseudonym Clark Randall. He was with Ben Pollack's band and was still performing with the band when Bob Crosby took over. Toni Tennille attended Auburn University in Alabama, paying her way by singing popular tunes of the '30s and '40s. In 1975, she married Daryl Dragon. The two combined their musical talents to produce the Captain & Tennille. During the partnership, the duo earned an impressive five gold albums, six gold singles, two platinum albums and one platinum single. In 1976, the two entered the television scene with their own show on ABC, Captain & Tennille Variety Show, and appeared on several other ABC specials. Captain & Tennille's Greatest Hits, released in 1977, included the duo's 1975 Grammy Award-winning Song of the Year "Love Will Keep Us Together." In 1980, she hosted the syndicated Toni Tennille Variety Talk Show.

Two of Tennille's hit albums, All of Me and More Than You Know, were produced herself and then fine-tuned by the Count Basie Orchestra's musical arranger Sammy Nestico. In 1984, when the couple moved to nevada, Tennille began to work once again on renditions of songs from the '30s and '40s. She is known in the United States and Canada as a frequent symphony guest artists, with eight to ten appearances a year. In 1992, she broadened her career to include the stage, starring in the Los Angeles production of Stardust. She received rave reviews in all the trade magazines for her musical performance. The Captain & Tennille made a 20th anniversary album in 1995, featuring some of the group's hit singles and jazz ballads from the last twenty years. The album, Captain & Tennille 20 Years of Romance, also marked the couple's 20th wedding anniversary. Studying classical piano for ten years has allowed Toni Tennille to broaden her career to include songwriting. Through her participation in the Captain & Tennille, her orchestra tours across the United States and Canada, her jazz and pop albums and her television appearances, Toni Tennille has become known as a complete singer and entertainer. Nevada Governor Bob Miller named Tennille an Ambassador for the Arts for her numerous contributions. Kim Summers https://www.allmusic.com/artist/toni-tennille-mn0000936232/biography

More Than You Know

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Johnny Griffin - Change Of Pace

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:13
Size: 90,5 MB
Art: Front

(3:43) 1. Soft And Furry
(3:29) 2. In The Still Of The Night
(4:20) 3. The Last Of The Fat Pants
(4:25) 4. Same To You
(4:01) 5. Connie's Bounce
(3:56) 6. Situation
(5:27) 7. Nocturne
(5:02) 8. Why Not?
(4:46) 9. As We All Know

When Griffin wanted to record with a group comprised of Watkins, bassists Bill Lee and Larry Gales and drummer Ben Riley, his producer wondered where the idea had come from. Perhaps the Pettiford groups discussed above influenced the tenorman’s thinking, but the two-bass format is even trickier than the bass-cello combination-not that you would know it from this great 1961 record. Usually Lee plays arco to Gales’ pizzicato but sometimes they both bow or pick simultaneously, albeit in well-defined situations. Griffin also contributed some very unique original writing. I have always thought of Griffin as a fire-breathing soloist, but with Change of Pace he revealed a talent for arranging that few might suspect, and the band sounds like they’re having a blast.~ Duker Baker https://jazztimes.com/archives/johnny-griffin-change-of-pace/

Personnel: Tenor Saxophone – Johnny Griffin; Bass – Bill Lee (2), Larry Gales; Drums – Ben Riley; French Horn – Julius Watkins

Change Of Pace

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Katie Melua - Album No. 8

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 37:16
Size: 85,6 MB
Art: Front

(3:07) 1. A Love Like That
(4:27) 2. English Manner
(3:36) 3. Leaving the Mountain
(3:35) 4. Joy
(4:55) 5. Voices in the Night
(3:20) 6. Maybe I Dreamt It
(3:46) 7. Heading Home
(3:25) 8. Your Longing Is Gone
(3:26) 9. Airtime
(3:36) 10. Remind Me to Forget

A beautifully orchestrated album that perfect complements Katie Melua’s unique heartfelt vocals. Album No. 8 was born from a period of exploration and self-discovery, going back to basics and enjoying the creation of something new. Melua’s study of short fiction, musical and literary inspirations provided the spark for the creation of the lyrics. From opener A Love Like That to the closing notes of Remind Me To Forget, the album sparkles the senses delicately and calmly. In between, Voices In The Night slips into a gentle jazz groove with Melua’s voice gliding over the top. The themes hint on personal experiences of love and loss. Lines such as, “I think we’ve given love too much airtime” questions the prevalence of blatant love songs all around us. Melua has a more subtle approach and focuses on experiences and how each one enables us to grow. Uniquely, most of the vocals were recorded during the last studio session as a back-up. Producer Leo Abrahams knew Katie had something more in her and she managed to give “one of the most extraordinary performances I’ve witnessed in the studio”. Altogether the album is indeed a joy to listen to. https://narcmagazine.com/album-review-katie-melua-album-no-8/

Album No. 8

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Bill Coleman - Really I Do

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 67:35
Size: 155,5 MB
Art: Front

(5:22) 1. Tinto Time
(4:12) 2. Hello Babe
(4:35) 3. Crazy Rhythm
(4:59) 4. You've Changed
(5:06) 5. On The Trail
(2:53) 6. Montreux Jump
(4:04) 7. Really I Do
(4:43) 8. I've Got My Love To Keep Me Warm
(5:58) 9. She's Funny That Way
(5:35) 10. Tinto Time (Take 1)
(4:33) 11. Hello Babe (Take 1)
(5:12) 12. I've Got My Love To Keep Me Warm (Take 1)
(6:18) 13. On The Trail (Take 2)
(3:59) 14. Really I Do (Take 2)

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935. While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981.~ Scott Yanow https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography

Featuring: Bill Coleman (trumpet), Guy Lafitte (saxophone), Panama Francis (drums), Bill Pemberton (bass), Red Richards (piano)

Really I Do

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Harriet Tubman - Ascension

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 51:51
Size: 119,3 MB
Art: Front

(8:09) 1. Ascension
(2:33) 2. Ritual Rubbin
(5:15) 3. Down Shift-Sscension
(6:58) 4. Night Master-Ascension
(7:00) 5. Ascension
(3:43) 6. Stellar Attraction
(3:42) 7. Probe
(4:03) 8. Sidereal Flux
(4:06) 9. Plasmaroid
(6:16) 10. Widely Known

The raison d'être for the band, Harriet Tubman, is an almost aching musical yearning for a complete freedom. It is a freedom from genre and certainly on Ascension, complete freedom from style as well as style. This what the 20th Century Spanish poet and playwright, Federico Garcia-Lorca described as the heart of duende, a holistic alternative to style and mere virtuosity, seeking an elevated level of delving into the depths of the soul so that the music dilates the mind's eye, in order to render its intensity almost unendurable. In fact, virtually unbeknownst to the artists guitarist Brandon Ross, bassist Melvin Gibbs and drummer JT Lewis, also including the opposing trio of trumpeter Ron Miles, and turntablists, DJ Singe and DJ Logic all the elements of melody, harmony and rhythm melt away to create a completely spiritual corkscrew of notes, voices and accents. The resultant music pulsates, pirouettes and punches its way into the mind's ear, aided by the very magic of its spirituality. The magic is also in the opposing forces of each trio. The original Harriet Tubman of Gibbs, Ross and Lewis is a molten mix of malleable and ductile material that screams out of the metallic elasticity of Ross' strings, the throb and double stops of Gibbs's bass and the churning of Lewis's drums. The trio of Miles, Singe and Logic is an almost glacial, ghostly reflection of the music itself a parallel reality that mirrors the heat of Tubman with the cool of a contrapuntal vibe. The powerful mix of the concerto unfolds most tellingly in "Down Shift/Ascension" and in "Night Master/Ascension." Soloists seem to do battle with the ensemble, but creating diametrically opposed characters in the music. In the former sequence, the screaming glissandos of the turntablists burn through the seemingly chaotic ensemble playing behind them. In the latter, Miles is aglow in the bronzed heat of what is set as his musical backdrop, by the rest of the players. Much is being made of Harriet Tubman's channeling the spirit of John Coltrane's 1965 Ascension (Impulse!), as well as Ornette Coleman's Free Jazz (Atlantic, 1960), recorded five years earlier (coincidentally also played by a double trio). But there is another consideration to be made here: both the inspirational artists reached for beyond the realm of acceptable norms of the music of the day, in their day. Harriet Tubman does much the same as its members break the mold of 21st Century music as well. In doing so, the collective improvisation of its musical constituents succeeds in creating an exciting new musical canvas featuring molten textures, dripping with an expanded palette of colors as the music of Ascension sails into the stellar regions of mind and universe.~Raul D'Gama Rose https://www.allaboutjazz.com/ascension-harriet-tubman-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Brandon Ross: guitar; Melvin Gibbs: bass; JT Lewis: drums; Ron Miles: trumpet; DJ Logic: turntables; DJ Singe: turntables.

Ascension

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John Lewis & Helen Merrill - Django

Styles: Piano, Vocal
Year: 1976
File: MP3@320K/s
Time: 41:05
Size: 94,3 MB
Art: Front

(5:14) 1. Django
(4:19) 2. I Didn't Know What Time It Was
(5:05) 3. Angel Eyes
(3:35) 4. Close Your Eyes
(2:53) 5. Alone Together
(4:53) 6. Yesterdays
(4:35) 7. The Singer
(5:15) 8. How Long Has This Been Going On?
(5:12) 9. Mad About the Boy

A wonderfully moody album from singer Helen Merrill recorded with backing by pianist John Lewis, in an overall feel that's got some of the styles that Lewis forged with the Modern Jazz Quartet! The tunes are familiar ones, mostly, but arranged in a style that's got wonderfully sad and somber touches really bringing out the best of the dark qualities in Merrill's vocals. Backing is by a quartet with Lewis, Richard Davis, Hubert Laws, and Connie Kay and titles include "Close Your Eyes", "I Didn't Know What Time It Was", "The Singer", "Yesterdays", "How Long Has This Been Going On", "Mad About The Boy", and "Django". © 1996-2020, Dusty Groove, Inc. https://www.dustygroove.com/item/468846/Helen-Merrill-John-Lewis:Helen-Merrill-John-Lewis-aka-Django

Personnel: Piano – John Lewis (2); Vocals – Helen Merrill; Bass – Richard Davis (2); Drums – Connie Kay; Flute – Hubert Laws

Django

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Pia Zadora - Let's Dance tonight

Styles: Vocal
Year: 1984
File: MP3@320K/s
Time: 40:06
Size: 92,6 MB
Art: Front

(6:08) 1. When the Rain begins to fall
(4:05) 2. Little bit of Heaven
(3:06) 3. Real Love
(6:40) 4. Follow my Heartbeat
(4:49) 5. Let's dance Tonight
(3:26) 6. Clapping Song
(3:38) 7. Substitute
(3:19) 8. You bring out the Lover in me
(4:52) 9. Rock it out

Pia Zadora (born May 4, 1954) is an American actress and singer. After working as a child actress on Broadway, in regional theater, and in the film Santa Claus Conquers the Martians (1964), she came to national attention in 1981 when, following her starring role in the highly criticized Butterfly, she won a Golden Globe Award as New Star of the Year.Though Zadora had drawn critics' hostility as an actress, she attained success in Europe as a singer, and had several hit singles throughout the world. In 1984, she received a nomination for a Grammy Award for Best Female Rock Vocal Performance for the song "Rock It Out". Her cover of the Shirley Ellis hit "The Clapping Song", which was recorded for the film score of The Lonely Lady, reached the U.S. Top 40 in 1983, and she had a hit duet with Jermaine Jackson titled "When the Rain Begins to Fall" in 1984 from the movie Voyage of the Rock Aliens. A minor hit in the United States, the song reached No. 1 in some European countries. It was another prominent native of Hoboken, Frank Sinatra, who, taking Zadora under his wing in the middle 1980s, encouraged her to record albums consisting primarily of standards. She released Pia & Phil, an album of standards with the London Philharmonic Orchestra in 1985, and recorded a follow-up album titled I Am What I Am shortly after.

In 1988, she worked with producers Jimmy Jam and Terry Lewis on an album entitled When the Lights Go Out. The single "Dance Out of My Head" did not chart despite the top producers and club remixes by Shep Pettibone and Ben Liebrand. The album was released only in Europe. In 1989 she recorded the album Pia Z with producer Narada Michael Walden; this also did not chart. The single "Heartbeat of Love" included club remixes by Robert Civillés and David Cole of C + C Music Factory. A further album of standards entitled Pia Today! was recorded; this received a limited promotional release. Later in 1994, Zadora played a small role in Naked Gun 331/3: The Final Insult, in the final act in a comedy sketch as she sang at the Oscars. In this segment, she performed the Steve Allen-penned "This Could Be the Start of Something Big" during a parody of an Academy Awards musical number. A compilation, The Platinum Collection, was released at this approximate time and sold via "infomercials" in the US. It included repackaged versions of Pia & Phil, I Am What I Am, and Pia Today! Another CD of standards, Only for Romantics, was also recorded, but as May 2012 came to a close, it was scarce and only promotional copies were available. https://www.last.fm/music/Pia+Zadora/+wiki

Let's Dance tonight

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Amedeo Ariano, Luca Bulgarelli & Francesca Tandoi - Triplets

Styles: Contemporary Jazz
Year: 2018
File: MP3@320K/s
Time: 41:01
Size: 95,4 MB
Art: Front

(4:43) 1. FSR
(4:33) 2. The Sheik of Araby
(5:04) 3. You Don't Know Me
(4:03) 4. I Didn't Know What Time It Was
(6:00) 5. I Thought About You
(5:36) 6. Body and Soul
(4:46) 7. Bulgariantandoj
(6:13) 8. When Sunny Gets Blue

Percfest presents Triplets, a pulsating and swinging trio led by one of the top drummers of the moment, Amedeo Ariano. In the trio, in addition to the eclectic and highly sought-after double bass player Luca Bulgarelli, the virtuoso pianist and refined singer Francesca Tandoi stands out. Considered by the public and critics among the best Italian drummers, Amedeo Ariano, thanks to his musical versatility, boasts collaborations with international jazz players, including George Coleman, Johnny Griffin and Benny Golson and Italian Pop artists such as the pianist singer-songwriter Sergio Cammariere, with which Lucio Dalla and Renzo Arbore have been collaborating for 20 years. Amedeo Ariano has chosen the trio formula for this recording work, making use of two acclaimed talents of the contemporary jazz scene: Luca Bulgarelli on double bass and Francesca Tandoi on piano and voice. The result is an engaging and sparkling trio that combines the experience of Ariano and Bulgarelli, who have been playing together for over twenty years, with the young talent of Tandoi, a Roman pianist, but Dutch by adoption, who despite her young age boasts a career as a jazz veteran alongside the jazz elite. The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, but always “swinging” and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, but always “swinging” and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, it will be available digitally from 13 June and from 11 July in all music stores, in various countries, such as the UK, USA, Australia and Taiwan.Translate By Google http://www.percfest.it/triplets/

Personnel: Piano – Francesca Tandoi; Double Bass – Luca Bulgarelli; Drums – Amedeo Ariano; Vocals – Francesca Tandoi (tracks: 3,8)

Triplets

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