George Colligan - The Newcomer

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 67:05
Size: 154,5 MB
Art: Front

( 7:38)  1. The Big Push
( 8:17)  2. Submersion
( 8:56)  3. The Newcomer
(11:30)  4. #10
( 9:28)  5. So in Love
( 8:46)  6. Empty Canvas
( 7:30)  7. Ricardo's Tune
( 4:57)  8. Evidence

A veteran of groups led by saxophonist Gary Bartz and vocalists Vanessa Rubin and Cassandra Wilson, pianist George Colligan's second recording for Steeplechase is also his first leading a quintet. Colligan is joined by trumpeter Ingrid Jensen, tenor saxophonist Mark Turner, bassist Dwayne Burno, and drummer Billy Drummond as they perform an unusual program of five originals, three by Colligan, one standard, an up-tempo rendition of Cole Porter's "So in Love," and two jazz classics. Originally a trumpeter, the Herbie Hancock-influenced pianist proves himself quite proficient on his chosen instrument, contributing an excellent solo on Wayne Shorter's overlooked "The Big Push." 

Other favorites include the complex "Empty Canvas," where each soloist gets a different meter to play over; "Ricardo's Tune," a Latin-influenced melody that swings on the bridge and during the solos' and one of the fastest versions of Thelonius Monk's "Evidence" that one will ever hear. A fine musical statement from an emerging talent. 

~ Greg Turner https://www.allmusic.com/album/newcomer-mw0000413639

Personnel:   George Colligan - piano; Ingrid Jensen - trumpet, flugelhorn; Mark Turner - tenor saxophone; Dwayne Burno - bass; Billy Drummond - drums

The Newcomer

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The Filthy Six - The Filthy Six

Styles: Acid Jazz
Year: 1989
File: MP3@128K/s
Time: 63:56
Size: 59,1 MB
Art: Front

(3:59) 1. Lick Du Jour
(5:45) 2. Fingerbite
(6:24) 3. Get Carter
(6:01) 4. The Take
(4:53) 5. Rehab
(7:39) 6. This
(5:41) 7. Blue Donald
(5:26) 8. Catwalk
(7:49) 9. Mozambique
(4:31) 10. Three Foot Stumble
(5:43) 11. Knockout

The Filthy Six are the most exciting, authentic Soul Jazz outfit in the UK today and have established themselves as one of the most electric live acts on the scene. Their soaring horns, blistering guitar and gut-wrenching Hammond are fuelled by one of the hardest grooving rhythm sections around producing a hip-shakingly powerful mixture of jazz, funk and boogaloo totally in keeping with the finest traditions of the Blue Note sound. These instrumental groove merchants fuse boundless energy and incredible musicianship to create tight, funky music that moves the mind, body and soul whilst simultaneously tearing the roof off every venue they play!

Led by trumpeter Nick Etwell (Tom Jones, Foo Fighters, Mumford & Sons) this crack unit of erudite musical gunslingers have graced the bands of some of the biggest names in music including Amy Winehouse, Jill Scott, Beck, Mark Ronson, Jack White, Dionne Warwick, Pee Wee Ellis, David Axelrod, Ronnie Spector, Basement Jaxx, Spiritualized, 4hero, Atomic Bomb Band, Madness, Galactic and the James Taylor Quartet to name but a few. From their literal 'underground' beginnings down at the infamous Tatty Bogle Club, deep beneath the heart of London's Soho, the band built up a faithful following at their monthly 'Thursday Boogaloo' sessions in the mid 00's. Moving above ground and into venues across London and beyond they gained notoriety for the intensity of their live shows. This reputation took them up and down the country and out into the festival arena, spreading the Filthy gospel even further afield as they went. After signing to Acid Jazz Records in 2009 the boys released their debut LP 'The Filthy Six' in June 2010, attracting new fans and good reviews in the process.

The next couple of years saw the recording of 'live' sessions for Mark Lamarr (Radio2) and the Craig Charles Funk and Soul Show (6Music) for BBC Radio as well as performing a series of scintillating festival sets including the London, Marlborough, Greenwich, Ealing, Reading and Isle of Wight Jazz Festivals; Vintage at Goodwood (where they also backed up Northern Soul legend Ann Sexton), Edinburgh Festival, St Paul Soul Jazz Festival (France) and a headline slot at the Jazz Lounge, Glastonbury. The Filthy horns also squeezed in a little hop across the pond to join Brit funkateers The New Mastersounds at one of their legendary 'House Of Blues' (NOLA) sets at the New Orleans Jazz Festival. In between all of this they topped the bill at the Acid Jazz 21st Anniversary show, recorded a second album and still found time to bring the house down at some of London’s most discerning music venues; Jazz Café, Pizza Express Jazz Club, Cargo, Vortex and the world famous Ronnie Scott's Jazz Club. 2012 saw the bands second release for Acid Jazz - 'The Fox' - garner plaudits from scenesters and critics alike, including 'Album of the week' on Jazz FM.

An 11 date tour of the UK and Ireland followed, proving to further their reputation as a live act not to be missed. The past couple of years have been busy for The Filthy Six with in excess of 100 gigs; highlights of which have included 3 *Sold Out* shows for the Craig Charles Funk & Soul Club in London (twice) and Manchester; 2 *Sold Out* shows at the Pizza Express Jazz Club, London; a headline slot at the Isle Of Wight Festival (Jazz Stage); short runs in France and Spain, as well as their first gigs in the USA. In 2014 the band completed 3 Tours over 6 months in the US - two extended trips across the 'Dirty South' and a 4 date run around New York - recording 'live' sessions for KUT Radio (Austin TX), Daytrotter (Nashville TN), The Birthplace Sessions (Tupelo MS), Spectra Sonic Sound Sessions (Birmingham AL) and the Echo Sessions, set in beautiful Asheville, North Carolina. 2015 brought the release of 2 short films documenting their Filthy fun and frolics across The South (with the help of their good friends at Stetson), the completion of their 3rd studio album, a series of monthly nights at the Brooklyn Bowl, London, and a run of After-show gigs for the Mumford & Sons 'Gentlemen Of The Road' festivals in the US. March 2016 has seen the release of a third studio album on Acid Jazz Records - More Filth. Undoubtedly their Filthiest yet, the record has been scientifically engineered to have you moving and grooving so hard you'll burn holes in not 1 but 2 pairs of boots and a large chunk of that dancefloor too... Bad. Ass. With tours of the US and the UK in April and May respectively, plus further dates throughout the summer and beyond, the Filthy story continues... https://www.jazzmusicarchives.com/artist/the-filthy-six

Personnel: Drums – Graham FoxElectric; Bass – Dan Drury; Guitar – Nigel Price; Organ – Pete Whittaker; Percussion – Snowboy; Saxophone – Mark Brown; Trumpet – Nick Etwell

The Filthy Six

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Champian Fulton - The Breeze And I

Styles: Vocal And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 58:29
Size: 134,3 MB
Art: Front

(4:52)  1. Exactly Like You
(3:52)  2. Day In, Day Out
(6:10)  3. Land's End
(4:32)  4. The Sheik of Araby
(2:49)  5. The One I Love Belongs To Some
(4:03)  6. Say It Isn't So
(3:56)  7. The Breeze And I
(4:09)  8. I'm Gonna Lock My Heart And Throw Away the Key
(5:29)  9. I'm Confessin
(4:02) 10. Easy To Love
(4:57) 11. I Can't Face The Music
(5:09) 12. My Heart Stood Still
(4:23) 13. If I Had You

For anyone unfamiliar with her music, Champian Fulton is a delightful surprise a waft of fresh air; a ray of sunshine that can brighten the darkest day. Fulton is a versatile pianist and singer who ingrains herself into the sentiment of a song. She has depth, emotional pitch and depth that rise to a high degree. It isn't surprising then, that besides leading her own groups in New York City (where she has been based since 2003), she has also played with Lou Donaldson, Frank Wess and Louis Hayes.  The Breeze and I, her third album, finds her in fine form on 13 standards. The choices give her plenty of room to stamp her credentials as a substantial and stylistic performer. Fulton sets the tone with the gently swinging "Exactly Like You," her phrasing neat, the emphasis fitting in perfectly. Her piano adds to the joyous sense of discovery as she rides the melody with verve. The blues are ripe for the picking on "I Can't Face the Music," and Fulton finds the vein into which she can filter a welter of pain. Her voice captures every nuance to elevate the song to a captivating high one that gets added power from her plaintive piano. She then turns in some stunning work as a pianist, as she romps across the break of "Day In Day Out" at fever pitch, rolling out a lode of ideas that complement her vocal delivery. The instrumental title track cements her approach; her playing sparkling, as she references the melody and then takes it to a new home where it jumps and swings. Bassist Neal Miner and drummer Fukushi Tainaka abet the comportment, making this tune absolutely irresistible. Fulton connects to the soul on this very commendable CD.~Jerry D’Souza https://www.allaboutjazz.com/the-breeze-and-i-champian-fulton-gut-string-records-review-by-jerry-dsouza.php

Personnel: Champian Fulton: piano, vocals; Neal Miner: bass; Fukushi Tainaka: drums.

The Breeze And I

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Art Blakey And The Jazz Messengers - Oh-By The Way

Styles: Jazz, Post Bop
Year: 1982
File: MP3@320K/s
Time: 44:08
Size: 101,4 MB
Art: Front

(6:30)  1. Oh-By The Way
(6:01)  2. Duck Soup
(4:54)  3. Tropical Breeze
(5:20)  4. One By One
(7:09)  5. Sudan Blue
(8:15)  6. My Funny Valetine
(5:56)  7. Alicia

When the Marsalis Brothers left The Jazz Messengers in early 1982, Wynton suggested that Art Blakey take a close listen to trumpeter Terence Blanchard (then 19) and 21-year old altoist Donald Harrison. The drummer took his advice, and after also adding young pianist Johnny O'Neal, Blakey soon had an exciting new version of The Jazz Messengers. Tenor saxophonist Bill Pierce and bassist Charles Fambrough were still present from the older band for this excellent LP. In the Blakey tradition, this set has five new compositions from bandmembers in addition to Wayne Shorter's "One by One" and the standard "My Funny Valentine"; the music is a fine example of high-quality hard bop.~ Scott Yanow https://www.allmusic.com/album/oh-by-the-way-mw0000526449

Personnel: Art Blakey (drums); Donald Harrison (alto saxophone); Bill Pierce (tenor saxophone); Terence Blanchard (trumpet); Johnny O'Neal (piano).

Oh-By The Way

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The Time Jumpers - Jumpin' Time (2-disc set)

Although western swing is a genre that will hopefully never die, it's rare that a new band comes along anymore that breathes as much new life into it as the Time Jumpers do. Not since the emergence of Asleep at the Wheel in the early '70s, in fact, has a group provided as much hope for the continuing vitality of this venerable all-American institution. Well, sort of new, that is: the band, whose membership has shifted considerably but settles in at 11 here, has been at it since 1998. Their weekly gigs at Nashville's Station Inn are legendary around Music City, and it's easy to see why: the Time Jumpers don't attempt to reinvent the wheel here, so to speak; instead, they get to the core of the music, brush off the dust, and remind us why it's been so universally loved for so long. Their repertoire is impressively considered -- along with purebred originals, they cover classics penned by everyone from Fats Waller to George & Ira Gershwin to Mickey Newbury and, of course, Bob Wills. Standards such as Cindy Walker's "Cherokee Maiden" and Bobby Troup's "Route 66," despite having been covered by countless predecessors, don't sound tired by the Time Jumpers, but ready to be rediscovered. The double-CD was wisely recorded in front of an appreciative audience at the Station Inn, and both the vocalists -- Carolyn Martin, Dawn Sears, and Ranger Doug Green, in particular -- and the pickers are on from the git-go. Fiddler Aubrey Haynie and accordionist Jeff Taylor slay on Duke Ellington's "Caravan," and lead guitarist Andy Reiss puts in a solo in his own show-opening "Stompin' at the Station" instrumental that sets the bar high right away. A companion DVD offers the same 26-song set list. ~Jeff Tamarkin

Label: Crosswind
Styles: Country-pop, Western Swing
Year: 2007
Art: Front

Album: Jumpin' Time (Disc 1)
Bitrate: 128K/s
Time: 56:49
Size: 130.1 MB

[4:51] 1. Stompin' At the Station
[4:44] 2. Honeysuckle Rose
[3:58] 3. Sugar Moon
[4:46] 4. Write Myself a Letter
[4:26] 5. Along the Navajo Trail
[3:11] 6. It's All Your Fault
[5:21] 7. Pig Dog Hop
[3:28] 8. Leavin' and Sayin' Goodbye
[4:24] 9. Blues for Dixie
[2:42] 10. Fidoodlin'
[4:16] 11. Bring It On Down to My House
[6:11] 12. Route 66
[4:24] 13. Smile

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Album: Jumpin' Time (Disc 2)
Bitrate: 128K/s
Time: 58:47
Size: 134.6 MB

[2:46] 1. Roly Poly
[3:58] 2. South of the Border
[4:40] 3. Jumpin' Time
[3:13] 4. Bonaparte's Retreat
[2:57] 5. My Confession
[4:02] 6. Give Me a Pinto Pal
[6:13] 7. Embraceable You
[3:53] 8. Cherokee Maiden
[4:17] 9. My Weakness Is Too Strong
[4:42] 10. All of Me
[5:04] 11. Caravan
[7:02] 12. Sweet Memories
[5:55] 13. My Window Faces the South

Jumpin'Time(Disc 1)(Disc 2)

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Judy Carmichael - High On Fats... And Other Stuff

Bitrate: 320K/s
Time: 50:30
Size: 115.6 MB
Styles: Piano jazz
Year: 1997
Art: Front

[3:29] 1. Gladyse
[5:03] 2. A Smo-O-Oth One (Take Two)
[4:33] 3. Riverboat Shuffle
[6:13] 4. Do Nothing Till You Hear From Me
[4:48] 5. You Took Advantage Of Me
[4:52] 6. Airmail Special
[5:16] 7. I've Got A Feelin' I'm Falling
[4:31] 8. Sugarfoot Strut
[2:43] 9. Thou Swell
[5:04] 10. A Smo-O-Oth One (Take One)
[3:52] 11. Dinah

Grammy nominated pianist Judy Carmichael is one of the world’s leading interpreters of stride piano and swing. Count Basie nicknamed her “Stride”, acknowledging the command with which she plays this technically and physically demanding jazz piano style.

A native of California, Judy Carmichael moved to New York in the early 80’s and has maintained a busy concert schedule throughout the world ever since. She has toured for the United States Information Agency throughout India, Portugal, Brazil and Singapore. In 1992 Ms. Carmichael was the first jazz musician sponsored by the United States Government to tour China. The musician that critics have referred to as “astounding, flawless and captivating” (The New York Times) has played in a variety of venues from Carnegie Hall, to the Peggy Guggenheim Museum in Venice (the first concert ever presented by the museum) to programs with Joel Grey, Michael Feinstein, Steve Ross and the Smothers Brothers. In addition, Ms. Carmichael has done comic skits and performed her music on radio and TV and performed private recitals for everyone from Rod Stewart and Robert Redford to President Clinton and Gianni Agnelli.

Judy Carmichael is one of a handful of musicians who approach jazz from a perspective of its entire history. Choosing to study jazz piano from its early roots on, she explores the music deeply, infusing it with a “fresh, dynamic interpretation of her own” (Washington Post ). The National Endowment for the Arts rewarded Carmichael’s knowledge of jazz piano with a major grant to present early jazz greats on film and to discuss the history and development of jazz piano with college students across the country. Judy Carmichael’s Grammy-nominated recording “Two Handed Stride” teamed her with four giants of jazz from the Count Basie Orchestra, Red Callendar, Harold Jones, Freddie Green and Marshall Royal.

High On Fats... And Other Stuff

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Adela Dalto - Blue Bossa

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 49:31
Size: 113,6 MB
Art: Front

(4:52) 1. Blue for you
(3:56) 2. Freedom jazz
(3:48) 3. A Brazilian affair
(4:22) 4. Into the night
(4:39) 5. Emorio
(5:15) 6. Love me with your heart
(3:36) 7. Una manana
(3:10) 8. I'll remember your name
(5:16) 9. The days of wine and roses
(5:21) 10. Agua de Beber
(5:14) 11. Summertime

Adela Dalto was born in Texas to Mexican parents, and grew up in Gary, Indiana. She wed the late Latin jazz pianist Jorge Dalto, and has claimed her own ground as a powerful R&B and jazz vocalist. Having honed her skills through years of performing in small New York clubs, her rise to international stardom was boosted by her involvement with her husband's group, the InterAmerican Band. She was featured soloist on the tune "Ease My Pain," from the group's 1985 album, Urban Oasis.

Dalto has performed with such top-ranked New York-based Latin musicians as Jerry Gonzalez, Hilton Ruiz, and Mauricio Smith's Latin Jazz Orchestra, and was a featured vocalist with Mario Bauza's AfroCuban Orchestra and Carlos "Patato" Valdes's AfroJazzia Ensemble. She continues to perform with her own band at such New York nightspots as the Blue Note, S.O.B.'s and Birdland.~ Craig Harrishttps://www.allmusic.com/artist/adela-dalto-mn0000930650/biography

Personnel: Lead Vocals – Adela Dalto; Backing Vocals – Adela Dalto, Daniel Ponce, Doris Eugenio, Paulinho Boca, Rodrigo Seins; Bass – Nilson Matta, Sergio Brandao; Cavaquinho – Sergio Brandao; Drums – Portinho, Ricky Sebastian; Flugelhorn – Charlie Sepulveda; Guitar – Romero Lubambo; Percussion – Café, Charles Negrita, Frank Colon, Nicky Marrero; Percussion, Trumpet – Jerry Gonzalez; Piano, Keyboards – Aloisio Aguiar; Saxophone – Dick Oates; Trombone – Tom Malone

Blue Bossa

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David Leonhardt Trio - Explorations

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 59:37
Size: 138,7 MB
Art: Front

(6:03) 1. Whispers Of Contentment-Shouts Of Joy
(3:25) 2. While My Guitar Gently Sleeps
(5:40) 3. Your Song
(4:05) 4. Iberian Lament
(4:47) 5. Sunshine Of Your Love
(4:13) 6. Late Night Blues
(4:26) 7. Winter Waltz
(5:51) 8. Fire And Rain
(4:36) 9. Peace
(6:40) 10. The Dawn Over Morocco
(4:37) 11. Yesterday
(5:09) 12. Explorations

David Leonhardt has always been a jazz pianist first, while enamored with the realm of contemporary popular songs. This duality is reflected in this set of standards, originals, and rearrangements of well-known hit tunes. While one wonders if there is a real need to do numbers out of the repertoire of the Beatles, Elton John, Cream, and James Taylor, Leonhardt and his trio do them with a modified flair and at times a thoughtful repast. The extraordinary bassist Matthew Parrish and hot drummer Alvester Garnett help Leonhardt greatly in lifting all of these tracks to a higher interpretive level. The originals of the pianist are, to say the least, interesting. "Whispers of Contentment, Shouts of Joy" is a definitive spirit song, lovely in its Zen-like invention. "The Dawn Over Morocco" sports impending heavy dramatic modality leading to a brighter day, the title track is a free bop true to its title, and "Winter Waltz" a quicker ice skating number reminiscent of a Vince Guaraldi Charlie Brown tune.

"Late Night Blues" is pretty straitlaced, and "Iberian Lament" organic, pretty, and pensive. The trio does a splendid, sprinting version of the Jerome Kern standard "Yesterdays" moving quickly from sideline to sideline, and a gorgeous, near-perfect interpretation of Horace Silver's "Peace." Then there's the block chords and light Brazilian take of "While My Guitar Gently Weeps," a waltz to the 4/4 saccharine "Your Song," a hard bopping and scattershot but barely recognizable "Sunshine of Your Love," and off-melody phrases but otherwise true to form "Fire & Rain." As honest, balanced, and flexible a musician as there is in jazz, Leonhardt and this truly excellent trio needs to be heard by a general populist mainstream audience, and likely stretch these tracks out in more intimate live performances.~ Michael G. Nastoshttps://www.allmusic.com/album/explorations-mw0001445560

Personnel: David Leonhardt (piano); Matthew Parrish (contrabbasso); Alvester Garnett (batteria).

Explorations

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Antonella Vitale & Andrea Beneventano Trio - Songs in My Heart

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 64:17
Size: 148,3 MB
Art: Front

(5:55)  1. Cherokee
(4:24)  2. When Your Lover Has Gone
(4:17)  3. Blue in Green
(6:02)  4. Eu e o Vento
(1:19)  5. Canoeiro
(7:04)  6. Take the a Train
(3:04)  7. Arrivederci
(6:46)  8. The Shadow of Your Smile
(3:03)  9. But Beautiful
(2:36) 10. Preludio
(5:02) 11. What Is This Thing Called Love
(5:15) 12. With a Song in My Heart
(6:31) 13. You Go to My Head
(2:51) 14. Moon River

The first we’ve ever heard from singer Antonella Vitale a deep-voiced singer with a really great small combo sort of vibe and an ability to sing equally well in English and Italian! Most of the music here is in English as the tunes are older jazz standards but there’s a few Italian numbers that are especially nice, and which feature writing by Vitale herself, which is a very nice surprise! Backing is mostly by a trio, but a really lively one with sublime work on acoustic bass from Francesco Puglisi, who really gives the music a soulful finish and players include Andrea Beneventano on piano and Alessandro Marzi on drums plus guest accordion from Antonella Salis on a few tracks. Titles include “Blue In Green”, “Take The A Train”, “Canoeiro”, “Eu E O Vento”, “But Beautiful”, “Preludio”, and “The Shadow Of Your Smile”. ~ Dusty Groove  http://www.dustygroove.com/item/711745

Personnel: Antonella Vitale – Vocal; Andrea Beneventano – Piano; Antonello Salis – accordion; Giancarlo Maurino - soprano sax; Alessandro Marzi – Drums

Songs in My Heart

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Dick Hyman - Electrodynamics

Styles: Jazz, Post Bop
Year: 1963
File: MP3@320K/s
Time: 32:22
Size: 74,8 MB
Art: Front

(2:48) 1. Stompin' at the Savoy
(2:54) 2. The Sweetest Sounds (from 'No Strings')
(3:07) 3. I Left My Heart in San Francisco
(2:53) 4. Fly Me to the Moon
(3:02) 5. Paradise
(2:57) 6. Side by Side
(2:31) 7. Mack the Knife (from 'Three Penny Opera')
(2:43) 8. Satin Doll
(2:30) 9. Shadowland
(2:28) 10. Big Ben Bossa
(2:08) 11. This Is All I Ask
(2:16) 12. Till We Meet Again

In spite of the laudatory liner notes praising the capabilities of the then-new Lowrey organ, and the presence of such solid jazz musicians as keyboardist and leader Dick Hyman, bassist Bob Haggart, and drummer Osie Johnson, this session is a bit of a disappointment. Hyman, primarily known for his recordings on piano, is actually a fine organist, though he needs to be heard on a pipe or theater organ to truly appreciate his abilities on the larger keyboard. The program is dominated by standards, along with a fine original by Hyman, but the bland arrangements, no doubt requested by producer Enoch Light to market a less-demanding audience, make it seem more like a cheesy lounge record. While this Command LP is a step above similar recordings made during this period, there are dozens of more interesting dates available by Dick Hyman, though it probably won't be extremely difficult for devoted fans to find this long out of print record.~Ken Dryden https://www.allmusic.com/album/electrodynamics-mw0000865340?msclkid=18b6c7a7a7c611ecb0bfd223ed4ed33f

Personnel: Organ [Lowrey] – Dick Hyman; Bass – Bob Haggart; Drums – Osie Johnson; Guitar – Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell [Brazilian & Tuned] – Bob Rosengarden, Phil Kraus

Electrodynamics

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Pierrick Menuau - Togetherness Ensemble

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 56:19
Size: 129,7 MB
Art: Front

(2:37) 1. 5 – 6
(7:21) 2. Don Song
(6:14) 3. El Gato
(3:31) 4. Chris's Mood
(5:59) 5. Moca
(6:30) 6. The Fourth Movement
(3:22) 7. Hirsute
(7:28) 8. Parietal Art
(3:49) 9. Yo!
(4:41) 10. Can I Take My Hand Back
(4:42) 11. Cherry Switch

The Togetherness Ensemble is a leading torch-bearerfor today's free and adventurous jazz. For his first album under his name, saxophonist Pierrick Menuau has surrounded himself with eminent collaboratorsfrom the French jazz scene: Yoann Loustalot (trp), Julien Touery (p), Sébastien Boisseau (ctb), Christophe Lavergne (b).

The eleven tracks on the album manage to transcend eras and styles. The quintet accesstheir memory as much asthey do their imagination, in order to find an extension to personal compositionsbeyond fashions and labels. By thus fanning the embers of History, the quintet’s spirit of freedom remains intact, especially through the continuous balance the 5 soloists manage to strike, and their constantly renewed inspiration through the pieces. “The sourceof this music is a record by Don Cherry, “Togetherness” (1965), a set of two concerts in France with Gato Barbieri, Karl Berger, Jean-Francois Jenny-Clark and Aldo Romano. Almost an early draft for the two upcoming masterpieces of the African-American cornet player: “Complete Communion” and “Symphony For Improvisers”.

“The sourceof this music is a record by Don Cherry, “Togetherness” (1965), a set of two concerts in France with Gato Barbieri, Karl Berger, Jean-Francois Jenny-Clark and Aldo Romano. Almost an early draft for the two upcoming masterpieces of the African-American cornet player: “Complete Communion” and “Symphony For Improvisers". Pierrick Menuau and his friends delivera personal vision of it, by revisitingthe fourth movement of the original suite, as if purified from the dross of period approximation, and by givingpersonal visions of this universe, composed by the members of the quintet. I had attended in May 2018, at the Europajazz festival in Le Mans, a concert by this band, which concluded a series of dates spread over more than six months. Santi DeBriano and Barry Altschul were part of the band then, on bass and drums. I was won over.

On rediscovering this music- with two new members in the group- the listening pleasure remains the same. It's lively, precise, daring and very free. Each moment breathes deeply the spirit of the collective, and yet theindividuality of the players is palpable in the compositions as well asin the improvisations. A very beautiful way of fully modellingthe idealof togetherness- all for one, one for all- the quintessence of the collective spirit. A magnificent demonstration of what remains one of the core ideas in jazz. »https://www.parisjazzclub.net

Personnel: Pierrick Menuau, ténor sax; Yoann Loustalot, trompette; Julien Touéry, piano; Sébastien Boisseau, double basse; Christophe Lavergne, drums

Togetherness Ensemble

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Judy Carmichael - Pearls

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 64:37
Size: 148,8 MB
Art: Front

(3:20)  1. Lulu's Back in Town
(3:33)  2. Squeeze Me
(4:11)  3. The Pearls
(4:12)  4. I'm Gonna Sit Right Down (And Write Myself a Letter)
(3:23)  5. Between The Devil And The Deep Blue Sea
(3:53)  6. Everybody Loves My Baby
(3:28)  7. Sugar
(2:35)  8. Mule Walk Stomp
(3:24)  9. Ain't She Sweet
(3:47) 10. California, Here I Come
(3:02) 11. Little Rock Getaway
(3:19) 12. Lulu's Back in Town (Take 1)
(3:34) 13. Squeeze Me (Take 1)
(4:12) 14. I'm Gonna Sit Right Down (And Write Myself a Letter)
(3:51) 15. Everybody Loves My Baby (Take 1)
(3:48) 16. Sugar (Take 2)
(3:31) 17. Ain't She Sweet (Take 2)
(3:28) 18. Between the Devil and the Deep Blue Sea (Take 2)

The CD reissue of what was originally a Statiras set by pianist Judy Carmichael expands the original ten song program to 18. Carmichael teams up with cornetist Warren Vache, guitarist Howard Alden and bassist Red Callender for a spirited set of classic jazz and swing standards. Seven of the eight "new" selections are actually alternate takes so this CD is really two records in one. However when the songs played are of the caliber of "Lulu's Back in town," "I'm Gonna Sit Right Down and Write Myself a Letter," "Between the Devil and the Deep Blue Sea" and "Everybody Loves My Baby," one does not really mind hearing two versions. ~ Scott Yanow  http://www.allmusic.com/album/pearls-mw0000089559

Personnel: Judy Carmichael (piano); Howard Alden (guitar); Warren Vaché (cornet).

Pearls

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Erin Bode - Your Song Volume 1

Styles: Vocal
File: MP3@128K/s
Time: 51:25
Size: 48,4 MB
Art: Front

(4:49) 1. Because Of You
(2:49) 2. Happy Together
(3:50) 3. The Moon Is Ours Tonight
(3:45) 4. Be Here Now
(3:29) 5. Slide
(3:38) 6. Save The Best For Last
(4:07) 7. I Knew
(2:32) 8. You Can Close Your Eyes
(4:36) 9. The Grey Lady
(2:48) 10. My Heart Is All I Have
(2:50) 11. In My Life
(4:51) 12. One Stone
(2:42) 13. Lullaby
(4:33) 14. You Just Can't Smile It Away

Erin Bode hails from the Twin Cities, where her parents emphasized music in daily life and encouraged her to join the church choir. Her music studies continued at the University Of Minnesota and at Webster University in St. Louis. Describing herself as a positive person, Erin collects happy moments and seeks to take all things in a positive direction. Bode has released eight albums, gently walking the line between traditional Jazz and more pop based compositions.

Erin Bode has brought an entirely new concept to the world of music: when a fan approached her and asked to her to record a song for his wife on their anniversary, a world of positive possibility opened up. Erin continued to connect with fans and not just record, but also compose specific songs. In a world of massive stages and distanced celebrity, Erin Bode has developed a new space, a form of intimacy between artist and listener that truly reflect and bolster the human spirit. The music is no longer pointed AT the listener, it is OF the listener. In this way it is folk music, but in an entirely new form that establishes and fosters a unique personal experience and bond.

The aptly titled album YourSong , due out on October 15, 2021, is a curated set of songs from this ongoing project. Chosen for musical content and storyline, the songs range from those composed with Viktor Krauss to arrangements of some well known covers. Erin was connected to Viktor through an idol and friend of hers, Suzanne Cox (The Cox Family). The two immediately bonded over Erin’s concept and the opportunity to record, arrange, and write together. YourSong is an experience, offering more than just a casual listen. Bode’s voice is crisp and clear, like flowing water, and the immediate response is an uplifting feeling, a sense of joy. With each track one envisions the other person in the room, the human that requested the creation of the song. In this way Erin’s unique project continues to foster connection, which is what music is truly about. https://erinbode.bandcamp.com/album/yoursong-volume-1

YourSong Volume 1

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Alyssa Allgood - What Tomorrow Brings

Styles: Vocal
File: MP3@320K/s
Time: 53:38
Size: 123,7 MB
Art: Front

(4:01) 1. There Are Such Things
(3:21) 2. Enclosure
(6:53) 3. Should've Been
(4:23) 4. Memories
(4:00) 5. This Bitter Earth
(4:48) 6. Mad About the Boy
(4:18) 7. Time Found
(5:14) 8. Bridges
(3:45) 9. Try Your Wings
(4:48) 10. Light out of Darkness
(3:06) 11. For All We Know3
(4:55) 12. Passing Glance

In the chemistry lab, solvents are said to be punctilious when they have been completely purified through filtering, distillation, and chromatography. Punctilious ether, if a sound, could be compared to the perfectly polished tone generated from lead crystal when struck with a platinum spoon. This is the level of refinement heard in Alyssa Allgood's voice on What Tomorrow Brings. Allgood has been filtering and distilling her tone over three previous recordings: Lady BIrd (Self Produced, 2015); Out Of The Blue (Self Produced, 2016 ); and Exactly Like You (Cellar Live, 2018). Her tone, delivery, and performance have been honed to a fine and nuanced point. Vocally, Allgood is capable of impressive melodic expression and tautly muscular vocalese/scatting, often in the same song. Regarding the latter, Allgood shares her level of artistry with only Dorian Devins and Veronica Swift. Vocalese/scat is not for every vocalist, but for those with the knack, it offers that added level of artistry to be explored and mastered. And mastered it, Allgood has.

An additional facet in which Allgood has evolved is repertoire. Her project song choice and programming has always been from a road less taken. She chooses a song based on its creative potential for her and not the song's popularity or track record. On What Tomorrow Brings, Allgood presents the infrequently performed 1960 Dinah Washington ballad, "This Bitter Earth" (also recently featured by Veronica Swift on her album of the same title (Mack Avenue, 2021), giving the song a free and breezy interpretation properly framed by her guitar trio of guitarist Michael Allemana, bassist Dennis Carroll and drummer George Fludas. This particular format provides the singer with an improvisatory/support index well suited for her intentions. She extrapolates this approach to the remainder of this project.

Performance highlights include a punchy and fun "Mad About The Boy," and a breakneck scat break on "Time Around" that could cause whiplash, masterful and solidly swinging. Allgood continues to grow and evolve in a measured and thoughtful manner, taking well-calculated chances when the return is not necessarily guaranteed, but always pays off. It is satisfying to hear this talent bloom and take command, Allgood assuming her proper place as one of the finest jazz vocalists today.~ C.Michael Bailey https://www.allaboutjazz.com/what-tomorrow-brings-alyssa-allgood-cellar-records

Personnel: Alyssa Allgood: voice / vocals; Mike Allemana: guitar; Dennis Carroll: bass; George Fludas: drums.

What Tomorrow Brings

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Art Hodes - Sweet Lorraine

Bitrate: MP3@320K/s
Time: 24:57
Size: 57.1 MB
Styles: Jazz-blues piano
Year: 2014
Art: Front

[2:59] 1. Caravan
[3:06] 2. Rose Room
[3:51] 3. C Jam Blues
[3:41] 4. Blues
[3:39] 5. Perdido
[3:27] 6. Sweet Lorraine
[2:36] 7. High Society
[1:35] 8. When It Is Sleepy Time Down South

Throughout his long career, Art Hodes was a fighter for traditional jazz, whether through his distinctive piano playing, his writings (which included many articles and liner notes), or his work on radio and educational television. Renowned for the feeling he put into blues, Hodes was particularly effective on up-tempo tunes, where his on-the-beat chordings from his left hand could be quite exciting. Born in Russia, he came to America with his family when he was six months old and grew up in Chicago. Hodes had the opportunity to witness Chicago jazz during its prime years in the 1920s, and he learned from other pianists. In 1928, he made his recording debut with Wingy Manone, but spent most of the 1930s in obscurity in Chicago until he moved to New York in 1938. He played with Joe Marsala and Mezz Mezzrow before forming his own band in 1941. Hodes recorded for Solo Art, his Jazz Record label, Signature, Decca, and Black & White during 1939-1942, but he made more of an impression with his heated Dixieland recordings for Blue Note during 1944-1945 (all of which have been reissued on a Mosaic box set). During 1943-1947, Hodes edited the important magazine the Jazz Record, had a radio show, and became involved in the moldy fig versus bebop wars with Leonard Feather and Barry Ulanov; jazz on a whole lost to the latter. In 1950, he returned to Chicago, where he remained active locally and made occasional records. Hodes hosted a television series, Jazz Alley, for a time in the 1960s, wrote for Downbeat, and was a jazz educator. Art Hodes recorded frequently during the 1970s and '80s, and was widely recognized as one of the last survivors of Chicago jazz. His later recordings were for such labels as Audiophile, Jazzology, Delmark, Storyville, Euphonic, Muse, Parkwood, Candid, and Music & Arts. ~bio by Scott Yanow

Sweet Lorraine

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Ralph Bowen - Dedicated

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 42:24
Size: 97,6 MB
Art: Front

(6:38)  1. Canary Drums
(5:35)  2. Pat
(7:00)  3. Qaiyam
(9:47)  4. Mr. Bebop
(9:22)  5. Prof.
(4:00)  6. E.R.

Tenor saxophonist Ralph Bowen's Dedicated is a project that was nurtured and produced by Posi-tone Records' founder Marc Free, who felt that Bowen was under-appreciated by the jazz public at large. Bowen has influenced hundreds of players through his teaching position at Rutgers, and many top jazz players know how skilled he is. Having heard him live several times, Free has long admired Bowen's sound and technical ability on his horn, and wanted people to really hear how good he was. This goal was accomplished by starting with the concept of basing the supporting ensemble around guitar, since Bowen's previous recordings were often accompanied by organ or piano. Free and Bowen discussed several names before agreeing that Adam Rogers would be a good choice, due in part to the excellent working relationship Bowen already had with Free, the musical trust they shared, and Rogers' ability to mix subtlety and intuition into an ensemble. The logical next step was to bring in John Patitucci (bass) and Antonio Sanchez (drums), since they had already played together with Rogers hundreds of times, both with Rogers as leader, and in other groups such as Chris Potter Underground. The musicians rehearsed together for 2 weeks in the making of this recording, and it was mixed for another 2 weeks, which is rare in the world of all-star jazz recordings. The well-matched timbre of the group's sound reveals that the time and care put into this project paid off. Bowen has a mastery of his instrument not unlike Michael Brecker, cites John Coltrane as his main influence, but plays with more nuance and reserve than either. He travels through the music and chooses to become part of the fiber of the group-sound, except on "E.R.," which is a solo piece that let's him weave his own song, from long drawn out tones to 32nd-note runs, syncopated triplets and reflection. That's why the choice of sidemen on this recording is so important. 

The slightly reserved modern cool that each player is able to bring to the studio matches up with Bowen's playing style, and Posi-Tone's Free as producer and engineer Nick O'Toole serve as kind of sixth and seventh men on this project. Sanchez, for example, has demonstrated in his career with the Pat Metheny Group and on his solo work as well that he can play with subtlety, and make it exciting at the same time. It's not Elvin Jones-type crash and bang drumming; Sanchez often uses a light touch and many soft to medium cymbal strokes to bring out a more reflective artistic sound, but he enhances his playing by finding varied ways to communicate. Rogers' tone on guitar is also something that blends into the collective sound. His reserved style is modern, and full of potential sparks, leaving listeners keen to hear where he will go next. But he supports the songs, and is able to soar into several important solos that would only work if they were on par with Bowen's tenor sax riffs, and they very much are. John Patitucci is able fully to support the band by playing with a style that could be described as dark, full and round. He's like a prominent tree trunk that allows the rest of the players to branch out and ascend. Sean Jones adds trumpet to the mix on "Mr. Bebop," playing counterpoint through the head, and taking off on a solo midway through, introducing a new sound to the ensemble at just the right time. Dedicated consists of just six songs with a total recorded time of 42 minutes, a throwback to the days of Blue Note discs that tended to run short, but made up for it with quality. Each tune is dedicated to one of Bowen's mentors (Keith Blackley, Pat La Barbera, Jim Blackley, David Baker, William Fielder, and Eugene Rousseau). "The recent passing of a close friend and mentor left me with the distinct awareness of my personal need to acknowledge several of my contemporaries for their support and influence on my own musical development. Dedicated is a musical message of gratitude to my mentors for their time, patience, wisdom, knowledge and friendship." (Ralph Bowen). "One way or another we all have to find what best fosters the flowering of our humanity in this contemporary life and dedicate ourselves to that." (Joseph Campbell) ~ Blaine Fallis https://www.allaboutjazz.com/ralph-bowen-dedicated-by-blaine-fallis.php

Personnel: Ralph Bowen: tenor saxophone; Sean Jones: trumpet; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums.

Dedicated

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Carmell Jones - Jay Hawk Talk

Bitrate: MP3@320K/s
Time: 38:11
Size: 87.4 MB
Styles: Bop, Trumpet jazz
Year: 1965/2000
Art: Front

[5:50] 1. Jay Hawk Talk
[4:56] 2. Willow Weep For Me
[8:56] 3. What Is This Thing Called Love
[5:32] 4. Just In Time
[6:17] 5. Beepdurple
[6:37] 6. Dance Of The Night Child

Bass – George Tucker; Drums – Roger Humphries; Piano – Barry Harris; Tenor Saxophone – Jimmy Heath; Trumpet – Carmell Jones. Recorded May 8, 1965.

Hard bopper Carmell Jones is in fine form on this 1965 outing, Jay Hawk Talk. Together with tenor Jimmy Heath, pianist Barry Harris, bassist George Tucker, and drummer Roger Humphries, Jones confidently tackles a half-dozen tunes. From the piano/bass riff at the beginning of "Jay Hawk Talk" to the Parker-esque kickoff of "Beepdurple," the band holds a steady, driving groove. Both of those instrumentals, plus "Dance of the Night Child," were written by Jones and stand comfortably beside the other selections on this album. Tucker kicks off a particularly affecting version of "Willow Weep for Me," with a simple descending bass run. Jones enters with a full and rich tone for a beautiful, extended solo, and is followed by Harris, who emphasizes the bluesy, late-night feel of the piece. The band turns in a nine-minute version of Porter's "What Is This Thing Called Love?" that pulls out all the stops, and gives Heath plenty of room to show that he can fly as high and play as fast as Charlie Parker himself. Throughout the album, Tucker's bass work adds greatly to the overall texture; Tucker and Humphries together provide a steady pulse with lots of charged rhythm to keep the whole project stimulating. Jay Hawk Talk will remind everyone of Jones' distinctive voice. Like Johnny Griffin, Jones moved to Europe in the '60s, greatly lowering his profile in the United States. This re-release of an old classic should help to familiarize everyone once again with a great trumpeter. ~Ronnie D. Lankford Jr.

Jay Hawk Talk

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April Barrows - All You Need Is The Girl

Styles: Jazz, Vocal
Year: 2000
File: MP3@320K/s
Time: 41:12
Size: 94,8 MB
Art: Front

(3:36)  1. All You Really Need Is The Girl
(2:48)  2. Idea Of Love
(3:45)  3. A Handful of Stars
(2:06)  4. Cupid Got Us Both
(4:53)  5. I Don't Want To Love You
(2:45)  6. Love Can Turn You On
(2:09)  7. (You Can't) Unring A Bell
(3:21)  8. Lover, Come Back To Me
(3:01)  9. Stay Out Of My Dreams
(2:32) 10. It's Gotta Be You For Me
(4:50) 11. Until It Happens To You
(5:19) 12. (That's When) I Saw Stars

April Barrows is an unusual jazz performer in two respects. One is that she lives in Nashville, the home of country music. The other is that she writes originals that sound as if they are swing standards from the 1930s. Her voice is lovely and sweet, a little reminiscent of a younger Maria Muldaur although having her own personality. On All You Need Is the Girl, she performs two jazz standards ("A Handful of Stars" and "Lover, Come Back to Me") along with guitarist David Hungate's "It's Gotta Be You for Me," but it is her nine originals that really stand out. Several of the songs, particularly "I Don't Want to Love You," "You Can't Unring a Bell," and "Until It Happens to You," could catch on if they were heard and adopted by other singers. 

In fact, all nine of Barrows' tunes are potential standards in need of discovery by today's vocalists, particularly those who are looking for fresh material. Backed by a few overlapping combos that include Hungate on guitar and trombone, pianist Matt Rollings, and the warm tenor sax of Dennis Solee plus a guest appearance by the late Chet Atkins on "I Saw Stars," April Barrows' vocals are infectious, sometimes touching, and always fun. She deserves to be much better known. Get this CD and see why. 

~ Scott Yanow  http://www.allmusic.com/album/all-you-need-is-the-girl-mw0000302735

All You Need Is The Girl

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Paul Weston And His Orchestra - Music For A Rainy Night

Styles: Jazz, Big Band
Year: 2016
File: MP3@320K/s
Time: 36:47
Size: 85,9 MB
Art: Front

(3:05) 1. I'll Remember April
(3:02) 2. I See Your Face Before Me
(3:31) 3. Little Girl Blue
(3:08) 4. A Garden In The Rain
(3:14) 5. Dearly Beloved
(3:20) 6. Soon
(2:45) 7. Isn't It Romantic?
(3:02) 8. Fools Rush In (Where Angels Fear To Tread)
(3:07) 9. I Can't Get Started
(2:37) 10. You're Nearer
(3:26) 11. Day By Day
(2:23) 12. Why Was I Born?

Paul Weston (born Paul Wetstein, March 12, 1912, Springfield, MA) was one of the most diverse and talented arrangers and conductors of the '40s and '50s, moving from mainstream swing and jazz to instrumental easy listening pop in the course of his career. Though he began his career playing hard swing, Weston is the father of mood music lush, relaxing instrumental orchestral pop designed to provide a soundtrack to everyday events like romance and dining. Originally, Weston was an economics major at Dartmouth. While he was a student, he became fascinated with jazz, particularly swing, and began playing in various college bands. Soon, he decided to pursue a career in music.

Weston became known as a vocal arranger. His work with Rudy Vallee brought him to national attention. After arranging for Vallee, he attempted to work with Bing Crosby, but the results were unsuccessful. Following the failed Crosby venture, Weston became an arranger for Tommy Dorsey, which is where he made his reputation. While with Dorsey, he wrote jumping, swinging charts for the band and vocalists like Dinah Shore and Jo Stafford, whom he would marry in the mid-'40s.

Weston became the A&R director for Capitol Records in 1944, when the label was just beginning. Though he continued to write fast swing charts for a time, Weston noticed that the tastes of the public were beginning to move toward gentler material, so he adjusted his music accordingly. Weston released his first album of mood music, Music for Dreaming, in 1945. Music for Dreaming was decidedly calmer than his previous work, though there was a subtle swing driving the subdued music. The album was a major success, and Weston continued to record albums of smooth, string-laden music for the next five years. By 1950, the term "mood music" had been adopted by the press to describe this style of instrumental pop.

Weston left Capitol Records in 1950 for Columbia Records, where he continued to record albums of instrumental mood music. He also continued to write arrangements and conduct sessions for artists like Sarah Vaughan, Ella Fitzgerald, Dinah Shore, and Doris Day. By the end of the decade, he had returned to Capitol Records, where he stayed throughout the '60s. During this time, he and Jo Stafford recorded a handful of albums as Jonathan & Darlene Edwards. The Jonathan & Darlene albums were comedy records that parodied nightclub acts; on each record Stafford sang offkey and Weston horridly played out of time and out of key. In the early '70s, Weston and Stafford both retired. The couple began a reissue label, Corinthian Records, in the early '90s which released CD versions of their music.~ Stephen Thomas Erlewine https://www.allmusic.com/artist/paul-weston-mn0000029609/biography

Music For A Rainy Night

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Hampton Hawes - Trio & Quartet 1951-1956: Live & Studio (2-Disc Set)

Hampton Hawes (p), Harper Crosby (b), Lawrence Marable (d), Joe Mondragon (b), Red Mitchell (b), Larry Bunker (d,vib), Shelly Manne (d), Clarence Jones (d), Chuck Thompson (d).

Hampton Hawes was one of the finest jazz pianists of the 1950s, a fixture on the Los Angeles scene who brought his own interpretations to the dominant Bud Powell style. In the mid- to late '40s, he played with Sonny Criss, Dexter Gordon, and Wardell Gray, among others on Central Avenue. He was with Howard McGhee's band (1950-1951), played with Shorty Rogers and the Lighthouse All-Stars, served in the Army (1952-1954), and then led trios in the L.A. area, recording many albums for Contemporary. Arrested for heroin possession in 1958, Hawes spent five years in prison until he was pardoned by President Kennedy. He led trios for the remainder of his life, using electric piano (which disturbed his longtime fans) for a period in the early to mid-'70s, but returned to acoustic piano before dying from a stroke in 1977.

Album: Trio & Quartet 1951-1956: Live & Studio (Disc 1)
Bitrate: MP3@320K/s
Time: 71:39
Size: 164.0 MB
Styles: Piano jazz
Year: 2010

[4:25] 1. Buzzy
[3:13] 2. What Is This Thing Called Love
[6:32] 3. Bud's Blues
[4:12] 4. Another Air Do
[4:32] 5. All The Things You Are
[6:03] 6. Blue Bird
[4:53] 7. I'll Remember April
[2:36] 8. Where Or When
[2:26] 9. All God's Chillun Got Rhythm
[3:14] 10. Jumpin' Jacque
[4:16] 11. Don't Get Around Much Anymore
[3:45] 12. Hawes Paws
[3:50] 13. It's You Or No One
[3:09] 14. Buzzy
[3:10] 15. Just One Of Those Things
[2:28] 16. Again
[4:42] 17. What A Difference A Day Makes
[4:06] 18. Blue Bird

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Album: Trio & Quartet 1951-1956: Live & Studio (Disc 2)
Bitrate: MP3@320K/s
Time: 52:25
Size: 120.0 MB
Styles: Piano jazz
Year: 2010
Art: Front

[2:34] 1. Night And Day
[2:56] 2. Where Or When
[2:48] 3. Jumpin' Jacques
[2:30] 4. Don't Get Around Much Anymore
[2:43] 5. It's You Or No One
[2:40] 6. Thou Swell
[2:41] 7. Terrible T
[2:44] 8. Fanfare
[2:55] 9. Just Squeeze Me (But Don't Tease Me)
[2:54] 10. I'll Remember April
[2:54] 11. Hamp's Paws
[1:53] 12. Move
[2:32] 13. Once In A While
[2:36] 14. Buzzy
[3:22] 15. I Hear Music
[3:53] 16. All The Things You Are
[3:31] 17. I Got Rhythm
[4:11] 18. How High The Moon

Trio & Quartet 1951-1956: Live & Studio (Disc 1)(Disc 2)

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