Jaimee Paul - The Gershwin Songbook

Styles: Vocal Jazz
Year: 2025
Time: 42:27
File: MP3 @ 320K/s
Size: 97,7 MB
Art: Front

(3:03) 1. They Can't Take That Away From Me
(3:08) 2. I Got Rhythm
(5:15) 3. I've Got A Crush On You
(2:54) 4. A Foggy Day
(2:58) 5. Love Is Here To Stay
(5:12) 6. It Ain't Necessarily So
(3:51) 7. ‘S Wonderful
(4:49) 8. The Man I Love
(3:15) 9. Let's Call The Whole Thing Off
(4:38) 10. Embraceable You
(3:19) 11. But Not For Me

Celebrated international jazz vocalist Jaimee Paul returns with fresh takes on George Gershwin's timeless classics. The Gershwin Songbook album includes hits "The Man I Love," "Let's Call The Whole Thing Off," "But Not For Me," and "They Can't Take That Away From Me." Produced by Jack Jezzro, the album is releasing on Green Hill Music in partnership with Burton Avenue.

The Gershwin Songbook

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Andy Sheppard Quartet - Romaria

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 48:07
Size: 110,7 MB
Art: Front

(8:06)  1. And A Day ...
(4:48)  2. Thirteen
(5:11)  3. Romaria
(4:21)  4. Pop
(5:56)  5. They Came From The North
(5:53)  6. With Every Flower That Falls
(7:07)  7. All Becomes Again
(6:42)  8. Forever ...

Where so much music treats silence as an exception, Andy Sheppard's recordings find it serving more as the rule. He's never been one for weaving flashy speed runs or feeling pressure to fill space. Even when his sax lines speed up from time to time through Romaria, they serve the mood with tasteful restraint, smoothly evoking the soothing coolness of its cover. Sheppard uses the term "dream band" to describe this quartet, which is appropriate in more ways than one. Dreaminess is the overarching quality of the session and the group's longstanding familiarity lets them trust each other wherever they drift. Sheppard had already explored the chordless trio format with Michel Benita on bass and Sebastian Rochford at the drumkit; the guitar and electronic tones of sometime collaborator Eivind Aarset made an excellent expansion on Surrounded by Sea (ECM, 2015). Their followup here is just a touch more active in comparison, keeping their identity while turning one more facet toward the light. The opening "And a Day..." could serve as the start of a proper ambient album if it wished, full of wide breathing space and gentle sweeps of guitar swaying like waves at low tide. It's not long before Sheppard steps into livelier territory with the mid-tempo lines through "Thirteen," though the album's pace never feels anywhere near rushed. Again Aarset provides an atmospheric backing framework while the other players keep the pulse at the most languid of lulls. The rhythm section is often here to provide shading more than actual rhythm throughout; when the pieces ebb, they judiciously choose their spots with tasteful strums and splashes rather than any recognizable beat. The leader's pieces generally alternate between these two modes to refreshingly tranquil effect. 

The groove builds to a light-floating cruise during "Pop" and "All Becomes Again," then an actual clatter in between with "They Came from the North." Open air takes prominence for the meditative ballad "Every Flower That Falls" and the finale of "Forever..." (bookended with that opener because they were two complementary takes of the same piece). In either mode it's an atmosphere to soak in at leisure. This quartet's easy chemistry creates a pretty soundscape both inviting and intriguing, and Romaria never loses the airy feel of a cozy reverie even at its busiest. ~ Geno Tackara https://www.allaboutjazz.com/romaria-andy-sheppard-ecm-records-review-by-geno-thackara.php

Personnel: Andy Sheppard: tenor and soprano saxophones; Eivind Aarset: guitar; Michel Benita: double bass; Sebastian Rochford: drums.

Romaria

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Alex Sipiagin - Generations: Dedicated To Woody Shaw

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 67:14
Size: 154,3 MB
Art: Front

(8:41)  1. Greenwood I
(5:48)  2. Obsequious
(5:49)  3. Cassandranite
(7:33)  4. Beyond All Limits
(8:35)  5. Windy Bahn
(7:11)  6. Katrina Ballerina
(7:12)  7. Chance
(8:13)  8. Blues For Wood
(8:07)  9. Greenwood II

Alex Sipiagin pays it forward with his eighth Criss Cross release, Generations, dedicated to the late Woody Shaw, a lesser celebrated but brilliant trumpeter who performed with artists including Anthony Braxton, Chick Corea, Eric Dolphy, Andrew Hill. A fiery stylist with perfect pitch and lyricism, Shaw was admired by peers and emulated by up-and-comers as Sipiagin confirms, "Even now, many years later, every time I listen to Woody, I always find something new and inspiring." Sipiagin is also a stylist himself; an exceptional player and leader whose clarion horn has been called upon by bassist Dave Holland and saxophonist Michael Brecker. The trumpeter's band members are also leaders who have appeared on many of his releases, and were all members of various Brecker groups over the years, including the rhythmic underpinning of bassist Boris Kozlov and drummer Antonio Sanchez. 

Adam Rogers, another leader in his own right, is the perfect complement to Sipiagin's warm tonality; a guitarist who continues to unveil his superlative skills on the similarly themed Due Reverence (Posi-Tone, 2010), saxophonist Ralph Bowen's tribute to other lesser-known but influential musicians. The trumpeter's group is convincing, with a persuasive mix of fresh Sipiagin originals and Shaw reworks that are pristine reflections and contrasts of both musicians. Rogers cooks up a funky riff throughout Sipiagin's "Greenwood I" and "Greenwood II" (an alternate take and a nod to older recordings), as the trumpeter throws down melodic notes with cool precision, shifting between multiple changes of swing. "Windy Bahn" is another original, initially sketched on the trumpeter's computer, a composition that features jagged tempo changes. The spirit of the great B3 organist Larry Young, with whom Shaw frequently performed, looms on three tracks Young's "Obsequious," as well as Shaw's "Cassandranite" and "Beyond All Limits." 

They're perfect examples of the elders' progressive ideas in structure and harmony, along with the keen arrangements with which Sipiagin highlights each musician the trumpeter's lucidity, Sanchez's detailed traps, Kozlov's meaty yet lithesome fingerings, and Rogers' liquid maneuvers. Referencing Shaw's biography and Sipiagin's liner notes, some historical points concerning these jazz musicians is noteworthy: First, Shaw felt an immediate connection to another forerunner, trumpeter Clifford Brown, who died in June 1956, the same month and year he started playing. Second, the first time Sipiagin heard Shaw was around 1985, while studying in Russia; four years before Shaw's untimely passing in 1989. From one impactful connection to the next; the music continues its vitality.By Mark F.Turner  http://www.allaboutjazz.com/generations-alex-sipiagin-criss-cross-review-by-mark-f-turner.php
 

Personnel: Alex Sipiagin: trumpet, flugelhorn; Adam Rogers: guitar; Boris Kozlov: bass; Antonio Sanchez: drums.

Generations: Dedicated To Woody Shaw

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Cyrille Aimée - à Fleur de Peau

Styles: Vocal
Year: 2024
Time: 35:15
File: MP3 @ 320K/s
Size: 85,9 MB
Art: Front

(3:47) 1. Beautiful Way
(3:28) 2. Again Again
(3:50) 3. For the Love f You
(4:18) 4. Inside and Out
(0:47) 5. Yo soy Diosa
(4:34) 6. Back to You
(2:44) 7. Feel What I Feel
(4:02) 8. Here
(3:36) 9. Ma Préférence
(4:03) 10. Historia de Amor

During the Covid-19 pandemic, she returned to the Costa Rican jungle and bought a plot of land in an eco-community inhabited mainly by expatriates. She spent time there during the lockdown, camping out at first, eventually designing and building her own off-the-grid homestead. After the fact, she describes the songs she wrote in Costa Rica as a kind of "journal" of the process. She declares in her lyric to "Inside and Out," the seed for the album, that "I will build a house so steady for you to come back to." At the time she wrote it, she had no real plans to build. In retrospect, she sees the house in the lyric as the real jungle dwelling she was to construct and the "you" as the music she was to create in it. The official video of the piece was shot on her Costa Rican property and in her home, a fantastic idiosyncratic colorful abode with charmingly primitive plumbing. It shows her singing and dancing on her porch and frolicking in the village swimming hole (YouTube, bottom of this page).

When she had written enough material for an album, she reconnected with Sherman, saying, "Hey, I have some fun, trendy songs. Let's finish what we started." The two of them realized the project together. The tunes on À Fleur de Peau are as described: they have a breezy pop flavor, gentle grooves, lovely melodies and lyrics that are sweet and personal. Aimée, accompanying herself simply on guitar or ukulele, is at the core of the production, with the other lines and instruments superimposed.

After more than a dozen well-received recordings of standards as a leader, including a Grammy nomination for her arrangement of Stephen Sondheim's "Marry Me a Little" (Move On: A Sondheim Adventure, Mack Avenue, 2019), this is Aimée's first album to feature original material. She intended for it to be "accessible" and it is. Situated among her pop confections are versions of "Ma Préférence" by French singer-songwriter Julien Clerc (Pathé, 1978) and The Isley Brothers' "For the Love of You" (The Heat is On, Epic, 1975), which is described in the album notes as "an unabashed, gloriously uplifting slice of sophisticated Yacht-Pop." By Katchie Cartwright https://www.allaboutjazz.com/a-fleur-de-peau-cyrille-aimee-whirlwind-recordings

Personnel: Cyrille Aimee – vocals, acoustic guitar, baritone ukelele | Jake Sherman – various instruments | Abe Rounds – drums & percussion | Jorge Roeder – bass (2) | Duncan Wickel – violin, cello (2, 6, 7) | Naseem Alatrash – cello (2, 7) | Jay Rattman – clarinet (2, 7) | Wayne Tucker – trumpet (1, 3) | Maria Cardona – vocals (5) | Jamison Ross – drums (6) | Chloe Rowlands – trumpet, flugelhorn (6, 8) | Andy Clausen – trombone (6, 8) | The Williamsburg School of Music Chorus – vocals (8) | Armando Young – additional drum production

à Fleur de Peau

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Isabella Lundgren - Songs To Watch The Moon

Styles: Vocal
Year: 2017
Time: 50:07
File: MP3 @ 320K/s
Size: 115,4 MB
Art: Front

(5:40) 1. I Wished On The Moon
(4:30) 2. Moon River
(4:27) 3. Isn't It Romantic
(5:30) 4. For Heavens Sake
(4:08) 5. Dream A Little Dream Of Me
(5:14) 6. I'm Old Fashioned
(4:48) 7. Moonlight In Vermont
(4:40) 8. When Lights Are Low
(4:02) 9. I'll Be Tired Of You
(5:12) 10. Pennies From Heaven
(1:51) 11. Blueberry Hill

I am sitting at a wooden table in the basement of the Scala theater in Stockholm. I am watching Isabella Lundgren from afar. Everywhere around us the party is swirling and swaying back and forth. Her party. An after party if you will, after her concert at the Stockholm Concert hall, which she sold out entirely on her own. Last time I was at the concert hall was when Patti Smith held a concert there after receiving the Polar Music Prize, it was not sold out. An hour ago Isabella held a somewhat sacred and rather magical concert with her own material, backed by a full classical orchestra. The seated audience applauded enthusiastically but politely. They were dressed up the way middle age people dress up for the theater. In Scala’s basement the mood in inverted. A wild band is blowing Dixie as underage girls spill Jack and Coke over their music-school-attending boyfriends and the in Sweden mandatory thick winter coats are trampled on the floor. In front of the stage the sweat is dripping down from the ceiling.

It is crowded and rowdy and hot. Isabella has a smile on her face and her adopted Romanian street dog in her arms. She is standing a little to the side, watching the party with mild amusement. She is drinking a non alcoholic cider. Out of the sea of people Rigmor Gustafsson emerges to thank Isabella. The Swedish jazz queen Rigmor has stars in her eyes. She gives Isabella, what seems to be, at least from where I am sitting, an overwhelming review. As they are holding each others arms I think of a moment I have only read about. When Johnny Cash made his way over to Bob Dylan after a concert in the late sixties, to give to him his finest acoustic guitar. I think of that and I think of this. An equivalent of that moment. A passing of the torch if you will. There it is, torch passed. They even hail from the same town.

I first heard Isabella Lundgren sing in a music high school practice room in that town. Karlstad in rural Sweden. As I recall her voice then it sounded just like it does now. And I think she was only fifteen years old at the time. She already had that voice. An old voice. With a tear in it. A voice that had seen the bottom of the glass and the top of the world.

A voice that had laughed its way through the night in a taxi with it’s fingers in a strangers hair. A voice that had thrown it all away and had to face its gaze in the mirror the morning after. A voice that had felt love. And seen hate. Though it was, at that time, a voice like a bird in a cage. That mostly had been secluded to a teenage girls bedroom, with her mothers jazz records, in an apartment building opposite a gas station and a McDonalds restaurant. A voice that had been singing for thousands of hours accompanied by her Cd-Walkman underneath black and white posters of the Manhattan skyline. A voice that maybe hadn’t lived but had longed to live. I started talking to that voice on the phone for hours on end. For we longed for the same things. We talked and talked, like only teenagers can, about our restless longing. About Bob Dylan and about old movies. About everything that had to happened and about everything that mustn’t. We longed to live and we longed to leave. She left before me. On a full scholarship to the New School University for Jazz and Contemporary Music in New York City.

She ended up in New Jersey at first, at some remote relatives house, but she told a lie about having found another place to stay, in the city with a classmate, and again she did leave. A white lie from someone who had been longing. Longing to throw herself out from safety and into life with no safety net. And from what I heard, it was a hard fall. As hard as falls can become for someone who’s been longing. Longing for the night and the stage and the love. Longing for friendship and avenues and smoky clubs and bars. Longing for laughter and random encounters and booze and sex and dope. When she finally came back to Europe she was another. Wise somehow, beyond her years. She was still only twenty five but she had, it seemed, lived five lifetimes. She had found her faith and lost it. Dealt with her longing and her limitlessness. And it took time but she did start to sing again. To use the voice. Harness it. She had so many things to tell. And she now knew that music had to mean more. More than entertainment. It had to mean something real. She started writing her own material. Political, raw, and absolutely beautiful. With that same voice. Sometimes the girl have to catch up to the voice. Sometimes the woman first must live what the voice long have told.https://www.allaboutjazz.com/musicians/isabella-lundgren/

Personnel: Vocals – Isabella Lundgren; Bass – Niklas Fernqvist; Drums – Daniel Fredriksson; Piano – Carl Bagge

Songs To Watch The Moon

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Gene Ammons - The Boss Is Back!

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 73:16
Size: 168,3 MB
Art: Front

(7:27)  1. Tastin' the Jug
(7:59)  2. I Wonder
(8:48)  3. Ger-ru
(6:06)  4. Here's That Rainy Day
(6:47)  5. Madame Queen
(5:34)  6. The Jungle Boss
(5:10)  7. Jungle Strut
(6:03)  8. Didn't We
(5:04)  9. He's a Real Gone Guy
(5:41) 10. Feeling Good
(4:06) 11. Blue Velvet
(4:26) 12. Son of a Preacher Man

The executives at Prestige must have been felt ecstatic when they heard Gene Ammons first play after his release from a very severe seven-year jail sentence. The great tenor proved to still be in his prime, his huge sound was unchanged and he was hungry to make new music. This CD, which completely reissues the first two LPs Ammons cut after his return (The Boss Is Back! and Brother Jug!) rewards repeated listenings. The first date (in an acoustic quintet with pianist Junior Mance) hints at his earlier bop-based music while the numbers from the following day (with organist Sonny Phillips) find Ammons playing over a couple of boogaloo vamps very much of the period. Actually it is his ballad statements (particularly "Here's That Rainy Day," "Feeling Good" and even "Didn't We") that really make this CD memorable, although on "He's a Real Gone Guy" Ammons shows that he had not forgotten how to jam the blues either. ~ Scott Yanow  http://www.allmusic.com/album/the-boss-is-back!-mw0000111625

Personnel: Gene Ammons (tenor saxophone); Billy Butler (guitar); Houston Person, Prince James (tenor saxophone); Junior Mance (piano); Sonny Phillips (organ); Bob Bushnell (electric bass); Frank Jones , Frankie Jones, Bernard "Pretty" Purdie (drums); Candido , Candido Camero (congas).

The Boss Is Back!

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Richard 'Groove' Holmes - After Hours

Styles: Jazz, Post Bop
Year: 1962
File: MP3@320K/s
Time: 60:55
Size: 149,0 MB
Art: Front

(4:36)  1. Sweatin'
(2:56)  2. Jeannine
(4:13)  3. Minor Surgery
(4:08)  4. This Here
(5:16)  5. It Might as Well Be Spring
(5:21)  6. Moose the Mooche
(6:46)  7. Groove's Bag
(2:33)  8. Hallelujah, I Love her So
(5:25)  9. After Hours
(4:34) 10. Later
(5:01) 11. Do It My Way
(6:44) 12. Secret Love
(3:16) 13. Denise

Richard "Groove" Holmes was one of the first jazz organists to emerge after the rise of Jimmy Smith (who would remain a lifelong influence). Holmes had a lighter tone on the more up-tempo pieces, but on the ballads (such as "Denise" on this set) his organ could give the impression of weighing a ton. This CD reissue combines together most of the music from Holmes' two early albums: After Hours and Tell It like It 'Tis. 

These trio renditions (with either Joe Pass or Gene Edwards on guitar and Larance Marable or Leroy Henderson on drums) give one a strong sampling of the organist's talents on a variety of blues, bop standards, and obscure originals. ~ Scott Yanow http://www.allmusic.com/album/after-hours-mw0000184447

Personnel: Richard Groove Holmes (organ); Joe Pass, Gene Edwards (guitar); Larance Marable, Leroy Henderson (drums).

After Hours

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Rebecca Kilgore - A Little Taste a Tribute to Dave Frishberg

Styles: Vocal
Year: 2024
Time: 38:40
File: MP3 @ 128K/s
Size: 39,0 MB
Art: Front

(2:51) 1. A Little Taste (The Single)
(3:42) 2. Our Love Rolls On
(5:08) 3. "Peel Me a Grape"
(2:33) 4. Little Did I Dream
(4:27) 5. Heart's Desire
(3:16) 6. Snowbound
(3:01) 7. "Brenda Starr"
(2:36) 8. Telephone Song
(3:25) 9. Ah so Pure
(2:56) 10. You Are There
(4:40) 11. Eastwood Lane

Singer Rebecca Kilgore’s A Little Taste showcases her wonderful delivery, accompanied by a stellar lineup of musicians. The album features Dan Barrett on trombone, Dick Titterington on trumpet and flugelhorn, Randy Porter on piano, Tom Wakeling on bass and Todd Strait on drums, among others, creating a rich backdrop for Kilgore’s performances.

Singer Rebecca Kilgore’s A Little Taste showcases her wonderful delivery, accompanied by a stellar lineup of musicians. The album features Dan Barrett on trombone, Dick Titterington on trumpet and flugelhorn, Randy Porter on piano, Tom Wakeling on bass and Todd Strait on drums, among others, creating a rich backdrop for Kilgore’s performances. A string sections adds in that regard as well. The recording leans heavily into jazz standards, offering a nostalgic journey through well-loved tunes. Kilgore’s is effortlessly elegant style and the interplay between her vocals and the instrumental arrangements is wonderful delivers warmth and intimacy that make this a beautifully enjoyable listening experience.https://thejazzpage.com/album/rebecca-kilgore-a-little-taste/

A Little Taste a Tribute to Dave Frishberg

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Fredrik Kronkvist - Out of the Blue

Styles: Saxophone Jazz
Year: 2025
Time: 77:12
File: MP3 @ 128K/s
Size: 74,0 MB
Art: Front

(5:38) 1. Blues on the Corner
(7:07) 2. Jinrikisha
(6:05) 3. Driftin'
(5:38) 4. Mahjong
(6:55) 5. Nica's Dream
(7:40) 6. Una Mas
(8:07) 7. Short Story
(6:46) 8. Oriental Folksong
(6:10) 9. The Kicker
(8:21) 10. Blue Bossa
(8:40) 11. Moanin'

The powerful and soulful altoman Fredrik Kronkvist is considered one of Europe’s finest alto saxophonists and takes charge whenever he is in the spotlight. Fredrik is an award-winning saxophonist and he has several albums out as a leader. Both his writing and improvisational skills are on display when he gives the audience his experience in drawing the heat from a tune with his big sound.

He is leading his own band where he presents a quartet, consisting of musicians from the vanguard of today. https://www.allaboutjazz.com/musicians/fredrik-kronkvist/

Out of the Blue

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Johnny Frigo - Debut of A Legend

Styles: Jazz, Swing
Year: 1994
File: MP3@320K/s
Time: 55:58
Size: 132,3 MB
Art: Front + Back

(4:34)  1. Get Happy
(4:03)  2. I'm Old Fashioned
(3:04)  3. Osaka Saki
(5:09)  4. Too Late Now/Street of Dreams
(3:30)  5. Bow Jest
(4:25)  6. Nuages
(6:14)  7. Jitterbug Waltz
(5:25)  8. Heather On The Hill/How Are Things In Glocca Morra
(5:01)  9. I Love Paris
(6:18) 10. Here's That rainy Day
(3:09) 11. Lush Life
(5:03) 12. Jeannine

Violinist Johnny Frigo's third album as a leader (he had previously made a forgotten date for Mercury in 1957 and a Chesky CD in 1988) is his definitive set, even though he was 77 at the time. With a good supporting cast (guitarist Gene Bertoncini, Bob Kindred on tenor and clarinet, pianist Joe Vito, bassist Michael Moore, and drummer Bill Goodwin), Frigo mostly explores standards, plus two of his originals. The music, falling between swing and bop, is superior straight-ahead jazz; among the highlights are "Get Happy," "Bow Jest," "Jitterbug Waltz," and "Jeannine." Frigo's sudden prominence in his '70s (considering he spent most of his career as a bassist) was as unlikely and welcome an event as trumpeter Doc Cheatham's late-period triumphs.By Scott Yanow  http://www.allmusic.com/album/debut-of-a-legend-mw0000119053

Personnel: Johnny Frigo (violin); Gene Bertoncini (guitar); Bob Kindred (clarinet, tenor saxophone); Joe Vito (piano); Bill Goodwin (drums).

Debut of A Legend

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Harry Allen's All Star Brazilian Band - Flying Over Rio

Styles: Brazilian Jazz
Year: 2014
Time: 76:27
File: MP3 @ 320K/s
Size: 179,1 MB
Art: Front

(4:32) 1. Double Rainbow
(4:01) 2. A Ship Without A Sail
(7:09) 3. The Night Has A Thousand Eyes
(4:50) 4. Bonita
(5:44) 5. Girl From Ipanema
(4:44) 6. Bate Papo
(5:57) 7. Copacabana
(4:31) 8. Tristeza De Nos Dois
(4:17) 9. Eu E A Briza
(4:52) 10. Mojave
(4:52) 11. Flying Over Rio
(4:08) 12. Serra De Estrella
(4:45) 13. Lamento No Morro
(5:08) 14. Piano No Mangueirra
(6:48) 15. Love Dance

Harry Allen is one of those tenor saxophonists that, in many ways, defies categorization. Strongly swing-oriented, his style is influenced not only by the masters such as Coleman Hawkins and Lester Young, but also by his contemporaries such as Scott Hamilton and Stan Getz. In his current release Flying Over Rio, he explores Brazilian music and how it has been both adapted and adopted into North American musical forms.

There is probably no better way of starting this adventure than with the Jobim/Lees collaboration “Double Rainbow”. Bringing together a bossa nova theme with a waltz tempo, which is all held together by vocalist Maucha Adnet, is a perfect synthesis of what Allen is trying to accomplish with this album. “The Night Has A Thousand Eyes” is one of those popular tunes whose origins are often forgotten, but nevertheless has attributes that seem to fit any musical style. Here, led by a sixteen-bar introduction from drummer Duduka Da Fonseca, Allen picks up the melody with some lovely phrasing before rolling out several choruses of improvisation with the addition of some nifty piano from Klaus Mueller.

It would almost be heresy to exclude “Girl From Ipanema” from a Brazilian album, so Allen and the band avoid this apostasy with a lilting arrangement, with guitarist Guilherme Monteiro taking the opening solo lead. Then Allen chimes in with his lyrical take on the composition, evoking the ghost of Stan Getz. The group dives into the purely Brazilian songs with gusto and offers vocalist Maucha Adnet lots of room to explore the genre on “Bonita” and “Eu e a Briza”. On the evocative “Mojave” Allen and bassist Nilson Matta offer a tenor-bass duo which is an intricate interplay between the two with a complex time signature. As for the title tune “Flying Over Rio” it is a samba in a reflexive mode with Allen, pianist Mueller, and bassist Matta all at the top of their game. The session closes with “Love Dance” taken at a barely perceptible bossa rhythm with Allen, guitarist Monteiro, and pianist Mueller sharing the solo space with emotion and resonance.

Lead by Harry Allen’s sturdy tenor saxophone, this inventive and versatile band brings a unique voice to the Brazilian musical experience.By John Sunier https://www.audaud.com/harry-allen-all-star-brazilian-band-flying-over-rio-arbors/

Personnel: Harry Allen – tenor saxophone; Klaus Mueller – piano; Guilherme Monteiro – guitar; Nilson Matta – bass; Duduka Da Fonseca – drums; Maucha Adnet – vocals

Flying Over Rio

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Variable Density Sound Orchestra - Evolving Strategies

Styles: Jazz
Year: 2014
Time: 51:34
File: MP3 @ 128K/s
Size: 52,6 MB
Art: Front

( 9:02) 1. Mystical Realities
( 3:41) 2. Evolving Strategies
( 8:23) 3. Return and Breathe
( 5:08) 4. Thoughts for Dixon
( 7:17) 5. Voyage from Ra
( 2:34) 6. Revolving Strategies
( 3:22) 7. Heart Is Only a Part
(12:07) 8. Mystical Realities: Aftermath

The constituent parts of guitarist Garrison Fewell's Variable Density Sound Orchestra shifted gradually between its eponymous inception (Creative Nation, 2008) and sophomore effort on Sound Particle 47 (Creative Nation, 2010). Inevitably there will be further changes in the future if the unit continues, as both trumpeter Roy Campbell and reedman John Tchicai have passed on since the session which yielded Evolving Strategies in January 2012. Such losses will make a big difference as the group has developed a distinctive ethos built upon elegant writing which encourage garrulous interplay and improvisation with a personal stamp. That's all the more surprising as the charts stem from the pens of not only the leader but also Tchicai and trombonist Steve Swell.

Two takes of Swell's Mystical Realities bookend the proceedings. In the liners, Fewell explains that the quality of the solos demanded that both cuts be included, and it's easy to hear the truth in that statement, notably in the longer second version where both the author and Tchicai sound particularly inspired and expressive. Between times, a variety of compositional gambits generate consistently worthwhile results. Both Fewell's title cut and its near relative "Revolving Strategies" were created by giving each player a set of themes, from which they could select five. It was up to each player whether to repeat and how to transition between themes. Avoiding any hint of artifice, both versions revel in a conversational pointillism which nonetheless produces a unified whole, lyrically calm on the former, more emphatic and chatty on the latter.

By contrast Tchicai's "Return and Breathe" features recognizable soloists, each given a different settings. It moves between sparse unhurried dialogue, an intricate hocketed march and a loping riff, over which the reedman spins insistent soulful variations. He also looms large on "Voyage from Ra," blowing an impassioned incantation against choppy backing, before switching to flute for a poised conclusion. Throughout the generous and adventurous program, the leader's cool intelligence and full jazzy tone add graceful counterpoint which not only complements whoever stands center stage but also provides the cohesion which glues everything together.By John Sharpe https://www.allaboutjazz.com/evolving-strategies-variable-density-sound-orchestra-nottwo-records-review-by-john-sharpe

Personnel: Garrison Fewell: guitar, violin bow; bottleneck slide; John Tchicai: tenor saxophone, flute; Roy Campbell Jr: trumpet; pocket trumpet, flugelhorn, flute; Steve Swell: trombone; Dmitry Ishenko: bass; Reggie Nicholson: drums.

Evolving Strategies

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Alice Groves - Whisper Down The Wind

Styles: Vocal, Adult Contemporary
Year: 2012
File: MP3@320K/s
Time: 39:44
Size: 91,4 MB
Art: Front

(4:37)  1. MacArthur Park (Abridged)
(4:50)  2. Windmills of Your Mind
(4:20)  3. Across the Universe of Time
(4:01)  4. Wild Is the Wind
(3:51)  5. Forever and Ever
(4:32)  6. Dance Me to the End of Love
(5:13)  7. The First Time Ever I Saw Your Face
(8:17)  8. Jazz Tango to Love

Smooth Jazz edges weaving in and out of the evocative fusion of world sounds on this Adult Contemporary album - Yes, the music is stunningly beautiful, but it is the ethereal but gutsy soprano voice that grips your soul and won't let go. https://www.cdbaby.com/cd/alicegroves

Whisper Down The Wind

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Cristiana Polegri,Roberto Spadoni - It Had Better Be Henry Mancini

Styles: Vocal, Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 68:18
Size: 156,9 MB
Art: Front

(5:04) 1. Days Of Wine And Roses
(6:41) 2. Slow Hot Wind (Lujon) (Feat. Giovanni Falzone)
(7:15) 3. A Cool Shade Of Blue (Feat. Giovanni Falzone & Maurizio Giammarco)
(5:58) 4. The Sweatheart Tree
(5:42) 5. It Had Better Be Tonight (Meglio Stasera) (Feat. Elio, Giovanni Falzone & Maurizio Giammarco)
(6:49) 6. Peter Gunn (Feat. Giovanni Falzone & Maurizio Giammarco)
(6:40) 7. Two For The Road (Feat. Stefano Fresi & Maurizio Giammarco)
(4:39) 8. The Pink Panther Theme
(5:48) 9. Moon River
(6:50) 10. Loss Of Love
(6:48) 11. Baby Elephant Walk (Feat. Giovanni Falzone & Maurizio Giammarco)

"It Had Better Be Henri Mancini" is Cristiana Polegri and Roberto Spadoni's tribute to the great American composer and conductor famous for having composed some of the most beautiful and well-known soundtracks in the history of cinema, in a long career studded with accolades. Among these we can mention famous songs such as "Moon River", "Baby Elephant Walk", "Peter Gunn" and the theme of the Pink Panther.

The singer and saxophonist Cristiana Polegri and Roberto Spadoni, arranger of all the songs and musical director, reinterpret some of his best-known compositions in the album, arranged for a colorful ten-piece jazz ensemble. To embellish the album the participation of the singer Elio and the actor Stefano Fresi as well as the trumpeter Giovanni Falzone and the saxophonist Maurizio Giammarco.
https://www.dischivolanti.ch/it/article/music/M39554/

It Had Better Be Henry Mancini

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Sue Raney - Quietly There - Music of Johnny Mandel

Styles: Vocal Jazz
Year: 1987
Time: 60:32
File: MP3 @ 320K/s
Size: 139,9 MB
Art: Front

(4:36) 1. Lovers After All
(4:02) 2. El Cajon
(5:12) 3. Quietly There
(3:10) 4. Sure As You're Born
(4:50) 5. The Shining Sea
(3:41) 6. The Shadow Of Your Smile
(3:46) 7. Chose Enough For Love
(3:54) 8. Cinnamon And Clove
(3:36) 9. Unless It's You
(3:44) 10. Suicide Is Painless
(4:37) 11. You Are There
(3:48) 12. A Time For Love
(4:19) 13. Emily
(2:22) 14. Don't Look Back
(4:50) 15. Take Me Home

Sue Raney has one of the most beautiful voices in music. She is always in-tune, displays complete control over her vibrato, and has the rare gift of being able to interpret lyrics with such deep understanding that she makes them sound fresh, even if the words are familiar. Raney would be much better known today if she did not spend most of her time as a well-respected voice teacher, living in the Los Angeles area, and if she had recorded more extensively throughout her career. But she is one of the greats.

Sue was born Raelene Claire Claussen on June 18,1940, in McPherson, Kansas, and her career started very early. "I came From a musical background for my mother was a singer and my great great aunt had been in German opera When I was about four my mother realized that I could sing. My first public appearance was at a party in Wichita, Kansas when I was five."

Unable to find a voice teacher for her daughter at that time (due to her extreme youth), Raney's mother (who later in life became a vocal teacher) took voice lessons herself and then passed what she learned down to Sue.

"Early on I sang the hits, tunes that the girl singers in the big hands were performing. While growing up in the 1950's. I first listened to Doris Day, Patti Page, Rosemary Clooney and Kay Starr. I discovered jazz when I was 16 or 17 and of course soon loved Ella Fitzgerald and Sarah Vaughan."

After working steadily in New Mexico and taking several trips out to Los Angeles during a couple of summer vacations, Sue Raney joined the Jack Carson radio show in 1954. "That is why the family moved out to Los Angeles. I had auditioned for Frankie Laine and made a couple of demos for his office. It was through him that I ended up on the Jack Carson show. It was one of the last major radio programs on CBS and at 15 I was the teenager on the show for nine or ten months. After Jack Carson I started appearing on Ray Anthony's television program and then became the vocalist with his hand when he played the Palladium. When I was 19, I put an act together and started working on the road."

She was already an established singer when most young girls were making a rather awkward transition from Elvis Presley to Clearasil. It took time to polish her vocal talent. There were ups and downs, good breaks and bad ones. There was the time in Australia when the critics banged nothing but praise out of their typewriters and the crowds came early and stayed and stayed and stayed. Then, for a time, things couldn't be better, She completed her third album for Capitol Records and was swamped with hotel and night club bookings as well as offers for various television appearances. Then came a down. An auto accident crumbled the classic stairway to stardom. Bedridden for months, Sue faded out of the musical picture. But no one seemed to forget. With the help of crutches, she made an appearance on Johnny Carson's "Tonight Show," and became an instant hit.

In the 1960's Sue Raney worked with the Four Freshmen at Las Vegas, toured with her own group, and appeared frequently on television variety shows including those of Red Skelton, Dean Martin and Danny Kaye. During the following decade she became active in the studios where her impressive voice helped sell products. But when asked to name her favorite gig, Sue Raney says "Possibly the highpoint of my life musically was when I toured with Michel Legrand in the 1980's. We worked with symphony orchestras in addition to having a self-contained rhythm section. I had a chance to sing Michel's lovely songs and it was wonderful." Of her own personal recordings she says "I think the trio of records that I made for Albert Marx, on Discovery in the 1980's are the ones that I am most proud of. I also like the Henry Mancini tribute Dreamsville that I did with Alan Broadbent." Sue is also an accomplished songwriter, contributing lyrics to several songs including Statue Of Snow.

These days Sue Raney is quite active as a voice teacher. "I've been teaching since the early 1980's, originally at the Dick Grove school and now privately nearly every afternoon. It is very rewarding. Teaching has allowed me to relearn what I thought I knew and explore new areas. I find that I'm now in better shape vocally than I've ever been. I sing with the L.A. Voices and Supersax, occasionally appear at the Moonlight Tango Cafe in Sherman Oaks near Los Angeles with Bill Watrous' big band and still go on the road when it feels right and it is artistically rewarding." When asked about her future goals, Sue Raney replied "I'd like to record a duet album with Alan Broadbent. But basically I just want to keep on doing what I'm doing, singing the music I love."https://www.allaboutjazz.com/musicians/sue-raney/

Quietly There-Music of Johnny Mandel

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Ted Brown - Shades of Brown

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 66:04
Size: 151,6 MB
Art: Front

(4:54)  1. After You've Gone
(5:48)  2. I'm Getting Sentimental Over You
(6:19)  3. Almost Like Being in Love
(6:31)  4. She's Funny That Way
(5:29)  5. Limehouse Blues
(5:00)  6. How Deep is the ocean
(4:36)  7. This can't be Love
(6:28)  8. Cherokee
(4:39)  9. Embraceable You
(5:31) 10. The Song is You
(4:46) 11. You go to my Head
(5:58) 12. I Found a new baby

Although nearing his 80th birthday by the time this early-2007 session was issued near the end of the same year, tenor saxophonist Ted Brown hasn't recorded extensively as a leader. A onetime student of Lennie Tristano, he mastered the pianist's intricate reworkings of standards, though he eventually returned to a more straight-ahead approach to his instrument, becoming a descendant of Lester Young's playing style. With support from guitarist Steve Lamattina (making one of his first appearances on a widely distributed jazz CD) and veteran bassist Dennis Irwin, Brown possesses a light tone and consistently swings in these cool performances, with the rhythm section also playing at a low volume level, making for a relaxing date. Yet, Brown is very much his own man and not a "repeating pencil" trying to re-create Young's work, much like Zoot Sims, Al Cohn, and other cool-toned saxophonists who paid their dues during the 1950s. There isn't a piece on the session that's less than a half-century old, but Brown and his mates make each of them sound fresh. "Cherokee," "This Can't Be Love," and "You Go to My Head" are just a few of the highlights of this rewarding CD.

By Ken Dryden http://www.allmusic.com/album/shades-of-brown-mw0000585361

Personnel: Ted Brown (tenor sax);  Dennis Irwin (bass);  Steve Lamattina (guitar)

Shades of Brown

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Kitty Kallen - Les Géants Du Jazz: Songs From The Radiodays (Restored Edition '25)

Styles: Vocal Jazz
Year: 2025
Time: 35:30
File: MP3 @ 320K/s
Size: 82,5 MB
Art: Front

(2:59) 1. Litlle Things Mean A Lot
(3:13) 2. I'm Beginning To See The Light
(2:59) 3. Besame Mucho
(2:47) 4. If I Give My Heart To You
(3:13) 5. Oh, Brother!
(2:29) 6. That Old Feeling
(3:03) 7. They're Either Too Young Or Too Old
(2:56) 8. But Beautiful
(2:13) 9. The Aba Daba Honeymoon
(2:50) 10. Go On With The Wedding
(3:20) 11. I'll Buy That Dream
(3:22) 12. It's Been A Long, Long Time

Kitty Kallen was a band singer, and later a soloist, who lit up bandstands with a handful of top leaders during the '40s. She's remembered for three reasons: big-band fans know that she was the one who replaced Helen O'Connell in the Jimmy Dorsey Orchestra in 1943, also that she sang the vocal chorus on a pair of Harry James hits, "I'm Beginning to See the Light" and "It's Been a Long, Long Time," and virtually everyone with a radio in 1954 knew that she recorded the year's most popular song, "Little Things Mean a Lot." Her career lasted more than 20 years, but it was sporadic at best, with the major successes listed above virtually the only popularity she achieved.

Born in Philadelphia in 1922, she was a gifted mimic who won talent shows and also appeared on children's radio shows by the mid-'30s. Kallen was still a teenager when she began singing with bands (including Jan Savitt and Artie Shaw), and she earned her first full-time role in 1940 with Jack Teagarden's Orchestra. Two years later, she joined Tommy Dorsey, and appeared on several hits, including "Besame Mucho" and "Star Eyes" (plus a 1943 film, I Dood It). One year later, she had jumped ship again, this time to the Harry James band, where she struck gold again with a pair of dreamy Hit Parade toppers, "I'm Beginning to See the Light" and "It's Been a Long, Long Time." Two additional hits followed "I Guess I'll Hang My Tears Out to Dry" and "I'll Buy That Dream" both of which were in the same mold as her previous features.

After the end of World War II, during the late '40s, Kallen sang on several radio programs, appeared as a solo act in clubs nationwide, and recorded for labels including Musicraft and Signature. Nothing clicked in a big way until 1953, when a contract with Decca paid dividends with a pair of million-sellers, "Little Things Mean a Lot" (her signature song) and "In the Chapel in the Moonlight." Kallen proved popular on television, although by the mid-'50s, she began to be swept aside by rock-oriented pop music. She made brief comebacks in 1959 with Columbia and 1962 with RCA, but 1963 was the last year for her on the pop charts, with "My Coloring Book."By John Bush https://www.allmusic.com/artist/kitty-kallen-mn0000099198#biography

Les Géants Du Jazz: Songs From The Radiodays (Restored Edition '25)

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Paolo Fresu, Richard Galliano, Jan Lundgren - Mare Nostrum IV

Styles: Jazz
Year: 2025
Time: 46:34
File: MP3 @ 320K/s
Size: 107,1 MB
Art: Front

(3:50) 1. Belle-Île-En-Mer
(4:48) 2. Alone for You
(3:29) 3. Hope
(4:07) 4. Hidden Truth
(4:36) 5. Colette
(3:01) 6. Eloquence
(3:11) 7. Daniel's Farfars Låt
(3:51) 8. La Vie en Rose
(3:00) 9. Man in the Fog
(4:22) 10. Float
(4:02) 11. Life
(4:11) 12. Lullaby for Two

The three musketeers of ACT Records are back for a third season, and the magic remains intact a rich cultural blend of three inspired musicians, including the French virtuoso Richard Galliano, who accompanied the late French jazz singer Claude Nougaro for many years. Though Nougaro passed away in 2004, his voice still resonates on Bayou Blue Radio. Joining Galliano are Paolo Fresu, whose trumpet graces John De Leo’s album Tomato Pelosi (which I reviewed last month here), and Jan Lundgren, whose stunning duet album with Yamandu Costa, Inner Spirits, remains a must-listen I previously reviewed it here.

On this fourth opus from this magical trio, we witness a deeply refined work. Having spent years touring and recording together, these musicians have reached a level of artistic communion that far surpasses their previous albums. Each player seamlessly serves the music, adapting to the needs of each piece with arrangements that are nothing short of breathtaking particularly on the track Hidden Truth. What began in 2005 as an experiment three concerts in Sweden bringing together a triumvirate of European jazz luminaries has, over the past two decades, evolved into one of the most distinctive ensembles embodying the “Sound of Europe.” Sardinian trumpeter Paolo Fresu, French accordionist Richard Galliano, and Swedish pianist Jan Lundgren weave musical narratives through Mare Nostrum, telling stories that traverse the northernmost reaches to the sun-drenched shores of the Mediterranean. Their fusion of influences ranging from folk and classical to popular music meets the boundless freedom of jazz.

In Mare Nostrum IV, the twelve pieces composed or arranged by Fresu, Galliano, and Lundgren for one another unfold like cinematic vignettes, shifting between Nordic melancholy and Mediterranean warmth. It is a sea of sound, an oasis of beauty where souls resonate in unison, reminding us of our deeper bonds. In these uncertain times, such connection is more precious than ever. These compositions exude nostalgia, romance, and poetry some may even call them excessive in their sentimentality but no matter. When jazz of this caliber opens its arms to a broader audience with melodies that are both accessible and profoundly moving, one would be mad to resist.

A touch of Parisian charm appears with yet another rendition of La Vie en Rose perhaps an attempt to internationalize the album. Yet even without this effort, the record stands firmly on its own, bolstered by its exquisite compositions. The arrangements here are particularly delightful, and it is a joy to hear this trio return time and again, knowing their journey began as nothing more than an impromptu concert in 2005. It was never meant to last but after hundreds of performances worldwide and waves of acclaim rolling in like flocks of birds on the horizon, this trio has been all but institutionalized through their successive albums.

A well-crafted album, like a great film, is structured with a beginning, a middle, and an end. Such is the case here, culminating in a beautifully crafted finale where each artist takes center stage in turn. Without a doubt, this is an indispensable album for all lovers of beauty. ByThierry De Clemensat https://www.paris-move.com/reviews/paolo-fresu-richard-galliano-jan-lundgren-mare-nostrum-iv/

Personnel: Paolo Fresu, trumpet & flugelhorn; Richard Galliano, accordion & melowtone; Jan Lundgren, piano

Mare Nostrum IV
Mare Nostrum IV

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Jackie Ryan - This Heart of Mine

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 68:44
Size: 160,5 MB
Art: Front + Back

(3:52)  1. This Heart of Mine
(3:46)  2. Sleepin' Bee
(6:34)  3. Estate (Summer)
(5:50)  4. East of the Sun
(4:00)  5. Jump for Joy
(5:45)  6. Make it Last
(3:59)  7. Anos Dourados
(5:15)  8. Maybe September
(3:39)  9. When I Grow Old to Dream
(5:34) 10. Moon and Sand
(4:13) 11. Come Back to Me, Lover Come Back to Me
(6:48) 12. Sari (Trieste)
(4:49) 13. Velas Icadus (Sails)
(4:34) 14. Seasons of the Heart

You simply cannot sing a song any better than Jackie Ryan does. And you cannot make a better jazz vocal CD than this one. It is perfect. If that sounds too reverent, let me change the praise to “perfectly wonderful.” Each of the elements is truly wonderful: the choice of songs, the arrangements, accompanying musicians, even the ordering of the songs. And, most importantly, of course, Jackie Ryan! She is a smart, sophisticated vocalist for grown ups and this is her finest record and, in fact, may well be the best jazz vocal disc of 2003. If justice does exist, This Heart of Mine should make the San-Francisco-based Jackie a star. She has it all, a luxuriant smoky, rich alto, a feeling for jazz, a deft sense of swing, effortless delivery, stunning presentation and, just as importantly, an unaffected honesty. Each of her four CDs shows the steady growth of this remarkably talented artist, but This Heart of Mine deserves superlatives. How about the spell she weaves on that newest of standards, the jazz elegy to summer, “Estate,” or her moving version of Jobim’s seldom recorded tender “Anos Dourados” (Golden Years) sung in perfect Portuguese. The seldom-performed “Maybe September” is an exceptional song from a very non-exceptional movie (“The Oscar”). 

Alec Wilder’s “Moon and Sand” is getting more attention the past decade, and well it should. Ryan’s version is a wonderful and most tender addition to the growing canon. Other highlights include a gospel-tinged “Jump for Joy” and a graceful “Sleepin’ Bee.” Each track is meticulously constructed but still, the feeling of improvisation so important in jazz abounds. The “construction lines” are not visible only the spontaneity and the joy. You can tell a lot about a singer by the accompanists she keeps and Jackie Ryan keeps the best. This Heart of Mine features two different marvelous core bands. Four Los Angeles-based master musicians include pianist Jon Mayer, drummer Roy McCurdy, guitarist Barry Zweig, and bassist Darek Oles. A San Francisco contingent includes either Leonard Thompson or pianists Amina Figarova, bassists John Wiitala or Ruth Davies, and percussionists Omar Clay or Jason Lewis. The legendary Toots Thielemans adds his lyrical magic on the aforementioned “Estate” and “Maybe September.” Saxophonist Ernie Watts delivers some memorable contributions on three cuts. Yutaka Yokokura provides beautiful strings and Steve Erquiaga gentle bossa guitar rhythms on Jobim’s “Anos Dourados.” Jackie Ryan has a full-bodied voice and she intoxicates with a combination of power and perfume. She can be cute without cloying, sassy without being smug, she can swing but handles ballads with an assured delicacy and depth. Jackie is the real thing, an artist to delight in today and to follow in the future. This Heart of Mine is sixty seven minutes of glorious music. ~ Roger Crane https://www.allaboutjazz.com/this-heart-of-mine-jackie-ryan-openart-review-by-roger-crane.php

Personnel: Steve Erquiaga - Guitar;  Barry Zweig - Guitar;  Ruth Davies - Bass;  Roy McCurdy - Drums;  Jon Mayer - Piano;  Darek Oles - Bass;  Toots Thielemans - Harmonica;  Ernie Watts - Sax;  John Wiitala - Bass;  Jason Lewis - Drums;  Amina Figarova - Piano;  Yutaka Yokokura - Strings; Jackie Ryan - Vocals;  Leonard Thompson - Piano;  Bart Plateau - Flute;  Derek Oles - Bass.

This Heart of Mine

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Chet Baker - Koln Concert Featuring Dick Twardzik

Styles: Cool Jazz
Year: 1955
Time: 78:32
File: MP3 @ 320K/s
Size: 180,3 MB
Art: Front

( 2:50) 1. Announcement
( 7:16) 2. Exitus
( 0:31) 3. Announcement
( 7:08) 4. Tommyhawk
( 4:02) 5. Imagination
( 0:13) 6. Chet Baker Presents Dick Twardzik's Solo Feature
( 8:46) 7. Yellow Tango
( 5:29) 8. Someone to Watch Over Me
( 9:26) 9. C.T.A.
( 6:01) 10. My Funny Valentine
( 0:36) 11. Announcement: Campi Introduces Hans Koller and Willi Sanner
( 9:57) 12. Cool Blues
(15:08) 13. I'll Remember April
( 1:02) 14. Exitus (Closing Words by Chet Baker)

Unreleased for half a century and worth the wait. Documenting a complete West German live appearance from October 9, 1955 (including an announcement from promoter Gigi Campi and some impromptu dialogue from Chet Baker himself), The Köln Concert Featuring Dick Twardzik captures a harder, more soulful dimension of the trumpeter's work absent from his concurrent studio dates.

There's real heat simmering below Baker's icy-cool tones, and he invests familiar compositions like "Imagination" and "I'll Remember April" with new verve. No less notable is his support staff, featuring pianist Richard Twardzik in one of his final performances before his fatal heroin overdose just 12 days later. His contributions here are shapely and supple, each note a poignant reminder of the immense talent he squandered away.By Jason Ankeny
https://www.allmusic.com/album/k%C3%B6ln-concert-featuring-dick-twardzik-mw0000583508#review

Personnel: Trumpet, Vocals – Chet Baker; Baritone Saxophone – Willi Sanner ; Drums – Peter Littman; Piano – Dick Twardzik; Tenor Saxophone – Hans Koller

Koln Concert

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