Emily Remler - East To Wes (1988)

The late guitarist's last CD to be released before her premature death is her finest effort. Emily Remler's fluid technique brightens such seldom-heard numbers as Clifford Brown's "Daahoud" and her simplified arrangement of Claude Thornhill's lovely "Snowfall," as well as more relaxed tunes like "Sweet Georgia Fame." The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin "Smitty" Smith. Highly recommended. ~  by Ken Dryden, AMG.

Concord Jazz, CCD-4356, 1990

Recorded May, 1988 At Penny Lane Studios, New York City

Musicians:

Emily Remler - Guitar

Hank Jones - Piano

Buster Williams - Bass

Marvin "Smithy" Smith - Drums

Tracks:

1. Daahoud {Clifford Brown} (5:20)

2. Snowfall {Claude Thornhill} (6:39)

3. Hot House {Tadd Dameron} (5:45)

4. Sweet Georgie Fame {Blossom Dearie, Sandra Harris} (5:38)

5. Ballad For A Music Box {Emily Remler} (7:25)

6. Blues For Herb {Emily Remler} (6:26)

7. Softly As In A Morning Sunrise {Oscar Hammerstein II, Sigmund Romberg} (8:14)

8. East To Wes {Emily Remler} (6:13)

Credits:

Producer - Carl E. Jefferson

Recording Engineer - Ed Trabanco

Remixing Engineer - Phil Edwards

Mastering Engineer - George Horn

Art Direction - Kent Judkins

Photography - Hershy Worch

Liner Notes - Nat Hentoff

Emily Remler - Catwalk (1985)

Guitarist Emily Remler's fourth and Concord recording makes one regret even more her premature death at age 32. While her earlier dates were very much in the bop mainstream, this one (in a quartet with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses) finds her looking ahead and partly finding her own voice on her seven diverse originals. Although she never became an innovator, Remler certainly had a lot to offer the jazz world and this fairly adventurous effort was one of the finest recordings of her short career. ~ by Scott Yanow, AMG.

Concord Jazz, CCD-4265, 1985

Recorded August, 1984 At Coast Recorders, San Francisco, California

Musicians:

Emily Remler - Guitar

John D'Earth - Trumpet

Eddie Gomez - Bass

Bob Moses - Percussion

Tracks:

1. Mocha Spice {Emily Remler} (4:30)

2. Catwalk {Emily Remler} (7:24)

3. Gwendolyn {Emily Remler} (4:40)

4. Antonio {Emily Remler} (4:29)

5. Pedals {Emily Remler} (6:58)

6. Five Years {Emily Remler} (5:53)

7. Mozambique {Emily Remler} (7:45)

Credits:

Producer - Carl E. Jefferson

Recording & Remixing Engineer - Phil Edwards

Mastering Engineer - George Horn

Photography - Veryl Oakland

Art Direction - Tom Burgess

Liner Notes - Nat Hentoff

Emily Remler - Why, oh why did the good Lord take this wonderfully talented young lady from us at such a young age. She was only 32 when she died. Remler didn't get to make many recordings in her all too brief life and this is one of her finest. John D'Earth's trumpet perfectly complements Remler's full bodied guitar sound and the rhythm section of Eddie Gomez and overlooked Bob Moses keep things moving along quite nicely. Well, if some of what I've read is true, I hardly think it was the good Lord who was sticking that needle in her arm. Although not credited as the cause of her death surely it didn't help. Remler had herself one hell of a heroin addiction and that drug usage was the direct cause of the heart attack that took her life. So, I guess the Good Lord didn't have much to do with it other than not answering her prayers. ~ Stereophile.com.

Geri Allen - The Nurturer (1990)

A fine example of Geri Allen's advanced music (which holds on to tradition without merely recreating the past), this CD matches the talented pianist with veteran trumpeter Marcus Belgrave, altoist Kenny Garrett, bassist Robert Hurst, drummer Jeff Watts and percussionist Eli Fountain on group originals and two obscurities. Everyone is in fine form, and the Belgrave-Garrett combination works quite well. ~ by Scott Yanow, AMG.

The music is highly interesting! Bold, complex, energetic, beautiful acoustic jazz, typical of its period. There's some effortless blending of different subdivisions of rhythm (Watts and Hurst have teamed up before...), some spirited almost-free blowing, some serious loose and groovy second-line blues romping, floating, all-encompassing jazz music. All the players deliver, and the band sound is great. Geri Allen rocks. Open your ears and dig in. ~ B.A.H., Amazon.com.

Blue Note, CDP 7 95139 2, 1991

Recorded 5^th & 6^th January, 1990 At Sound On Sound, New York, NY

Musicians:

Geri Allen - Piano

Marcus Belgrave - Trumpet, Flugelhorn

Kenny Garrett - Alto & Straight-Alto Saxophones

Robert Hurst - Bass

Jeff Watts - Drums

Eli Fountain - Percussion

Tracks:

1. Night's Shadow {Eli Fountain} (8:26)

2. No. 3 {Lawrence Williams} (8:17)

3. It's Good To Be Home Again {Lawrence Williams, Arr. Gene Kee} (4:32)

4. Batista's Groove {Marcus Belgrave} (5:24)

5. Night Of Power [For My Daughter Laila] {Geri Allen} (2:19)

6. Our Gang {Robert Hurst} (5:38)

7. Silence And Song / The Nurturer {Geri Allen} (9:51)

8. Le Goo Wop {Geri Allen} (1:48)

9. Lullaby Of Isfahn {Kenny Garrett} (6:41)

Credits:

Producer - Geri Allen

Executive-Producer - Hitoshi Namekata

Recording & Mixing Engineer - Peter Denenberg

Mastering Engineer - Yoshio Okazaki (Capitol Jax)

Photography [Back] - Shigeru Uchiyama

Art Direction - Kaoru Taku

Cover Painting - Michael Kelly Williams

Francesca Tandoi Trio - Something Blue (2014)

Born in Italy and active in the Netherlands, this is Francesca Tandoi's 2nd album, released within less than a year since her previous Japanese debut album "For Elvira". Regardless of being a beautiful woman, she has equally been heralded as an exceptional new talent, both a brilliant pianist and vocalist. This enthusiasm is reflected in Sawano Kobo's push for a second release in such a short time. On this CD standards are the prime focus, but with the addition of two of her own tunes and more vocals. Her singing voice is clear and feminine, forming a style although not as robust as other divas, but still remains complementary to her playing. No doubt over time both talents will continue to evolve with her maturity and expanding expertise. She is joined again by her Dutch friends, bassist Frans Van Geest and drummer Frits Landesbergen and their cohesion as a trio clearly shows through their continued association. It is an album that creates an easy-listening atmosphere with some of the highlights being; the moody "The Days of Wine and Roses", and both "Something Blue" and "Green Heels" swing well. Overall another charming expression of the talented Francesca Tandoi.

Atelier Sawano, AS 142, 2014

Recorded Trio At WedgeView Studios, Woerdense Verlaat, Netherlands

Recorded Vocals At Power Sound Studio, Amsterdam

Musicians:

Francesca Tandoi - Piano, Vocals

Frans Van Geest - Bass

Frits Landesbergen - Drums

Tracks:

01. Tricotism {Oscar Pettiford} (4:17)

02. Waltz For Debby {Bill Evans, Gene Lees} (4:08)

03. That Old Feeling {Lew Brown, Sammy Fain} (5:33)

04. Too Marvelous For Words {Johnny Mercer, Richard Whiting} (3:58)

05. The Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (6:54)

06. You Must Believe In Spring {A & M Bergman, J. Demy, Michel Legrand} (4:15)

07. Something Blue {Francesca Tandoi} (3:31)

08. Volare {Domenico Modugno} (5:15)

09. Teach Me Tonight {Gene de Paul, Sammy Cahn} (4:10)

10. Save Your Love For Me {Buddy Johnson, Nancy Wilson} (5:14)

11. Green Heels {Francesca Tandoi} (3:58)

12. Someone To Watch Over Me {George & Ira Gershwin} (5:46)

Credits:

Executive-Producer - Minoru Sawano, Yoshiaki Sawano

Engineer - Bart Wagemakers, Iván Moreno

Mixing, Mastering - Joris Wolff

Photography - Eddy Westveer, Jacopo Mezzanotti

Cover - Loud Minority

Coleman Hawkins Quartet - Play The Jazz Version Of No Strings (1962) [vinyl]

The Jazz Version of No Strings is an album by saxophonist Coleman Hawkins featuring tracks from the musical drama No Strings written by Richard Rodgers, which was recorded in 1962 and released on the Moodsville label. Hawk gives each of these splendidly harmonious tunes a broad and warm and moving treatment. Tommy Flanagan is his usual collected, delightfully swinging self, instinctively comprehending the feeling of the tunes and revealing he was among the best pianists, technically and artistically, exceptional as a soloist and a splendid accompanist. On drums, Eddie Locke is typically proficient, and bassist Major Holley contributes some enjoyably entertaining solos in a quartet that displays how to play superior, effortless and truly entertaining music.

Moodsville Records, MVST 25, 1962

Recorded 30th March (#A1,A3,B1,B4) 4th April (#A2,A4,A5,B2,B3) 1962
At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Coleman Hawkins - Tenor Saxophone (#A1-A3,A5,B1,B3,B4)

Tommy Flanagan - Piano

Major Holley - Bass

Eddie Locke - Drums

Tracks:

A1. Look No Further {Richard Rodgers} (4:31)

A2. La La La {Richard Rodgers} (3:21)

A3. Nobody Told Me {Richard Rodgers} (3:22)

A4. Maine {Richard Rodgers} (3:15)

A5. Loads Of Love {Richard Rodgers} (4:14)

B1. The Sweetest Sounds {Richard Rodgers} (4:22)

B2. Be My Host {Richard Rodgers} (3:05)

B3. The Man Who Has Everything {Richard Rodgers} (5:58)

B4. No Strings {Richard Rodgers} (4:49)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Nat Hentoff

Kenny Barron - 1+1+1 (1984) [vinyl]

Having both cut his teeth and come into his own with Dizzy Gillespie, Freddie Hubbard, and Yusef Lateef, among others, pianist Kenny Barron began to carve out what has proven to be a lengthy and fruitful solo career by 1973. This fine duo outing, which has Ron Carter and Michael Moore trading off on bass, certainly shows Barron was in full control of his vigorous and tuneful style by the mid-'80s. Cut for the independent Black Hawk label before Barron would eventually find more exposure via such high-profile companies as Enja and Verve, 1 + 1 + 1 features a tasty program of numbers by Monk, Ellington, Coltrane, Dave Brubeck, and others. Of particular note are Barron and Carter's treatments of the Gershwin opener, "The Man I Love," and Brubeck's "In Your Own Sweet Way." Carter also contributes the lone original here, "United Blues," which features Moore handling the bass duties. Topped off with a fine solo exploration of "Round Midnight" (Barron has to be one of the best modern interpreters of Monk's work), 1 + 1 + 1 is certainly a must for fans of contemporary hard bop. ~ by Stephen Cook, AMG.

BlackHawk Records, BKH 50601, 1984

Recorded 23^rd & 24^th April, 1984 in Englewood Cliffs, New Jersey

Personnel:

Kenny Barron - Piano (All), Solo (#B3)

Ron Carter - Bass (#A2,A3,B2,B4)

Michael Moore - Bass (#A1,A4,B1)

Tracks:

A1. The Man I Love {George Gershwin, Ira Gershwin} (5:13)

A2. United Blues {Ron Carter} (3:37)

A3. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (5:13)

A4. C Jam Blues {Barney Bigard, Duke Ellington} (4:22)

B1. In Your Own Sweet Way {Dave Brubeck} (6:02)

B2. Giant Steps {John Coltrane} (3:06)

B3. 'Round Midnight {Bernie Hanighen, Thelonious Monk, Cootie Williams} (6:29)

B4. Beautiful Love {Victor Young} (4:00)

Credits:

Executive Producer - Don H. Nelson, Karen J. Nelson

Producer, Art Direction - Joanne Klein

Recording Engineer - Rudy van Gelder

Design - Neon De Fall Graphics

Photography [Front] - J.R. Jones

Photography [Back] - Scott Sternbach

Junior Mance + Joe Temperley - Monk (2003)

In November of 2000 aboard a ship adrift on the Atlantic Ocean, reedman Joe Temperley joined pianist Junior Mance's Floating Jazz Festival Trio in what proved to be a perfect setting for a tribute to the music of Thelonious Monk. Like Monk, the waters beneath them were capable of powerful swings and torrents, and also like Monk, their music was pronounced amid a shroud of relative isolation.

Throughout this live set, Temperley and Mance - joined by the gifted rhythm section of bassist Peter Washington and veteran drummer Mickey Roker—drive Monk's music to deserved heights and moody lows. The opener, "Blue Monk," is given a gin-soaked treatment by Temperley's swaying bass clarinet, which is then reinforced by an appropriately blue-hued Mance solo and finally cemented by Washington's spot-lit rolls and picks.

On "Ask Me Now," Temperley cedes the floor to the trio, leaving them to take on one of Monk's more lyrical and melancholic works. They do so ably and with utmost care - evoking an image of Monk as the delicate dynamo he was. Another highlight is the group's work on the infectiously swinging "Rhythm-A-Ning." Mance pulls out all the stops from gate to gate, while Temperley, on baritone sax, flutters and flips his way through with remarkable dexterity.

From start to finish, it is evident that these four know their Monk. In fact, so familiar are they with the material that they infused it with a charming, lived-in quality which few other ensembles could manage. Their approach to the artist is hardly revolutionary, but rather warm, intimate and accustomed.

It's hard to say whether Monk ever sailed the seas on a sprawling cruiseliner, but thanks to Mance, Temperley and company we now know that setting would have agreed with him just fine. ~ by Riel Lazarus, AAJ.

Chiaroscuro Records, CR(D)370, 2003

Recorded 1^st, 4^th November, 2000 (#1-7) Aboard Queen Elizabeth 2, Atlantic Ocean;

28^th October, 1996 (#8) onboard S/S Norway, Caribbean Sea

Musicians:

Junior Mance - Piano

Joe Temperley - Soprano & Baritone Saxes, Bass Clarinet

Peter Washington - Bass

Keter Betts - Bass (#8)

Mickey Roker - Drums

Jackie Williams - Drums (#8)

Tracks:

1. Blue Monk (9:08)

2. Little Rootie Tootie (8:19)

3. Ba-Lue Bolivar Ba-Lues-Are (7:25)

4. Ask Me Now (9:14)

5. I Mean You (7:48)

6. Rhythm-A-Ning (6:51)

7. Straight No Chaser (7:47)

8. Hackensack (9:43)

All Compositions by Thelonious Monk

Credits:

Producer SOS Productions with HOSS Inc. and Floating Jazz Festival

Recording, Remixing & Digital Mastering - Jon Bates [Downtown Sound]

Cover Design - Richard Merkin

Photography - Rollo Phlecks

Liner Notes - Paul Bacon

Ray Bryant - Montreux '77 + Concert [MP4]

Ray Bryant's fourth recorded solo piano recital (and second in less than a year) was performed at the 1977 Montreux Jazz Festival and is a particularly well-rounded set. Bryant plays spirituals, blues, swing standards, John Lewis' "Django," and the obscure "Jungle Town Jubilee." His distinctive and soulful style fits well into every setting, making this an easily recommended set that will satisfy most musical tastes. ~ by Scott Yanow, AMG.

Pablo Live, 2308 201, 1977

Laser Swing Productions, GB-C25-04-0043-1, 2004

Recorded 13^th July, 1977 Live At Montreux Jazz Festival, Switzerland

Ray Bryant - Piano [Solo]

Tracks:

A1. Take The "A" Train {Billy Strayhorn} (4:00)

A2. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (4:24)

A3. Jungle Town Jubilee {Lloyd Glenn} (2:51)

A4. If I Could Just Make It To Heaven {Traditional, Arr. Ray Bryant} (3:40)

A5. Django {John Lewis} (4:09)

B1. Blues N° 6 {Ray Bryant} (6:59)

B2. Satin Doll {Billy Strayhorn, Duke Ellington, Johnny Mercer} (4:00)

B3. Sometimes I Feel Like A Motherless Child {Traditional, Arr. Ray Bryant} (4:20)

B4. St. Louis Blues {W. C. Handy} (5:38)

B5. Things Ain't What They Used To Be {Mercer Ellington, Ted Persons} (4:33)

Credits:

Producer, Cover, Design, Layout - Norman Granz

Cover, Design, Layout - Bill Smith

Remixing - Val Valentin

DVD Rip > WAV > Edit > FLAC

DVD Rip > MP4

Arthur Blythe - Retroflection (1994)

Arthur Blythe, whose alto tone has been quite original ever since the start of his career, is joined by pianist John Hicks, bassist Cecil McBee, and drummer Bobby Battle on this superior quartet date from Enja. Blythe really stretches out on this "Live at the Village Vanguard" set, with six of the seven songs being over nine minutes long. "Jana's Delight" (which is based on a five-note pattern), "JB Blues," a remake of Blythe's "Lenox Avenue Breakdown," and one of the best versions ever of Thelonious Monk's "Light Blue" are the high points of the explorative program. Arthur Blythe fans are strongly advised to pick up this particularly strong effort. ~ by Scott Yanow, AMG.

Enja Records, ENJ-8046 2, 1994

Digitally Recorded 25^th & 26^th June, 1993 Live > Two-Track at The Village Vanguard, NY

Musicians:

Arthur Blythe - Alto Saxophone

John Hicks - Piano

Cecil McBee - Bass

Bobby Battle - Drums

Tracks:

1. Jana's Delight {Don Pullen} (9:17)

2. JB Blues {Arthur Blythe} (9:31)

3. Peacemaker {Cecil McBee} (5:55)

4. Light Blue {Thelonious Monk} (11:51)

5. Lenox Avenue Breakdown {Arthur Blythe} (11:12)

6. Faceless Woman {Arthur Blythe} (11:33)

7. Break Tune {Arthur Blythe} (9:21)

Credits:

Producer - Matthias Winckelmann

Recording Engineer - David Baker

Recording Engineer Assistant - K. Naito

Design [Cover] - Elisabeth Winckelmann

Photography - Gene Martin

Typography - Jürgen Hübner

Liner Notes - T. Brooks Shepard

Charles Earland - Live (1999)

"We're gonna cook a little bit for you - is that O.K.?" With that Charles Earland celebrates his birthday on stage - and it IS a celebration! Horns blaze, the rhythm pounds, and you can't forget that vital organ. It’s aptly titled – this music lives.

"The Burning Spirit" sets off at full charge, horns shouting the angular theme with the power of a big band. Eric Alexander runs deep, with tangy tone and lines that run forever. Charles likes what he hears; he comps strong behind - strong enough to drown at times. No such problem with Jim Rotundi: his tone is loud and broad, mellow like a flugelhorn and sharp as a tack. Bob Devos snakes everywhere: he darts long like Pat Martino, with a cleaner tone. And it's time for The Mighty Burner. With deep smoke and happy screams, he cuts a path with weaving fingers. Repetition is used to great effect: the hand pumps, the heat rises. The crowd screams as the chords climb higher; Charles says “Praise the Lord!” and the crowd affirms. The spirit is willing, and so is the listener.

The crowd is silenced, and Charles goes churchy. The organ is solemn, full of vibrato - and then a shout. Alexander starts "If Only For One Night" with that slow groove - a midnight dance if there ever was one. Charles starts low and tender, shouts, then the organ screams a while. This gets Alexander going, and he sounds a bit like Turrentine as he does a loud swagger. Earland takes a three-note theme, varies it deliciously, and goes loud for a rousing finish. “You know, your hands are going on that CD,” he says.

The audience starts off "The Burner's Magic," with a great rhythm part from Devos. Alexander screams it hot; like before, it's hard to hear him at times. Rotundi is an architect: his solo builds ideas into a unified whole, and the audience loves it. Devos gets in some late-night blues. Charles starts with restraint: a four-note pattern becomes a roll, and quickly gains muscle. Greg Rockingham has a moment: his simple drum solo is the essence of tough. He and Alexander take the honors here, and Charles doesn’t mind sharing the spotlight. There’s enough of the Burner's magic to go around.

The highlights come at the end, with two cuts taken from Charles' first album. "Black Talk" opens with a shout of "C'mon guitar!" Devos responds with the ringing blues, similar to Melvin Sparks on the 1970 version. Alexander is once more on target: he trills high, and screeches some rusty honks. Charles reprises his original solo, with some fiery variations. The crowd loves it - and lets us know. The end, with tough rhythm, lots of hands, and a slow burn from Charles, is a keeper.

It is topped by "More today from Yesterday", which is cheered as it opens – the fans remember. It’s a little shorter than the original, and Earland has the only solo: you know what happens. The crowd is there from the beginning; they sound like they could be dancing. Earland rolls warm, as the horns punch the riff. It sounds like the original solo, but faster, and a heart as big as the room. Now THIS is a shout! He takes a long, lush descent - down the Spiral Staircase? And the horns come back. The applause goes on forever – as well it should. Happy Birthday, Charles Earland. And many more! ~ by Staff, AAJ.

Cannonball Records, CBD 27107, 1999

Recorded 24^th May, 1997 At The DuSable Museum Of African-American History, Chicago, Illinois

Musicians:

Charles Earland - Organ [Hammond B-3]

Jim Rotundi - Trumpet

Eric Alexander - Tenor Saxophone

Bob Devos - Guitar

Greg Rockingham - Drums

Tracks:

1. The Burning Spirit {Charles Earland} (9:43)

2. If Only For One Night {Russel Brenda Gordon} (6:03)

3. The Burner's Magic {Charles Earland} (11:17)

4. Black Talk {Charles Earland} (10:44)

5. Explosion {Eric Alexander} (7:45)

6. I Love You More Today Than Yesterday {Patrick Upton} (8:22)

Credits:

Producer - Charles Earland, Ron Levy

Coordinator & Event Producer - Tracy Williams

Stage Manager - Lionel Slaughter

Recording Engineer - Phil Klum (Pegasus Recording Co.)

Mixing & Editing - Gary Kahn, Ron Levy, Charles Earland

Mastering - The Master Cutting Room, NYC

Photos - Paul Natkin, Bill Brown

Graphic Design - Tollefon Studios, Inc.

Francesca Tandoi Trio feat. Max Ionata - Magic 3 - Live (2018)

Late last year together with trumpeter Nanouck Brassers, Frits Landesbergen a prominent Dutch drummer and vibraphonist, launched a new label under the name ESP Records. This album "Magic 3" was to be their début release. Essentially is a trio album from the Italian pianist/vocalist Francesca Tandoi joined by Frits and Dutch bassist Frans van Geest with guest Italian tenorist Max Ionata. Frits first met Francesca while teaching at the Conservatory in the Hague. "I was taken by her natural way of playing and recognized immediately that she had an amazing talent and we ended up working together." he said. The two went on to produce a number of CD's for the Japanese "Atelier Sawano" label and while successful in Japan according to Frits the reach into Europe was limited. We decided 'Francesca would be the perfect choice for the first release on the new label’, he explained. The album was recorded live at the Walhalla Theatre in Rotterdam and showcases the magnificent and exciting talent of both Francesca, Frits, Frans and Max the essence of all players. According to Frits "Francesca is not only an exciting pianist but also a highly accomplished vocalist that is fully aware of the tradition. I found it fascinating that Francesca had studied vocalists that most musicians of her age have not even heard of let alone studied." ~ Extracts by Frits Landesbergen, Jazz In Europe.

Exclusive Session Productions, ESPCD101, 2018

Recorded 29^th May, 2018 Live At Walhalla Theater, Rotterdam, The Netherlands

Musicians:

Francesca Tandoi - Piano, Vocals

Frans van Geest - Bass

Frits Landesbergen - Drums

Guest:

Max Ionata - Tenor Saxophone (#3,4,7-9)

Tracks:

01. Magic 3 {Francesca Tandoi} (5:20)

02. Yours Is My Heart Alone {Franz Lehár, Fritz Löhner-Beda} (6:38)

03. Just In Time {Jule Styne, Adolph Green, Betty Comden} (3:54)

04. Bewitched, Bothered And Bewildered {Richard Rodgers, Lorenz Hart} (6:41)

05. Night Mist Blues {Ahmad Jamal} (7:26))

06. Tricotism {Oscar Pettiford} (6:30)

07. You're Driving Me Crazy {Walter Donaldson} (6:36)

08. Maybe You'll Be There {Rube Bloom, Sammy Gallop} (6:13)

09. You've Changed {Bill Carey, Carl Fischer} (8:00)

10. My Favorite Things {Richard Rodgers, Oscar Hammerstein II} (5:18)

11. The Sheik Of Araby {Ted Snyder, Harry B. Smith, Francis Wheeler} (6:29)

Note:

CD ripped to WAV, excess applause trimmed, tagged and encoded to FLAC.

Credits:

Producer - Exclusive Session Productions, The Hague, The Netherlands

Recording Engineer - Nanouck Brassers, Marcel Wijngaards

Mixing Engineer - Nanouck Brassers, Frits Landesbergen (NMP The Hague)