Joanne Brackeen - Take A Chance (1994)

This is a delightful set, a program of eight Brazilian tunes and three of pianist Joanne Brackeen's originals. With strong assistance provided by bassist Eddie Gomez, drummer Duduka da Fonseca and percussionist Waltinho Anastacio, Brackeen adds beauty and adventure to such numbers as "Recado Bossa Nova," "Estate," "The Island" and a pair of Milton Nascimento songs. The pianist stretches the songs a bit in spots but never neglects their melodies or the original moods. Well worth several listens. ~ by Scott Yanow, AMG. 

Concord Picante, CCD-4602, 1994
Recorded 15th-16th June, 1993 at Skyline Studios, New York 

Musicians:
Joanne Brackeen - Piano
Eddie Gomez - Bass
Duduka Da Fonseca - Drums
Waltinho Anastacio - Percussion, Vocals (#9) 

Tracks:
01. Recado Bossa Nova {Luis Antonio, Djalma Ferreira} (7:04)
02. Children's Games {Antônio Carlos Jobim, Gene Lees} (8:02)
03. Estaté {Bruno Martino, Bruno Brighetti} (5:39)
04. Canção Do Sal {Milton Nascimento} (5:58)
05. Frevo {Egberto Gismonti} (6:31)
06. Mountain Flight {Toninho Horta} (5:25)
07. The Island {Ivan Lins, Vitor Martins} (6:18)
08. Take A Chance {Joanne Brackeen} (4:21)
09. Ponta de Areia {Milton Nascimento, Fernando Brant} (4:12)
10. Duduka {Joanne Brackeen} (4:51)
11. Mist On A Rainbow {Joanne Brackeen} (4:53) 

Total Time: 63:19 

Credits:
Executive Producer - Carl E. Jefferson
Producer, Recording Engineer - Paul Wickliffe
Producer - Allen Farnham
Assistant Recording Engineer - Hiro Ishihara
Remixing - Phil Edwards [PER, Hayward, CA]
Mastering Engineer - George Horn
Production Coordinator - Elizabeth Bell
Art Direction - Abby Andrews
Photography [Cover] - Teri Bloom 

Full Album

Joanne Brackeen Trio, The - Havin' Fun (1985)

After 3½ years off records, Joanne Brackeen returned by getting signed to Concord and cutting her first standards album. Joined by bassist Cecil McBee and drummer Al Foster, Brackeen explores such unlikely tunes as “I've Got the World on a String,” “This Is Always” and “Day by Day,” but that does not mean that she was suddenly sounding like Teddy Wilson. Brackeen's distinctive style is heard very much intact in this fairly accessible format, and she makes the ancient tunes sound fresh. Recommended. ~ Scott Yanow, AMG. 

Concord Jazz, CCD-4280, 1985
Concord Jazz, K32Y 6061, 1986
Recorded June, 1985 at Classic Sound Productions, New York 

Musicians:
Joanne Brackeen - Piano
Cecil McBee - Bass
Al Foster - Drums 

Tracks:
1. Thinking Of You {Bert Kalmar, Harry Ruby} (5:03)
2. I've Got The World On A String {Harold Arlen, Ted Koehler} (5:33)
3. Emily {Johnny Mandel, Johnny Mercer} (6:51)
4. Just One Of Those Things {Cole Porter} (4:04)
5. This Is Always {Harry Warren, Mack Gordon} (5:14)
6. Everything She Wants {George Michael} (4:17)
7. Manha De Carnaval {Antonio Maria, Luiz Bonfá} (7:20)
8. Day By Day {Axel Stordahl, Paul Weston, Sammy Cahn} (5:33) 

Total Time: 43:58 

Credits:
Producer - Carl E. Jefferson
Recording Engineer - A.T. Michael MacDonald
Assistant Engineer - M. Denise McGrath
Mastering Engineer - George Horn
Design - Joanne Moss Design 

I've Got The World On A String

Irio De Paula invites Fabrizio Bosso - Once I Loved: Chapter One (2003)

The sinuosity with which Fabrizio Bosso's trumpet meets Irio De Paula's guitar makes this work tasteful. Irio De Paula is a great master who alone manages to support each piece rhythmically and harmonically, offering Fabrizio Bosso the possibility of releasing his now strange class. An excellent, clean sound, perfect timing and an improvisational ability that is always very relevant to what is being played make him one of the best Italian realities. The interplay that is felt at all times is very valid given that both Bosso and De Paula show that they take inspiration from each other by promptly adapting dynamics and phrasing. Regarding the repertoire perhaps a little more could have been done. These are pieces that in the field of jazz music are to be considered timeless, but precisely for this reason it becomes very difficult to offer them in a completely original way. However, it should be emphasized that the main element of this work is in the meeting that the two musicians have made and not in the choice of pieces. ~ Marcus Losavius, jazzitalia.net. 

Philology Records, W 256.2, 2003
Recorded 15th January, 2003 at Mu Rec Studio, Milano, Italy 

Musicians:
Irio De Paula - Acoustic Guitar
Fabrizio Bosso - Trumpet, Flugelhorn 

Tracks:
1. Once I Loved {Antônio Carlos Jobim} (5:18)
2. Night And Day {Cole Porter} (9:09)
3. Summer Samba {Marcos Valle} (5:49)
4. O Amor Em Paz {Antônio Carlos Jobim} (6:49)
5. Just Friends {John Klenner, Sam M. Lewis} (7:36)
6. Wave {Antônio Carlos Jobim} (8:18)
7. Samba De Uma Nota So {Antônio Carlos Jobim} (4:24) 

Total Time: 47:23 

Credits:
Producer - Paolo Piangiarelli
Recording Engineer - Paolo Falascone [Direct>Two Tracks]
Editing Engineer - George Ziskind
Mastering Engineer - Fabio Alfonsi [Green Digital, Macerata]
Photography - Franco Mancini (Cover), Luciano Rossetti
Graphics - www.danilosantinelli.it 

Fabrizio Bosso is certainly one of the best things that happened to Italian jazz in this decade. I don't remember any trumpeter that has impressed me so much in recent years, and not only in Italy, and I'm weighing my words. Fabrizio has a beautiful sound, very pure and expressive, and has an absolutely extraordinary control of the instrument, which however he never takes advantage of for free. He is endowed with great imagination and very quick reflexes, together with great energy and a perfect mastery of language, so he always manages to surprise and enthuse. I love this CD very much because in addition to being full of ideas and surprises, it also manages to be very pleasant and has none of those characteristics that sometimes make jazz standoffish. The songs are all bossa nova and jazz classics. They are part of that repertoire that we will never get tired of listening to. A disc that lends itself to more than one reading, and this is perhaps its main quality. Hats off! ~ Enrico Rava. 

Once I Loved

Woody Herman And His Thundering Herd - Keep On Keepin' On (1968-1970)

After the period of the Young Thundering Herd (documented by Philips and Columbia) and prior to his projects for Fantasy, Woody Herman recorded three generally commercial albums for Cadet. Herman always believed in having his band stay updated and modern, and he supported his younger musicians in their quest to perform new and current music. His output for Cadet, however, was quite streaky, ranging from worthwhile new originals to covers of pop and rock tunes that sometimes sounded a bit awkward. This single CD from 1998 has six of the ten selections originally on Light My Fire, four of the ten tunes from Heavy Exposure, and three of the six numbers (plus a previously unreleased "The Indigenous Artifact") from 1970's Woody. Completists will want to search for the three earlier LPs but should be warned that they are quite erratic and often dated. Even in this best-of collection, there are some throwaways (such as "My Cherie Amour" and "Aquarius"), but the better selections ("Keep On Keepin' On" which has some heated Sal Nistico tenor; "Impressions of Strayhorn," and Alan Broadbent's massive everything-but-the-kitchen-sink reworking of "Blues In The Night") make the set overall better than expected. ~ by Scott Yanow, AMG. 

Chess\GRP Records, GRD-818, 1998
Recorded October, 1968 - 30th October, 1970 in Chicago, Illinois 

Musicians:
Woody Herman - Clarinet, Alto, Soprano & Tenor Saxes
Gary Grant, Harry Hall, Sal Marquez, Rich Murphy, Nat Pavone - Trumpet
Tom Harrell, Tony Klatka - Trumpet, Flugelhorn
Tom "Bones" Malone, Ira Nedus, Vincent Prudente, Henry Southall - Trombone
Steve Lederer, Frank Vicari, Frank Tiberi, Sal Nistico - Tenor Saxophone
Alan Gauvin, Jim Thomas - Baritone Saxophone
Donny Hathaway - Organ
John Hicks - Piano
Mick Goodrick, Phil Upchurch - Guitar
A'nt Idy Harper, Arthur Harper, Gene Perla - Bass
Ed Soph - Drums
Morris Jennings - Drums, Percussion
Marshall Thompson - Percussion 

Tracks:
01. Light My Fire {Jim Morrison, Ray Manzarek, Bob Krieger, John Densmore} (3:37)
02. Keep On Keepin' On {Richard Evans} (4:19)
03. Impressions Of Strayhorn {Richard Evans} (3:27)
04. Pontieo {Edú Lobo, Capinan} (3:46)
05. I Say A Little Prayer {Burt Bacharach, Hal David} (3:35)
06. Hush { William "Mickey" Stevenson} (4:18)
07. My Cherie Amour {Stevie Wonder, Henry Cosby, Sylvia Moy} (2:48)
08. Catch That Bird {Loonis McGlohon} (2:54)
09. I Can't Get Next To You {Barrett Strong, Norman Whitfield} (2:57)
10. Aquarius {James Rado, Gerome Ragni, Gait MacDermot} (4:31)
11. Blues In The Night {Johnny Mercer, Harold Arlen} (13:43)
12. A Time For Love {Paul Francis Webster, Johnny Mandel} (6:49)
13. Smiling Phases {Steve Winwood, James Capaldi, Chris Wood} (5:27)
14. The Indigenous Artifact {Alan Broadbent} (6:23) 

Total Time: 68:40 

Credits:
Producer [Original Albums] - Richard Evans
Reissue Producer - Orrin Keepnews
Digital Transfer, Audio Enhancement, Remastering - Erick Labson
A&R [Direction] - Steve Backer
Art Direction, Design - Hollis King, Kerosene Halo
Photography - Chuck Stewart
Liner Notes [Annotation] - Jack Tracy 

Notes:
#1-6 originally on Woody Herman - Light My Fire.
#7-10 originally on Woody Herman - Heavy Exposure.
#11-13 originally on Woody Herman - Woody.
#14 previously unissued. 

Light My Fire

Tim Warfield - Tim Warfield's Jazzy Christmas (2012)

Veteran saxophonist Tim Warfield delivers one of the finest modern Christmas jazz albums around on Jazzy Christmas. Performing a selection of familiar songs with a heavy contemporary flavor, the music is so straight-ahead in nature that such seasonal tunes like "Let It Snow," "Joy To The World," and "Silent Night," are almost unrecognizable as Christmas music and could easily be part of any playlist throughout the year. The arrangements take advantage of Warfield's star-studded cast, including trumpeter Terell Stafford, pianist Cyrus Chestnut and vibraphonist Stefon Harris. Assuring its uniqueness as a holiday album, Warfield's renditions of some of these Christmas classics are, as he states, "deliberately varied in length...allowing them to develop" - all with a measure of sophisticated improvisation sufficient enough to disguise some of the familiar melodies under a veil of terrific harmonies. The result is a lively, hard-driving showcase of sensational solos presented with boppish flair, begging for repeated spins. The traditional "Santa Clause Is Coming to Town" begins the session in a most untraditional fashion, with Warfields's earthy tenor leading a barrage of terrific solos, as Stafford and Harris join in on the fun. Vocalist Joanna Pascale appears on three tracks, introducing the Sammy Cahn favorite "Let It Snow" before yielding to Harris, who infuses his interpretation with a slight touch of Latin rhythms on this nine-minute burner. Percussionist Daniel Sadownick provides the sounds of the sleigh bells, while pianist Neil Podgurski runs the keys on the leader's soprano version of "Joy To The World." Drummer Clarence Penn's crashing cymbal accents seem all that appropriate on "Little Drummer Boy," another piece in which Warfield provides more torrid time on the soprano. One of the album's standouts is a traditional rendition of "God Rest Ye Merry Gentlemen," where Warfield is at his sensational best, wielding his tenor aggressively and assertively. Other bright moments include a special rendition of "Oh Christmas Tree," featuring the great baritone vocalist Jamie Davis, as well as a new arrangement of "Silent Night" and Claude Thornhill's "Snowfall." Though a Christmas project at its core, the album also includes a bonus track in celebration of Hanukkah ("The Dreidal Song”). With Jazzy Christmas, Warfield takes a selection of well-known traditional Christmas songs and morphs them into a session of hard-improvised jazz, distinguishing it from other jazz holiday albums. ~ by Edward Blanco. 

Musicians:
Tim Warfield - Tenor Sax, Soprano Sax
Terell Stafford - Trumpet
Stefon Harris - Vibes
Cyrus Chestnut - Piano
Neil Podgurski - Piano (#1,3,8,10)
Rodney Whitaker - Bass
Clarence Penn - Drums
Daniel Sadownick - Percussion
Joanna Pascale - Vocals (#2,5,7)
Jamie Davis - Vocals (#6) 

Tracks:
01. Santa Clause Is Coming To Town {J. Fred Coots, Haven Gillespie} (8:12)
02. Let It Snow {Sammy Cahn, Jule Styne} (8:59)
03. Joy To The World {Traditional, Lowel Mason, Isaac Watts} (6:50)
04. Little Drummer Boy {Katherine Davis, Henri Onorati, Harry Simeone} (8:44)
05. Caroling Caroling {Alfred S. Burt, Wihila Huston} (4:02)
06. Oh Christmas Tree {Traditional} (5:51)
07. Silent Night {Traditional, Franz Gruber, Joseph Mohr} (7:00)
08. God Rest Ye Merry Gentlemen {Traditional} (7:12)
09. Snowfall {Claude Thornhill} (8:33)
10. The Dreidel Song {Traditional Hanukkah} (7:37) 

Arrangements by Tim Warfield except, Caroling Caroling, arranged by Joanna Pascale

"It is simply one of the best holiday albums I've heard" ~ Edward Blanco, WDNA Florida.

David Friesen, Jeannie Hoffman - The Spirit Of Christmas (1992)

The history of jazz has been to a large degree a history of assimilations and loans from source pools that are not jazz. The key issue is how well and in what manners these influences are managed. Jeannie, David and Jerry have invested the familiar and not so familiar with a fresh dimension without abusing the integrity of the inherent material - making possible new discoveries, surprises, and revelations - integral to the jazz idiom. A caring, sharing ethic pervades the whole of this bountiful gift enunciated elegantly and sincerely through the heartful, deeply personal music. "The Spirit of Christmas" is just simply a rare treasure to be savored and refilled year after year after year. ~ Extract by Dr. Herb Wong, Liner Notes. 

Burnside Records, BCD 0009-2, 1992
Recorded 13th,14th April, 1992 at Sound Impressions, Milwaukie, Oregon 

Musicians:
David Friesen - Hemage Bass, Arranger (#12)
Jeannie Hoffman - Piano [Yamaha Grand], Vocals, Arranger (#8)
Jerry Hahn - Electric Guitar (#1,2,4,7,9,11,13) 

Tracks:
01. Santa Claus Is Coming To Town {J. Fred Coots, Haven Gillespie} (4:21)
02. Waiting For You At Christmas Time {Jeannie Hoffman} (3:31)
03. Bach Minuet {Johann Sebastian Bach} (2:29)
04. Glory Halleluia {Traditional} (5:42)
05. O Come All Ye Faithful {Traditional} (2:21)
06. It's Christmas Time Again {Scarlatti, Hoffman} (3:01)
07. Silent Night {Traditional} (3:12)
08. Christopher Robin Is Saying His Prayers {Harold Fraser-Simson, Alan Milne} (2:40)
09. The Little Drummer Boy {Kath Kennicott Davis, Henry Onorati, Harry Simeone} (5:07)
10. O Holy Night {Traditional} (4:15)
11. Sentimental 'Round Christmas {Jeannie Hoffman} (3:40)
12. Joy To The World {Traditional} (2:04)
13. Heirlooms {Bob Farrell, Brown Bannister, Amy Grant} (4:33)
14. Bach And Us {Traditional} (2:55)
15. What Child Is This? {Traditional} (4:16) 

All songs arranged by David & Jeannie other than as indicated. 

Total Time: 54:07 

Credits:
Producer - David Friesen
Executive Producer - Dan MacLeod, Terry Currier
Engineer - Bob Stark
Photography - Hiroshi Iwaya
Graphic Design - Steve Blackburn
Liner Notes - Dr. Herb Wong [KJAZ Radio, San Francisco]

Dewey Redman - In London (1996)

Accompanied by pianist Rita Marcotulli, bassist Cameron Brown and drummer Matt Wilson, veteran tenor saxophonist Dewey Redman puts on a well-rounded program. On "I Should Care," "The Very Thought of You" (a tribute to Dexter Gordon) and the bossa nova "Portrait In Black & White," he shows that, although his roots are in avant-garde jazz, Redman is quite capable of caressing a melody. In contrast, his renditions of "I-Pimp," "Tu-inns" and "Eleven" emphasize freer improvising and plenty of fire. In both contexts, Dewey Redman emerges as an underrated giant. ~ by Scott Yanow, AMG. 

Palmetto Records, PM2030, 1998
Recorded October, 1996 Live at Ronnie Scott's, London, UK 

Musicians:
Dewey Redman - Tenor Saxophone, Arranger
Rita Marcotulli - Piano
Cameron Brown - Bass
Matt Wilson - Drums 

Tracks:
1. I Should Care {Axel Stordahl, Paul Weston, Sammy Cahn} (10:56)
2. The Very Thought Of You {Ray Noble} (9:29)
3. I-Pimp {Dewey Redman} (10:45)
4. Portrait In Black & White {Antônio Carlos Jobim, Chico Buarque} (9:17)
5. Tu-Inns {Dewey Redman} (7:20)
6. Kleerwine {Dewey Redman} (4:14)
7. Stablemates {Benny Golson} (5:23)
8. Eleven {Dewey Redman} (8:59) 

Total Time: 66:25 

Credits:
Producer - Matt Balitsaris
Engineer - Michael Waters
Engineer [Assistant] - Janet Moorehouse
Mastering Engineer - A.T. Michael MacDonald
Art Direction - Matt Hruska
Design - Yalitza Ferreras
Liner Notes - Bill Milkowski
Liner Notes [Poem] - Dewey Redman 

Dewey Mixes It Up
================
The opening two tracks really throw you off - because they are standards played straight - nice showing from Dewey, but not quite what I expected. But then I-Pimp came on and Dewey was back in the Avante Garde I was looking for. Turns out this album swings both ways, nice standards, mixed in with some challenging material. Rita Marcotulli in particular deserves mention. She's a pianist and does a great job. But then, the whole band have that "road" feel and plat very tight. Of the 8 numbers there are three Avante Garde numbers. The ebb and flow works great. Recommended CD indeed. ~ David Watts, 5 Stars. Amazon.com.

Alan Broadbent - Every Time I Think Of You (2006)

Alan Broadbent has long been appreciated as a fine pianist and arranger, talents he combines on this studio effort with bassist Brian Bromberg and drummer Kendall Kay, along with background color by the Tokyo Strings. "Autumn Variations" is a superb workout of the chord changes to the standard "Autumn Leaves." The pianist's lyrical setting of the longing ballad "Bess, Oh Where's My Bess" and the sparse treatment of "Last Night When We Were Young" are simply masterful. Broadbent's scoring of notable jazz compositions proves to be equally effective. He sets up a very deliberate tempo for the ballad "Lover Man," alternating the piano and the strings in the foreground as the rhythm section plays sparingly. But his best effort may be his lush arrangement of the modal masterpiece "Blue in Green." Broadbent also includes three strong originals: "E. 32nd Elegy" (a moody tribute to Lennie Tristano), the breezy Latin-flavored "Nirvana Blues," and an affectionate ballad salute to his late boss Woody Herman called "Woody 'N' Me," which suggests the end of another long night as the weary musicians pile into the bus to hit the road to the next gig. Impeccably recorded and mixed, Alan Broadbent's Every Time I Think of You is the perfect CD for unwinding at the end of a long, demanding day. ~ by Ken Dryden, AMG. 

Artistry Music, ART 7011, 2006
Recorded at B2 Studios, Los Angeles, California 

Musicians:
Alan Broadbent - Piano, Arranger
Brian Bromberg - Bass, Wood Bass
Kendall Kay - Drums
+The Tokyo Strings 

Tracks:
01. Autumn Variations {Alan Broadbent} (6:23)
02. Bess, Oh Where's My Bess {George & Ira Gershwin} (5:12)
03. Blue In Green {Miles Davis, Bill Evans} (7:47)
04. E. 32nd Elegy {Alan Broadbent} (7:17)
05. Last Night When We Were Young {Harold Arlen, E.Y. "Yip" Harburg} (5:54)
06. Every Time I Think Of You {Alan Broadbent} (7:11)
07. Lover Man {Jimmy Davis, Ram Ramirez, Jimmy Sherman} (6:28)
08. Nirvana Blues {Alan Broadbent} (5:47)
09. Spring Is Here {Richard Rodgers, Lorenz Hart} (5:39)
10. Woody 'N' Me {Alan Broadbent} (4:54) 

Total Time: 62:39 

Credits:
Producer, Executive-Producer, Mixing - Brian Bromberg
Executive-Producer - Denny Stilwell, Susumu Morikawa
Engineer, Mixing - Tom McCauley
Mastering - Steve Hall
Photography - Michel Bocande
Design - Janet Wolsborn

Frank Wess Nonet - Once Is Not Enough (2008)

Known for his big-band or small ensemble recordings, Frank Wess uses a nine-piece band for the first time in his long, storied career to make easy going swinging jazz in the tradition of his former boss, Count Basie. The masterful tenor saxophonist, arranger, and most notably, composer, has assembled an impressive group, featuring trombonist Steve Turre, saxophonists Scott Robinson, and Ted Nash, trumpeters Terell Stafford and Frank Greene, and the dynamite rhythm section of drummer Winard Harper, bassist Peter Washington, and especially impressive young pianist Gerald Cannon. Together they play original music and standards with the Basie stamp firmly embossed. The tart, compact, internalized sound of Wess on the big horn is a factor in contrasting the otherwise sweet sounds. His world-class flute playing is also featured in spurts, though a "hook 'em horns" gesture on the cover photo as he holds his silver wind instrument might lead you to believe it's featured on the date -- it is not. Wess is clearly the leader and frontman, playing basic main stem melodies and solos on the title selection, "Sara's Song" and "You Made A Good Move," all relaxed swingers arranged by drummer Dennis Mackrel (who does not perform on the date) that are fairly concise, have space for another select soloist, and vary to certain degrees in either united effect, or stratifying the horns. "Backfire" is the wailer, upbeat bop at its finest, rambling a bit but focused, based on the changes of "I Got Rhythm," and featuring a surprise coda based on the title. The standards include Scott Robinson's uniquely charted intro tacked on "Fly Me to the Moon," or the flute of Wess stepping forward on a modified "Sweet & Lovely" with the horns backing him up. Pianist Cannon is one to be heard closely on this recording, as he is capable of all melodic, emotional, or rhythmic duties and responsibilities required. He's also quite original at such a young age -- perhaps the next Kenny Barron? Two tracks feature Wess in only a quartet setting with a different rhythm section including Harper, pianist Michael Weiss, andd bassist Rufus Reid, including a lengthy version of the overwrought, somber "Lush Life," just about the saddest tune ever, wrapped in thin silver tin foil, ultimately fragile, with Wess on tenor, and observant, lovelorn piano interventions. The obligatory Basie-type tune "Tryin' to Make My Blues Turn Green" ends the set in a shuffling along and out style. This is a good effort, not as great as others Wess has made over the years, but the high-level musicianship is a constant reminder that he's very much in the mainstream jazz ballpark, and still has a valid perspective many years after this music was out of trendy and trumped up electronic induced vogue. If you are a fan of Frank Wess, this recording will please you to no end. ~ by Michael G. Nastos, AMG. 

Labeth Music, 101, 2009
Recorded 10th June, 2008 at Nola Recording Studios, New York 

Musicians:
Frank Wess - Tenor Saxophone, Flute, Arranger (#5,7)
Frank Greene, Terell Stafford - Trumpet
Steve Turre - Trombone
Ted Nash - Alto Saxophone, Flute
Scott Robinson - Baritone & Bass Saxes, Flute, Arranger (#8)
Gerald Clayton - Piano (#1-3,5,6,8,9)
Michael Weiss - Piano (#4,7)
Peter Washington - Bass (#1-3,5,6,8,9)
Rufus Reid - Bass (#4,7)
Winard Harper - Drums 

Tracks:
1. Once Is Not Enough {Frank Wess} (5:39)
2. Sara's Song {Frank Wess} (8:22)
3. You Made A Good Move {Frank Wess} (7:37)
4. Dementia, My Darling {Frank Wess} (6:59)
5. Sweet And Lovely {Gus Arnheim, Harry Tobias, Jules Lemare} (5:46)
6. Backfire {Frank Wess} (9:11)
7. Lush Life {Billy Strayhorn} (9:40)
8. Fly Me To The Moon [In Other Words] {Bart Howard} (2:50)
9. Tryin' To Make My Blues Turn Green {Frank Wess} (6:37) 

Total Time: 62:44 

Credits:
Producer - Frank Wess
Engineer - Bill Moss, Jim Czak
Photography - Ed Berger
Design - Michele Kane
Art Direction - Wayne Simmons

Clark Terry - Out On A Limb with Clark Terry (1957)

‘Out on a Limb with Clark Terry’ is an album by American jazz trumpeter Clark Terry featuring tracks recorded in 1957 and released on the Argo label. For this album Clark Terry assembled a sensational sextet whereby he showcased five of his own tunes and four classic well-known jazz standards. It was a time when the majority of jazz compositions were limited to durations of under three minutes, mainly in line with radio air play. Regardless, Clark and his team still have opportunities to set some soloing in motion, ideally listeners would have to wait another decade to truly experience the mastery of Clark Terry’s musical talents; a priceless early example of his evolving skills. 

Argo Records, LP-620, 1957
Recorded probably 26th July, 1957 at Sheldon Recording Studios, Chicago Illinois 

Musicians:
Clark Terry - Trumpet
Mike Simpson - Tenor & Baritone Saxes, Flute, Clarinet
Willie Jones - Piano
Remo Biondi - Guitar
Jimmy Woode - Bass
Sam Woodyard - Drums 

Tracks:
A1. Caravan {Juan Tizol, Duke Ellington} (2:01)
A2. Candy {Mack David, Alex Kramer, Joan Whitney} (2:22)
A3. Clarke's Expedition {Mike Simpson, Clark Terry} (2:30)
A4. Trumpet Mouthpiece Blues {Clark Terry} (4:06)
B1. Phlanges {Clark Terry, Louie Bellson} (3:03)
B2. Blues For Daddy O's Jazz Patio Blues {Clark Terry} (4:33)
B3. Basin Street {Spencer Williams} (2:45)
B4. Daylite Express {Clark Terry} (2:17)
B5. Taking A Chance On Love {Vernon Duke, Ted Fetter, John La Touche} (2:19) 

Total Time: 25:56 

Credits:
Supervisor, Liner Notes - Holmes "Daddy-O" Daylie
Engineer - Jack Weiner
Design - Le Roy Winbush
Design Production - Winbush Associates
Photography - Lacey Crawford, Ronald Howard

Various Artists - The History Of Chess Jazz (1996)

History of Chess Jazz is a double-disc set featuring highlights from the label's overlooked jazz catalog. Among the artists included are Kenny Burrell, Woody Herman, Ramsey Lewis, Etta James, Ahmad Jamal, and Zoot Sims. Jazz wasn't one of Chess' strong points, but there is plenty of fine music here, making it a worthwhile sampler. ~ by Stephen Thomas Erlewine, AMG. 

Chess Records, GRD-2-812, 1996
Recorded May, 1950 - April, 1967 

Tracklist: 

CD1:
01. Ahmad Jamal - Poinciana {Buddy Bernier, Nat Simon} (9:31)
02. Sonny Stitt, Bennie Green - My Main Man {Bennie Green, Sonny Stitt} (5:59)
03. Red Rodney - Shaw 'Nuff {Ray Brown, Gil Fuller, Dizzy Gillespie} (6:36)
04. The Jazztet - Killer Joe (Benny Golson} (4:14)
05. Zoot Sims - The Man I Love {George Gershwin, Ira Gershwin} (5:16)
06. Roland Kirk - Soul Station {Rahsaan Roland Kirk} (5:28)
07. James Moody, Eddie Jefferson - Parker's Mood {Eddie Jefferson, Charlie Parker} (3:24)
08. Woody Herman - Keep On Keepin' On {Richard Evans} (4:19)
09. Ray Bryant - Gotta Travel On {Paul Clayton, Larry Ehrlich, Dave Lazer, Tom Six} (4:24)
10. Benny Goodman - Benny Rides Again {Eddie Sauter} (4:33)
11. John Klemmer - My Love Has Butterfly Wings {John Klemmer} (3:53)
12. Etta James - At Last {Mack Gordon, Harry Warren} (3:00)
13. Ramsey Lewis - The "In" Crowd {Billy Page} (5:50) 

Time: 66:32 

CD2:
01. Barry Harris - Ornithology {Benny Harris, Charlie Parker} (3:32)
02. James Moody - Last Train From Overbrook {James Moody} (3:03)
03. Gene Ammons - My Foolish Heart {Ned Washington, Victor Young} (2:48)
04. Lorez Alexandria - Baltimore Oriole {Hoagy Carmichael, Paul Francis Webster} (3:11)
05. Oliver Nelson - A Bientot {Billy Taylor} (3:48)
06. Yusef Lateef - Morning [Excerpt] {Yusef Lateef, Sandy Owen} (3:14)
07. Odell Brown - Mellow Yellow {Donovan} (5:28)
08. Art Farmer - Tonk {Ray Bryant} (3:05)
09. Illinois Jacquet - You're My Thrill {Jay Gorney, Burton Lane, Ned Washington} (3:50)
10. Howard McGhee - House Warnin' {Marshall Pau, Paul Winley} (2:31)
11. Chubby Jackson - Tiny's Blues {Al Cohn, Tiny Kahn} (5:01)
12. Clark Terry - Candy {Mack David, Alex Kramer, Joan Whitney} (2:23)
13. Benny Golson - The Touch {Benny Golson} (5:19)
14. Kenny Burrell - Silent Night {Franz Gruber, Joseph Mohr} (2:35) 

Time: 49:54 

Total Time: 01:56:26

Jesse Davis Quintet - Live At Smalls (2012)

Fabulous, as are all of Jesse's...
======================
Small's is an incredible club here in NYC. I got hip to Jesse a few years back, and had no idea he was once a regular part of the NYC scene. When I heard he was at Small's, I made it down for this show and recording session. I was also interested in hearing Ryan Kisor on trumpet, who I know is great, but had never seen him live. I know Spike Wilner, pianist and owner of Small's from my many visits to his place. I am finding Small's recordings to be consistently rewarding. This place is keeping alive great jazz. On this one you have top guys playing straight ahead jazz, and they are really good at it. Jesse is almost criminally unknown, but that's the nature of jazz, I guess. He was also lovely and friendly when I approached him. The warmth comes through in his playing. Get this and get the others too. Highly recommended! ~ KnightinTunisia, Amazon.com. 

SmallsLive, SL0026, 2012
Recorded 13th-15th December, 2011 at Live at Smalls Jazz Club, Greenwich Village, NYC 

Musicians:
Jesse Davis - Alto Saxophone
Ryan Kisor - Trumpet
Spike Wilner - Piano
Peter Washington - Bass
Billy Drummond - Drums 

Tracks:
1. I'll Close My Eyes {Billy Reid, Buddy Kaye} (19:50)
2. Piece Of The Apple {Jesse Davis} (18:50)
3. Body & Soul {Edward Heyman, Johnny Green} (10:57)
4. Pray Thee / Beyond The Storm {Jesse Davis} (12:58)
5. Journey From The Lighthouse {Jesse Davis} (12:39) 

Total Time: 75:15 

Credits:
Executive Producer, Producer - Spike Wilner
Producer, Mixing - Ben Rubin
Engineer - Tyler Mcdiarmid
Mastering - Gene Paul, Jamie Polaski
Cover Design, Photos - Michelle Watt 

I'll Close My Eyes

Isao Suzuki with Tsuyoshi Yamamoto - Samba Club (1980)

A wicked, wicked set of tracks from Japan - one that blends together jazzy riffing and Brazilian rhythms, all played with a surprisingly soulful bent! Suzuki's on bass and piccolo bass, and Yamamoto plays not only electric piano but also a bit of electric harpsichord - which adds a cool feel to the album, and one that's almost like some lost European soundtrack. Rhythms are mostly in a breezy sort of style that mixes samba with bossa jazz - and Donald Bailey is in the group on drums, providing some very nice bottom to the set. The whole thing's great, with a really unique style - one that's so great it even transforms older numbers like "Night And Day", "Sweet Georgia Brown", "Greensleeves", and "La Vie En Rose". Also features an especially great take on Michel Colombier's "Overture". 

Paddle Wheel, K28P-6091, 1981
King Records, KICJ 2295, 2012
Recorded 17th July, 1980 at King Studio #2, Tokyo, Japan 

Musicians:
Isao Suzuki - Bass, Bass [Piccolo Bass]
Tsuyoshi Yamamoto - Piano, Spinet
Ichiro Doi - Electric Piano, Vocoder
Takayuki Kato - Electric Guitar, Acoustic Guitar
Donald Bailey - Drums, Harmonica
Francis - Percussion, Vocals 

Tracks:
1. Overture {Michel Colombier} (6:01)
2. Tenderly {Jack Lawrence, Walter Gross} (7:22)
3. Night And Day {Cole Porter} (5:37))
4. Sweet Georgia Brown {Ben Bernie, Kenneth Casey, Maceo Pinkard} (4:37)
5. Greensleeves {Traditional; Arr. Isao Suzuki} (6:43)
6. La Vie En Rose {Louis Guglielmi, Édith Piaf} /
    Moon Glow {Eddie DeLange, Irving Mills, Will Hudson} (5:24) 

Total Time: 35:48 

Credits:
Producer - Isao Suzuki, Motohiko Takawa
Director - Shigeyuki Kawashima
Recording & Mixing Engineer - Hatsuro Takanami
Engineer [Assistant] - Takao Suga
Mastering Engineer - Shogo Sakamaki
Photography [Cover] - Pete Turner 

Bass play with a unique melody
=========================
The recording was made in 1980, which is when Japan Fusion was at its peak. Isao Suzuki's bass is still a unique melody. feel well. The piano in this album is Mr. Tsuyoshi Yamamoto, but when I saw this title, I thought that I wanted to hear the collaboration with Mr. Naoya Matsuoka and Mr. Masaru Imada. ~ TOMOFIVE, Amazon.com. 

Tenderly

Isao Suzuki Quartet +1 - Blue City (1974)

Another fine example of Japanese jazz from the mid-1970s, this set is led by cellist and bassist Isao Suzuki and features the earliest recorded performances of guitarist Kazumi Watanabe. Four tracks make up the recording, of which two are covers, the opening standard "Body and Soul" (complete with opening melody played on the bass) and "Play Fiddle Play," and two originals, which stack up very well against such classic material. This set was a follow-up to a huge breakthrough album for Suzuki called Blow Up, recorded a year earlier in 1973. Along with his standard setup with Watanabe, pianist Kunihiko Sugano, and Tetsujiroh Obara on drums, Suzuki, in order to use the cello more fully within the small group setting, added bassist Nobuyoshi Ino on two tracks, including "Body and Soul." What's most compelling about the music made in Japan during that era is that the notion that all jazz had to swing, swing, swing seems almost perverse now in contrast to the stilted, dated sounding riffs that the current American jazzmen heralded as saviors of the music. While free jazz, groove jazz, and jazz/rock fusion were sweeping the popular template in America and Europe, the Japanese, as evidenced here, were listening with reverence (perhaps too much) to the roots of the music. "Body and Soul" and "Play Fiddle Play" have been done by so many hundreds of artists, that it's tough to stack up these versions except to say that they are played with aplomb and emotion. But it's the originals that make Suzuki's group stand out and sound current even in the 21st century. "45th Street (at 8th Ave.)" features the cello as a saxophone, coursing through the melody with fluidity and grace, creating a resonant mode for the band to climb in under. Ino's bass is a lovely counterpart to the tinny sound of the cello being played pizzicato, and Watanabe sounds like Wes Montgomery in his George Shearing days. The rest is as gently swinging and solid with the band becoming a quartet with Suzuki on bass for the last two tracks. In all, it's no masterpiece, but it is an excellent jazz record, made at a time when jazz as it was known in the 1950s and 1960s was a memory. And that it sounds current today is a testament in itself to its quality. ~ by Thom Jurek, AMG. 

Three Blind Mice, TBM-24, 1974
Three Blind Mice, TBM-XR-0024, 1998
Recorded 4th March, 1974 at Aoi Studio, Tokyo Japan 

Musicians:
Isao Suzuki - Bass, Cello
Kunihiko Sugano - Piano
Kazumi Watanabe - Guitar
Nobuyoshi Ino - Bass
Tetsujiro Obara - Drums 

Tracks:
1. Body And Soul {Edward Heyman, Frank Eyton, Robert Sour} (9:28)
2. 45th Street [At 8th Avenue] {Isao Suzuki} (11:14)
3. Play Fiddle Play {Arthur Altman, Emery Deutsch} (10:20)
4. Blue City {Isao Suzuki} (10:07) 

Total Time: 41:12 

Credits:
Producer - Takeshi Fujii
Recording & Mixing Engineer - Yoshihiko Kannari
Collaboration, Executive - Akisuke Fukutomi
Engineer [Cutting] - Makoto Nakamura
Photography [Cover] - Isao Suzuki
Art Direction, Cover - Ben Nishizawa
Liner Notes - Osamu Uchida, Teruo Isono 

Blue City

Shirley Scott - Roll 'Em: Shirley Scott Plays The Big Bands (1966) [CD]

Shirley Scott’s Roll ‘Em is interesting on several levels, the first being that you are no doubt already keenly aware of the songs Shirley is laying down here with her seventeen-piece big band, so it’s a hoot to simply sit back and listen to the tunes without the due consideration jazz-listening often requires. Secondly, there’s nothing unexpected delivered on this record, everything … the enunciation, the chords, the notes, the take, it’s all been done before, leaving Roll ’Em to simply be a breezy foray into the musical insights and sounds that are created here. Though when "Stompin' At The Savoy" washed across my listen space, I was raptured with the flanking path Scott’s organ took this song. Oddly enough, when one considers women in jazz, the first names that come to mind are usually the singers, Ella Fitzgerald or Billie Holiday, perhaps because singers are easier to spot and identify. Shirley was a lush beautiful petite and very powerful for her size and time, so it sparked my imagination that she might be taking on these songs purposely, numbers that seemed rather too large or expansive for a woman to embrace, where Scott shows the world that she’s more than capable of helming a big band, charting its course, and coming out the other side proving that she can stand toe to toe with anyone when it comes to music that is easily compared. So, while I don’t want to dismiss this outing as uninventive or not being challenging enough, it is impressive to hear Shirley create perfect flawless circles, that while not bold or majestic, hit at the heart of all that’s pure, and dare I suggest innocent, when it comes to the purest elements of sophistication. After all, a simple black dress with an understated string of pearls speaks volumes, without the need for showiness or exuberance. ~ by Jenell Kesler, discogs.com. 

Impulse! Records, AS-9119, 1972
GRP Records, GRD-147, 1994
Recorded 15th (#7-10) & 19th (#1-6) April, 1966 at Van Gelder Studio, Englewood Cliffs, NJ 

Personnel:
========
#1-4:
Shirley Scott - Organ
Thad Jones, Joe Newman, Jimmy Nottingham, Ernie Royal, Clark Terry - Trumpet
Paul Faulise, Quentin Jackson, Melba Liston - Trombone
Tom McIntosh - Trombones
Phil Woods, Jerry Dodgion - Alto Saxophone
Bob Ashton, Jerome Richardson - Tenor Saxophone
Danny Bank - Baritone Saxophones
Attila Zoller - Guitar
George Duvivier - Bass
Grady Tate - Drums
Oliver Nelson - Conductor, Arranger 

#5-6:
Shirley Scott - Organ, Arranger (#5)
George Duvivier - Bass
Grady Tate - Drums 

#7-10:
Shirley Scott - Organ
Richard Davis - Bass
Ed Shaughnessy - Drums 

Tracks:
01. Roll 'Em {Mary Lou Williams} (4:08)
02. For Dancers Only {Don Raye, Sy Oliver, Vic Schoen} (3:43)
03. Sophisticated Swing {Mitchell Parish, Will Hudson} (2:50)
04. Sometimes I'm Happy {Grey, Caesar, Youmans} (3:53)
05. Little Brown Jug {Joseph Eastburn Winner; Arr. Shirley Scott} (3:57)
06. Stompin' At The Savoy {Razaf, Goodman, Webb, Sampson} (3:58)
07. Ain't Misbehavin' {Andy Razaf, Harry Brooks, Fats Waller} (3:31)
08. A Tisket A Tasket {Ella Fitzgerald, Van Alexander} (3:55)
09. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:19)
10. Tippin' In {Bobby Smith, Marty Symes} (4:33) 

Total Time: 39:54 

Credits:
Producer - Bob Thiele
Recording Engineer - Rudy van Gelder
Reissue Producer - Michael Cuscuna
Executive Producer - Dave Grusin, Larry Rosen 

Organist Shirley Scott focuses on swing-era tunes throughout this enjoyable album. Four songs showcase her organ accompanied by a 17-piece big band arranged by Oliver Nelson while the remaining six numbers find her jamming with a trio that also includes either George Duvivier or Richard Davis on bass and Grady Tate or Ed Shaughnessy on drums. Although nothing all that unexpected occurs, it is fun to hear an organ performing such numbers as "For Dancers Only," "Little Brown Jug" and "Stompin' At The Savoy." ~ Scott Yanow, AMG

Sometimes I'm Happy

Marco Guidolotti Quartet - 'S Wonderful (2014)

Marco Guidolotti is an active saxophone soloist. He won the prestigious Massimo Urbani International Jazz Award, reserved for saxophone players in 2010, and has performed at several international jazz festivals. His forte is his proficiency on the baritone saxophone. With his quartet consisting of Francesco Lento (trumpet and flugelhorn), Marco Loddo (double bass), Giovanni Campanella (drums); in 2014 they released this album on Tosky Records “’S Wonderful” as a tribute to the great music of Gerry Mulligan, another great baritone player, and trumpeter Chet Baker. 

Tosky Records, TSK013, 2014
Recorded 2rd-24th June, 2014 at MamoCenter Theater, Rome, Italy 

Musicians:
Marco Guidolotti - Baritone Saxophone, Clarinet
Francesco Lento - Trumpet, Flugelhorn
Marco Loddo - Double Bass
Giovanni Campanella - Drums 

Tracks:
01. Reunion {Gerry Mulligan} (2:56)
02. 'S Wonderful {George Gershwin} (4:14)
03. G & C {Marco Guidolotti} (3:57)
04. Four For Three {Gerry Mulligan} (3:44)
05. Orazio {Marco Guidolotti} (2:57)
06. Tea For Two {Vincent Youmans} (3:50)
07. Night Lights {Gerry Mulligan} (5:15)
08. Say Yes, Say No {Marco Guidolotti} (5:54)
09. Nothing Like This {Marco Guidolotti} (4:03)
10. Bernie's Tune {Gerry Mulligan} (4:11) 

Total Time: 41:01 

Credits:
Producer - Giorgio Lovecchio, Davide Belcastro
Mixing - Giorgio Lovecchio
Photo - Roberto Panucci 

"Reunion" [Making of 'S Wonderful]

Art Lande, David Samuels, Paul McCandless - Skylight (1981)

As one of the finest mallet players of his generation, Dave Samuels has trodden a wide and multifarious path. From Double Image (his gorgeous project with David Friedman) to the exciting territories of his work with the Caribbean Jazz Project (some of the best Latin jazz around), not to mention his fruitful years with Spyro Gyra, Samuels brings a signature delicacy to his playing that is comforting and domestic. His first two intersections with ECM, Dawn and Gallery, are both sadly out of print but make a flowing trilogy of sorts with 1981’s Skylight, which thankfully is still available and marks his last appearance on the label. Joined by one-and-only Art Lande and Paul McCandless, Samuels shows us his compositional brilliance in the airy title cut. Not to be outdone, Lande and McCandless offer two tunes apiece. Lande’s territories are more contradictory in their energies, at once twilit and dripping with morning dew, and undeniably engaging. The reed work of McCandless is awesome in its quiet power, particularly in his “Willow,” which closes the album in unified pleasure. Two improvisations round out this overlooked effort. The loamy tales of a bass clarinet thread every monochromatic turn of “Duck In A Colourful Blanket (For Here),” while the inter-ludinal “Ente (To Go)” stands as one of the most effective pieces to employ a thumb piano I’ve heard in a long time. While the album’s title may refer to an architectural feature, here one encounters its meteorological meaning (“the diffuse light from the sky, scattered by air molecules, as distinguished from the direct radiation from the sun”) in full. With a blend of joy and sorrow that is imaginative but never gaudy, this singular trio session shows us that, even in a darkening day there is music to be discovered. ~ Tyran Grillo, ecmreviews.com. 

ECM Records, 531 025-2, 1982
Recorded May, 1981 at Tonstudio Bauer, Ludwigsburg, Germany 

Musicians:
Art Lande - Piano, Percussion
David Samuels - Vibraphone [Vibraharp], Marimba, Percussion
Paul McCandless - Soprano Sax, English Horn, Oboe, Bass Clarinet, Wood Flute

Tracks:
1. Skylight {David Samuels} (8:09)
2. Dance Of The Silver Skeezix {Art Lande} (6:30)
3. Duck In A Colorful Blanket [For Here] {Lande, Samuels, McCandless} (1:28)
4. Chillum {Paul McCandless} (5:14)
5. Moist Windows / Lawn Party {Art Lande} (8:01)
6. Ente [To Go] {Art Lande, David Samuels, Paul McCandless} (2:01)
7. Willow {Paul McCandless} (9:08) 

Total Time: 40:33 

Credits:
Producer - Manfred Eicher
Engineer - Martin Wieland
Cover Design - Barbara Wojirsch
Photography [Cover] - Klaus Frahm
Photography [Liner] - W. Patrick Hinely

Billy Harper - Trying To Make Heaven My Home (1979) [vinyl]

Billy Harper played with Art Blakey in the late 60s, featured on Lee Morgan's final album, and played with Max Roach and Randy Weston before recording a series of terrific albums under his own name in the 70s. Yet his work is poorly known! Like many US musicians he has mainly recorded for European and Japanese labels and many of these albums have disappeared having never made it to a CD reissue. Here's one of them.
Ripped from vinyl with full scans. Great review below!

Review by Michael G. Nastos:
A quintet recording for this incendiary tenor saxophonist. An extended, hard-blowing session.

1. Trying to Make Heaven My Home
2. Inside
3. Love On The Sudan

Everett Hollins (t) Billy Harper (ts) Armen Donelian (p) Wayne Dockery (b) Malcom Pinson (d)
Stuttgart , March 3 & 4, 1979

Georgia Mancio - Trapeze (2007)

It’s been five years since Georgia Mancio’s debut Peaceful Place. If that album showcased her clarity and lightness of touch, then Trapeze - the singer’s new, wilfully eclectic, 12-tracks collection - serves to underline yet more of her fine qualities. Perhaps most impressive of all is her versatility across a range of settings. The album jumps from Jobim/Moraes to Lionel Bart (‘Where is Love’) to Stanley Turrentine (‘Sugar’) without ever once losing its footing. Backed only by bass and drum, a crisply articulated ‘My Heart Stood Still’ illustrates her rock-solid sense of time, while gorgeously seductive interpretations of Violetta Parra’s enduringly popular ‘Gracias a la Vida’ and Seu Jorge’s classic Brazilian take on ‘Life on Mars?’ lifts the lid on her capacious imagination and storytelling gift. ~ Peter Quinn, JazzWise. 

Roomspin Records, 46, 2007
Recorded 2007 at Clowns Pocket Recording Studio, Bexley, United Kingdom 

Musicians:
Georgia Mancio - Vocals
Gareth Lockrane - Flute
John Pearce - Piano
Dave Green - Bass
Dave Ohm - Drums
Anselmo Netto - Percussion 

Tracks:
01. O Morro [Não Tem Vez] {Antônio Carlos Jobim, Vinícius De Moraes} (4:42)
02. My Heart Stood Still {Richard Rodgers, Lorenz Hart} (4:05)
03. Gracias A La Vida {Violeta Parra} (5:22)
04. Where Is Love? {Lionel Bart} (6:35)
05. On A Misty Night {Georgie Fame, Tadd Dameron} (4:57)
06. Doralice {Antônio Almeida, Dorival Caymmi} (4:03)
07. Tres Palabras {Osvaldo Farrés, Ray Gilbert; Arr. Georgia Mancio} (4:29)
08. Never Will I Marry {Frank Loesser} (3:46)
09. Sugar {Jon Hendricks, Stanley Turrentine} (5:58)
10. Senza Fine {Gino Paoli} (3:56)
11. Long As You're Living {Oscar Brown Jr., Julian Priester, Tommy Turrentine} (5:54)
12. Life On Mars? {David Bowie, Seu Jorge} (4:57) 

Total Time: 58:48 

Credits:
Producer - Georgia Mancio & Dave Ohm with Derek Nash
Design by Theory 

Senza Fine [Endless]