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

Jacky Terrasson - Take This (2015)

Pianist Jacky Terrasson’s Impulse! Records debut, 2015’s Take This, is a sophisticated showcase for his virtuoso jazz chops and eclectic musical taste. Following up his 2012 effort, Gouache, Take This finds Terrasson investigating a mix of originals and unexpected covers, many of which are infused with a strong African and Cuban rhythmic influence. Supplying much of this rhythmic intensity is Terrasson’s adventurous outfit featuring bassist Burniss Travis, drummer Lukmil Perez, and Malian percussionist Adama Diarra. Together, this group is responsible for many of the album’s brightest moments, with updates of such classic jazz piano numbers as Bud Powell's "Un Poco Loco," and Miles Davis' "Blue and Green," to name a few. Also collaborating with Terrasson here is French vocalist/beatboxer Sly Johnson. A soulful, gifted singer with a bent toward throaty R&B, Johnson broke through in Paris as a member of the hip-hop act Saian Supa Crew, as well as performing with established jazz artists such as trumpeter Erik Truffaz. Here, he lends his vocals, as well as his unique human beatbox technique, to several tracks, often blending his various vocal pops and ticks into the rhythm section just as any percussionist might do. It’s a nifty concept that works best when Johnson is out-front on cuts like the opening “Kiff” and an inspired duo reworking of the Beatles' "Come Together," where Johnson brings to mind the similarly inclined rhythmic vocal jazz of Bobby McFerrin and Al Jarreau. Elsewhere, Terrasson and his pan-global ensemble deliver engaging takes on Gotye's "Somebody That I Used to Know," the Paul Desmond-penned Dave Brubeck classic "Take Five," and a buoyant rendition Henri Salvador's Caribbean-infused "Maladie D’Amour." ~ Matt Collar, AMG.

Impulse! Records, 471 274-0; 0602547127488, 2015
Recorded 8^th, 9^th, 10^th, 11^th September, 2014 At Recall Studios, France 

Personnel:
Jacky Terrasson - Piano, Fender Rhodes, Synthesizer, Percussion, Vocals
Sly Johnson - Vocals (#1,4,8), Human Beatbox (#1,3-5)
Burnis Travis - Double Bass (#1-3,7,9,11), Electric Bass (#3,8)
Lukmil Perez - Drums (#1-3,7,8,11)
Adama Diarra - Percussion (#2,3,5,8,9) 

Tracks:
01. Kiff {Jacky Terrasson} (3:35)
02. Un Poco Loco {Bud Powell} (4:12)
03. Take Five [Take 1] {Paul Desmond} (5:12)
04. Come Together {John Lennon, Paul McCartney} (3:24)
05. Dance {Jacky Terrasson} (3:19)
06. Blue In Green {Miles Davis} (2:59)
07. November {Jacky Terrasson} (6:24)
08. Take Five [Take 2] {Paul Desmond} (4:13)
09. Maladie D’Amour {Henri Salvador, Jean Marcland, Leona Grabiel} (3:15)
10. Somebody That I Used To Know {Luiz Bonfá, Walter André De Backer} (3:34)
11. Letting Go {Jacky Terrasson} (4:41) 

Total Time: 44:48

Credits:
Producer - Jean-Philippe Allard
Executive-Producer, Art Direction - Farida Bachir
Recording, Mixing & Mastering - Philippe Gaillot
Recording [Assistant] - Renaud Van Welden
Management [North America] - Karen Kennedy
Management, Booking [Worldwide] - Christophe Deghelt
Photography [Cover & Liner] - Philippe LEVY-STAB
Design - CB Graphic, Marielle Costosèque, Patrice Beauséjour

Marion Brown - Vista (1975)

A strangely wonderful album from Marion Brown – quite different from his other work on Impulse, with a mellow electric edge that gives it a warm and laidback feel! The approach here is much more soulful than before – with finely crafted tunes that weave Brown's work on alto with electric piano by Anthony Davis and Stanley Cowell, percussion by Ed Blackwell and Jimmy Hopps, and bass by Reggie Workman. If you're expecting the angrier Brown from earlier years, you'll be disappointed - but if you're ready to hear a Brown that's gently crafting mellow lines in a soulful setting, then you're in for a treat. Tracks include Cowell's "Maimoun", Stevie Wonder's "Visions", Brown's "Vista", "Moment of Truth", "Bismillah 'Rrahimani' Rrahim", and "Djinji". ~ Dusty Groove, Inc.

Impulse! Records, AS-9304, 1975

Verve/Universal Music, UCCI-9288, 2015

Recorded 18^th (#2,3,6) & 19^th (#1,4,5) February, 1875 at Generation Sound, NYC

Musicians:

Marion Brown - Alto Saxophone (#1-6), Wind Chimes (#2)

Stanley Cowell - Piano (#1,5,6), Fender Rhodes (#2,3), Mbira (#1)

Anthony Davis - Piano (#2,3), Fender Rhodes (#1,4-6)

Bill Braynon - Celeste (#2,5) Electric Piano [RMI] (#3)

Reggie Workman - Bass (#1,3-6)

Jimmy Hopps - Drums (#1,3,4), Cymbals (#5)

Ed Blackwell - Drums (#6), Slit Drum, (#3)

Jose Goico - Congas (#1,3,4,6) Tambourine (#1), Finger Cymbals (#5)

Allen Murphy - Vocals (#2), Bells (#5)

Harold Budd - Celeste (#5), Gong (#5)

Tracks:

1. Maimoun {Stanley Cowell} (7:33)

2. Visions {Stevie Wonder} (5:40)

3. Vista {Marion Brown} (7:45)

4. Moment Of Truth {Bill Braynon} (4:37)

5. Bismillahi 'Rrahmani' Rrahim {Harold Budd} (6:02)

6. Djinji {Bill Braynon} (9:45)

Credits:

Producer - Ed Michel

Recording Engineer - Tony May (Generation Sound, NYC)

Mixing Engineer - Baker Bigsby

Photography - George Whiteman

Album Design - Tim Bryant

Disc Mastering - Kendun Recorders

Total Time: 41:22

Alto saxophonist Marion Brown is an under-sung hero of the jazz avant-garde. Committed to discovering the far-flung reaches of improvisational expression, Brown nonetheless is possessed of a truly lyrical voice but is largely ignored when discussions of free jazz of the '60s and '70s are concerned. ~ Thom Jurek, AMG.

Dewey Redman - Coincide (1974) [true flac]

A beautiful and spiritual record by Dewey – and one that features very stripped down playing, mostly in a trio or quartet format. The players differ from track to track – and they include Sirone on bass, Eddie Moore on drums, Leroy Jenkins on violin, and Ted Daniel on trumpet. Two tracks feature Redman playing zither, which sounds strange, but very nice. Another features clarinet, and the remainder feature Dewey on his traditional tenor. Titles include "QOW", "Somnifacient", "Seeds & Deeds", "Funcitydues", and "Phadan-Sers". © Dusty Groove, Inc.

Impulse! Records, ASD-9300, 1975

Recorded 9^th (#A1,A2) & 10th (#A3-B4) September, 1974 at Generation Sound Studios, New York City

Musicians:

Dewey Redman - Tenor Sax (#A1,B1,B2,B4), Clarinet (#A2), Zither (#A3,B3)

Ted Daniel - Trumpet (#A1,A2)

Leroy Jenkins - Violin (#A1,A2)

Sirone - Bass (#A1-B2,B4)

Eddie Moore - Drums (#A1,B1,B2,B4), Tympani (#A2), Cymbals (#A2), Bowed And Struck Idiophone (#A3)

Tracks:

A1. Seeds And Deeds (4:51)

A2. Somnifacient (7:14)

A3. Meditation Submission Purification (8:12)

B1. Joie De Vivre (3:20)

B2. Funcitydues (3:15)

B3. Phadan-Sers (3:38)

B4. Qow (10:17)

All Compositions by Dewey Redman

Credits:

Producer - Ed Michel

Engineer - Tony May

Mixing - Baker Bigsby

Mastering - Kendun Recorders

Design - Tim Bryant

Photography - Philip Melnick

Liner Notes - Robert Palmer

Total Time: 40:47

Dewey Redman is featured in a few different settings on this intriguing and generally successful album. The best cuts are the originals that match Redman's tenor with bassist Sirone and drummer Eddie Moore. In addition, he is heard on zither on two cuts (one of which is unaccompanied), and his trio adds trumpeter Ted Daniel and violinist Leroy Jenkins for two complex originals; Redman switches to clarinet on "Somnifacient." Although it is interesting to hear Redman on clarinet and zither, his tenor playing is clearly his strong point and the main reason to search for this LP. His ten-minute workout on "Qow" is outstanding. ~ by Scott Yanow, AMG.

Marion Brown - Geechee Recollections (1973)

Geechee Recollections was the first in a trilogy of recordings by saxophonist Marion Brown that both honored the work of poet Jean Toomer and revisited his upbringing in Georgia. Together, they form arguably the most beautiful and satisfying output of Brown's lengthy career. The music, while remaining experimental, is grounded in Southern folk themes and blues, epitomized on tracks like the funky "Buttermilk Bottom" here. A Toomer poem, Karintha is given a striking reading by Bill Hasson and, throughout the recording, Brown receives excellent support by a strong ensemble including trumpeter Leo Smith and the great drummer Steve McCall. Brown, with his marvelously limpid tone on alto, is a joy to hear and seems more at home and relaxed here than on some of his more strident early records. Recommended. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9252, 1973

ABC/Impulse! Records, MVCZ-120, 1997

Recorded 4^th & 5^th June, 1973 At Intermedia Sound, Boston, Massachusetts

Musicians:

Marion Brown - Alto & Soprano Saxophones, Clarinet, Percussion

Leo Smith - Brasses, Strings, Percussion

Bill Hassan - Narration (#2), Percussion

James Jefferson - Bass, Cello (#2), Percussion

Steve McCall - Drums, Miscellaneous Percussion

A. Kobena Adzenyah - Drums [Southeastern Ghana]: Soge, Kidi, Kaganu, Axatse,

Gankogui, Toke; Drums [Akan people, Ghana]: Apentemba,

Apenten, Dawure, Nnawunta, Donne, Gyilla, Balaphone [Lobi people, Northern Ghana]

William Malone - Thumb Piano, Autoharp, Axatse

Jumma Santos - Conga Drums, Miscellaneous Instruments

Tracks:

1. Once Upon A Time {Marion Brown} (6:27)

2. Karintha {Marion Brown, Jean Toomer} (9:25)

3. Buttermilk Bottom {Marion Brown} (6:42)

4. Introduction {Marion Brown} (1:18)

5. Tokalokaloka, Part One {Marion Brown} (6:59)

6. Tokalokaloka, Part Two {Marion Brown} (8:39)

7. Tokalokaloka, Part Three {Marion Brown} (1:45)

8. Ending {Leo Smith} (1:20)

Credits:

Producer - Ed Michel

Recording Engineer - Berred Ouelette

Assistant Engineer - Dominic Lumetta, Gilmar Fortis, Kathryn King, Nat Seligman

Mixing Engineer - Rick Heenan (The Village Recorder)

Photography - Donald M. Shaw

Liner Notes - J.B. Figi

Liner Notes [Poem] - Eric D. Jackson

Total Time: 40:35

Marion Brown - Sweet Earth Flying (1974)

The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown's conception (hence the album's title), though this time (unlike the appearance of Karintha on Geechee Recollections) none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis' late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams' feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown's sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep-voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9275, 1974

Recorded 6th & 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

Personnel:

Side One:

Marion Brown - Alto Saxophone

Paul Bley - Fender Rhodes (#1,2)

Muhal Richard Abrams - Fender Rhodes (#3), Piano (#4), Organ (#2)

James Jefferson - Bass, Electric Bass [Fender]

Steve McCall - Drums, Percussion

Bill Hasson - Percussion, Narration

Recorded 7th May, 1974 At Intermedia Recording, Boston, Massachusetts

1. Sweet Earth Flying, Pt. 1 (3:40)

2. Sweet Earth Flying, Pt. 3 (5:58)

3. Sweet Earth Flying, Pt. 4: Prince Willie (5:57)

4. Sweet Earth Flying, Pt. 5 (4:58)

Note:

Sweet Earth Flying, Part 2 - Unissued

Side Two:

Marion Brown - Soprano Saxophone

Paul Bley - Piano (#5,7,8), Fender Rhodes (#6,7), Organ (#5)

Muhal Richard Abrahms - Fender Rhodes (#5,8), Organ (#6,7)

James Jefferson - Bass, Electric Bass

Steve McCall - Drums

Bill Hasson - Percussion

Recorded 6th May, 1974 At Intermedia Recording, Boston, Massachusetts

5. Eleven Light City, Pt. 1 (7:17)

6. Eleven Light City, Pt. 2 (2:10)

7. Eleven Light City, Pt. 3 (5:52)

8. Eleven Light City, Pt. 4 (3:02)

Credits:

Producer - Ed Michel

Recording Engineer - Beered Ouellette

Mixing Engineer - Baker Bigsby, Gil Fortis (The Village Recorder)

Album Design - Tim Bryant

Photography [Cover] - Michael W. Anderson

Photography [Liner] - Gail Brown

Liner Notes - Acklyn R. Lynch

Total Time: 38:58

Marion Brown - Three For Shepp (1966)

An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp - a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far - like Shepp in his best sixties moments - and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come – and other tracks include "West India", "Delicado", "New Blue", and "Fortunato". A brilliant blend of 60s "new thing" playing and 70s underground jazz!  © Dusty Groove, Inc.

Impulse! Records, AS-9139, 1967

Universal Music, IMPD-269, 1998

Recorded 1^st December, 1966 At Van Gelder Studio, Englewood Cliffs, NJ

Musicians:

Marion Brown - Alto Saxophone

Grachan Moncur III - Trombone

Dave Burrell - Piano (#1-3)

Stanley Cowell - Piano (#4-6)

Sirone - Bass

Beaver Harris - Drums (#1-3)

Bobby Capp - Drums (#4-6)

Tracks:

1. New Blue {Marion Brown} (5:12)

2. Fortunato {Marion Brown} (8:55)

3. The Shadow Knows {Marion Brown} (3:05)

4. Spooks {Archie Shepp} (4:33)

5. West India {Archie Shepp} (6:25)

6. Delicado {Archie Shepp} (6:39)

Credits:

Producer [Original] - Bob Thiele

Reissue Producer - Michael Cuscuna

Engineer - Rudy van Gelder

Remastering - Erick Labson (MCA Studios)

Photography - Chuck Stewart

Art Direction - Hollis A. King

Graphic Design - Isabelle Wong

Liner Notes - Frank Kofsky

Total Time: 34:49

Andrea Motis - Emotional Dance (2017)

After recording six acclaimed albums with bassist Joan Chamorro, Barcelona-based trumpeter, singer and composer Andrea Motis makes her solo debut on Impulse! Records with Emotional Dance. The astonishing accord that she’s cultivated with Chamorro during the past seven years is firmly intact on Emotional Dance. The sterling performances features him as well as pianist Ignasi Terraza, drummer Esteve Pi, guitarist Josep Traver as the core ensemble. Like with Chamorro, Motis has recorded and toured consistently with these musicians.

Chamorro coproduced Emotional Dance with Brian Bacchus and Jay Newland. Through Bacchus and Universal Records’, A&R director Jean-Philippe Allard's sage suggestion, Motis augmented the personnel with a handful of U.S.-based musicians – vibraphonist Warren Wolf, accordionist Gil Goldstein, baritone saxophonist Scott Robinson, percussionist Café Da Silva. Three tunes also feature the famed American tenor saxophonist Joel Frahm, who'd worked with Motis and Chamorro before. "We invited [Joel] to play with us in Barcelona in 2016. He was so amazing that we knew we wanted him for this album," Motis enthuses.

Even though, Motis is only 21-years-old, she displays a mature musicality beyond her years. That’s because she began playing the trumpet at age seven; three years later she began studying jazz at the Municipal School of Music of Sant Andreu under Chamorro, who soon after recruited her for his band while she was still a teenager. While at the school, she was also a member of the Sant Andreu Jazz Band for nine years with which she recorded eight discs and played with such acclaimed musicians as trombonist Wycliffe Gordon, saxophonist Jesse Davis, clarinetist Bobby Gordon, and saxophonist Dick Oatts, among others. In addition to trumpet, Motis plays alto saxophone. But it was with Chamorro's band that she began singing. "The trumpet will always be my first instrument," Motis says when asked if she likes being a singer or an instrumentalist the most. "Playing the trumpet is like mediating; it’s such a part of my life. But I never want to choose just one side of my artistic sides because I love doing them all."

On Emotional Dance, Motis' singing mostly takes center stage. She possesses an alluring, supple alto. With its subtle vibrato and her succinct phrasing, Motis' singing has drawn comparisons to such stylists as Billie Holiday and Norah Jones. Her vocal prowess reveals itself immediately on Charles Daniels and Richard Whiting's classic, "He's Funny That Way," which opens the disc. Perhaps, it's no coincidence that the jazz standard has long been associated with Lady Day; Motis and her ensemble certainly do the composition justice by underscoring it with a quintessential swing-era shuffle that paves the way for an absorbing solo from Robinson. Motis follows his lead by blowing a delightful trumpet solo that accentuates her citrus tone and her assured sense of melodic swing.

Motis sees Emotional Dance as an extension and evolution of her work with Chamorro. Like their previous efforts, the new album contains it fair share of jazz standards. In addition to "He's Funny That Way," Motis delivers captivating renditions of Franck Loesser's "Never Will I Marry," Cole Porter's "You’d Be So Nice To Come Home To," Eddie Jefferson's "Baby Girl," Johnny Mercer's "I Remember You," Horace Silver's "Señor Blues," and Antonio Carlos Jobim and Vinicius De Moraes' "Chega de Saudade."

Emotional Dance reveals some of Motis' artistic growth with the presence of Frederico Sires Puig's "La Gavina," Els Amics de les Arts' "Louisiana O Els Camps De Cotó," and Perico Sambeat's "Matlida." On all three tunes Motis sings in Catalan - a first for her on disc. The latter tune even features Sambeat on a billowing soprano saxophone accompaniment and solo.

Also, for the first time, Motis exhibits her gifts as composer. She penned three of Emotional Dance's 13 songs. The first song she composed for the disc was "If You Give More Than You Can," a poignant ballad containing heartfelt lyrics about being overwhelmed with multiple responsibilities. Her ebullient, "I Didn't Tell Them Why" shows Motis' friskier side as she sings about keeping a blossoming romance on the down low, while her swaggering hard-bop instrumental, "Save the Orangutan" best illustrates her command and improvisation heft on the trumpet as she shares the frontline with Frahm.

As for the sparkling title track, Terraza wrote it several years ago as an instrumental. Motis wasn't even aware of Terraza's compositional abilities until she heard the song on the radio. "We thought that the title of that song was very representative of the feeling that we had during the making of this first album for Impulse! Records," Motis says. "The title conveys all the positive changes and new directions we've taken with my music while acknowledging that things are moving forward in the right direction." ~ Andrea Motis.com.

Impulse! Records/Universal Music, 0602557317947, 2017

Recorded 25^th-30^th March, 2016 At Carriage Studios, Stamford, Connecticut

Additional 9^th August & 19^th September, 2016 At Studio Espai Sonor, Montoliu, Spain

Personnel:

Andrea Motis - Trumpet, Vocals

Ignasi Terraza - Piano

Josep Traver - Guitar

Joan Chamorro - Bass

Esteve Pi - Drums

Guests:

Joel Frahm - Tenor Saxophone (#2,5,9,11,13)

Warren Wolf - Vibes (#3,7,12)

Perico Sambeat - Soprano & Alto Saxophones (#3,6)

Gil Goldstein - Accordion (#9,14)

Scott Robinson - Baritone Saxophone (#1,8)

Café Da Silva - Percussions (#3,4,9)

Tracks:

01. He's Funny That Way {Richard A. Whiting, Charles N. Daniels} (4:50)

02. I Didn't Tell Them Why {Andrea Motis} (2:30)

03. Matilda {Perico Sambeat} (6:52)

04. Chega De Saudade {Antônio Carlos Jobim, Vinicius De Moraes} } (5:48)

05. If You Give Them More Than You Can {Andrea Motis} (4:05)

06. Never Will I Marry {Frank Loesser} (3:19)

07. Emotional Dance {Andrea Motis} (4:33)

08. You'd Be So Nice To Come Home To {Cole Porter} (4:23)

09. La Gavina {Frederic Sirés} (4:46)

10. Baby Girl {Eddie Jefferson} (4:23)

11. Save The Orangutan {Andrea Motis} (4:00)

12. I Remember You {Victor Scherzinger, Johnny Mercer} (4:32)

13. Señor Blues {Horace Silver} (3:49)

14. Louisiana O Els Camps De Cotó {Els Amics de Les Arts)} (4:33)

Credits:

Producer - Brian Bacchus, Joan Chamorro

Producer, Recording & Mixing Engineer - Jay Newland

Executive Producer, Art Direction - Farida Bachir

Additional Recording - David Casmitjana

Mastering Engineer - Mark Wilder (Battery Studios, New York)

Project Coordinator - Joe D'Ambrosio, Rita Johnson

A&R - Jean-Philippe Allard

Cover & Liner Photography - Carlos Pericás

Design - Françoise Bergmann