Monday, September 11, 2017

Frank Wess - Seven Classic Albums I.

Jazz for Playboys:
This CD reissue has three songs apiece from two similar sessions. One half of the set features Frank Wess (doubling on flute and tenor) accompanied by both Kenny Burrell and Freddy Green on guitars, bassist Eddie Jones and drummer Gus Johnson; the other three titles add trumpeter Joe Newman and have Ed Thigpen in Johnson's place. The music is essentially cool-toned swing/bop very much in a Count Basie vein and is easily recommended to straightahead jazz fans despite the so-so packaging and LP-length playing time.- by Scott Yanow, AMG

Trombones & Flute:
One of my favorite small-group jazz albums of the mid-1950s is Frank Wess's Trombones & Flute. The album, recorded for Savoy in July 1956, paired Wess on flute with four trombonists—Jimmy Cleveland, Henry Coker, Benny Powell and Bill Hughes. They were backed by Ronnell Bright (p), Freddie Green (g), Eddie Jones (b) and Kenny Clarke (d). The swinging, lyrical arrangements were by Frank Foster.At the time, Wess, Foster, Coker, Powell, Hughes, Green and Jones were all members of Count Basie's New Testament band while Ronnell Bright would periodically sub for Basie into the 1980s. In 1956, to hold his band together at the dawn of the 12-inch LP era, Basie let his musicians make extra money recording as leaders during the band's down time. What we hear on this album is Foster setting Wess aloft on flute while unrolling a thick rubbery trombone cushion underneath. In effect, these are Basie arrangements in miniature. Two of the songs are Foster originals—Lo-Fi and You'll Do—while Wanting You and Don't Blame Me are standards, and Crackerjack is by Coker. The creative album was conceived and produced by Ozzie Cadena (above) and recorded at Rudy Van Gelder's studio in Hackensack, N.J., which happened to be his parents' house. Wess was one of the first musicians to play jazz flute, and his sense of swing on the instrument here is intoxicating. The addition of Green was a nice touch, since he not only adds dimensional time-keeping but also a Basie flavor. What's more, we get to hear sensational trombones as a section and as individual soloists.
And Ronnell is flawless as an accompanist and soloist—providing tasteful chords and provocative punctuation. - Jazz.FM

Artist: Frank Wess
Album: Seven Classic Albums (Disc 1)
Year: 1956-1957 (Savoy Records)
Label: Real Gone Jazz (Digitally Remastered, 2013)
Runtime: 67:02

Tracks:
Jazz for Playboys (1957)
1.  Playboy (Ernie Wilkins) 5:27
2.  Miss Blues (Joe Newman) 9:40
3.  Baubles, Bangles and Beads (George Forrest / Robert Wright) 4:16
4.  Low Life (Johnny Mandel) 5:02
5.  Pin Up (Frank Wess) 4:07
6.  Blues For A Playmate (Kenny Burrell) 11:00
Trombones & Flute (1956)
7.  Lo-Fi (Frank Foster) 9:14
8.  Wanting You (Oscar Hammerstein II / Sigmund Romberg) 4:28
9.  Don't Blame Me (Dorothy Fields / Jimmy McHugh) 3:23
10.  Cracker Jack (Henry Coker) 9:59
11.  You'll Do (Frank Foster) 5:23

Personnel:
Frank Wess (Tenor Saxophone, Flute)
Eddie Jones (Double Bass)
Freddie Green (Rhythm Guitar, Guitar)
Kenny Burrell (Guitar) - 1-6
Joe Newman (Trumpet) - 1,2,4
Ed Thigpen (Drums) - 1,2,4
Gus Johnson (Drums) - 3,5,6
Kenny Clarke (Drums) - 7-11
Ronnell Bright (Piano) - 7-11
Benny Powell (Trombone) - 7-11
Bill Hughes (Trombone) - 7-11
Henry Coker (Trombone) - 7-11
Jimmy Cleveland (Trombone) - 7-11

Wednesday, August 30, 2017

Lonnie Liston Smith - Cosmic Funk

This one is packed with classic tracks and is probably Smith's best record of them all. He wasn't quite discoed-out yet and he was fresh off of his traditional jazz runnings, so this record hits a very comfortable middle ground for fusion heads as well as those more tuned into smooth jazz. An incredible record that doesn't get anywhere near enough props as it should for helping define the fusion movement of the early 70s. - by Scott Woods, Amazon.com

As Dean Rudland points out in Ace's 2014 reissue of Lonnie Liston Smith's 1974 set Cosmic Funk, Smith himself views this LP as a transitional effort, capturing him between his pioneering work with Miles Davis' electric group and the exploratory Expansions. This suggests it perhaps isn't a cohesive album and, true enough, it's a record where the good ideas are sometimes suggested rather than developed. Much of the record showcases the smooth vocal stylings of Smith's brother Donald, who leads on a vocal version of John Coltrane's "Naima," lends a bit of a supper club vibe to "Beautiful Woman," croons through "Peaceful Ones," and dives into the thick, overlapping grooves of the title track. That opening song is one of the few tracks that emphasizes funk, otherwise the cosmic reigns, as the group usually getting spacy all the while never quite leaving the earth. Although the group is quite lively on a relatively straight-ahead reading of Wayne Shorter's "Footprints," the album is distinguished by the spaces that lie between funk and bop, the periods where Smith and company start to float, then pull themselves back. - by Stephen Thomas Erlewine, AMG

Artist: Lonnie Liston Smith & The Cosmic Echoes
Album: Cosmic Funk
Year: 1974 (Flying Dutchman Records)
Label: RCA Viktor (1993)
Runtime: 36:09
Recorded at the RCA Recording Studios, New York in April, 1974.

Tracks:
1.  Cosmic Funk (Lonnie Liston Smith) 5:39
2.  Footprints (Wayne Shorter) 6:11
3.  Beautiful Woman (Lonnie Liston Smith) 6:58
4.  Sais (Egypt) (James Mtume) 8:16
5.  Peaceful Ones (Lonnie Liston Smith) 5:03
6.  Naima (John Coltrane) 4:00

Personnel:
Lonnie Liston Smith (Acoustic and Elelctric Piano, Percussion)
Donald Smith (Vocals, Piano and Flute)
George Barron (Soprano Saxophone, Flute and Percussion)
Al Anderson (Electric Bass)
Lawrence Killian (Congas and Percussion)
Art Gore (Drums)
Doug Hammond (Percussion)

Monday, August 21, 2017

Mode Plagal - Mode Plagal II

Ebullient originality and improvisational skill describe the audibly provocative new CD by Greek jazz band, Mode Plagal. "Mode Plagal II" is the long-awaited follow-up to the group's 1995 album "Mode Plagal", on the alternative Ano Kato Records label. Full of inventive touces, this just-out album gives the listener a taste of jazz as seen through the eyes -and ears- of innovative Greek musicians. Ladies and gentlemen, meet Mode Plagal: Thodoris Rellos on alto saxophone, Kleon
Antoniou on electric guitar, Antonis Maratos on electric bass, Takis Kanellos on drums and Angelos Polychroniou on percussion. These skilled musicians dared to "jazzify" Greek traditional music (demotika) and the outcome is indeed impressive. Conventional ingredients of the demotika have been enhanced with thick icings of jazz harmonies and distinctive bass lines. They have resourcefully taken a marginalised music and literally given it a new lease of life. And these audacious improvisers don't hide their influences either, instead, they put them on centre stage transforming these blatant borrowings into a newly emerging musical style that has the melodic appeal of fine jazz and the weightier rhythmic line of the Greek demotika tradition. By skillfully manipulating the musical time of a traditional tune from western Macedonia they come up with "Funky Vergina", an attractive example of jazz improv with sax, bass and drum solos intact. The best thing about this CD is that these guys bring conviction to what they do, and the penetrating clarity of their individual performances bears that out. Those who attended last week's performance at the Megaron know that all too well. With a set of personal modes and a radical approach, Mode Plagal have created a style that absorbs tradition, making it an integral part of their music without delivering pale imitations. Particulary delicious is the wonderfully arranges ethnic-tinged "Kalanta" - Christmas carols from Thrace - bolstered by shouting percussion and feather-light saxophone fillings. But if sustained intensity is what you're after, look no further than the stylistically diverse "Pikrodafni (...a blues)" which draws from the Epirot rhythmic heritage. This potent six-minute-plus track, featuring a dynamic sax lead and a driving drum beat, is exhilarating. There's also the more atmospheric "Salona", from Roumeli (continental Greece) where a sonorous sax solo takes the listener to the plains of the region, and the bluesy guitar riffs to Chicago's moody blues joints. What makes this CD, released on Lyra, well worth exploring? It's fresh, well-crafted and finally downright radical. Demotika ill never sound the same after Mode Plagal II. The band has pushed contemporary Greek music into new territories. As for Mode Plagal, keep your eyes and ears open, these guys are probably somewhere in town doing their gig... by Maria Paravantes, Athens News

Artist: Mode Plagal
Album: Mode Plagal II
Year: 1998
Label: Lyra Records
Runtime: 68:15
Recorded in Athens, Greece

Tracks:
1.  Funky Vergina (Traditional/arr. Mode Plagal) 5:48
2.  Miles' Leventikos (Mimis Doutsoulis/Thodoris Rellos) 7:00
3.  The Letter (Thodoris Rellos) 9:31
4.  Carols (Traditional/arr. Mode Plagal) 6:10
5.  Ulysses (Thodoris Rellos/Kleon Antoniou/Antonis Maratos/Takis Kanellos) 1:26
6.  Kalamatianos (Folk Dance/arr. Mode Plagal) 4:31
7.  Pikrodafni (Traditional/arr. Mode Plagal) 6:36
8.  Helios (Traditional/arr. Mode Plagal) 3:52
9.  Cyclops (Thodoris Rellos/Kleon Antoniou/Antonis Maratos/Takis Kanellos) 0:18
10.  Rock Around Eleven (Thodoris Rellos) 3:44
11.  Ivo (Traditional/arr. Mode Plagal) 5:05
12.  Solo Sax (Thodoris Rellos) 2:27
13.  Salona (Traditional/arr. Mode Plagal) 4:15
14.  Solo Drums (Takis Kanellos) 1:06
15.  On Foreign Lands (Traditional/arr. Mode Plagal) 4:42
16.  Blazing Sun (Thodoris Rellos/Kleon Antoniou/Antonis Maratos/Takis Kanellos) 1:44

Personnel:
Thodoris Rellos (Alto Saxophone and Vocals)
Kleon Antoniou (Electric Guitar and Vocals)
Antonis Maratos (Bass Guitar and Vocals)
Takis Kanellos (Drums and Vocals)
Angelos Polychroniou (Congas and Tambourine) - 1-4,7,10,11,15
Maria Aristopoulou (Vocals) - 7
Sophia Papazoglou (Vocals) - 7
Vassilis Hadjinikolaou (Vocals) - 7

Thursday, August 17, 2017

Jimmy Smith - Root Down (Jimmy Smith Live!)

Toward the end of his stint with Blue Note, Jimmy Smith's albums became predictable. Moving to Verve in the mid-'60s helped matters considerably, since he started playing with new musicians (most notably nice duets with Wes Montgomery) and new settings, but he never really got loose, as he did on select early Blue Note sessions. Part of the problem was that Smith's soul-jazz was organic and laid-back, relaxed and funky instead of down and dirty. For latter-day listeners, aware of his reputation as the godfather of modern soul-jazz organ (and certainly aware of the Beastie Boys' name drop), that may mean that Smith's actual albums all seem a bit tame and restrained, classy, not funky. That's true of the bulk of Smith's catalog, with the notable exception of Root Down. Not coincidentally, the title track is the song the Beasties sampled on their 1994 song of the same name, since this is one of the only sessions that Smith cut where his playing his raw, vital, and earthy. Recorded live in Los Angeles in February 1972, the album captures a performance Smith gave with a relatively young supporting band who were clearly influenced by modern funk and rock. They push Smith to playing low-down grooves that truly cook: "Sagg Shootin' His Arrow" and "Root Down (And Get It)" are among the hottest tracks he ever cut, especially in the restored full-length versions showcased on the 2000 Verve By Request reissue. There are times where the pace slows, but the tension never sags, and the result is one of the finest, most exciting records in Smith's catalog. If you think you know everything about Jimmy Smith, this is the album for you. - by Stephen Thomas Erlewine, AMG

Artist: Jimmy Smith
Album: Root Down (Jommy Smith Live!)
Year: 1972
Label: Verve Records (Remastered, 2000)
Runtime: 67:05
Recorded live at the Bombay Bycicle Club, Los Angeles in February 8, 1972

Tracks:
1.  Sagg Shootin' His Arrow (Jimmy Smith) 11:47
2.  For Everyone Under The Sun (Peter Chase) 5:54
3.  After Hours (Erskine Hawkins / Avery Parrish) 7:46
4.  Root Down (And Get It) (Jimmy Smith) 12:29
5.  Let's Stay Together (Al Green / Al Jackson, Jr. / Willie Mitchell) 6:26
6.  Slow Down Sagg (Jimmy Smith) 10:30
7.  Root Down (And Get It) (Previously Unissued Alternative Version) (Jimmy Smith) 12:13

Personnel:
Jimmy Smith (Organ)
Wilton Felder (Double Bass)
Buck Clarke (Congas, Percussion)
Paul Humphrey (Drums)
Arthur Adams (Guitar)
Steve Williams (Harmonica) - 3

Sunday, July 30, 2017

Ben Webster - Ben Webster And Associates

Ben Webster and Associates is a 1959 session that took full advantage of the long-playing LP format. Highlighted by the 20-minute version of Ellington's "In a Mellow Tone" in which tenor titans Ben Webster, Coleman Hawkins, and Budd Johnson plus trumpeter Roy Eldridge stretch out, not so much in a cutting contest as a laid-back jam session amongst friends. This summit meeting turned out to be a tribute to another tenor master of the same generation, Lester Young, who had died less than four weeks before this session. The chosen rhythm section of Jimmy Jones on piano, Les Spann on guitar, Ray Brown on bass, and Jo Jones on drums equally matches the performance of the featured horns. Also tackled for this session were three Webster originals: "De-Dar," "Young Bean," and "Budd Johnson" and the standard "Time After Time." Unfortunately no bonus tracks are included (if they even exist) but the excellent sound restoration more than makes up for it. - by Al Campbell, AMG

Artist: Ben Webster
Album: Ben Webster and Associates
Year: 1959
Label: Verve (Master Edition, 24bit remastered, 2000)
Runtime: 44:40
Recorded in New York City, USA 09.04.1959

Tracks:
1.  In A Mellow Tone (Duke Ellington/Milton Gabler) 20:15 
2.  De Dar (Ben Webster) 4:40 
3.  Young Bean (Ben Webster) 6:02 
4.  Time After Time (Jule Styne/Sammy Cahn) 4:35 
5.  Budd Johnson (Ben Webster) 9:08 

Personnel: 
Ben Webster (Tenor Saxophone) 
Coleman Hawkins (Tenor Saxophone) 
Budd Johnson (Tenor Saxophone) 
Roy Eldridge (Trumpet) 
Les Spann (Guitar) 
Jimmy Jones (Piano) 
Ray Brown (Double Bass) 
Jo Jones (Drums) 

Sunday, July 23, 2017

Sonny Stitt - In Brasil

You start collecting the albums of an artist, get to fifty or so, and decide, "what the heck, might as well go the whole distance--he can't have made many more." Unfortunately, in Sonny Stitt's case he did. There are times it seems that not a day went by that Sonny didn't agree to cut a record for someone. He was the "Lone Wolf" of jazz as well as the most peripatetic, ubiquitous of all American musicians. Between 1960 and 1980 (and certainly for the 15 years prior to 1960) you could practically take up temporary residence (a couple of months if not less) in any major city, and eventually Sonny would drift into town, two saxophone cases in tow, and maybe a few phone numbers to help him locate the best local musicians available as well as a venue willing to support his major habit--which can be summarized as playing the saxophones--alto and tenor--more "perfectly" than any musician who has lived while simultaneously keeping alive the flame struck by Charlie Parker, in the process demonstrating what "swing" was all about and spreading the gospel of the Great American Songbook (he was practically the instrumental equivalent of a Bing, Ella, or Sinatra). I'd never heard of this record or of the Zimbo Trio, but it doesn't surprise me all that much that during the last 2-3 years of his life he should find his way to Brazil and leave behind a record of the experience. Looking on the internet, I find the Zimbo Trio has impressive credits, at least in Brazil--first recording in 1965 and continuing to represent a standard of excellence in the performance of both Brazilian music and American jazz. Chances are you will learn none of this from the album--all of the liner notes, apparently in the form of testimonials written by the musicians on the date, are in Spanish. But there are some photos of Sonny in the control room--looking in better spirits than I've ever seen him--that may be the best thing about the album. He's having a blast, and the musicians are obviously thrilled and fully aware of the significance of the moment. As for the music, it's not as bad as some Stitt recordings, bootleg and otherwise, that I've quickly had to put out of their misery. But if you've heard a lot of Sonny already, you know pretty much what to expect. Just be assured that he's fully on his game--the intonation, the embouchure, the mind and fingers, the mastery of both horns--it's all working fine, quite worthy of Stitt and his legacy among those privileged to know it. The rest of it isn't quite up to that level, though the quality of the supporting musicians and of the audio reproduction itself is no doubt professional enough to satisfy most listeners. True to so many recordings of the 1970s the bass is over-miked and (ugh) electric (or sounding like it), and the bassist tends to sound like he's running away with his own walking lines rather than locking in "tight and right" with the drummer's high hat. As a result, it's hard for the listener to feel the same groove that the musicians themselves obviously were experiencing during the recording. The pianist has chops and swings, and the drummer sounds like he'd work well with a Sam Jones or Ray Brown (what a difference that would make). Like too many of those CTI-type recording sessions of the '70s, this one is "over-engineered" to the detriment of the sound of Sonny's rich, true, uncluttered tone. He sounds unnecessarily pinched and "distant" on the date, as though he's wearing headphones and has been placed in a separate room from the rhythm section (which may well be the case). But most importantly, the tones of the alto and tenor, while unmistakably Sonny Stitt (he really comes to life on Bird's "Little Suede Shoes"), don't do justice by the way he "really" sounded (I heard him in person at least twenty-five times). The pity's all the more if only because Sonny, and for that matter the musicians on the date, are all playing well. In sum, this one is a keeper, but you'd best EQ it, rolling back on the low frequencies and providing some boost to the mid-frequencies covering Sonny's alto and tenor saxophones. Either that or retitle the date: "Bass in the Foreground." - by Samuel C., Amazon.com

Artist: Sonny Stitt & Zimbo Trio
Album: In Brasil
Year: 1979 (Clam Records)
Label: Fresh Sound Records (1991)
Runtime: 41:03

Tracks:
1.  Hope's Blues (Sonny Stitt) 4:41
2.  Corcovado (Quiet Nights) (Antonio Carlos Jobim) 5:17
3.  There Will Never Be Another You (Mack Gordon / Harry Warren) 5:10
4.  Little Suede Shoes (Charlie Parker) 5:25
5.  Autumn Leaves (Joseph Kosma / Johnny Mercer / Jacques Prévert) 6:00
6.  Samba Do Orfeu (Luiz Bonfa / Antonio Maria) 5:20
7.  Blues For Gaby (Sonny Stitt) 6:22
8.  Assim Está Certo (Amilton Godoy) 2:48

Personnel:
Sonny Stitt (Alto Saxophone)
Amilton Godoy (Piano)
Luiz Chaves (Bass)
Rubens Barsotti (Drums)

Wednesday, July 12, 2017

Coleman Hawkins - Soul

This is a decent but not very exciting outing. Then 52, Hawkins uses a typically young rhythm section (including guitarist Kenny Burrell and pianist Ray Bryant) and plays melodically on a variety of originals and standards. This insipid version of "Greensleeves" is difficult to sit through but the rest of this CD is enjoyable if not overly inspiring. - by Scott Yanow, AMG

Coleman Hawkins may not have been the Godfather of "Soul" but he certainly was the Godfather of the Jazz Saxophone. After kick starting his second career with "The Hawk Flies High" and "The Genius of Coleman Hawkins" in 1957, Hawk recorded the first of several successful sessions for the Prestige label on November 7, 1958, and the album was called "Soul." That session featured the talents of a young Kenny Burrell on guitar, Ray Bryant on piano, Wendell Marshall on bass and Osie Johnson on drums. The group smoothly glides through three standards (including the traditional
"Greensleeves"), two Burrell originals ("Groovin'" and "Sunday Mornin'") and two Hawkins originals ("Soul Blues" and Sweetnin'"). "Soul" probably only deserves 4 1/2 stars, as it is not quite as masterful as "The Hawk Flies High," but I have no problem rounding up to five stars. In fact, all of Hawk's half-dozen OJC discs are well worth purchasing. - by Michael Brad Richman, Amazon.com

Artist: Coleman Hawkins
Album: Soul
Year: 1958 (Prestige Records)
Label: OJC (1984)
Runtime: 41:21
Recorded at the Rudy Van Gelder Recording Studios, Hackensack, New Jersey, November 7, 1958

Tracks:
1.  Soul Blues (Coleman Hawkins) 9:52
2.  I Hadn't Anyone Till You (Ray Noble) 4:34
3.  Groovin' (Kenny Burrell) 5:43
4.  Greensleeves (Traditional) 3:12
5.  Sunday Mornin' (Kenny Burrell) 6:29
6.  Until the Real Thing Comes Along (Sammy Cahn/Saul Chaplin/L.E. Freeman/Mann Holiner/Alberta Nichols)  4:42
7.  Sweetnin' (Coleman Hawkins) 6:49

Personnel:
Coleman Hawkins (Tenor Saxophone)
Kenny Burrell (Guitar)
Ray Bryant (Piano)
Wendell Marshall (Double Bass)

Osie Johnson (Drums)

Friday, June 30, 2017

United Future Organization - No Sounds Is Too Taboo

Featured on 1994's Red Hot and Cool compilation, the Japanese production trio UFO heads a loose collective of musicians and vocalists present here. Jazz, R&B, trip-hop, Spanish, Caribbean, and Brazilian rhythms all appear in one form or another; surprisingly, these disparate elements flow well through the course of ten songs. - by John Bush, AMG

UFO's creatively bizarre mixing of styles produced some of the best mid 90's funky, acid-jazz and "No Sounds too Taboo" is arguably their best album. Despite the typically odd arrangements that permeate most of its tracks - a mixture of off-the-wall vocals, weird instrumentation and "lounge-lizard" backbeats - there's nothing too challenging here other than a set of ingenious, well produced workouts that are ideally suited for a lazy afternoon's listening. Sounds negative?... well making genuinely interesting laid-back music is no easy task and on "Stolen Moments", "Mistress of Dance" and most of the other tracks on this album UFO hit the button perfectly. Arty, clever and fun... the cover says it all ! - by nicjaytee, Amazon.com

This album is simply excellent. It's funky, groovy and quite sophisticated. You can't prevent from dancing around when you hear it and at the same time, it's enough elaborated to be appealing for a demanding audience... As I was saying, also check out the brand new heavies' releases (especially shelter and brother sister or the best of, "trunk funk")" - by Simone Oltolina, Swapacd.com

Artist: United Future Organization
Album: No Sounds Is Too Taboo
Year: 1994
Label: Bronswood Recordings
Runtime: 53:57

Tracks:
1.  United Future Airlines (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 4:48
2.  Magic Wand Of Love (Earl DeRoun) 6:22
3.  Stolen Moments (Oliver Nelson) 5:21
4.  Future Light (Toshio Matsuura / Mark Murphy / Raphael Sebbag / Tadashi Yabe) 5:58
5.  Make It Better (Cleveland Watkiss) 5:33
6.  Sunday Folk Tale (Raphael Sebbag / Tadashi Yabe) 6:17
7.  Mistress Of Dance (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 4:25
8.  Bar-F-Out! (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 5:00
9.  Doopsylalolic (Derek Delves / Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 4:38
10.  Tears Of Gratitude (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 5:35

Personnel:
Tadashi Yabe (Keyboards, Programming)
Toshio Matsuura (Programming, Mixing)
Raphael Sebbag (Programming, Mixing, Voice)
Simon Richmond (Percussion) - 1
Linda Muriel (Vocals) - 2
Noriyoshi Sasanuma (Bass) - 2
Gemi Taylor (Guitar) - 2
Jessica Lauren (Piano) - 2
Time Five (Choir) - 3
Yae Nishikawa (Violin) - 3
Mike Emenau (Vibraphone) - 3
Mike Murphy (Vocals) - 4
Gill Manly (Backing Vocals) - 4
Mikiko Sakai (Scratch) - 4
Cleveland Watkiss (Vocals) - 5
Shinichi Osawa (Bass) - 5
Hiroyuki Komagata (Guitar) - 5
Francis Silva (Vocals) - 6
Snowboy (Percussion) - 6
Steve Williamson (Soprano Saxophone) - 7
Nishikawa Quartet (Strings) - 7
Urban Poets Society (Vocals) - 8
DJ Krush (Scratch) - 8
Derek Delves (Vocals) - 9
Talin Chamber Choir (Choir) - 10
Junichi Iwabuchi (Piano) - 10

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