Sunday, July 26, 2015

Art Farmer & Benny Golson Jazztett - Here and Now + Another Git Together

Here and Now:
The Jazztet had been in existence for two years when they recorded what would be their final LPs, Here and Now and Another Git Together. The personnel, other than the two co-leaders, flugelhornist Art Farmer and tenor-saxophonist Benny Golson, had completely changed since 1960 but the group sound was the same. The 1962 version of The Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis, and drummer Roy McCurdy. It is remarkable to think that this talent-filled group wasn't, for some reason, snapped up to record even more albums together. Highlights of their excellent out-of-print LP include Ray Bryant's "Tonk," "Whisper Not," "Just in Time," and Thelonious Monk's "Ruby My Dear." A classic if short-lived hard bop group. - by Scott Yanow, AMG

Another Git Together:
Recorded at the same sessions that resulted in Here and Now, this Mercury LP was the sixth and final one that documented the Jazztet before their breakup. The group lasted less than three years, which is surprising considering the talent. The 1962 edition of the Jazztet consisted of flugelhornist Art Farmer, tenor-saxophonist Benny Golson, trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis and drummer Albert "Tootle" Heath. This spirited and swinging set has six strong selections with the most memorable including Moncur's "Space Station," Golson's "Along Came Betty" and the standard "This Nearly Was Mine." Along with the other Jazztet dates, this LP is long overdue to be reissued in full on CD. - by Scott Yanow, AMG

Artist: Art Farmer & Benny Golson Jazztett
Album: Here and Now & Another Git Together
Year: 1962
Lanel: Mercury (Jazzplus, 2012)
Runtime: 43:58 + 35:15

Tracks:
Here and Now
1.  Tonk (Ray Bryant) 6:48
2.  Rue Prevail (Art Farmer) 4:26
3.  Richie's Dilemna (Harold Mabern) 5:10
4.  Whisper Not (Benny Golson) 5:20
5.  Just In TIme (Betty Comden/Adolph Green/Jule Styne) 5:27
6.  Ruby, My Dear (Thelonious Monk) 5:10
7.  In Love In Vain (Jerome Kern/Leo Robin) 7:12
8.  Sonny's Back (Grachan Moncur III) 4:21
Another Git Together
9.  Space Station (Grachan Moncur III) 5:17
10.  Domino (Louis Ferrari/Jacques Plante/Don Raye) 7:06
11.  Another Git Together (Pony Pointdexter/Jon Hendricks) 6:18
12.  Along Came Betty (Benny Golson) 5:32
13.  This Nearly Was Mine (Richard Rodgers/Oscar Hammerstein) 6:29
14.  Reggie (Benny Golson) 4:33

Personnel:
Art Farmer (Trumpet, Flugelhorn)
Benny Golson (Tenor Saxophone)
Grachan Moncur III (Trombone)
Harold Mabern (Piano)
Herbie Lewis (Double Bass)
Roy McCurdy (Drums)

Thursday, July 9, 2015

Orlando Cachaito Lopez - Cachaito

Buena Vista Club mainstay Orlando "Cachaito" Lopez, who is widely regarded as the best bassist in Cuba, could have taken the safe route and recorded a straightforward collection of Cuban son/Latin jazz music. The resulting album may have been a bit predictable and mild, but the high level of musicianship would have ensured a quality product, particularly considering the impressive international cast that appears with Cachaito on this album. To their credit, however, Cachaito and his colleagues were willing to take some chances. Some tracks approach a Cuban version of dub music, as Jamaican organist Bigga Morrison's Hammond prods or Cuban surf guitarist Manuel Galban's instrument reverberates while the bottom drops in and out of the mix. French DJ Dee Nasty even scratches on "Cachaito in Laboratory," a partially successful experiment that yields interesting results even though it doesn't quite gel with the rest of the album. At times the tracks seem more like studio jams than fully realized songs, but the album's overall feel -- self-assured, relaxed, warm, even somewhat jocular -- is quite appealing. The musicianship, of course, is impeccable, including the amazing rhythm section of Cachaito, Miguel "Anga" Diaz on congas, Amadito Valdes on timbales, and Carlos Gonzalez on bongos. Other highlights include Ibrahim Ferrer's cameo appearance on "Wahira," the album's only vocal track; the full orchestral string arrangements by Demetrio Muniz and horn arrangements by James Brown saxophonist Pee Wee Ellis; and "Tumbao No. 5 (Para Charlie Mingus)," which was inspired by the Mingus classic "Haitian Fight Song." - by Todd Kristel, AMG

Artist: Orlando Cachaito Lopez
Album: Cachaito
Year: 2001
Label: World Circuit
Runtime: 48:00

Tracks:
1.  Siempre Con Swing (Intro) 0:24
2.  Redencion (Israel Lopez) 4:50
3.  Mis Dos Pequenas (Anais Cruz) 4:06
4.  A Gozar El Tumbao (Israel Lopez) 2:47
5.  Cachaito In Laboratory (Orlando Lopez) 2:43
6.  Tumbao No.5 (Para Charlie Mingus) (Orlando Lopez) 7:47
7.  Conversacion (Orlando Lopez) 6:41
8.  Tumbanga (Orlando Lopez / Miguel Diaz / Hugh Masakela) 4:25
9.  Oracion Lucumi (Arsenio Rodriguez) 4:11
10.  Wahira (Orlando Lopez / Lazaro Villa) 4:54
11.  Anais (Orlando Lopez / Miguel Diaz) 3:42
12.  La Negra (Orlando Lopez) 1:30

Personnel:
Orlando "Cachaito" Lopez (Double Bass)
Carlos Gonzalez (Bongos)
Miguel "Anga" Diaz (Congas, Percussion)
Manuel Galban (Electric Guitar)
Alejandro Pichardo Perez (Guiro, Claves)
Bigga Morrison (Organ [Hammond], Clavinet)
Amadito Valdes (Timbales)
Dee Nasty (Scratching) - 5
Pedro Depestre (Violin) - 3
Pee Wee Ellis (Tenor Saxophone, Hammond Organ) - 10
Ibrahim Ferrer (Vocals) - 10
Juan de Marcos Gonzales (Tres) - 10
Rafael Jenks (Tenor Saxophone) - 6
Hugh Masakela (Flugelhorn) - 8
Yaure Muniz (Trumpet) - 7
Johnny Neptumo (Tres) - 9
Jesus Ramos (Trombone) - 2,8
Policarpo Tamayo (Flute) - 2,7
Si Burwell (Keyboards) - 7
Jose Castaneda (Tres) - 11
Junior Dan (Bass Guitar) - 3,8
Roberto Fonseca (Piano) - 12
Tony Remy (Electric Guitar) - 11
Filiberto Sanchez (Bongos) - 11
Javier Zalba (Baritone Saxophone) - 12

Tuesday, June 30, 2015

Little Axe - The Wolf That House Built

Technically this is an Epic release, but those in the know will see Adrian Sherwood listed as producer and Skip McDonald as sole performer and understand immediately: in all but name, this is an On-U Sound production. What does that mean? It means that groove will be primary, words secondary, and overall sound will be dark and thrilling; it means that weird samples will bubble up unpredictably from beneath churning funk and reggae rhythms; and it means that a certain degree of dubwise anarchy will infuse every note. What distinguishes this album from other On-U projects is the raw material: whereas an On-U Sound album generally builds on a reggae foundation, Skip McDonald's background is in the blues, and what he has put together here is a tribute to Howling Wolf. This is a roiling pastiche of samples taken from Wolf's singing and speaking, all of them thrown into a stew of funk and reggae beats and interspersed with McDonald's own multi-tracked vocals (which will sound very familiar to fans of Tackhead and Strange Parcels, both of which were founded by him). It's hard to identify highlights here, but some of the album's especially strong moments come during "Ride On," which samples Howling Wolf's discussions of life on the road, and the primarily instrumental "Out in the Rain and Cold." Exquisite. - by Rick Anderson, AMG 

Artist: Little Axe
Album: The Wolf That House Built
Year: 1994
Label: Wired
Runtime: 63:27

Tracks:
1.  Ride On (Fight On) (Bernard Alexander / Adrian Sherwood) 5:24
2.  The Time Has Come (Bernard Alexander / Adrian Sherwood / Doug Wimbish) 5:05
3.  Out in the Rain and Cold (Bernard Alexander / Adrian Sherwood / Doug Wimbish) 4:35
4.  Back to the Crossroads (Bernard Alexander / Adrian Sherwood) 6:37
5.  Never Turn Back, Pts. 1 & 2 (A. Lomax / Bernard Alexander / Adrian Sherwood) 7:21
6.  Another Sinful Day (Bernard Alexander / Adrian Sherwood) 4:05
7.  Crossfire (Bernard Alexander / Adrian Sherwood) 4:29
8.  Wolf's Story (Bernard Alexander / Adrian Sherwood) 4:20
9.  Hear My Cry (Bernard Alexander / Adrian Sherwood / Doug Wimbish) 7:00
10.  Dayton (Bernard Alexander / Adrian Sherwood) 6:10
11.  Falling Down (Bernard Alexander) 4:26
12.  Wake the Town (Bernard Alexander / Adrian Sherwood) 3:55

Personnel:
Bernard Alexander (aka Little Axe, Skip McDonald) (Guitar, Vocals, Keyboard, Bass and Programming)
Doug Wimbish (Bass Guitar)
Keith Leblanc (Drums)
Talvin Singh (Tablas and Percussion)
Kevin Gibbs (Vocals)
Saz Bell (Vocals)

Wednesday, June 17, 2015

Yusef Lateef - The Three Faces of Yusef Lateef

On The Three Faces of Yusef Lateef, Riverside seems eager to present Yusef Lateef, technical virtuoso, on a series of songs that step closer to jazz tradition than any of his work in the recent past. Largely absent are Lateef's experiments with Eastern modes, rhythms, and instrumentation, and in their place is a collection of largely upbeat, accessible songs, with a balanced mix of standards and originals. Much of the introspective, personal quality of his previous albums seems lost in the effort, but Lateef's playing still remains stellar, especially on oboe. That instrument, which is by nature soft and muted, is given enough power by Lateef to lead on several songs, most beautifully on "Salt Water Blues," where its naturally melancholy sound seems perfectly matched with the low, rounded tones of Lateef's rhythm section, especially Ron Carter's bowed cello. The quintet also shines on the following track, Joe Zawinul's "Lateef Minor 7th," where they provide a gentle counterpoint to Lateef's sweet flute line. Not quite as expansive or daring as much of Lateef's other recordings, The Three Faces of Yusef Lateef still documents a fine musician at work during the peak of his career. - by Stacia Proefock, AMG

Artist: Yusef Lateef
Album: The Three Faces of Yusef Lateef
Year: 1960
Label: OJC (Remastered, 1992)
Runtime: 42:21

Tracks:
1.  Goin' Home (Antonin Dvorák/Mark Fisher) 5:04
2.  I'm Just a Lucky So and So (Mack David/Duke Ellington) 4:39
3.  Quarantine (Abe Woodley) 7:03
4.  From Within (Yusef Lateef) 4:14
5.  Salt Water Blues (Yusef Lateef) 6:50
6.  Lateef Minor 7th (Joe Zawinul) 5:01
7.  Adoration (Yusef Lateef) 4:34
8.  Ma (He's Making Eyes at Me) (Sidney Clare/Con Conrad) 4:56

Personnel:
Yusef Lateef (Tenor Saxophone, Oboe, Flute)
Ron Carter (Cello) - 1,2,4-7
Hugh Lawson (Piano, Celeste)
Herman Wright (Double Bass)
Lex Humphries (Drums, Tympany)

Thursday, June 11, 2015

Arto Lindsay - Noon Chill

This disc proves the adage that you shouldn't judge a book (or CD) by its cover: beneath a blurry and daunting photo of Lindsay as a soggy frogman, the more adventurous buyer will discover hypnotic rhythms and enigmatic lyrics. While Lindsay's voice is thin (and sometimes flat), his narcotic delivery is nicely suited to the pictures he paints. Check out the Brazilian flavors of "Simply Are" or the trance groove of "Ridiculously Deep," and you'll hear why this cult favorite has won the admiration (and guest appearances) of musicians like Nana Vanconcelos, Mitchell Froom, Peter Scherer and others. So put the cover away and let your ears be the judge. - by Tim Sheridan, AMG

Apart from the brief guitar freak-out on "Anything" and the hungover New Orleans brass-band feel of "Gods Are Weak," Noon Chill mostly sees [Arto] Lindsay wondering aloud about what make-out music might sound like in a future in which thin wrists are sexy and jungle rhythms, ambient detachment, and global fusion are taken for granted. The result sounds like an existential Sergio Mendes with his female chorus replaced by Future Sound of London’s electronic pulsations. Indeed, Lindsay’s occasionally stilted language makes Noon Chill often sound like he’s updating the bossa nova of his Brazilian childhood for urban neurotics too self-aware to utter a cheese pick-up line at the beach. In other words, Arto Lindsay is a lounge lizard even 99-pound weaklings can believe in. -- Spin Magazine

Artist: Arto Lindsay
Album: Noon Chill
Year: 1998
Label: For Life
Runtime: 44.27

Tracks:
1.  Noon Chill (Arto Lindsay / Andres Levin / Melvin Gibbs) 3:35
2.  Whirlwind (Arto Lindsay / Andres Levin / Melvin Gibbs) 4:40
3.  Simply Are (Arto Lindsay / Andres Levin / Davi Moraes / Marisa Monte) 3:40
4.  Blue Eye Shadow (Arto Lindsay / Andres Levin / Melvin Gibbs) 3:28
5.  Mulata Fuzarqueira (Noel Rosa) 3:06
6.  Ridiculously Deep (Arto Lindsay / Vinicius Cantuaria / Melvin Gibbs) 4:08
7.  Anything (Arto Lindsay / Andres Levin / Melvin Gibbs / Sussan Deyhim) 4:25
8.  Gods Are Weak (Arto Lindsay / Andres Levin / Melvin Gibbs) 2:36
9.  Take My Place (Arto Lindsay / Andres Levin / Melvin Gibbs) 4:14
10.  Daily Life (Arto Lindsay / Andres Levin / Melvin Gibbs) 1:31
11.  Light Moves Away (Arto Lindsay / Andres Levin / Melvin Gibbs) 3:24
12.  Why Compare (Arto Lindsay / Andres Levin / Melvin Gibbs / Lucas Santana) 3:34
13.  Auguri (Arto Lindsay / Davi Moraes / Marisa Monte) 2:06

Personnel:
Arto Lindsay (Vocals, Guitar)
Davi Moraes (Acoustic Guitar, Surdo)
Melvin Gibbs (Bass, Surdo, Acoustic Guitar, Programmed, Keyboards)
Andres Levin (Programmed, Acoustic Guitar, Keyboards, Keyboards)
Nana Vasconcelos (Repinique, Pandeiro, Congas, Shaker, Surdo, Cymbal, Percussion)
Marty Ehrlich (Bass Clarinet)
Ravi Best (Cornet, Trumpet)
Vincent Chancey (French Horn)
Joshua Roseman (Trombone)
Ryuichi Sakamoto (Piano [Prepared], Keyboards, Piano) - 3-5,7,12
Peter Scherer (Sampler, Piano) - 1-3,9,10,13
Sussan Deyhim (Vocals) - 7,12
Gustavo de Dalva (Atabaque, Agogo, Shakers) - 11
Fernanda Torres (Voice) - 11
Mitchell Froom (Claviola) - 5
Vinicius Cantuaria (Acoustic Guitar) - 6

Sunday, May 31, 2015

Rufus Harley - A Tribute To Courage

Just when you thought you'd heard it all, along comes a jazz bagpipe player. Make no mistake folks, this is more than a joke -- whatever you might think, the cat can play. At first it sounds like some sort of weird organ, but a couple of minutes later you can't mistake it for anything but what it is. Like an organ, though, the bagpipe turns out to be remarkably suited for jazz. With little effort, one man can make an absolute ocean of sound. The groove here is nothing special, a solid soul-jazz feeling. Side one is all bagpipe. Side two is the leader on a number of different instruments. A talented fellow. - by Rob Ferrier, AMG

Brilliant work by one of the most unusual jazz talents of the 60s! Rufus Harley's best known for his use of bagpipes in jazz music – a re-cooption of the instrument from Scottish styles, taking it back to its roots in northern Africa. A number of Harley's other albums from the time are a bit gimmicky – but this later set is a soul jazz masterpiece, infused with rich Coltrane-like modes of expression, as Harley plays both soprano sax and bagpipes over some long modal original compositions! The group is a great one – with Oliver Collins playing some fantastic spiraling lines on piano, and great bass and drum work by James Glenn & Billy Abner. Titles include "Ali", "X", "About Trane", "Tribute To Courage", and a great version of "Sunny"! (White label promo. Cover has some edge wear, a promo sticker, anda name in marker on back.) - Dusty Groove, Inc.

Artist: Rufus Harley
Album: A Tribute To Courage
Year: 1968
Label: Warner Japan (24bit remastered, 2014)
Runtime: 35:46

Tracks:
1.  Sunny (Bobby Hebb) 7:06
2.  A Tribute To Courage (JFK) (Rufus Harley) 7:46
3.  Swing Low Little Charriot (Traditional) 5:35
4.  Ali (Rufus Harley) 4:03
5.  "X" (Rufus Harley) 3:32
6.  About Trane (Rufus Harley) 7:44

Personnel:
Rufus Harley (Bagpipes, Piano, Flute, Tenor Saxophone, Soprano Saxophone)
James Glenn (Bass)
Billy Abner (Drums)
Oliver Collins (Piano)
Robert Kenyatta (Congas) - 1-3

Tuesday, May 19, 2015

Shorty Rogers - Jazz Waltz

Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number ("I'm Gonna Go Fishin'") written by Duke Ellington for the soundtrack to the film Anatomy of a Murder and featuring the leader's rich flügelhorn. The lyrical take of the centuries-old folk melody "Greensleeves" alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful "Be as Children" almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's "Echoes of Harlem," featuring Paul Horn on flute, is refreshing. Only Bobby Scott's "A Taste of Honey" is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. - by Ken Dryden, AMG

Artist: Shorty Rogers
Album: Jazz Waltz
Year: 1963 (Reprise)
Label: WEA Japan (24bit remastered, 2014)
Runtime: 40:11

Tracks:
1.  I'm Gonna Go Fishin' (Duke Ellington/Peggy Lee) 4:33
2.  Greensleeves (Traditional) 5:27
3.  Walk on the Wild Side (Elmer Bernstein) 4:17
4.  Witchcraft (Cy Coleman/Carolyn Leigh) 2:57
5.  Be as Children (Shorty Rogers) 3:35
6.  Jazz Waltz (Shorty Rogers) 4:06
7.  Echoes of Harlem (Duke Ellington) 4:41
8.  A Taste of Honey (Ric Marlowe/Bobby Scott) 2:52
9.  Terrence's Farewell (Shorty Rogers) 3:34
10.  The Streets of Laredo (Shorty Rogers) 4:05

Personnel:
Shorty Rogers (Trumpet, Flugelhorn)
Bud Shank (Alto Saxophone) - 1,3,5,6
Joe Maini (Alto Saxophone) - 1,3,5,6
Paul Horn (Alto Saxophone, Flute) - 2,4,7,10
Bill Hood (Baritone Saxophone) - 1,3,5,6
Joe Mondragon (Double Bass)
Mel Lewis (Drums)
Lou Levy (Piano)
Bill Perkins (Tenor Saxophone) - 1,3,5,6
Bob Cooper (Tenor Saxophone) - 1,3,5,6
Harry Betts (Trombone) - 1,3,5,6
Milt Bernhardt (Trombone) - 1,3,5,6
George Roberts (Bass Trombone) - 1,3,5,6
Kenny Shroyer (Bass Trombone)
Al Porcino (Trumpet) - 1,3,5,6
Ray Tiscari (Trumpet) - 1,3,5,6
Joe Burnett (Trumpet, Flugelhorn)
Ollie Mitchell (Trumpet, Flugelhorn)
Emil Richards (Vibraphone) - 2,4,7,10
Larry Bunker (Vibraphone) - 1,3,5,6


Monday, May 11, 2015

Bob Brookmeyer - Trombone Jazz Samba / Samba Para Dos

Trombone Jazz Samba:
Bob Brookmeyer was in the studio just a few months after Stan Getz and Charlie Byrd helped to launch the bossa nova craze in the United States with their hit LP Jazz Samba, but this extremely enjoyable LP didn't come close to matching the success of the earlier album; it may be because the valve trombone is not envisioned as a lush melodic instrument by the average jazz listener in comparison to the tenor sax. Brookmeyer's mellow solos are complemented by the presence of guitarists Jim Hall (who plays all of the solos) and Jimmy Raney, along with vibraphonist Gary McFarland and a trio of Latin percussionists, including Willie Bobo. Luiz Bonfá's "Samba de Orfeu" and "Manha de Carnaval" as well as Antonio Carlos Jobim's "A Felicidade" (all three of which have become standards within the genre) are given imaginative arrangements, but there are a few twists thrown in by the leader. Brookmeyer's catchy "Blues Bossa Nova" works very well, as do his loping bossa nova treatment of Bronislaw Kaper's theme from Mutiny on the Bounty and a hilarious brisk chart called "Colonel Bogey Bossa Nova," a reworking of the well-known song made famous by the film The Bridge on the River Kwai. Long out of print, this album deserves to be reissued by Verve -- although there are hopefully some unissued tracks, as its brevity (under 28 minutes) is a handicap.

Samba Para Dos:
This long unavailable record pairs valve trombonist Bob Brookmeyer with pianist Lalo Schifrin in a light but swinging Latin-flavored studio session. Although there is a formidable supporting cast, which includes Phil Woods, Al Cohn, Zoot Sims, and Jimmy Raney, the solos are primarily by the co-leaders and Leo Wright, heard on several flute solos. Following Schifrin's extended but lively "Samba Para Dos," the remainder of the date focuses on very familiar standards. Raney's solos are a highlight of "I Get a Kick Out of You" and "My Funny Valentine." The full reed section fleshes out a potent interpretation of "Just One of Those Things," which features an impressive and often humorous solo by Brookmeyer. Although this may not be considered an essential LP by the average jazz fan, it is well worth acquiring. - by Kewn Dryden, AMG

Artist: Bob Brookmeyer
Album: Trombone Jazz Samba (1-8) / Samba Para Dos (9-16)
Year: 1962, 1963 (Verve)
Label: Universal (2012)
Runtime: 59:22

Tracks:
1. Samba de Orfeu (Luiz Bonfa) 4:09
2.  Manha da Carnival (Luiz Bonfa) 4:32
3.  Blues Bossa Nova (Bob Brookmeyer) 4:12
4.  Qual E O Po (Gerson Goncalves/Joao Roberto Kelly) 3:29
5.  A Felicidade (Antonio Carlos Jobim) 3:15
6.  Mutiny on the Bounty (Bronislaw Kaper) 2:04
7.  Chara Tua Tristeza (Oscar Castro-Neves/Luvercy Florini) 4:13
8.  Colonel Bogey Bossa Nova (Kenneth J. Alford) 2:15
9.  Samba Para Dos (Lalo Schifrin) 10:06
10. What Kind Of Fool Am I (Leslie Bricusse/Anthony Newley) 3:03
11. I Get A Kick Out of You (Cole Porter) 3:34
12. Just One Of Those Things (Cole Porter) 3:20
13. Time After Time (Jule Styne/Sammy Cahn) 3:29
14. It's All Right With Me (Cole Porter) 2:31
15. My Funny Valentine (Richard Rodgers/Lorenz Hart) 2:01
16. But Not For Me (George Gershwin/Ira Gershwin) 3:06

Personnel:
Bob Brookmeyer (Trombone and Piano)
Lalo Schifrin (Piano) 9-16
Jim Hall (Guitar) 1-8
Jimmy Raney (Guitar)
Gary McFarland (Vibraphone) 1-8
Willie Bobo (Percussion) 1-8
Carmen Costa (Cabassa) 1-8
Jose Paulo (Tambourine, Percussion)
Leo Wright (Alto Saxophone, Flute) 9-16
Phil Woods (Alto Saxophone) 9-16
Jerome Richardson (Alto Saxophone) 9-16
Zoot Sims (Tenor Saxophone) 9-16
Al Cohn (Tenor Saxophone) 9-16
Romeo Penque (Bass Clarinet) 9-16
Danny Bank (Baritone Saxophone) 9-16
Frank Rehak (Trombone) 9-16
Carmelita Koehler (Cello) 9-16
Ben Tucker (Double Bass) 9-16
Dave Bailey (Drums) 9-16

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