Monday, June 25, 2012

Steve Tibbetts - A Man About A Horse

It's been eight years since The Fall of Us All leaped out of the speakers; an album of immediacy and gorgeous tension, it was the one that came the closest to matching the energy of Exploded View, while adding a slightly more worldly aesthetic. This time, guitarist Steve Tibbetts takes a different approach in the recording process, due largely to an ill-fated run-in with a swarm of wasps, and the musician falling from a careening ladder onto his own hand. With some immobilizing surgery pending, he fired up his equipment to lay down several hours of raw material he would later rearrange, invert, and dissect on the computer. As it turns out, the canvas he paints is quite lush, his richest yet, and no doubt the mix is precisely the way he wanted it. The downside to this technological advance seems to be that he spent so much time editing and polishing it to perfection, the deliciously crunchy rough edges are often compromised. There's a frame of reference lacking; melody evades earshot, even as his signature "honey-dipped" acoustic guitar escorts listeners through the sweet spot of gongs and around tornados of drums. His material on the electric is still a ball of nails, but frequently it's padded by breathy washes of sound. The last few tracks actually benefit from fewer elements, proving once again that less is more. "Chandoha" builds to become the best sampling of straightforward wild abandon on the disc, and "Lochana" is a chorus of black clouds and ash, sloshing around a skeleton of percussion. "Koshala" sparkles; the blaze subsides to focus on the tips of flame radiating from the dialogue between tabla and acoustic guitar. The ten-minute "Black Temple" is epic in scope, from roaring to downright subconscious at a way it's a "mega-mix" of everything he's done to date, including the intimate elements of Big Map Idea. This track, like most here, mirrors a Jackson Pollack painting: It's dense and rewarding without taking any particular shape, and a sonic equivalent to the cloud of wasps he encountered. Surprisingly, longtime collaborator Marc Anderson takes more of a supporting status on this release. He and Marcus Wise mostly "flesh out" percussion done by Tibbetts himself, including drum samples and field recordings he made in Bali back in 1991. Jim Anton fills out the album on bass guitar, without calling much attention to himself (a talent of most bassists who play on a Tibbetts record). Ultimately, A Man About a Horse comes off as more of an ambient record in terms of structure, even if it's loaded with drums and scorched guitar licks. Track for track, these are mosaics of world music doused in Tibbetts' particular brand of gasoline; not many explosions, but rather a steady wall of flame. - by Glenn Swan, AMG

Artist: Steve Tibbetts
Album: A Man About a Horse
Year: 2002
Label: ECM
Runtime: 45:05

1.  Lupra (Steve Tibbetts/Marcus Wise) 4:47
2.  Red Temple (Steve Tibbetts) 6:39
3.  Black Temple (Steve Tibbetts) 10:06
4.  Burning Temple (Steve Tibbetts) 3:59
5.  Glass Everywhere (Steve Tibbetts) 3:58
6.  Lochana (Steve Tibbetts) 3:40
7.  Chandoha (Steve Tibbetts) 5:58
8.  Koshala (Steve Tibbetts/Marcus Wise) 5:54

Steve Tibbetts (Guitar and Percussion)
Marc Anderson (Percussion)
Marcus Wise (Percussion)
Jim Anton (Bass)

Saturday, June 23, 2012

Joe Zawinul - The Rise & Fall of the Third Stream / Money in the Pocket

This transitional recording sees Joe Zawinul moving from the role of jazz pianist to that of a synthesist in the broad sense of the word. The recording, made up of advanced hard bop and post bop themes, includes -- with varying degrees of cohesion -- passages for cello and violas. The strings never completely meld with the jazz instrumentation, but they also don't get in the way. The title suggests Zawinul sees little value in partitioning music under such headings as "Third Stream" (a rubric for the fusion of jazz and classical music). This view would be famously exemplified in the influential projects with which Zawinul would soon be involved. Zawinul sticks with acoustic piano except for "Soul of a Village", where he improvises in a soul-jazz vein on Fender Rhodes over the tamboura-like droning of a prepared piano. On other tracks, his playing is similar to the sweeping grandeur of McCoy Tyner. Elsewhere, he is in more of a Keith Jarrett or Bill Evans space. There's good work from Jimmy Owens on trumpet and William Fischer on tenor sax, along with a top-flight rhythm section comprising bassist Richard Davis and either Freddie Waits or Roy McCurdy on drums.What's interesting about this music is the insight it provides on directions Zawinul would soon take with Miles Davis on the ethereal In a Silent Way, on the impressionistic 1971 eponymous release Zawinul, and then with the borderless fusioneering of Weather Report. These later projects are the realization of ideas that Zawinul was beginning to form on this 1967 session. - by Jim Todd, AMG

Recorded in late 1965, while keyboard player Joe Zawinul was still a member of saxophonist Cannonball Adderley's band, Money In The Pocket is a remarkable album—remarkable in that gives absolutely no hint of the shape shifts that would transform Zawinul's work a few years later. The first of three albums he recorded for Atlantic, it's a conventional mix of mid-1960s hard bop and soul jazz. Trumpeter Miles Davis' revolutionary In A Silent Way (CBS), recorded in early 1969, which featured Zawinul (who also wrote the title track), is on another planet, while Weather Report's eponymous debut (CBS, 1971) is in another galaxy. "Money In The Pocket" itself, one of three Zawinul originals here, made with tenor saxophonist Clifford Jordan and trumpeter Blue Mitchell, is classic Blue Note hard bop in everything but record label. Four other tracks recorded with a three horn frontline—tenor saxophonist Joe Henderson, baritone saxophonist Pepper Adams and Mitchell, with bassist Sam Jones and drummer Louis Hayes from the Adderley band—take in bop and soul jazz. Jones' "Some More Of Dat" is a generic dead ringer for contemporaneous Adderley or pianist Horace Silver (Mitchell, Jordan, Henderson and Hayes were all Silver alumni). All these tracks are good, but even by the standards of the time they are pretty ordinary. Zawinul's modal-flavored "Riverbed," though hardly radical, is the disc's most singular composition. There are, however, two ballad readings of note: Guy Wood's and Robert Mellin's "My One And Only Love" and Rudy Stephenson's "Sharon's Waltz." The first is performed solo by Zawinul, the second with Jones and Hayes. Lyrical and just the right side of rococo, Zawinul's solos are delightful, in the same ballpark as "Come Sunday," the Zawinul feature with the Adderley band heard on the YouTube clip below. - by Chris May,

Artist: Joe Zawinul
Album: The Rise & Fall ot the Thid Stream / Money in the Pocket
Year: 1967/1966
Label: Rhino (1994)
Runtime: 73:41

1.  Baptismal (William Fischer) 7:38
2.  The Soul of a Village - Part I (William Fischer) 2:13
3.  The Soul of a Village - Part II (William Fischer) 4:15
4.  The Fifth Canto (William Fischer) 7:00
5.  From Vienna, With Love (Friedrich Gulda) 4:27
6.  Lord, Lord, Lord (William Fischer) 3:56
7.  A Concerto, Retitled (William Fischer) 5:24
8.  Money in the Pocket (Joe Zawinul) 4:47
9.  If (Joe Henderson) 3:48
10.  My One and Only Love (Guy Wood/Robert Mellin) 3:55
11.  Midnight Mood (Joe Zawinul) 6:07
12.  Some More of Dat (Sam Jones) 6:03
13.  Sharon's Waltz (Rudy Stephenson) 5:08
14.  Riverbed (Joe Zawinul) 5:10
15.  Del Sasser (Sam Jones) 3:44

Joe Zawinul (Piano, Electric Piano)
William Fischer (Tenor Saxophone) - 1-7
Jimmy Owens (Trumpet) - 1-7
Richard Davis (Double Bass) - 1-7
Alfred Brown (Viola) - 1-7
Selwart Clarke (Viola) - 1-7
Theodore Israel (Viola) - 1-7
Kermit Moore (Cello) - 1-7
Roy McCurdy (Drums) - 1-8
Freddie Waits (Drums) - 1-7
Warren Smith (Percussion) - 1-7
Blue Mitchell (Trumpet) - 8,9,11,12,14
Joe Henderson (Tenor Saxophone) - 9,11,12,14
Pepper Adams (Baritone Saxophone) - 9,11,12,14
Sam Jones (Double Bass) - 9,11-15
Louis Hayes (Drums) - 9,11-15
Bob Cranshaw (Double Bass) - 8
Clifford Brown (Tenor Saxophone) - 8

Tuesday, June 19, 2012

The Chieftains - An Irish Evening

While there's nothing quite like seeing the Chieftains live in concert, An Irish Evening marks the next best thing. Recorded live over two evenings at the Grand Opera House in Belfast, the disc captures the group's eclectic, fun, and loving approach to traditional Irish music. American country-folk singer/songwriter Nanci Griffith (a huge star in Ireland in her own right) provides sweet vocals on "Little Love Affairs," "Red Is the Rose," and "Ford Econoline." The Who's Roger Daltrey sounds a tad awkward on the traditional "Raglan Road" and the music hall-ish "Any Old Iron," but delivers a fascinating trad-style acoustic rendition of his group's "Behind Blue Eyes." An Irish Evening will appeal to die-hard fans and, with the co-billing of Daltrey and Griffith, will likely attract a whole new audience as well. - by Roch Parisien, AMG

I don't know what the reviewer's problem is, but nobody in the Opera House this night was thinking about the British occupation, they were all too busy enjoying one of the best Chieftains live shows ever! Only Paddy and the Boys can meld rock, pop, country-folk, the dance and traditional Celtic music into one fantastic show like this. Daltrey's pub drinking style is PERFECT for the band, and the version of "Raglan Road" contained here is one of the best ever recorded. Nanci Griffith sounds like she could've been born in County Mayo. I would urge anyone to get a copy of this immediately, there's none better! A topnotch addition to any longtime fan's Cheiftains' CD collection or a good starter for those of you just beginning to get a taste for this worldclass Irish band's music. - by etreacy99,

Artist: The Chieftains
Album: An Irish Evening (Live at the Grand Opera House, Belfast)
Year: 1991
Label: BMG (1992)
Runtime: 71:16

1.  Dóchas/Kind of Laois/Paddy's Jig/O'Keefes/Chattering Magpie (Traditional) 9:18
2.  North Amerikay (Traditional) 4:08
3.  Lilly Bolero/The White Cockade (Traditional) 3:11
4.  Little Love Affairs (Nanci Griffith/James Hooker) 2:59
5.  Red is the Rose (Traditional) 3:26
6.  The Mason's Apron (Traditional) 5:20
7.  The Stone (Traditional) 6:32
8.  Miscellany: Theme from Tristan and Isolde/Súisín Ban/Goodmorning Nightcap/The Galway Races/The Jolly Tinker (Traditional) 8:55
9.  Raglan Road (Traditional) 5:22
10.  Behind Blue Eyes (Pete Townshend) 4:24
11.  Ó Murchú's Hornpipe/Sliagh Geal gCua na Feile/The Wandering Minstrel (Traditional) 4:17
12.  Damhsa (Traditional) 2:59
13.  Ford Econoline/Any Old Iron (Traditional) 10:19

Martin Fay (Fiddle)
Seán Keane (Fiddle)
Kevin Conneff (Bodhran, Vocals)
Matt Molloy (Flute)
Paddy Moloney (Uillean Pipes, Tin Whistle)
Derek Bell (Harp, Tioman, Keyboards)
Billy Nichols (Vocals)
Dave Early (Drums)
Clive Cuthberson (Bass)
Jean Butler (Traditional Irish Dancer) - 12
Nanci Griffith (Vocals) - 4,5,13
Roger Daltrey (Vocals) - 9,10,13

Saturday, June 16, 2012

Gil Evans - Live at Sweet Basil

Gil Evans ran into his share of would-be defenders of his "tradition" when he began experimenting with rock songs and electronic instruments in the '70s and '80s. One of jazz's greatest arrangers was suddenly viewed as a charlatan in certain circles, and a band loaded with great players was now being dismissed as a crew of frauds. This second volume of songs done live during the band's long run as Sweet Basil's regular Monday night attraction proves decisively that neither Evans nor his band lost anything. The versions of Wayne Shorter's "Parabola" and Herbie Hancock's "Prince of Darkness" are multi-faceted and compare favorably with almost anything done by any previous Evans aggregation. It may not have been "cool," but it was most assuredly great jazz. - by Ron Wynn, AMG

This is mostly big band fusion although Voodoo Child is melodically pretty much straight rock. I like the songs on this album a great deal. I think the long song "Blues in C" is the masterpiece here. It is based on a simple rock/fusion rhythm but there is incredible melodic complexity woven into the song, particularly a melody played by a chorus of brass instruments that recurs several times in the piece, in the latter couple cases in a somewhat different form from the first time, plus some fantastic instrumental solos on the trumpet, guitar, piano, etc. It is appropriate that his band is referred to as an Orchestra since the orchestration here is on a comparable level to that you'll find in some of the best classical music. I have something like 8 or so Gil Evans albums and I would have to rate this one among the top 2 or 3. Also with many jazz artists I tend to enjoy live albums more than studio albums and the fact that this album is live is an additional virtue as far as I am concerned. If you like Gil Evans you are probably going to like this album. Although I wouldn't rate every single song 5 stars (not Voodoo Child for example) the best songs on the album are so good that there is no question in my mind this is a 5 star album. - Lance B. Sjogren,

Artist: Gil Evans & The Monday Night Orchestra
Album: Live at Sweet Basil
Year: 1984
Label: Gramavision (1986)
Runtime: 71:29

1.  Voodoo Chile (Jimi Hendrix) 7:22
2.  Blues in "C"/John's Memory/Cheryl/Bird Feathers/Relaxin' at Camarillo (Charlie Parker) 24:41
3.  Orange was the Color of her Dress Then Blue Silk (Charles Mingus) 6:15
4.  Prince of Darkness (Herbie Hancock) 5:50
5.  Up From the Skies (Jimi Hendrix) 8:37
6.  Parabola (Alan Shorter) 18:40

Gil Evans (Acoustic and Electric Piano)
Lew Soloff (Trumpet)
Hannibal Marvin Peterson (Trumpet)
Shunzo Ohno (Trumpet)
Miles Evans (Trumpet)
George Adams (Tenor Saxophone)
Chris Hunter (Alto Saxophone)
Howard Johnson (Tuba, Baritone Saxophone, Bass Clarinet)
Tom Malone (Trombone)
Hiram Bullock (Guitar)
Pete Levin (Synthesizer)
Mark Egan (Bass Guitar)
Adam Nussbaum (Drums)
Mino Chinelu (Percussion)

Tuesday, June 12, 2012

John Patton - The Organization!

Super 78-minute anthology of Patton's prime (1963-70) era, unfortunately released only in the U.K., drawn from nine albums. 1963's "Along Came John," and 1966's "Amanda," and the two cuts from his best album, 1965's Let 'Em Roll ("The Turnaround" and "Latona") are particular cookers, but the organ-guitar-horn groove is always solid, and the riffs basic but compelling. This is some of the best soul-jazz ever, usually featuring Grant Green on guitar, though a young James Ulmer takes over on axe for the 1970-era cuts. - by Richie Unterberger, AMG

Artist: "Big" John Patton
Album: The Organization! The Best of
Year: (1963-1970)
Label: Blue Note (1994)
Runtime: 78:03

1.  Along Came John (John Patton) 6:03
2.  Silver Meter (Ben Dixon) 5:38
3.  Bermuda Clay House (George Braithwaite) 5:57
4.  Jerry (John Patton) 6:43
5.  Hot Sauce (Unknown) 7:57
6.  Fat Judy (Ben Dixon) 7:40
7.  Amanda (Duke Pearson) 6:09
8.  The Turnaround (Hank Mobley) 6:45
9.  Latona (John Patton) 7:22
10.  Chitlins Con Carne (Kenny Burrell) 6:36
11.  Footprints (Wayne Shorter) 6:23
12.  Freedom Jazz Dance (Eddie Harris) 4:44

John Patton (Organ)
Fred Jackson (Tenor Saxophone) - 1,2,4
Harold Vick (Tenor Saxophone) - 1,2,6
Grant Green (Guitar) - 1-9
Ben Dixon (Drums) - 1-6
George Braith (Soprano Saxophone and Strich) - 3,5
Tommy Turrentine (Trumpet) - 3,5
Hugh Walker (Drums) - 7,10
Bobby Hutcherson (Vibes) - 8,9
Otis Finch (Drums) - 8,9
Marvin Cabell (Flute, Tenor Saxophone, Saxello) - 11,12
James Ulmer (Guitar) - 11,12
Richard Landrum (Conga) - 7
Harold Alexander (Flute and Tenor Saxophone) - 10
Richard Williams (Trumpet) - 4
Blue Mitchell (Trumpet) - 6
Larry Hancock (Drums) - 11
Leroy Williams (Drums) - 12

Sunday, June 10, 2012

Chérif Mbaw - Kham Kham

If you like acoustic guitar music and are a world music fan, in the truest sense, you will love this masterpiece. While the beat and rhythm is always Senegalese, respectively Mbalax, Cherif Mbaw incorporates many styles from all over the world and creates something NEW (which can't be said from the majority of recording artists). You'll hear influences from Afro-Cuban music, Indian tablas, Flamenco style handclapping, Blues harmonica, accordeons, etc. I'm a lover of music from all over the world and this CD has climbed to my personal Top10 list, because it get's better the more you listen to it. - by S. Majcenic,

Chérif Mbaw has the voice of a young Youssou, the guitar of Pape & Cheikh and the feel of Cheikh Lô. In other words, he sounds like everything I like about contemporary Senegalese music. Mbaw come a long way over the years. Born in Ziguinchor then raised in Dakar, he fought his way to the top. After working on his singing for years he earned a spot training with Youssou N’Dour. This led to a grant to go study in Paris but apparently it took him several years to get permission to go to France. Once he finally made it to Paris he had to busk in the metros to pay the bills. These bumps along the road didn’t seem to discourage him: after two successful releases Chérif is now touring with the likes of Amadou & Mariam and Tracy Chapman. - Matt Yanchyshyn,

Artist: Chérif Mbaw
Album: Kham Kham
Yera: 2000
Label: Erato

Runtime: 45:42

1.  Kham Kham 4:35
2.  Doomu Adama 4:05
3.  Adduna 3:55
4.  Boroom kër 4:05
5.  Wéet 4:06
6.  Borom baakh 4:52
7.  Jamm 3:57
8.  Sakhaar gi 5:17
9.  Saay Saay 3:19
10.  Su suy 4:05
11.  La danse 3:20
All compositions by Chérif Mbaw

Chérif Mbaw (Vocals, Guitar)
Shabaz Hussain Khan (Tablas) - 4,6,8
Alberto Alvarez Fernandez (Cajon, Palmas) - 1-3,9-11
Cédric Lesouquet (Double Bass) - 4-6,8,11
Laurent Griffon (Bass Guitar) - 1-3,7,9,10
Omar Sosa (Piano) - 2,8,10
Stéphane San Juan (Tringle, Cow-Bell) - 1,11
Debashish Bhattacharya (Slide Guitar) - 5,8
Alejandro Barcelona (Accordion, Harmonium) - 5,10
Pedro Soarez (Cavaquinho) - 2,4
Nicolas Auriault (Trumpet, Flute) - 1,6
Christophe Malaval (Clarinet) - 3,4
Vitto Meirelles (Guitar) - 7
Loic Landois (Harmonica) - 9
Leity M'Baye (Tama) - 10
Carmel Mac Court (Vocals) - 2
Mad Sheer Khan (Violin, Dobro) - 8

Wednesday, June 6, 2012

Jan Garbarek - Eventyr

Eventyr means “adventure.” Classical listeners may also recognize it as the name of Frederick Delius’s lovely 1917 tone poem, which is often translated as “Once Upon A Time” to underscore its origins in the folk tale collections of Norwegian scholar Peter Christen Asbjørnsen. Here, the name adorns one of Jan Garbarek’s most recondite efforts to date and, like its own “Once Upon A Time,” houses a world of lessons and signs for those willing enough to interpret them. Joined by John Abercrombie and Nana Vasconcelos, he spins a string of seven improvisations, rounded out by a standard, “East Of The Sun And West Of The Moon” (Brooks Bowman), that doesn’t so much end the album as open us to its nebulous center. In that center we encounter swirls of majesty as only he can draw. With almost liquid fire and ever-insightful phrasing, Garbarek brings his deepest considerations to the nearly 12-minute “Sora Maria” that is its primordial soup. His interplay with Abercrombie resolves into a vague continent, where only the playful refractions of “Lillekort” resolve themselves into separate entities. Vasconcelos’s pliancy is the animating skeleton of the title track, in which his gravelly voice and ritualism exudes from every gamelan hit. In “Weaving A Garland,” tenor sax and guitar paint a rolling horizon of vegetation. Such shorter tracks as this and “The Companion” comprise the more potent incantations amid the long-form spells that otherwise dictate the album’s vocabulary. Transcendence comes in the form of “Snipp, Snapp, Snute,” a sparkling menagerie of triangles and wooden flute that works its light into a crepuscular sky. Through it we see in fine detail the inner life of three musicians whose nets run far into the cosmic ocean, where only transformation awaits in the catch. - ECM review

Eventyr literally means adventure. It is a name associated with various Scandinavian fairy tales. These stories have inspired musicians going back to at least 1917 with Frederick Delius' orchestral composition by the same title. The mythos of the title isn't lost on Jan Garbarek, a musician well-steeped in regional culture. Garbarek succeeds in creating his own musical adventure with "Eventyr." 'Soria Maria' opens the album with Garbarek's signature sound. Hovering over an ambient soundscape, Garbarek's saxophone sounds like a zurna, reminiscing an Islamic prayer. In the upbeat 'Lillekort,' Nana Vasconcelos lays down a groove using the traps and what sounds like an udu. On the other hand, the title track drifts into a fantasy world complete with animal sounds and a set of orchestral bells. In this song, Garbarek employs a creative use of various aerophones. Like coming home to a warm hearth after a long journey, 'Weaving A Garland' is a comforting return to composition and melody. Alas, the traveler can not rest for long in "Eventyr" since the mystical enterprise continues with 'Once Upon A Time.' Maintaining an other-worldly soundscape, Vasconcelos plays berimbau on 'The Companion.' 'Snipp, Snapp, Snute' is pure enchantment. With 'East Of The Sun And West Of The Moon,' our journey ends on a dark note. The meandering composition ends with ethereal vocals that suggest the voices of mythical creatures. While leaving the wildwoods for the last time, these eerie voices wish the traveler farewell. With respect to John Abercrombie, he tends to play on the periphery, using his guitar to create atmosphere. Unlike other Garbarek releases from the 1980's, this never crossed the line into becoming new age. Playing real jazz, "Eventyr" features Garbarek's trademark sound of exotically inspired minimalism. Thanks to Jan Garbarek and his travel companions, "Eventyr" is a musical journey well-worth taking. - by The Delite Ranchet,

Artist: Jan Garbarek
Album: Eventyr
Year: 1980
Label: ECM (1981)
Runtime: 56:20

1.  Sonia Maria (Jan Garbarek/John Abercrombie/Nana Vasconselos) 11:41
2.  Lillekort (Jan Garbarek/John Abercrombie/Nana Vasconselos) 5:04
3.  Eventyr (Jan Garbarek/John Abercrombie/Nana Vasconselos) 9:22
4.  Weaving A Garland (Traditional) 2:22
5.  Once Upon A Time (Jan Garbarek/John Abercrombie/Nana Vasconselos) 9:05
6.  The Companion (Jan Garbarek/Nana Vasconselos) 5:49
7.  Snipp, Snapp, Snute (Jan Garbarek/Nana Vasconselos) 4:28
8.  East of the Sun and West of the Moon (Jan Garbarek/John Abercrombie/Nana Vasconselos) 8:26

Jan Garbarek (Tenor and Soprano Saxophone, Flutes)
John Abercrombie (Guitar, Mandolin Guitar)
Nana Vasconcelos (Berimbau, Talking Drum, Percussion, Voice)

Sunday, June 3, 2012

Earl Hines - Honor Thy Fatha

This CD reissues one of pianist Earl Hines's last recordings, a Direct to Disc album done originally for RealTime and formerly titled Hits I've Missed. Hines (with backup from bassist Red Callender and drummer Bill Douglass) performs nine songs, some of which were more familiar than others. Certainly Hines was well acquainted with Fats Waller's "Squeeze Me" and "Ain't Misbehavin, '" Duke Ellington's "Sophisticated Lady" and James P. Johnson's "Old Fashioned Love" but he had never recorded "Misty," Horace Silver's "The Preacher" or "Blue Monk" before. The real wild card track was his rendition of "Birdland," with Red Callender switching to tuba. This interesting CD (well-played but not really essential) adds alternate versions of "Birdland" and "Blue Monk" to the original program. - by Scott Yanow, AMG

Artist: Earl "Fatha" Hines
Album: Honor Thy Fatha
Year: 1978
Label: Drive Archive ((1994)
Runtime: 38:25

1.  Birdland (Joe Zawinul)  2:33
2.  Blue Monk (Thelonious Monk)  4:35
3.  Humoresque (Antonin Dvorak)  4:24
4.  Squeeze Me-Ain't Misbehavin' (Harry Brooks/Andy Razaf/Fats Waller/Clarence Williams) 2:54
5.  Sophisticated Lady (Duke Ellington/Irving Mills/Mitchell Parish) 4:13
6.  Old Fashioned Love (James Johnson/Cecil Mack)  4:36
7.  Misty (Erroll Garner)  3:51
8.  The Preacher (Horace Silver)  4:07
9.  Birdland (Alt. - Take 3) 2:29
10.  Blue Monk (Alt. - Take 3) 4:39

Earl Hines (Piano)
Red Callender (Double Bass)
Bill Douglas (Drums)


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