8.6.25

ANN BURTON WITH LOUIS VAN DYKE TRIO ‎— Blue Burton (1967-2013) FLAC (tracks), lossless

The youth of Johanna 'Ansje' Rafalowicz, born on march 4th , 1933 in Amsterdam is for a great part darkened by the second world war. She had to go into hiding because of her Jewish descent, not to get caught by the German occupiers. And in the years after the liberation of Holland the sun still won't shine in Ansje's life. She perpetually clashes with her mother, which eventually leads to her being taken under the wings of a social welfare worker. Her dawning love for music is not without consequence: she becomes a singer with a combo, goes abroad, and soon adopts as her stage name Ann Burton.
When she enters the small Amsterdam theatre 'Het Bavohuis' in the evening of September 24th 1967 to record the first session of her first album, Blue Burton she is 34 years old and has 12 years of experience as a singer. At that moment the Beatles lead the top 10 in Holland with "All you need is love"....
Since Ann Burton made the singing of the Doris Day repertoire her business the world of popular music has seen a lot of changes - in the beginning by the arrival of rock'n' roll, later by the beat. Just so the Ann Burton repertoire underwent the necessary changes during these years. The singer broadened her musical horizon very much after getting acquainted with the jazz. After listening to the way Billie Holiday, Sara Vaughn and Ella Fitzgerald handle their songs she started to put much more emotion into the interpretation of her lyrics, and this explains why she reckons Shirley Horn as one of her youngest favourites. From being just another singer Ann developed into a singer who is very careful in the handling of text and who can move and allure her audience with her sensitive voice. As Paul Visser (alias for Pete Venudor) wrote it in the original liner notes of Blue Burton: "Whether or not she is the best jazz singer in the Netherlands, others may decide. She undoubtedly is the most personal. ] And very, very blue".
Tracklist :

1    I Can't Give You Anything But Love 4:59
Written-By – Dorothy Fields, Jimmy McHugh
2    Go Away Little Boy 7:16
Written-By – Goffin And King
3    He Was Too Good To Me 3:18
Written-By – Rodgers & Hart
4    But Not For Me 3:40
Written-By – George & Ira Gershwin
5    It's Easy To Remember 4:25
Written-By – Rodgers & Hart
6    You've Changed 5:43
Written-By – Bill Carey, Carl Fisher
7    The Good Life 2:36
Written-By – Jack Reardon, Sacha Distel
8    In The Wee Small Hours Of The Morning 3:26
Written-By – Bob Hilliard, David Mann
9    Sunny 3:25
Written-By – Bobby Hebb
Credits :
Alto Saxophone – Piet Noordijk (faixas: 3, 6, 8)
Bass – Jacques Schols
Drums – John Engels
Lead Vocals – Ann Burton
Piano – Louis Van Dyke 

ANN-MARGRET — On the Way Up (1962-2007) RM | RCA Female Vocal 1000 Series | FLAC (tracks), lossless

Ann-Margret's RCA Victor debut album, And Here She Is..., didn't get much attention in 1961, but she did better with her bluesy single "I Just Don't Understand," which peaked in the Top 20 in September. That set up this, her second solo LP, which featured "I Just Don't Understand," and like it was recorded partially in Nashville under the aegis of Chet Atkins and Dick Pierce. The two naturally brought a slight country feel to some of the tracks, notably the remakes of Don Gibson's 1958 hit "Oh, Lonesome Me" and the 1960-1961 hit "My Last Date (With You)" (aka "Last Date"). But the closest approximation of the sound was the kind of country-inflected pop/rock being pursued by Elvis Presley around the same time, which made a rendition of Presley's first major hit, "Heartbreak Hotel," an appropriate choice. At 20, Ann-Margret was an effective singer, if something of a chameleon, seeming to adopt a different persona for each number. She was at her most seductive singing Otis Blackwell's "Slowly," and she came on like a Latin fireball on "Fever," but was demure on the singles-chart entry "What Am I Supposed to Do" and ingenuously winning on "Moon River." RCA Victor appears to have been hoping it had found a distaff Presley, and it's possible Ann-Margret might have justified such a hope if her film acting career hadn't quickly outpaced her recording career; by the time this album was released, her movie debut, Pocketful of Miracles, had been out for several months and State Fair, which would establish her as a redheaded bombshell, was just getting into theaters. (She was still a mousy brunette on the album cover.) On the Way Up was an appropriate title, but records would soon take a back seat to other career goals. William Ruhlmann 
Tracklist :
 1 Oh, Lonesome Me 2:37
Don Gibson
2 Slowly 2:07
Otis Blackwell
 3 Fever 2:52
Eddie Cooley / John Davenport
 4 What Do You Want From Me 2:32
Mike Cain
 5 Heartbreak Hotel 2:28
Mae Boren Axton / Tommy Durden / Elvis Presley
 6 I Just Don't Understand 2:40
Kent Westberry / Marijohn Wilkin
 7 His Ring 2:23
William Katz / Ruth Roberts
 8 Could It Be?  2:13
Patti Ferguson / Barry De Vorzon
9 What Am I Supposed to Do 2:48  
Helen Carter
 10 Let Me Go, Lover! 3:00
Jenny Carson / Al Hill
 11 Moon River 2:30
Henry Mancini / Johnny Mercer
 12 My Last Date (with You) 2:37
Boudleaux Bryant / Floyd Cramer / Skeeter Davis
Credits :
Joe Reisman Arranger, Orchestra Director
Ann-Margret - Vocals

BARBARA LEA — Barbara Lea With The Johnny Windhurst Quintets (1957-1991) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks), lossless

Singer Barbara Lea's second album is pretty definitive of her early years. Lea is joined by the great (but ill fated and largely forgotten) trumpeter Johnny Windhurst, Dick Cary on either piano or alto horn, sometimes pianist Richard Lowman, guitarist Al Casamenti, bassist Al Hall, and drummer Osie Johnson. Originally a dozen selections, the CD reissue adds an alternate take and an additional title. Lea remains true to the lyrics yet uplifts the material, while the rhythm section swings lightly. Among the many highlights are "Nobody Else but You," "I'm Comin' Virginia," "My Honey's Lovin' Arms," and "Baltimore Oriole." Delightful music by a singer who deserves to be celebrated. Scott Yanow
Tracklist : 
1 Nobody Else But Me 3:13 
Oscar Hammerstein II / Jerome Kern
2 Where Have You Been? 3:31
Cole Porter
3 I'm Coming Virginia 3:22 
Will Marion Cook / Donald Heywood
4 Honey in the Honeycomb 2:47 
Vernon Duke / John Latouche
5 Thrusday's Child 2:26 
Lee Holdridge
 6 I've Got a Pocketful of Dreams 1:21 
James V. Monaco
 7 My Honey's Lovin' Arms 2:46 
Joseph Meyer / Herman Ruby
 8 I Had Myself a True Love 3:45 
Harold Arlen / Johnny Mercer
 9 Gee Baby, Ain't I Good to You 3:08 
Andy Razaf / Don Redman
 10 I Feel at Home with You 2:34 
Lorenz Hart / Richard Rodgers
11 Baltimore Oriole 3:52 
Hoagy Carmichael / Paul Francis Webster
12 Blue Skies 3:07 
Irving Berlin
 13 I Feel at Home with You 2:46 
Lorenz Hart / Richard Rodgers
 14 Straw Hat Full of Lilacs 2:46
Credits :
Bass – Al Hall (tracks: 1 to 13)
Drums – Osie Johnson (tracks: 1 to 13)
Engineer [Recording Engineer] – Rudy Van Gelder
Guitar – Al Casamenti (tracks: 2 to 4, 6, 7, 9, 10, 12, 13)
Harp – Unknown Artist (tracks: 14)
Horn [Alto Horn] – Dick Cary (tracks: 1, 7, 8, 11, 12)
Piano – Dick Cary (tracks: 2 to 4, 6, 7, 9, 10, 12, 13), Richard Lowman (tracks: 1, 5, 8, 11)
Trumpet, Leader – Johnny Windhurst (tracks: 1 to 8, 9 to13)
Vocals – Barbara Lea

7.6.25

BEA WAIN — My Reverie (2000) MONO | FLAC (tracks), lossless

Bea Wain's gorgeous voice is marvelously reproduced and celebrated on Jasmine's My Reverie, a fabulous compendium of classic big band recordings dating from 1937-1941. Backed by the orchestras of Larry Clinton, Artie Shaw and Leonard Joy, this charming woman demonstrates her ability to handle each and every song with uncontrived style and finesse. Her version of Harold Arlen's "Stormy Weather" is an immaculately rendered rite of passage. Even Hoagy Carmichael's long-suffering "Heart and Soul" becomes a delectable treat when sung by Wain. Songs of a romantic nature undergo a magical transformation; "Deep Purple" and "I Didn't Know What Time It Was" become arrestingly beautiful, while "Dancing in the Dark" might well cause susceptible listeners to abandon all worldly attachments and responsibilities in order to worship the voice of Wain by playing this one song -- "Dancing in the Dark," words by Howard Dietz, music by Arthur Schwartz -- over and over again for the rest of time. arwulf arwulf

Bea Wain's major successes were as Larry Clinton's band singer, most famously with My reverie, one of four American number one hits. This compilation contains some of her Larry Clinton tracks and some of her solo music after she quit Larry's band, all in chronological order. Her solo tracks are not that different in style from her band music. Like so many of the band singers of the time, Bea could swing, though she could also do the love songs. The songs here include three of those number one hits (My reverie, Heart and soul, Deep purple) though Cry baby cry, their first number one, is omitted. You can find it on a Larry Clinton compilation, along with many other hits they had together, some of which are also on this CD, but most are not. You may remember Deep purple - it was a big American hit for Nino Tempo and April Stevens in the sixties, and again for Donny and Marie Osmond in the seventies - this is the version that is probably best known in Britain. Bea and Larry's band did one of the original versions. There were several versions released at around the same time (in 1939) but this version outsold them all, by a considerable margin. There are other big hits from her Larry Clinton days here too - Old folks, The masquerade is over and My heart belongs to Daddy - but most of this CD is filled with her solo music. Bea only had four solo hits, but only three of them (Do I worry?, My sister and I, Kiss the boys goodbye) are included. The other, I'm nobody's baby, is missing, but it doesn't matter - this is a brilliant compilation of Bea's music. Of the non-hits, my favorite song here is Oh you crazy moon, but every track is wonderful. -Jazmine Records

Tracklist :
1 My Reverie 3:25
Claude Debussy
Bea Wain feat: Larry Clinton & His Orchestra
2 Heart and Soul 3:09
Hoagy Carmichael / Frank Loesser
Bea Wain feat: Larry Clinton & His Orchestra
3 Old Folks 3:18
Dedette Lee Hill / Willard Robison
Bea Wain feat: Larry Clinton & His Orchestra
4 Deep Purple 3:41
Peter DeRose / Mitchell Parish
Bea Wain feat: Larry Clinton & His Orchestra
5 The Masquerade Is Over 2:46
Herbert Magidson / Allie Wrubel
Bea Wain feat: Larry Clinton & His Orchestra
6 My Heart Belongs to Daddy 2:34
Cole Porter
Bea Wain feat: Larry Clinton & His Orchestra
7 I Get Along Without You Very Well 3:20
Hoagy Carmichael
Bea Wain feat: Larry Clinton & His Orchestra
8 If It's the Last Thing I Do 3:01
Sammy Cahn / Saul Chaplin
Bea Wain feat: Artie Shaw & His Orchestra
9 Dancing in the Dark 3:22
Howard Dietz / Arthur Schwartz
Bea Wain feat: Leonard Joy & His Orchestra
10 I Don't Stand a Ghost of a Chance with You 3:08
Bing Crosby / Ned Washington / Victor Young
 11 Oh, You Crazy Moon 2:53
Johnny Burke / James Van Heusen
 12 Stormy Weather 3:16
Harold Arlen / Ted Koehler
 13 I Didn't Know What Time It Was 3:19
Lorenz Hart / Richard Rodgers
 14 I Could Make You Care 3:05
Sammy Cahn / Saul Chaplin
 15 Kiss the Boys Goodbye 2:46
Frank Loesser / Victor Schertzinger
 16 That's How I Got My Start 2:33
Frank Loesser / Victor Schertzinger
 17 Peekaboo to You 2:08
Johnny Mercer / Joseph Meyer / Carl Sigman
 18 You Started Something 2:50
Ralph Rainger / Leo Robin
 19 I Don't Want to Cry Anymore 3:36
Victor Schertzinger
 20 Our Love Affair 3:02
Roger Edens / Arthur Freed
 21 Do I Worry? 2:36
Stanley Cowan / Bobby Worth
 22 I'm the Lonesomest Gal in Town 3:11
Lew Brown
23 My Sister and I 3:15
Alex Kramer / Joan Whitney / Hy Zaret
 24 You Can Depend on Me 2:37
Charles Carpenter / Louis Dunlap / Earl Hines
Credits :
Artie Shaw & His Orchestra & Larry Clinton & His Orchestra 
Vocal - Bea Wain

MARILYN MOORE — Moody Marilyn Moore (1957) Vynil LP | MONO | FLAC (tracks) 24-96Hz

Singer Marilyn Moore was wed to reedist Al Cohn at the time she recorded her lone LP, the aptly titled Bethlehem session Moody Marilyn Moore, but the scarcity of her studio output and the connubial origins of the session shouldn't be considered a condemnation of her talents. Working with a small but beguiling backing unit including Cohn on tenor and bass clarinet, Milt Hinton on bass, Barry Galbraith on guitar, Joe Wilder on trumpet, Don Abney on piano and Osie Johnson on drums, Moore proves herself a first-rate stylist in the Billie Holiday mode, with a lived-in, seen-it-all authority that lends the music a welcome edge. The arrangements perfectly capture a smoky, late-night atmosphere, but it's Moore's vocals that truly underscore the solitude and heartbreak so essential to the record's potency. Jason Ankeny
Tracklist :
1. I'm Just A Lucky So And So (2:56)
 Mack David / Duke Ellington
2. Ill Wind (2:50)
 Harold Arlen / Ted Koehler
3. If Love Is Trouble (2:39)
 George Handy / Jack Segal
4. Is You Is Or Is You Ain't My Baby? (3:22)
 Bill Austin / Louis Jordan
5. Born To Blow The Blues (3:34)
 Bob Russell / Jack Segal
6. Lover Come Back To Me (2:55)
 Oscar Hammerstein II / Sigmund Romberg
7. You're Driving Me Crazy (2:51)
 Walter Donaldson
8. Trav'lin' All Alone (3:05)
 J.C. Johnson
9. I Cried For You (Now It's Your Turn To Cry Over Me) (2:14)
 Gus Arnheim / Arthur Freed / Abe Lyman
10. Leavin' Town (3:29)
 George Handy / Jack Segal
11. Trouble Is A Man (2:49)
 Alec Wilder
12. I Got Rhythm (2:09)
 George Gershwin / Ira Gershwin
Credits :
Bass – Milt Hinton
Drums – Osie Johnson
Guitar – Barry Galbraith
Piano – Don Abney
Tenor Saxophone, Bass Clarinet – Al Cohn
Trumpet – Joe Wilder
Vocals – Mariyn Moore

TOMMY FLANAGAN TRIO — Overseas (1957-1999) RM | FLAC (tracks+.cue), lossless

This studio session represents one of Tommy Flanagan's earliest dates as a leader, recorded while he was in Stockholm, Sweden. Bassist Wilbur Little and a young Elvin Jones on drums provide strong support, but the focus is on Flanagan's brilliant piano. The brilliant opener is a potent brisk run through Charlie Parker's "Relaxin' at Camarillo," followed by a faster than typical "Chelsea Bridge," which the leader playfully detours into another Billy Strayhorn composition ("Raincheck") for a moment, while also featuring Jones' brushwork in a pair of breaks. Flanagan's approach to the venerable standard "Willow Weep for Me" is steeped in blues, backed by Little's imaginative accompaniment. The bulk of this date is devoted to Flanagan's compositions, though only one, "Eclypso," remained in his repertoire for long. This engaging piece alternates between calypso and bop, with Jones switching between sticks and brushes. "Beat's Up" has the obvious influence of Bud Powell, while the extended blues "Little Rock" opens with a sauntering bass solo. This album has been released under various titles on several labels, including DIW, Dragon, Met, and Prestige, though Fantasy reissued it with three alternate takes in 1999. -Ken Dryden
Tracklist :
1. Relaxin' At Camarillo 3:20
 Charlie Parker 
2. Chelsea Bridge 3:45
 Billy Strayhorn 
3. Eclypso 6:00
 Tommy Flanagan 
4. Beat's Up 4:20
 Tommy Flanagan 
5. Skal Brothers 2:30
 Tommy Flanagan 
6. Little Rock 7:00
 Tommy Flanagan 
7. Verdandi 2:10
 Tommy Flanagan 
8. Delarna 4:35
 Tommy Flanagan 
9. Willow Weep For Me 6:20
 Ann Ronell 
– BONUS TRACKS –
10. Delarna (take 2) 4:35
 Tommy Flanagan 
11. Verdandi (take 2) 2:10
 Tommy Flanagan 
12. Willow Weep For Me (take 1) 6:12
 Ann Ronell
Credits :
Bass – Wilbur Little
Drums – Elvin Jones
Piano – Tommy Flanagan

6.6.25

WES MONTGOMERY — So Much Guitar (1961) RM | Four Version | Original Jazz Classics Remasters Series | 24-Karat Gold Plated | FLAC (image+.tracks+.cue), lossless

One of Wes Montgomery's finest recordings, a Riverside date that showcases the influential guitarist in a quintet with pianist Hank Jones, bassist Ron Carter, drummer Lex Humphries, and the congas of Ray Barretto. All eight performances are memorable in their own way, with "Cottontail," "I'm Just a Lucky So and So," and a brief unaccompanied "While We're Young" being high points. -Scott Yanow
Tracklist :
1. "Twisted Blues" (Wes Montgomery) – 5:31
2. "Cotton Tail" (Duke Ellington) – 3:38
3. "I Wish I Knew" (Mack Gordon, Harry Warren) – 5:26
4. "I'm Just a Lucky So-and-So" (Ellington, Mack David) – 5:57
5. "Repetition" (Neal Hefti) – 3:48
6. "Somethin' Like Bags" (Montgomery) – 4:44
7. "While We're Young" (Morty Palitz, Alec Wilder) – 2:12
8. "One for My Baby (and One More for the Road)"  (Harold Arlen, Johnny Mercer) – 7:38
Credits :
Wes Montgomery – Guitar
Ron Carter – Bass
Lex Humphries – Drums
Ray Barretto – Conga
Hank Jones – Piano 

CONTE CANDOLI & LEE MORGAN — Howard Rumsey Presents ... Double or Nothin' (1957-2003) Two Version | FLAC (image+.tracks+.cue), lossless

Rare recordings produced by Howard Rumsey with his incredible Howard Rumsey's Lighthouse All Stars and Charles Persip's Jazz Statesmen.
"There was only a short week in which to record, so we made a date for a double session at Liberty's fabulous new studios... Lee Morgan and Frank Rosolino flipped into some original dance steps at the sound of the playbacks. It was a happy date." -Howard Rumsey
Tracklist :
1. Reggie Or Chester 4:36
Bass – Wilfred Middlebrooks
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone, Written-By – Benny Golson

2. Stabelmates 5:08
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone, Written-By – Benny Golson
Trombone – Frank Rosolino
Trumpet – Lee Morgan

3. Celedia 4:40
Bass – Wilfred Middlebrooks
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone, Written-By – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli

4. Moto 5:43
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Benny Golson
Tenor Saxophone, Written-By – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli, Lee Morgan

5. The Champ 4:40
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli
Written-By – Dizzy Gillespie

6. Blues After Dark 7:45
Bass – Red Mitchell
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone, Written-By – Benny Golson
Trumpet – Lee Morgan

 7. Wildwood 5:52
Bass – Wilfred Middlebrooks
Drums – Charlie Persip
Piano – Wynton Kelly
Tenor Saxophone – Benny Golson, Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli, Lee Morgan
Written-By – Gigi Gryce

8. Quicksilver 3:56
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli
Written-By – Horace Silver

9. Bye Bye Blues 4:05
Bass – Red Mitchell
Drums – Stan Levey
Piano – Dick Shreve
Tenor Saxophone – Bob Cooper
Trombone – Frank Rosolino
Trumpet – Conte Candoli

THE ROBERT FRIPP STRING QUINTET — The Bridge Between (1993) Three Version | WV + FLAC (image+.tracks+.cue), lossless

Fusing the talents of Robert Fripp, Trey Gunn, and the California Guitar Trio, you'd be wrong to assume that The Bridge Between is a boring album of guitar aerobics for guitar enthusiasts. This is a wonderful piece of work. Its most dubious attribute is to sometimes descend into Sky (the Anglo-Australian outfit formed by John Williams, Francis Monkman etc) territory in its medieval harpsichord delivery ("Passacaglia," "Contrapunctus"). However "Kanon Power" and standouts "Bicycling to Afghanistan" and "Blockhead" are fretboard knitted excellence. Unfortunately, the latter two are separated by a five-minute downbeat -- "Blue" -- and the set is spoiled by a near-13-minute endgame "Threnody for Souls in Torment," which would be better placed elsewhere. None the less, you can always hit the stop button after "Passacaglia" or better, stick "Afghan" and "Blockhead" on repeat! Kelvin Hayes
Tracklist :
1. Kan-Non Power 4:02
 Hideyo Moriya 
2. Yamanashi Blues  2:41
 Bert Lams 
3. Hope 5:32
 John Sinks 
4. Chromatic Fantasy 1:37
 Johann Sebastian Bach 
5. Contrapunctus 5:00
 Johann Sebastian Bach 
6. Bicycling to Afghanistan 3:22
 Curt Golden 
7. Blue 5:35
 Robert Fripp / Trey Gunn 
8. Blockhead 3:19
 Paul Richards 
9. Passacaglia 6:58
 Johann Sebastian Bach 
10. Threnody for Souls in Torment 12:51
 Robert Fripp / Trey Gunn 
Credits :
Robert Fripp - Guitar, Frippertronics
Bert Lams, Hideyo Moriya - Acoustic Guitar
Paul Richards - Acoustic Guitar, Fuzz E-bow Guitar
Trey Gunn - Chapman Stick

5.6.25

LARRY CARLTON — Last Nite (1986) Two Version | APE + FLAC (image+.tracks+.cue), lossless

This live set is one of Larry Carlton's best recordings because the guitarist stretches himself. Joined by keyboardist Terry Trotter, bassist Abraham Laboriel, drummer John Robinson and percussionist Alex Acuna (and an occasional three-piece horn section), Carlton plays five- to eight-minute versions of four originals (including "The B.P. Blues"), plus Miles Davis's "So What" and "All Blues." Recorded at the Baked Potato in North Hollywood in California, Carlton is heard throughout at his very best, making one wonder why he has recorded so few albums of a similar spontaneous nature in his career. Scott Yanow
Tracklist :
1     So What     7:58
2     Don't Give It Up     5:30
3     The B.P. Blues     7:50
4     All Blues     7:50
5     Last Nite     7:58
6     Emotions Wound Us So     6:17
Credits :
Guitar – Larry Carlton
Bass – Abraham Laboriel
Drums – John Robinson, Rick Marotta (tracks: B1)
Keyboards – Terry Trotter
Percussion – Alex Acuña
Saxophone – Marc Russo
Trumpet – Gary Grant, Jerry Hey 

BUD POWELL TRIO - Bouncing with Bud (1962) RM | MONOAURAL | 24 Kt Gold Plated | Original Master Recording, Ultradisc II Series | Three Version | FLAC (image+.tracks+.cue), lossless

Although Bud Powell's performance level could widely vary during the last few years of his life, this
1962 session in Copenhagen finds him in top form. Joined by promising young bassist Niels Pedersen and drummer William Schiopffe, Powell literally wails along as he plays the works of fellow boppers such as Thelonious Monk ("Straight, No Chaser" and "52nd Street Theme"), Tadd Dameron ("Hot House"), Denzil Best ("Move"), as well as his own "Bouncing With Bud." He also delves into a breezy take of Irving Berlin's "The Best Thing for You" and Coleman Hawkins' "Rifftide" (a familiar reworking of "Oh, Lady Be Good!"). Even though the music pretty much stays at a fairly brisk to fast tempo, there's no danger of listener burnout. Originally issued by Sonet, the selections on this highly recommended Storyville CD have also been issued on a number of other labels. Ken Dryden 
Tracklist :
1 Rifftide  4:10
Coleman Hawkins
2 Bouncing with Bud  5:57
Gil Fuller / Bud Powell
3 Move  4:57
Denzil Best
4 The Best Thing for You  6:00
Irving Berlin
5 Straight, No Chaser  6:40
Thelonious Monk
6 I Remember Clifford  6:07
Benny Golson
7 Hot House  5:47
Tadd Dameron
8 52nd Street Theme  2:22
Thelonious Monk
Credits :
Bass – Niels Henning Orsted Pedersen
Drums – William Schiöpffe
Piano – Bud Powell
  

DE DE LIND — Io Non So Da Dove Vengo E Non So Dove Mai Andrò. Uomo È Il Nome Che Mi Han Dato (1973) RM | Two Version | FLAC (tracks+.cue), lossless

Mention De De Lind to most aficionados of Italian progressive rock and, chances are, they will come right back at you with the band's best known claim to fame -- one of the longest LP titles ever accepted by a major label (Mercury) -- Io Non So da Dove Vengo e Son So Dove Mai Andrio, Uomo è il Nome Che Mi …. Even more impressively, most of those aficionados will then inform you that it is one of the genre's finest ever releases, and send you out in search of it, on either its original vinyl or via the 1990 Mercury CD reissue.

De De Lind formed in 1969, with a lineup of Vito Paradiso (vocals, acoustic guitar), Gilberto Trama (flute, sax, keyboards), Matteo Vitolli (guitar), Eddy Lorigiola (bass), and Ricky Rebajoli (drums). Signing to the Windsor label, they released the single "Anche se Sei Qui"/"Come si Fa?" that same year, before being scooped up by Mercury. Two singles followed over the next two years, "Mille Anni"/"Ti Devo Lasciare" in 1970, and "Signore Dove Vai"/"Torneremo Ancora" the following year. Io Non So da Dove Vengo e Son So Dove Mai Andrio, Uomo è il Nome Che Mi … was released in 1972, and proved to be the band's last stand. By the end of the year, De De Lind had vanished, with only vocalist Paradiso ever resurfacing, for a short-lived solo career during the late '80s. Dave Thompson
Tracklist :
 1. Fuga E Morte (7:21) 
2. Indietro Nel Tempo (4:18) 
3. Paura Del Niente (7:46) 
4. Smarrimento (8:00) 
5. Cimetero Di Guerra (5:20) 
6. Voglia Di Rivivere (3:35) 
7. E Poi (2:05) 
Personnel :
Vito Paradiso - Vocals, Acoustic Guitar 
Gilberto Trama - Flute, Saxophone, Keyboards 
Matteo Vitolli - Guitar, Percussion, Piano, Flute 
Eddy Lorigiola - Bass 
Ricky Rebajoli - Drums, Percussion  

BIRÉLI LAGRÈNE & JACO PASTORIUS — Stuttgart Aria (1986) Three Version | Vynil LP 24-96Hz + WV + FLAC (image+.tracks+.cue), lossless

At the end of their tour European tour -- and the triumphant concert in Rome documented on Heavy 'n Jazz -- Jaco Pastorius, guitarist Bireli Lagrene, and percussionist Serge Bringolf decided to leave the continent with at last one studio recording under their belt. The result is Stuttgart Aria. With the addition of three additional musicians -- Jan Janke on synths and keyboards, Peter Lubke on drums, and keyboardist Vladislav Sendecki (the keyboardists never played at the same time) -- the date went off as a series of formatted tunes with extended improvisations anchoring them to the album. While the styles here vary wildly; they are all rooted deeply in the jazz fusion and R&B worlds. To be fair, the trio of Lagrene, Pastorius, and Bringolf could have executed these songs very well -- especially since one of them was "Donna Lee," Pastorius' transcription of the Charlie Parker bebop classic that he recorded on his own first solo album for Columbia. The keyboards seem to get in the way, and sound stilted based against the loose groove created by the pair of string players. And then there's the matter of Pastorius' "singing" on the title track, which is a meld of James Brown funk, high-tech rock, and jazz. It's one long riff; Lagrene gets to riff on forever as Pastorius indulges his weak voice and awful lyrics ("people got to be free/give 'em a shot of R&B"), quoting from Sly Stone and any other tune he can think of. It just comes off as indulgent as hell without any substance other than Lagrene's playing to hold it in place. But there are astonishing moments as well, when Pastorius drives a dub-riddled "Jaco's Reggae" into the stratosphere with a meld of chordal and scalar riffs that never, ever sacrifice the track's rhythm for the sake of improvisation. Lagrene's chunky, knotty chords give it a deeper feel, lending the bottom a wide base. There is also a gorgeous performance of "Teresa" with the single weepiest bassline Pastorius ever recorded. The set ends with a serious lyrical, lush, and moving version of Henry Mancini's "Days of Wine and Roses" that pairs Lagrene and Pastorius together in a silky weave of emotion and musical virtuosity, exchanging harmonics and chromatic melody in a painterly fashion. This disc is far from perfect, and must have been a bit of a drag to even make ever such a high-energy tour, but it's not without merit -- especially for serious fans of the two principals.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
 1. American boy (4:40) 
 Jan Jankeje / Biréli Lagrène / Jaco Pastorius / Vladislav Sendecki 
2. Donna lee (4:40)
 Charlie Parker 
3. Stuttgart Aria 1 (7:36)
 Jan Jankeje / Biréli Lagrène / Jaco Pastorius / Vladislav Sendecki 
4. Jaco reggae (5:58)
 Jan Jankeje 
5. The chicken (5:47)
 Pee Wee Ellis 
6. Teresa (8:51)
 Jaco Pastorius 
7. Stuttgart aria Nº2 (10:04)
 Jan Jankeje / Biréli Lagrène / Jaco Pastorius / Vladislav Sendecki 
8. The days of wine and roses (6:26)
 Henry Mancini / Johnny Mercer 
Credits :
Backing Vocals, Bass [Synthesizer] – Jan Jankeje (tracks: 6, 8)
Drums – Peter Lübke
Electric Bass [Fender 86], Piano, Vocals – Jaco Pastorius
Electric Guitar, Backing Vocals – Bireli Lagrene
Keyboards, Synthesizer – Vladislaw Sendecki
Percussion, Backing Vocals – Serge Bringolf

4.6.25

CHRIS POTTER — Unspoken (1997) 24-44.1Hz | FLAC (tracks+.cue), lossless

Working with drummer Jack DeJohnette, bassist Dave Holland, and guitarist John Scofield, saxophonist Chris Potter recorded his most adventurous record to date with Unspoken. Although his powerhouse rhythm section sometimes overwhelms him, Potter flexes more creative muscle throughout Unspoken, resulting in an engaging, frequently provocative listen. Leo Stanley
Tracklist :
1     Wistful     7:45
 Chris Potter 
2     Seven Eleven     9:08
 Chris Potter 
3     Hieroglyph     6:00
 Chris Potter 
4     Amsterdam Blues     7:50
 Chris Potter 
5     Et Tu, Bruté?     7:12
 Chris Potter 
6     Unspoken     5:41
 Chris Potter 
7     No Cigar     5:18
 Chris Potter 
8     Time Zone     8:55
 Chris Potter 
9     New Vision     7:11 
 Chris Potter 
Credits :
Chris Potter - Sax (Soprano), Sax (Tenor)
Jack DeJohnette - Drums
Dave Holland - Bass
John Scofield - Guitar

YELLOWJACKETS — Lifecycle (2008) FLAC (tracks+.cue), lossless

The Yellowjackets needed a guest guitarist, who would be the best person for the job? Pat Metheny would be an excellent choice, as would Al di Meola, John McLaughlin, Larry Coryell, or John Scofield. Well, the Yellowjackets did hire a guest guitarist for Lifecycle -- an excellent and well-known guitarist, in fact -- and they feature him extensively on this 2008 release. The guitarist is Mike Stern, who enjoys a strong rapport with the Yellowjackets' 2008 lineup: Russell Ferrante on acoustic piano and electric keyboards, Jimmy Haslip on electric bass, Bob Mintzer on tenor and soprano sax and bass clarinet, and Marcus Baylor on drums and percussion. Stern and the Yellowjackets are a perfectly logical combination -- especially in light of the hell-bent-for-jazz direction the Yellowjackets have favored since 1991's Greenhouse. With Greenhouse (which was Mintzer's first album with the outfit), Ferrante and Haslip made it clear that they wanted the Yellowjackets to be considered a serious, heavy-duty jazz combo instead of a group that pandered to smooth jazz stations. That isn't to say that the Yellowjackets' 1980s output lacks merit -- many of their '80s recordings are quite creative -- but with Greenhouse, Ferrante and Haslip really emphasized their Weather Report/Miles Davis/Return to Forever heritage. And that mindset continues to serve the Yellowjackets well 17 years later on Lifecycle. Jazz purists and bop snobs, of course, would argue that if you use electric instruments and have been influenced by rock or funk in any way, you aren't playing jazz, but the truth is that Stern and the Yellowjackets do bring a serious jazz improviser's mentality to engaging tracks like Haslip's bluesy "Country Living," Mintzer's mysterious "Falken's Maze," and Ferrante's probing, somewhat John Coltrane-ish "Measure of a Man." With its blend of electric and acoustic instruments, Lifecycle is relevant to both fusion and post-bop -- and it is also proof that collaborating with Stern was a very wise move for the Yellowjackets. Alex Henderson
Tracklist : 
1    Falken's Maze 6:25
Written-By – B. Mintzer
2    Country Living 6:24
Written-By – J. Haslip
3    Double Nickel 6:42
Written-By – M.Stern
4    Dreams Go 6:49
Written-By – M.Stern
5    Measure Of A Man 7:33
Written-By – R.Ferrante
6    Yahoo 4:52
Written-By – B. Mintzer
7    I Wonder 6:01
Written-By – B. Mintzer
8    3 Circles 7:30
Written-By – B. Mintzer, J. Haslip, M. Baylor, R.Ferrante
9    Claire's Closet 5:05
Written-By – R.Ferrante
10    Lazaro 5:15
Programmed By [Programming], Sequenced By [Sequencing] – Jimmy Haslip
Written-By – B. Mintzer, J. Haslip

Credits :
Marcus Baylor - Drums, Percussion
Russell Ferrante - Keyboards, Percussion, Piano
Jimmy Haslip - Bass (Electric),
Bob Mintzer - Clarinet, Clarinet (Bass), Sax (Soprano), Sax (Tenor)
Jerry Mitkowski : Piano Technician
Mike Stern : Featured Guitar

KEITH JARRETT — A Multitude Of Angels (1996-2016) 4CD BOX-SET | FLAC (tracks+.cue), lossless

Keith Jarrett's numerous volumes of improvised solo piano recordings are all treasure troves of spontaneous music making. Documented since the 1970s, they reveal the opening of his music as it readily embraces classical and sacred music influences, filters out what is unnecessary in his technique, and encounters the depth and breadth of the jazz tradition and his own unique abilities as a composer. The four discs in A Multitude of Angels were recorded in as many Italian cities during the last week of October 1996 -- some 20 months after the concert captured on La Scala. These were his last concerts before being sidelined for two years from chronic fatigue syndrome. Jarrett is musician, producer, and engineer here. The performances were captured to his Sonosax DAT recorder seemingly without the view of release at the time. They were sent direct from the piano to transformer-less microphones to the machine, with no mixing board in between. While it's not as raw as The Melody, At Night, With You, his set of intimate home recordings, there is a less airy, less pristine feel in the sound of these recordings.
Sound is only one aspect of what makes these recordings different. In the accompanying booklet, Jarrett describes these discs as the "pinnacle" of his career in the sense that these were uninterrupted performances (no set breaks) in smaller rooms with quiet audiences (a big bugaboo of his, all before the advent of the digital age). Though he was weakened by the burden of his as yet undiagnosed illness, he goes for it here. The gorgeous interpolations of folk, funky gospel, and jazz during the Modena concert's first ten minutes (disc one) are among the most joyous in his catalog. Jarrett describes these shows as if he were ordained by fate to be in the moment as if "playing for the last time." The unfettered feel in his improvisation is sometimes choppier and more rugged than elsewhere in his catalog -- though his playing remains astonishing both technically and creatively. Check the knotty classical improvisations in the second part of Modena where he encounters -- and extrapolates on -- ragtime and modal jazz in blocks, feints, stops, and starts that all flow through the well without obstacle. Processional balladic improv introduces the first half of the Torino show on disc three. It shifts and shimmers, emerging as a wedding of Bach and torch song before stripping itself to the bone. Its final section investigates a repetitive phrase with an extended view of harmony and rhythm. The final show in Genova (disc four) concludes with a fantastically funky blues encore before the pianist delivers a reading of Harold Arlen's "Over the Rainbow." Jarrett's never delivered it with such tenderness before -- at least on record -- as he illuminates the hidden magic in its lithe harmony. For fans of the pianist, A Multitude of Angels is an indispensable document. It's not only wildly creative, but deeply soulful, spiritual, and dazzling in both variety and facility.   
 -> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 

Modena October 23,1996
1-1 Part I 34:18
Music By – Keith Jarrett
1-2 Part II 31:19
Music By – Keith Jarrett
1-3 Danny Boy 5:00
Music By – Frederic Weatherly

Ferrara October 25, 1996
2-1 Part I 43:48
Music By – Keith Jarrett
2-2 Part II 29:58
Music By – Keith Jarrett
2-3 Encore 3:26
Music By – Keith Jarrett

Torino October 28, 1996
3-1 Part I 42:23
Music By – Keith Jarrett
3-2 Part II 31:35
Music By – Keith Jarrett

Genova October 30, 1996
4-1 Part I 31:41
Music By – Keith Jarrett
4-2 Part II 31:43
Music By – Keith Jarrett
4-3 Encore 5:52
Music By – Keith Jarrett
4-4 Over The Rainbow 6:03
Music By – E.Y. Harburg, Harold Arlen
Credits :
 Piano – Keith Jarrett

 Modena October 23,1996
1-1 Part I 34:18
Music By – Keith Jarrett
1-2 Part II 31:19
Music By – Keith Jarrett
1-3 Danny Boy 5:00
Music By – Frederic Weatherly

Ferrara October 25, 1996
2-1 Part I 43:48
Music By – Keith Jarrett
2-2 Part II 29:58
Music By – Keith Jarrett
2-3 Encore 3:26
Music By – Keith Jarrett

Torino October 28, 1996
3-1 Part I 42:23
Music By – Keith Jarrett
3-2 Part II 31:35
Music By – Keith Jarrett

Genova October 30, 1996
4-1 Part I 31:41
Music By – Keith Jarrett
4-2 Part II 31:43
Music By – Keith Jarrett
4-3 Encore 5:52
Music By – Keith Jarrett
4-4 Over The Rainbow 6:03
Music By – E.Y. Harburg, Harold Arlen
Credits :
 Piano – Keith Jarrett

FRIPP & ENO — (No Pussyfooting) (1973-2008) RM | 2CD | FLAC (tracks+.cue), lossless

At the same time Brian Eno was working on Here Come the Warm Jets, he was flexing his experimental muscle with this album of tape delay manipulation recorded with Robert Fripp. In a system later to be dubbed Frippertronics, Eno and Fripp set up two reel-to-reel tape decks that would allow audio elements to be added to a continuing tape loop, building up a dense layer of sound that slowly decayed as it turned around and around the deck's playback head. Fripp later soloed on top of this. (No Pussyfooting) represents the duo's initial experiments with this system, a side each. "Heavenly Music Corporation" demonstrates the beauty of the setup, with several guitar and synth elements building on top of each other, the music slowly evolving, and Fripp ending the piece with low dive-bombing feedback that swoops over the soundscape, bringing the piece to its conclusion. "Swastika Girls," on the other hand, shows how the system can be abused. With too many disconnected sounds sharing the space, some discordant, some melodic, the resulting work lacks form and structure. Eno and Fripp later refined the system on Evening Star and Eno's solo album Discreet Music. Fripp would take the system and base whole albums and live appearances around it (particularly Let the Power Fall). But it was here on (No Pussyfooting) where it all started. Ted Mills
Tracklist 1 :
1-5. The Heavenly Music Corporation 20:55
Brian Eno / Robert Fripp
6-7. Swastika Girls 18:43 
Brian Eno / Robert Fripp
8-12.    The Heavenly Music Corporation (Reversed) (20:52)
Tracklist 2 :
1-5. The Heavenly Music Corporation (Half Speed)    (41:49)
6-7. Swastika Girls (Reversed)    (18:54)
Credits :
Composed, Producer By – Brian Eno, Robert Fripp

"The Heavenly Music Corporation"
Recorded at Eno's Studio 8.9.72
Equipment: Gibson Les Paul
The Fripp Pedalboard
2 Modified Revox A77 Tape Recorders

"Swastika Girls"
Recorded at Command Studios 4/5.8.73
Mixed at Air Studios 21/22.8.73
Equipment: Gibson Les Paul
Frizzbox/VCS3 Synthesizer with
Digital Sequencer/Modified Revox
A77 Tape Recorders 
 

3.6.25

TOMMY BOLIN — Energy (1972-1999) RM | FLAC (tracks+.cue), lossless

By 1972, Tommy Bolin had left Zephyr and was yet to join the James Gang. He had formed a band christened, aptly enough, Energy, but they broke up before releasing any recordings. Yet, time in the studio was spent, resulting in this collection of songs released 27 years after their recording. Some of the songs would be redone with the James Gang ("Red Skies," "Got No Time for Trouble") or solo ("Dreamer") in the next few years, while "Naked Edge" comes from the soundtrack to a mountain-climbing film called Break on Through, but most of the contents of the album see their first release here. The album is mixed: "Heartlight" and "Miss Christmas" are fairly generic hard rock, while "Hok-O-Hey" and "Eyes of Blue" have a very Allman Brothers sound/feel, yet all are elevated by Bolin's guitar playing. The neo-psychedelic "Limits," sung by keyboardist Tom Stephenson, is unlike most of Bolin's other work and the extended instrumental "Naked Edge" furthers this psychedelic jamming. "Sky Sail" is a cinematic piano/guitar duet and is a perfect album closer. In the end, the album works more as a compilation of Energy's various styles than as a cohesive album. Rob Caldwell
Tracklist :
1. Red Skies 8:19
 Tommy Bolin 
Vocals – Gary Wilson 

2. Heartlight 4:23
 Tommy Bolin / John Tesar 
3. Hok-O-Hey 7:16
 Tommy Bolin 
4. Got No Time For Trouble 5:01
 Tommy Bolin / John Tesar 
5. Limits 4:52
 Tommy Bolin / John Tesar 
Keyboards, Vocals – Tom Stephenson

6. Eyes Of Blue 2:59
 Tommy Bolin 
7 . Dreamer 5:08
  Jeff Cook  
8. Miss Christmas 4:18
 Tommy Bolin /  Jeff Cook 
9. Naked Edge 14:16
 Tommy Bolin 
10. Sky Sail 5:28
 Tommy Bolin 
Credits :
Bass – Stanley Sheldon
Drums – Bobby Berge
Guitar, Producer – Tommy Bolin
Vocals, Harmonica – Jeff Cook

JEAN-LUC PONTY — Le Voyage : The Jean-Luc Ponty Anthology (1996) 2CD | Two Version | FLAC (image+.tracks+.cue), lossless

Ponty has worked with Frank Zappa and John McLaughlin, has provided brilliant violin work as a session player, and has had a terrific run as a bandleader. This two-disc set dips into Ponty's Atlantic Records releases, tracing the development of Ponty's particular brand of jazz fusion and providing a very nice look at his career as a bandleader. A few of the cuts seem a bit watery and thin, but this has more to do with the original recording and mixing than the performances or mastering -- Rhino's mastering department has provided the usual quality of production here. Jean-Luc Ponty is a notable performer in the jazz arena, one who has a clear vision and strong ideals when it comes to his music -- he likes to test his boundaries and explore new possibilities. A notable collection. Steven McDonald
Tracklist 1 :
1. "Question with No Answer" – 3:29   
2. "Bowing-Bowing" – 4:53   
3. "Echoes of the Future" – 3:11   
4. "Aurora, Pt. 2" – 6:15   
5. "Waking Dream" – 2:26   
6. "Renaissance" – 5:48   
7. "New Country" – 3:09   
8. "Enigmatic Ocean, Pt. 2" – 3:37   
9. "Enigmatic Ocean, Pt. 3" – 3:43   
10. "Mirage" – 4:54   
11. "Egocentric Molecules" – 5:49   
12. "Cosmic Messenger" – 4:41   
13. "Ethereal Mood" – 4:04   
14. "I Only Feel Good with You" – 3:17   
15. "No Strings Attached" (live) – 6:02 
Tracklist 2 :
1. "Stay with Me" – 5:36   
2. "A Taste for Passion" – 5:25   
3. "Once a Blue Planet" – 4:05   
4. "Forms of Life" – 4:49   
5. "Rhythms of Hope" – 4:03   
6. "Mystical Adventures, Pt. 4" – 0:47   
7. "Mystical Adventures, Pt. 5" – 5:06   
8. "Jig" – 3:58   
9. "Final Truth, Pt. 1" – 4:55   
10. "Computer Incantations for World Peace" – 5:41   
11. "Individual Choice" – 4:57   
12. "Nostalgia" – 5:03   
13. "Eulogy to Oscar Romero" – 2:34   
14. "Infinite Pursuit" – 5:59   
15. "In the Kingdom of Peace" – 4:04   
16. "Caracas" – 3:51   
17. "Forever Together" – 5:46
All songs by Jean-Luc Ponty.
Personnel :
Jean-Luc Ponty - Autoharp, Violin, Electric Piano, Organ, Synthesizer, Bass Synthesizer, Keyboard Bass, Electronic Percussion
Joaquin Lievano, Peter Maunu - Guitar, Guitar Synthesizer
Daryl Stuermer, Dan Sawyer, Martin Atangana, Allan Holdsworth, Scott Henderson , Jamie Glaser - Guitar
Allan Zavod - Piano, Clavinet, Organ, Keyboards, Synthesizer
Patrice Rushen - Piano, Clavinet, Organ, Synthesizer
Chris Rhyne - Piano, Keyboards, Synthesizer, Bass Synthesizer
Wally Minko - Piano, Keyboards
Mokhtar Samba - Drums, Cowbells, Timbales
Norman Fearrington, Ndugu, Ray Griffin - Drums, Percussion
Mark Craney - Drums
Abdou M'Boup - Cowbells, Shaker
Paulinho Da Costa - Percussion

SHPONGLE — Tales Of The Inexpressible (2001) Two Version | FLAC (image+.tracks+.cue), lossless

With Tales of the Inexpressible, Simon Posford and Raja Ram widened their Eastern-influenced ambient sound to incorporate stronger samples and a wry, complex production psychology. The effect was a lot like the Orb's "Earth (Gaia)" or the work of Future Sound of London recorded with Cydonia's Aki Omori, encouraging dub and cartoon effects to make nests inside a slick environmental vibe. Highlight "A New Way to Say 'Hooray!'" was complicated downtempo without resorting to jazz, and Raja Ram's flute work was everywhere, liquid-like and frequently impressive. Dean Carlson
Tracklist : 
1. Dorset Perception 8:12
 Raja Ram 
Vocals – Michele Adamson
2. Star Shpongled Banner 8:23 
 Raja Ram 
3. A New Way To Say "Hooray!" 8:32 
 Raja Ram 
4. Room 23c 5:04 
 Raja Ram 
5. My Head Feels Like A Frisbee 8>52
 Raja Ram 
6. Shpongleyes 8:56
 Raja Ram 
7. Once Upon The Sea Of Blissful Awareness 7:30
 Raja Ram 
Backing Vocals – Michele Adamson
Vocals – Abigail Gorton (Hari Om)

8. Around The World In A Tea Daze 11:21
 Raja Ram 
Vocals – Abigail Gorton (Hari Om)

9. Flute Fruit 2:08
 Raja Ram 
Credits :
Acoustic Guitar [Various Acoustic Guitars] – Pete Callard
Artwork [Original Shpongle Mask] – Sat Ram Bradley
Artwork [Watercolours], Illustration – Raja Ram
Cello, Acoustic Bass [Fake] – Harry Escot
Written-By, Producer, Flute [Silver], Vocals [Vocal Utterances] – Raja Ram
Written-By, Producer, Programmed By, Guitar, Synthesizer, Acoustic Bass [Semi-Acoustic] – Simon Posford 
 

KAY STARR — Capitol Collectors Series (1991) Two Version | FLAC (image+.tracks+.cue), lossless

A good collection of Starr's '50s pop material includes "Hoop Dee Doo," "If You Love Me (Really Love Me)," ...