Chet Baker & Art Pepper – Playboys
Posted by dOk | Filed under 1956, Jazz
These Halloween 1956 sides originally appeared as Playboys in 1961 on Pacific Jazz. Myth and rumor persist that, under legal advice from the publisher of a similarly named magazine, the collection would have to be retitled. When the CD version of the same material was issued in the early ’90s, it had been accurately christened Picture of Heath — as more than half of the tracks are Jimmy Heath compositions. Since then, a CD version sporting the original provocative ’50s pinup cover and the name Playboys has also surfaced. Regardless of title, however, the music is the absolute same. These are the third sessions to feature the dynamic duo of Art Pepper (alto sax) and Chet Baker (trumpet). Their other two meetings had produced unequivocal successes. The first was during a brief July 1956 session at the Forum Theater in L.A. Baker joined forces with Pepper’s sextet, ultimately netting material for the disc Route. Exactly three months to the day later, Pepper and Baker reconvened to record tracks for the Chet Baker Big Band album. The quartet supporting Baker and Pepper on Playboys includes Curtis Counce (bass), Phil Urso (tenor sax), Carl Perkins (piano), and Larance Marable (drums). Baker and Pepper have an instinctual rapport that yields outstanding interplay. The harmony constant throughout the practically inseparable lines that Baker weaves with Pepper drives the bop throughout the slinky “For Minors Only.” The soloists take subtle cues directly off each other, with considerable contributions from Perkins, Counce, and Marable. With the notorious track record both Baker and Pepper had regarding other decidedly less successful duets, it is unfortunate that more recordings do not exist that captured their special bond. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners.
Personnel: Chet Baker (trumpet); Art Pepper (alto saxophone); Phil Urso (tenor saxophone); Carl Perkins (piano); Larance Marable (drums).
Tracklist
01. For Minors Only
02. Minor Yours
03. Resonant Emotions
04. Tynan Tyme
05. Picture Of Heath
06. For Miles and Miles
07. C.T.A.
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The Modern Jazz Quartet – Concorde
Posted by dOk | Filed under 1955, Jazz
The first Modern Jazz Quartet album to feature drummer Connie Kay (replacing Kenny Clarke), 1955′s Concorde finds the ensemble easing into its long-running lineup, rounded out by vibes player Milt Jackson, pianist John Lewis, and bassist Percy Heath. In addition to originals by Jackson (the light, lilting “Ralph’s New Blues”) and Lewis (the bright, upbeat title track), the MJQ offers up an excellent selection of standards, most notably a fast-paced take on “I’ll Remember April” that has Kay earning his stripes with some impressive cymbal work.
The Modern Jazz Quartet: John Lewis (piano); Milt Jackson (vibraphone); Percy Heath (bass); Connie Kay (drums).
Tracklist
01. Ralph’s New Blues
02. All Of You
03. I’ll Remember April
04. Gershwin Medley: Soon / For You, For Me, Forevermore / Love Walked In / Our Love Is Here To Stay
05. Softly, As In A Morning Sunrise
06. Concorde
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Art Blakey & The Jazz Messengers – Free For All
Posted by dOk | Filed under 1964, Jazz
Free For All captures Art Blakey and his Messengers at the height of their powers in the mid ’60s. Since expanding to a sextet with the addition of Curtis Fuller on trombone, the group took on a larger-than-life sound with more complex arrangements encompassing the larger horn line, musical director Wayne Shorter’s dramatic compositions and, of course, the powerful drumming of Blakey himself. Boisterous, passionate and driven, the ’60s incarnation of the Jazz Messengers defined the hardbop movement more than any ensemble save those led by Miles Davis and John Coltrane.
The focus of this incarnation of the Messengers is on the compositions of saxophonist Wayne Shorter. His powerful title track opens the session with dark shadings and dense horn harmonies prodded by Blakey’s rambunctious flurry of drums. Also by Shorter, the bluesy “Hammer Head” is a swaggering blowing session that leans on Blakey’s shuffling backbeat for its fuel. “The Core” is trumpeter Freddie Hubbard’s contribution and features furious ensemble shouts and passionate solos by Shorter, Hubbard, Fuller and pianist Cedar Walton. Finally, a beautiful arrangement of Clare Fischer’s “Pensativa” is the Messengers’ swinging take on the classic bossa nova.
Art Blakey & the Jazz Messengers: Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (piano); Reggie Workman (bass instrument); Art Blakey (drums).
Tracklist
01. Free For All
02. Hammer Head
03. The Core
04. Pensativa
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Joe Henderson – Mode For Joe
Posted by dOk | Filed under 1966, Jazz
Given the date of this release and the band lineup, one might assume that this is a straight-up hard-bop album. However, this 1966 Joe Henderson record–featuring trumpeter Lee Morgan, trombonist Curtis Fuller, vibraphonist Bobby Hutcherson, pianist Cedar Walton, bassist Ron Carter, and drummer Joe Chambers–is a great example of modern jazz at its best. Mode For Joe was recorded during a time of sweeping musical changes due to developments in free jazz, soul jazz, and even early experiments with fusion. It was a time when the bluesy and funky leanings of hard-boppers were giving way to more individualized contemporary approaches. One of the best examples of this shift, MODE FOR JOE sounds more like the experimental work of Branford Marsalis than the groovy musings of Art Blakey and the Jazz Messengers.
The last track on Mode For Joe, “Free Wheelin’,” is the only dyed-in-the-wool hard-bop tune heard here. Other than that, this outing’s mostly up-tempo songs serve as vehicles for solos. Henderson himself proves that the template for players such as Marsalis, Joe Lovano, and Joshua Redman was invented a generation earlier, as evidenced on “A Shade of Jade,” “Black,” and others, making this one of the sax legend’s most intriguing albums.
Personnel: Joe Henderson (tenor saxophone); Lee Morgan (trumpet); Curtis Fuller (trombone); Bobby Hutcherson (vibraphone); Cedar Walton (piano); Ron Carter (bass); Joe Chambers (drums).
Tracklist
01. A Shade Of Jade
02. Mode For Joe
03. Black
04. Caribbean Fire Dance
05. Granted
06. Free Wheelin’
07. Black (Alternate Take)
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Ikebe Shakedown – Ikebe Shakedown
Posted by dOk | Filed under 2011, Afrobeat, Funk, Jazz
Ikebe Shakedown, the self-titled album from the Brooklyn-based band, plays with elements of Cinematic Soul, Afro-funk, Deep Disco, and Boogaloo in all the right ways. After spending a few years together the group, named after a favorite Nigerian boogie record (and pronounced “ee-KAY-bay,”) delivers a driving set of tunes featuring a mighty horn section anchored by tight, deep-pocketed grooves.
For more info and buy check: www.ikebeshakedown.com
Tracklist
01. Tujunga
02. Kumasi Walk
03. No Name Bar
04. Tame The Beats
05. Don’t Contradict
06. The Hold Up
07. Refuge
08. In Circles
09. The Viking
10. Five Points
11. Asa-Sa
12. Pepper
13. Sakonsa
14. Green And Black
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Hank Mobley – Workout
Posted by dOk | Filed under 1961, Jazz
Workout teams tenorman Hank Mobley with guitarist Grant Green for a rousing session that befits the title. Also in attendance are rhythm section aces Wynton Kelly, Paul Chambers, and Philly Joe Jones, who provide swinging support. Muscular tunes like the title track and the aptly titled “Smokin’” are the focus here as the two expertly blow and wail through the changes like frenzied boxers in a title bout. Also included are Mobley’s catchy blues number “Uh Huh” and masterful takes on the standards “The Best Things in Life Are Free” and “Three Coins in the Fountain.” In all, it is easy to hear why Workout is one of Mobley’s quintessential recordings.
Personnel: Hank Mobley (tenor saxophone); Wynton Kelly (piano); Grant Green (guitar); Paul Chambers (bass); Philly Joe Jones (drums).
Tracklist
01. Workout
02. Uh Huh
03. Smokin’
04. The Best Things In Life Are Free
05. Greasin’ Easy
06. Three Coins In A Fountain
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Sam Rivers – Fuchsia Swing Song
Posted by dOk | Filed under 1964, Jazz
Originally released in 1964, Sam Rivers’ Fuchsia Swing Song was released immediately after his departure from the Miles Davis Quartet. A session player and former member of Herb Pomeroy’s Big Band prior to working with Miles, this auspicious debut displays both his influences and that he was a self-assured seasoned player transitioning into greatness.
Personnel: Sam Rivers (tenor sax); Jaki Byard (piano); Ron Carter (bass); Anthony Williams (drums)
Tracklist
01. Fuchsia Swing Song
02. Downstairs Blues Upstairs
03. Cyclic Episode
04. Luminous Monolith
05. Beatrice
06. Ellipsis
07. Luminous Monolith (Alternate Take)
08. Downstairs Blues Upstairs (First Alterate Take)
09. Downstairs Blues Upstairs (Second Alternate Take)
10. Downstairs Blues Upstairs (Third Alternate Take)
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Bobby Hutcherson – Patterns
Posted by dOk | Filed under 1968, Jazz
All of Bobby Hutcherson’s late ’60s Blue Note dates are excellent examples of superior ensemble interaction coupled with fascinating compositions. 1968′s Patterns features the vibraphonist leading a quintet capable of tremendous textural changes and near-classical sophistication. The group offers its interpretation of six spellbinding pieces (plus one extra take of the title track), most of which were composed by drummer Joe Chambers. On this must-have session Stanley Cowell (piano), Reggie Workman (bass) and saxophonist James Spaulding (who also adds beautiful colors on flute) round out the group.
Personnel: Bobby Hutcherson (vibraphone); James Spaulding (alto saxophone, flute); Stanley Cowell (piano); Reggie Workman (bass); Joe Chambers (drums).
Tracklist
01. Effi
02. Ankara
03. A Time To Go
04. Patterns
05. Irina
06. Nocturnal
07. Patterns (Alternate Take)
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Duke Pearson – Dedication!
Posted by dOk | Filed under 1961, Jazz
Recorded for a small label that proceeded to go broke, Dedication! would not be released until nine years after its initial recording. This seems odd considering the all-star cast of players. Pianist Duke Pearson is joined by trumpeter Freddie Hubbard, baritone player Pepper Adams, trombonist Willie Wilson, bassist Thomas Howard, and drummer Lex Humphries on seven selections. The set kicks off with Tommy Flanagan’s “Minor Mishap,” an upbeat piece that brings forth nice solos from everyone. This might be Pearson’s session, but everybody is given plenty of room to cut loose. Wilson, for instance, is featured for the length of “The Nearness of You” and for a great deal of “Time After Time.” This is fortunate in retrospect; he made few recordings and would pass away in 1963, two years after this record was made. Pearson also turns in a number of nice solos. Like Hank Jones, his light touch serves him well on instrumentals like “Blues for Alvina” and “Time After Time.” The performances by Hubbard and Adams are topnotch throughout; they turn in first-rate work on numbers like Donald Byrd’s “Lex” and the Pearson original “The Number Five.” An important factor in the success of this album is the unusual combination of trumpet, trombone, and baritone saxophone that creates a resonant, full sound. Pearson would make a number of other fine recordings for Blue Note during the ’60s, but none finer than this one. Dedication! serves as a fine introduction to a talented pianist.
Personnel: Duke Pearson (piano); Pepper Adams (baritone saxophone, brass); Freddie Hubbard (trumpet); Wilfred Wilson, Willie Wilson (trombone); Lex Humphries (drums).
Tracklist
01. Minor Mishap
02. Number Five (aka Miss Bertha D. Blues)
03. The Nearness Of You
04. Apothegm
05. Lex
06. Blues For Alvina
07. Time After Time
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Stanley Turrentine with The Three Sounds – Blue Hour: The Complete Sessions
Posted by dOk | Filed under 1960, Jazz
Stanley Turrentine & the Three Sounds were initially featured together on an album called Blue Hour, which was a very relaxed and bluesy release. The spaciousness of “I Want a Little Girl” makes the listener savor every note, while “Gee Baby, Ain’t I Good to You” is played with an almost identical tempo and feeling. Gene Harris’ “Blue Riff” picks up the pace a good bit, before “Since I Fell for You” and “Willow Weep for Me” once again slow the proceedings back to a late-night feeling. Turrentine’s tenor sax is in top form, while Harris is the consummate blues pianist in his supporting role. After the first CD reissue of Blue Hour went out of print, it was expanded into a two-CD set by Blue Note, with eight new unissued or alternate takes added on the second disc. It is apparent right away that the original producer Alfred Lion was correct in withholding most of these recordings from release. As well as Turrentine plays during “Blues in the Closet,” the rhythm section seems a bit stiff. Harris’ piano is too much in the background on “Just in Time,” while the pianist’s composition “Blue Hour” doesn’t seem to be fully formed as a blues vehicle. “Strike Up the Band” is the one truly up-tempo recording present on this release, but probably wasn’t issued previously because it is faded prematurely and it was so different from the producer’s concept for the originally conceived release. Regardless, since both Stanley Turrentine and Gene Harris passed away within a year of each other in 2000, having additional music made available featuring these two fine musicians is most welcome.
Personnel: Stanley Turrentine (tenor saxophone); Gene Harris (piano); Andrew Simpkins (bass); Bill Dowdy (drums).
Tracklist
CD1
01. I Want a Little Girl
02. Gee Baby, Ain’t I Good To You
03. Blue Riff
04. Since I Fell For You
05. Willow Weep For Me
CD2
01. Blues In The Closet
02. Just In Time
03. Gee Baby, Ain’t I Good To You
04. Where or When
05. Blue Hour
06. There Is No Greater Love
07. Alone Together
08. Strike Up The Band
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Donald Byrd – Fuego
Posted by dOk | Filed under 1959, Jazz
Donald Byrd’s Fuego is one of the many fine hard-bop sets the trumpeter recorded for Blue Note throughout the late 1950s and ’60s. Featuring all Byrd originals, from the driving pulse of the opening title track to the gospel-tinged “Amen,” which closes out the album, Fuego has much to recommend it. There are top-notch personnel (Jackie McLean lends his soulful sax work to the proceedings), strong compositions, and a relaxed, open feel throughout. And, of course, Rudy Van Gelder’s pristine engineering is the icing on the cake.
Personnel: Donald Byrd (trumpet); Jackie McLean (alto saxophone); Duke Pearson (piano); Doug Watkins (bass); Lex Humphries (drums).
Tracklist
01. Fuego
02. Bup A Loup
03. Funky Mama
04. Low Life
05. Lmanet
06. Amen
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Bill Evans – How My Heart Sings!
Posted by dOk | Filed under 1962, Jazz
A new Bill Evans Trio re-entered the studio in the spring of 1962, nearly one year after the untimely death of innovative bassist Scott LaFaro. Chuck Israels was LaFaro’s replacement, and while he would never take musical charge the way LaFaro did, his supportive presence and solid sound helped make this second edition of the Trio a worthy successor. The 1962 dates produced two albums’ worth of material. The previously released Moonbeams was lyrical yet somber, while the altogether brighter How My Heart Sings! consistently swings. There is little evidence here of the depressive slump which caused Evans to take off the previous year in response to LaFaro’s death.
Just as on Moonbeams, we are introduced here to new Evans originals, additions to a growing and impressive catalog, like “Walking Up” and the exhilarating “Show-Type Tune” in which the pianist puts on his best Bud Powell hat, knocking off line after line of thrillingly executed runs. Add Earl Zindar’s haunting title track, then a nod to Dave Brubeck on the two takes of the latter’s “In Your Own Sweet Way” and How My Heart Sings stands as the most varied Bill Evans set since his breakthrough Everybody Digs Bill Evans.
Bill Evans Trio: Bill Evans (piano); Chuck Israels (bass); Paul Motian (drums).
Tracklist
01. How My Heart Sings
02. I Should Care
03. In Your Own Sweet Way (Take 1)
04. In Your Own Sweet Way (Take 2)
05. Walking Up
06. Summertime
07. 34 Skidoo
08. Ev’rything I Love
09. Show-Type Tune
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Kenny Dorham – Una Mas
Posted by dOk | Filed under 1963, Jazz
Trumpeter Kenny Dorham was a significant presence in the bop and hard bop scenes, a musician whose distinctive, lyrical style had been apparent from his work in the late ’40s with Charlie Parker’s quintet. The year 1963 was especially good for him. He had just returned from a trip to Brazil where he had been absorbing the bossa nova, and he had formed a musical partnership with Joe Henderson, a powerful young tenor saxophonist whose rugged sound and coiling lines were an ideal complement to Dorham’s often subtler approach. This session is the first in a series of dates that would pair the two, and the fifteen minute “Una Mas,” a percolating mix of hard bop sonorities and a samba beat, was the first recorded example of Dorham’s distinctive exploration of bossa nova (his “Blue Bossa” would become a jazz standard).
Personnel: Kenny Dorham (trumpet); Joe Henderson (tenor saxophone); Herbie Hancock (piano); Butch Warren (bass); Tony Williams (drums).
Tracklist
01. Una Mas (One More Time)
02. Straight Ahead
03. Sao Paulo
04. If Ever I Would Leave You
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Erik Truffaz – Out Of a Dream
Posted by dOk | Filed under 1997, Jazz
Truffaz has experimented with electronica-tinged dance music and ensemble improvisation, but on his 1997 major label debut Out Of A Dream, he channels the spirit and sound of Miles Davis. The way Truffaz delicately and economically phrases smatterings of thin warm notes begs comparison with Miles. But Truffaz doesn’t just play parrot here, he takes that classic sound and wraps it around a bunch of elegant tunes that you’d swear were laid down decades ago.
Tracklist
01. Down Town
02. Out Of a Dream
03. Beaute Bleue
04. Wet In Paris
05. Porta Camollia
06. Indigo
07. Saisir
08. Elegie
09. Samara
10. Up Town
11. Betty
The Miles Davis Story
Posted by dOk | Filed under 2002, Jazz
Trumpeter-bandleader Miles Davis (1926-91) was a catalyst for the major innovations in post-bop, cool jazz, hard-bop, and jazz-fusion, and his wispy and emotional trumpet tones were some of the most evocative sounds ever heard. He was also one of the most identifiable and misunderstood pop icons of the 20th century. This engrossing British documentary shows the complex layers of this magnificent and mercurial artist. Through rare footage and interviews, we learn of Davis’s middle-class upbringing and his early days with bop legends Dizzy Gillespie and Charlie Parker. The documentary bluntly deals with Davis’s narcotic nadir and his rise from the depths to become a bona fide jazz icon in the mid-’50s to late ’60s. But the most penetrating and poignant portraits of Davis come from musicians who played with and were influenced by him, including Shirley Horn, Herbie Hancock, Joe Zawinul, and Keith Jarrett.
Outstanding musical selections include modal masterpieces “So What” and “Blue in Green,” the haunting soundtrack to the 1957 French film Ascenseur pour l’échafaud, his romantic rendition of Cyndi Lauper’s “Time After Time,” and his collaborations with arranger Gil Evans. The most surprising aspects of Davis’s personality that emerge from this film are his shyness, vulnerability, and, yes, humility. As he said himself, “Don’t call me a legend. Call me Miles Davis.” –Eugene Holley Jr.
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John Coltrane – Soultrane
Posted by dOk | Filed under 1958, Jazz
This wonderful 1958 session features the tenor sax legend leading pianist Red Garland, bassist Paul Chambers and drummer Arthur Taylor on a well-chosen five-song set of jazz and pop standards. The album opens with a lively version of Count Basie’s “Good Bait” that allows Coltrane, Chambers and Garland to indulge in some exquisite, highly inventive solos. While Coltrane’s versions of Billy Eckstine’s “I Want To Talk About You” and Fred Lacey’s “Theme For Ernie” are pretty much straight ballad performances, his bold, powerful style brings out the soulful feel of these two beautiful, reflective melodies.
Personnel: John Coltrane (vocals, tenor saxophone); John Coltrane; Paul Chambers (upright bass); Red Garland (piano); Art Taylor (drums).
Tracklist
01. Good Bait
02. I Want To Talk About You
03. You Say You Care
04. Theme For Ernie
05. Russian Lullaby
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Jackie McLean – Demon’s Dance
Posted by dOk | Filed under 1967, Jazz
The late alto saxophonist Jackie McLean had one of the most distinctive sounds in jazz history–fluid and bittersweet, with an impassioned “cry” at its heart. McLean made several classic albums for Blue Note in the 1960s, with Demon’s Dance arriving in 1967, near the end of his time with the label. While not as well known as his other albums, Dance exhibits some excellent bristling, surging hard bop, much of which features trumpeter Woody Shaw–most notably on the indelible, infectious would-be hit “Sweet Love of Mine.”
Personnel: Jackie McLean (alto saxophone); Jackie McLean; Scott Holt (bass instrument); Woody Shaw (trumpet); LaMont Johnson (piano); Jack DeJohnette (drums).
Tracklist
01. Demon’s Dance
02. Toyland
03. Boo Ann’s Grand
04. Sweet Love Of Mine
05. Floogeh
06. Message From Trane
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Don Rendell/Ian Carr Quintet – Shades Of Blue
Posted by dOk | Filed under 1965, Jazz
If ever there was a golden period in British jazz it was the 1960s, with Don Rendell and Ian Carr, 2 of the most innovative musicians around, with the albums their quintet produced now legendary, and still fresh and stunning in their simplicity and power. This comes not only from the exquisite playing of Ian Carr on flugelhorn and trumpet, and Don Rendell’s tough tenor and soprano excursions, but equally from the thought that had gone into the writing and arranging.
The dynamics of the quintet members are beautifully balanced, with the lyrical playing of pianist Michael Garrick an often wistful counter to the searching bass of Dave Green, and the ever changing, explosive patterns from drummer Trevor Tomkins. There had never been such concise small ensemble playing since Miles Davis and John Coltrane came together in the 1950s.
little preview:
Tracklist
01. Blue Mosque
02. Latin Blue
03. Just Blue
04. Sailin’
05. Garrison ’64
06. Blue Doom
07. Shades Of Blue
08. Big City Strut
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John Coltrane with The Red Garland Trio – Traneing In
Posted by dOk | Filed under 1957, Jazz
With this session, recorded in the summer of 1957, John Coltrane came out from behind the harmonic safety net of a three-horn frontline to focus on his own imposing gifts as an improviser. As the only horn on Traneing In, the young tenor giant revels in the spotlight, demonstrating some of the hard-won lessons from his long apprenticeship with Thelonious Monk’s group that very summer at New York’s Five Spot club.
Red Garland basks in the cruise-control cool of the Art Taylor/Paul Chambers rhythm team on the title tune, and his jaunty opening chords serve to italicize this blues’ deep, deep groove. When Coltrane enters, the rhythm section ups the ante, from Basie-esque tippling to a driving testimonial. Coltrane’s dense harmonic variations unwind in nervous, compulsive layers of sound. Yet for all his complexity, a fervent preacher’s cry remains at the heart of his every utterance. After a stunning Chambers solo, Garland returns with intricate Bud Powell-like variations and stately, driving block chords which incite Coltrane to further melodic delirium.
Typical of his other Prestige dates, Coltrane carefully contrasts edgy moments of tension with interludes of gentle restraint. Chambers’ sultry opening chords to “Slow Dance” give this ballad an oddly spectral cast, until Trane doubles up on the changes. “Bass Blues” finds the limber Chambers doubling the melody with Coltrane, as Garland and Taylor intersperse witty little asides, while “You Leave Me Breathless” is Coltrane at his most romantic, soaring on angel wings into an expressive upper register. Finally, Coltrane and Chambers roar ahead like…well, like a runaway train, on “Soft Lights And Sweet Music,” as Taylor and Garland hold on for dear life.
Personnel: John Coltrane (tenor saxophone); Red Garland (piano); Paul Chambers (bass guitar); Art Taylor (drums).
Tracklist
01. Traneing In
02. Slow Dance
03. Bass Blues
04. You Leave Me Breathless
05. Soft Lights And Sweet Music
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Eric Dolphy – Far Cry
Posted by dOk | Filed under 1960, Jazz
The complete original album Far Cry (Prestige/New Jazz 8270), featuring Eric Dolphy in a quintet format with another star who passed away before his time, trumpeter Booker Little. Among the many highlights are an outstanding version of the Billie Holiday-Mal Waldron ballad “Left Alone” and Dolphy’s unaccompanied alto sax reading of “Tenderly”. As a bonus, two tunes originally issued under the name the Jazz Artists Guild, both of which were recorded on the same date on November 1, 1960, and each featuring one of the stars of Far Cry: Dolphy on “T’Ain’t Nobody’s Business if I Do”, and Little on “Cliff Walk”.
Personnel: Eric Dolphy (alto saxophone, flute, bass clarinet); Booker Little (trumpet); Jaki Byard (piano); Ron Carter (bass); Roy Haynes (drums).
Tracklist
01. Mrs. Parker Of K.C. (Bird’s Mother)
02. Ode To Charlie Parker
03. Far Cry
04. Miss Ann
05. Left Alone
06. Tenderly
07. It’s Magic
08. Serene
