Mark Masters with Andrew Cyrille, Oliver Lake, Tim Hagans, Mark Turner and more - Sept. 21 on CAPRI RECORDS

Composer and arranger Mark Masters paints compelling jazz landscapes for eight original works on new Capri Records release Our Métíer

With Andrew Cyrille, Oliver Lake, Mark Turner, Tim Hagans, Gary Foster,

Dave Woodley, Putter Smith, Anna Mjoll and more

"Masters' arrangements allow the freedom for solos that are creative in the extreme."

- Dan McClenaghan, All About Jazz

"Masters' arrangements are, no pun intended, masterful."

- Scott Albin, JazzTimes

With his Capri release Our Métíer (September 21, 2018), Mark Masters applies his prodigious talent for painting brilliant, complex, and satisfying jazz landscapes.  The eight Masters compositions featured on the album showcase some of the most adventurous creative improvising musicians in jazz today: Andrew Cyrille, Mark Turner, Oliver Lake, Tim Hagans, Gary Foster, Dave Woodley and Putter Smith. In addition, Masters incorporates the unique voice of Anna Mjoll as an orchestral color, mixing with the instrumental waves in wordless swirls of sound. 

The ensemble that supports these improvisers includes Scott Englebright and Les Lovitt (trumpet), Stephanie O'Keefe (French horn), Les Benedict and Ryan Dragon (trombone), Jerry Pinter, Kirsten Edkins and Bob Carr (woodwinds), Ed Czach (piano), and Craig Fundyga (vibes). The group's big band sound is augmented by bass clarinet and vibes giving the project, at times, an ethereal personality.

In his ten previous projects for Capri Records, Masters has reimagined the music of Lee Konitz, Gary McFarland, Dewey Redman, Donald Fagen and Walter Becker (Steely Dan), Grachan Moncur III and Clifford Brown.

With Our Métíer, Masters has produced a classic "free-bop" large ensemble statement.  One key to the success of the recording is the combination of improvisers completely simpatico with the compositions. In fact, the music was conceived and written specifically for these soloists. The music itself is an artist's canvas filled with all the hues and textures that flow from Masters' creative core.

The opening track "Borne Towards the Stars," inspired by the conclusion of Malcolm Lowry's novel "Under the Volcano," shimmers with atmospheric gravity and features explosive solos by Lake and Hagans.  In "51 West 51st Street," drummer Cyrille establishes the groove after an opening steeped in funk featuring Mjoll and Carr's bass clarinet.  When Hagans and Foster boogaloo into the musical space you can close your eyes and imagine being in Toots Shor's legendary New York City bar.  "Lift" is an understated blues featuring Mjoll's exquisite voice and solid solo work from Mjoll, Lake, Smith and Fundyga.  The harmonically engaging "Ingvild's Dance" with Foster and Turner brings to mind the classic pairing of Lee Konitz and Warne Marsh. "A Précis of Dialogue" is the first of two collective improvisations demonstrating clear textures and sparkling musical interplay with Turner, Foster, Cyrille and Smith.  Foster, Smith, Woodley, and Turner deliver emotionally charged solo statements on the heartbreakingly gorgeous ballad "Dispositions of the Heart."  "Obituary" is Masters' tribute to friends and teachers no longer living.  Far from a dirge, the composition is an up- tempo, celebratory romp that shows off the ensemble in top form.  From the haunting opening and trombone clusters aided by Mjoll to the sophisticated tenor sax and trumpet solos that follow, "Luminescence" brings you the blues in an entirely different way. "In Our Time," the second of two collective improvisations is wildly exploratory, conversational and always compelling.  The title track closes the recording with a powerful, quintessential "free-bop" statement.

Mark Masters Biography

Mark Masters (b. 1957) has earned wide acclaim as an inventive and prolific composer and arranger. All About Jazz calls him "one of the great jazz arrangers of the late 20th and 21st centuries."  Born in 1957 in Gary, Indiana, Masters studied jazz at California State in LA. He organized his first ensemble in 1982 and has never looked back.

"A strikingly creative spirit," (Jim Santella, All About Jazz), Masters has led numerous recording sessions, almost all for Capri Records. Among them are Priestess (Capri, 1990) that Masters wrote to feature Billy Harper and Jimmy Knepper.  A subsequent recording with Knepper, The Jimmy Knepper Songbook (Focus, 1993), featured arrangements by Masters of Knepper's compositions.

Masters' most recent recording Blue Skylight (Capri, 2017), features his innovative ensemble writing and unique approach to the music of Gerry Mulligan and Charles Mingus.  Farewell Walter Dewey Redman (Capri, 2008) features Masters' "in and out" approach and re-casts Dewey Redman's music while retaining its substance.  The project features Oliver Lake, Tim Hagans, Dave Carpenter, and Peter Erskine. Other recordings include Wish Me Well (Capri, 2005) with Steve Kuhn, Gary Smulyan, Gary Foster, and Tim Hagans, Exploration (Capri, 2004) with Grachan Moncur III's octet arranged by Masters, One Day With Lee (Capri, 2004) featuring alto saxophonist Lee Konitz, and The Clifford Brown Project (Capri, 2003) featuring Jack Montrose, Gary Smulyan, Tim Hagans, Cecilia Coleman, and Joe La Barbera. In addition, in 2013 Capri released two recordings, Ellington Saxophone Encounters and Everything You Did: The Music of Walter Becker & Donald Fagen.

Masters' 2005 recording Porgy and BessŠRedefined! (Capri) is a more harmonically adventurous approach to Gershwin's classic folk opera than what has come before.  John Kelman, writing for All About Jazz said "ŠMasters' score is the real star here.  From the opening fanfare he introduces two contrasting elements that, to a large part, define the approach to the whole suite-vibrant swing and some surprisingly free passages.  He clearly proves that it's possible to take a piece that has been approached from a variety of angles and still find a new way in."

Since 1998, Masters has been president of The American Jazz Institute, a non-profit organization dedicated to the enrichment and enhancement of the appreciation of jazz. Under Masters' direction, the AJI supports activities that educate and expose the public to jazz through live performance and an oral history project, as well as by supporting charitable endeavors that advance jazz music. One such endeavor is the AJI's Find Your Own Voice mentoring program that takes professional musicians to middle and upper school campuses to present clinics and master classes to student musicians. 

Masters served as a guest lecturer at Claremont McKenna College (1999 - 2006) where he was involved with the History of Jazz class, overseeing an oral history project, and writing for and producing a series of concerts that brought such notable artists to the college as Billy Harper, Billy Hart, Bennie Maupin, Rufus Reid, Sam Rivers, Andrew Cyrille, Mark Turner, Gary Foster, Lee Konitz, Jack Montrose, John La Porta, Tim Hagans, Gary Smulyan, Ray Drummond, Steve Kuhn, Peter Erskine, Joe La Barbera, Ted Brown, Grachan Moncur III, Henry Grimes, and Dewey Redman.

Masters has been named a Rising Star Arranger in DownBeat Magazine's Annual Critics Poll multiple times.

caprirecords.com

Putter Smith Quintet - Night Song (GAM MUSIC 2018)

During a lovely, long train ride from Amsterdam to Berlin, recently, I had the pleasure to listen to some very nice music created by Putter Smith, a fine bassist and composer.

With Gary Foster, a long time spiritual buddy who plays better everytime I hear him, and John Gross, a cross between Warne Marsh and Coltrane (a very expressive player on the tenor sax), Peter Donald and Joey Baron sounding very involved (alternate dates), and Patrice Rushen and Dave Frishberg adding some musical harmonies, and an assortment of nice tunes.

They manage to take the sic(k) out of the music, and add a lot of the muse! (muse sick!!).

Thanks Mr. Prins for thinking enough of this program to make it available to us. - Lee Konitz

Putter Smith bass, compositions

John Gross tenor & soprano sax

Gary Foster alto & soprano sax

Dave Frishberg piano

Patrice Rushen piano

Joey Baron drums

Peter Donald drums

1. The Story Of O 04:53

2. White Flight 04:28

3. Valse Hot 06:38

4. Morbid Data 04:57

5. Teef 05:10

6. Time 05:11

7. Along Came Betty 05:54

8. Marlene 05:28

9. Giant Steps 03:36

10. Night Song 03:10

11. Putt's Blues 05:47

GAM MUSIC

Rossy & Kannan Quartet (feat. Putter Smith & Jimmy Wormworth) - _play the music of Harold Arlen (SWIT RECORDS 2017)

During the decade from the mid 1920s through the mid 1930s, American popular music found its own identity, distinct from European roots. Tin Pan Allrhythm, Broadway. and later, Hollywood, began to capture the energy and rhythm of the burgeoning streets of America.

Composers like Jerome Kern, Irving Berlin, George Gershwin. Richard Rodgers and Harold Arlen collectively created what we now refer to as the Great American Song-book. They wrote music that so profoundly resonated with the public that it was the soundtrack for the lives of people all across the country and in some cases, around the globe.

In this pantheon of great writers, Arlen is unique. He and Gershwin were far moere influenced by jazz than their compatriots. But Aelen's melodies often had a more bluesy, melancholic feeling to them, even in the uptempo numbers. And his ethereal harmonies seem to come from some other world. His compositions are singular and follow their own distinct inner logic. And yet his songs are popular songs -hit songs- with memorable melodies that want to be sung and swung.

Our quartet tries to honor the original melodies and structure of these song while offering our own interpretations. As always, our masterful rhythm players -bassist Putter Smith and drummer Jimmy Wormworth- imbue every note with a swing that is at once driving, joyful, and full of mistery. Jorge Rossy proves again that he has truly found his voice on the vibraphone. He digs into these songs with abandon and delight, constantly finding new melodies and directions.

The group maintains a strong connection to the jazz tradition that still allows each member to express his own identity fully. Of course, this IS tradition of jazz for players to swing together, cach with their own voice.

Michael Kanan

1 It's Only A Paper Moon 6:12

2 I'll Wind 6:23

3 Let's Fall In Love 4:53

4 I've Got The World On A String 5:15

5 Ac-Cent-Tchu-Ate The Positive 4:42

6 Come Rain Or Come Shine 6:40

7 If I Only Had A Brain 5:03

8 The Man That Got Away 8:43

9 Ding-Dong! The Witch Is Dead 4:49

Jorge Rossy vibes & marimba

Michael Kanan piano

Putter Smith contrabass

Jimmy Wormworth drums

The Mark Masters Ensemble - Blue Skylight (CAPRI RECORDS 2017)

Arranger/Bandleader Mark Masters Reimagines the Music of Iconic Jazz Composers Charles Mingus and Gerry Mulligan

Blue Skylight, out Feb. 17, features singular arrangements for the Mark Masters Ensemble, with veteran players Putter Smith, Gary Foster and Gene Cipriano

"Mark Masters is an accomplished arranger who comes up with hip, unusual ideas for jazz concerts and recordings." – Thomas Conrad, JazzTimes

"Masters is leading the charge as one of the great arrangers of our time.” – Brent Black, CriticalJazz

In many ways, Charles Mingus and Gerry Mulligan couldn’t have been more different. One was notoriously fiery and confrontational; the other understated, the epitome of cool. But one thing that these two jazz icons did share – beyond their influential shaping of the music’s low end – was their singularity of vision, a wholly unique perspective that in different ways redirected the trajectory of jazz through their own individual conceptions – with complete disregard for the naysayers.

With that in mind, both Mulligan and Mingus would no doubt approve of the reimaginings that Mark Masters has made of their compositions on Blue Skylight, out February 17 on Capri Records. The word “arrangements” doesn’t quite do justice to Masters’ approach; these eleven pieces are vivid acts of recomposition, each vividly rendered and finely tailored to fit the gifted and distinctive players of the Mark Masters Ensemble.

As trumpeter Tim Hagans (a gifted and inventive composer and arranger in his own right) puts it in his liner notes, “arranging is composing and if the arranger’s voice is highly personal and developed, the original composer fades in function against the arranger’s musical opinion.”

The particular pieces that Masters chose for Blue Skylight are not the obvious selections, the marquee compositions that have been rendered by band after band, year after year, in the decades since they were written. “I prefer the more obscure music,” Masters insists with a self-deprecating chuckle at his un-salesmanlike instincts. Regardless of how familiar a listener is with these composers’ catalogues, though, it’s not likely that Masters’ takes will ever sound well-worn or predictable. As Hagans points out, Masters is a true composer; his initial spark may be a pre-existing tune rather than a stroke of inspiration from the clear blue sky, but his palette is a pool of highly skilled, deeply expressive musicians from which he culls his namesake ensemble.

“It’s all about the players,” Masters says. “There are very few people who can be successful writing music without knowing who’s going to play it. The overriding factor for me is creating a framework for the players to be successful in.”

Blue Skylight was born of a pair of 2015 concerts performed by the ensemble in Palm Desert, California: a “Gerry Mulligan Songbook” evening and a program entitled “Blues by Mingus.” Both prominently featured a trio of undersung elder jazz statesmen that Masters wanted to feature and celebrate: bassist Putter Smith, who has played with such icons as Thelonious Monk, Art Blakey and Duke Ellington; tenor saxophonist Gene Cipriano, a studio veteran who worked with Henry Mancini, the Tommy Dorsey Orchestra, Miles Davis and Gil Evans, and Frank Zappa, and provided the sound of Tony Curtis’ sax playing in Some Like It Hot; and alto saxophonist Gary Foster, who has played on countless TV and movie scores while playing in big bands led by Toshiko Akiyoshi and Lew Tabackin, Clare Fischer, and Louis Bellson.

“They're true veterans,” Masters says. “They’re some of my heroes.”

The seven-piece ensemble (slightly different for the Mingus and Mulligan selections) is filled out by some of the West Coast’s most in-demand musicians, most of whom have enjoyed long relationships with Masters. The longest-serving among them is saxophonist Jerry Pinter (Woody Herman, Stan Getz), who has been working with the bandleader for nearly three decades. Masters has high praise for each player, though, including baritone saxophonist Adam Schroeder, trumpeter Ron Stout, trombonist Les Benedict, pianist Ed Czach and drummer Kendall Kay.

Masters was intrigued by different facets of the two legendary composers’ music. To begin with, in order to make these pieces truly his own, he had to forego being too deferential or awed by their looming status in the jazz world. “There was no sense of staying true to Mulligan or Mingus or capturing the spirit of either one of them,” he says. “I don’t want that to sound egotistical, but I had to do what I was going to do regardless of who the composer was.”

In Mingus’ case, Masters was drawn to the master bassist’s unique harmonic structures. The album kicks off with the burly swing of “Monk, Bunk and Vice Versa,” from Mingus’ culminating masterwork Epitaph. Masters also chose the Dolphy epitaph “So Long Eric,” which opens with Smith’s emotive bass; “Peggy’s Blue Skylight,” which gives the album its title and fits the mysterious, elusive tone of the Edward Hopper painting on its cover; the tenderly aching ballad “Duke Ellington’s Sound of Love,” highlighted by Pinter’s yearning tenor; and the dusk-lit “Eclipse,” featuring standout solos from Foster and Benedict.

The lesser-known Mulligan pieces include the swaggering “Out Back of the Barn,” featuring a bluesy, moaning turn from Cipriano; the delicate “Wallflower,” from which Czach wrings a particularly hushed and heartbreaking solo; “Strayhorn 2,” on which Schroeder gets to step into Mulligan’s shoes in a captivating duet with Czach; the percolating “Apple Core,” with Pinter and Foster going head to head; “Birds of a Feather,” a bop-fueled early tune penned for Gene Krupa; and finally the more familiar “Motel,” closing the album with another bravura run by Schroeder.

Long recognized as one of the great jazz arrangers of the last few decades, Mark Masters formed his first ensemble in 1982. He’s gone on to found the non-profit American Jazz Institute and has recorded tributes to Jimmy Knepper, Clifford Brown, Dewey Redman and other greats, leading ensembles featuring some of the music’s most revered performers, including Billy Harper, Tim Hagans, Gary Smulyan, Peter Erskine, Steve Kuhn, Ray Drummond, and Oliver Lake.

www.caprirecords.com

Rossy & Kanan Quartet - Gershwin (2015)

Biography-Jorge Rossy

Jorge Rossy, 1964 Barcelona (Also known as Jordi Rossy) started playing drums at age 11. Between 1980 and 1989 he toured extensively With MOST Recorded musicians in the spanish scene and some Internationally acclaimed artists as Woody Shaw, Kenny Wheeler, Jack Walrath, Dave Schinitter, Sal Nistico, Sean Levitt and others. Moved to Boston in 1989 to study trumpet at Berklee College of Music. In Boston Jordi Became the drummer of choice for many of His peers and joined Danilo Perez Trio for some gigs in Panama, France, Boston and New York, then a sextet joined Paquito D'Rivera for 2 years and Moved to Ny City in 1991. In Ny Jordi played in the early recordings of many of His Boston friends like Mark Turner, Chris Cheek, Seamus Blake, Kurt Rosenwinkel and some other musicians then a living in the city like Brad Mehldau, Ethan Iverson, Reid Anderson, Avishai Cohen, Joe Martin Freddie Bryant Also Jordi worked and Recorded With Joshua Redman, Bill McHenry, Bruce Barth, Mike Kanan, Ben Monder, Nat Su, Steve Wilson, Mark Johnson, Larry Grenadier, Ben Street, to mention a few In 1995 started touring around the world and recording extensively With the Brad Mehldau Trio for 10 years. 

During This Time Also Recorded and toured with The Bloom Daddies an electric high voltage band lead by Chris Cheek and Seamus Blake, with Jesse Murphy on bass and a drummer two team with Jordi and Dan Reiser or Later with Tony Mason. 

Also in 2000 Moved back to Barcelona to raise a family and to start focusing on piano. 

in the 10 years Jordi has-been playing and recording on piano With some bands like Jordi Matas Quintet or Joe Smith and several projects septet With Guillermo Klein, Including a performance at Merkin Hall in NYC and the Library of Congress in Washington DC Auditorium. 

Since 2006 Jordi is've Recorded first album as a leader in Wicca Trio With Albert Sanz on Hammond organ and RJ Miller on drums And Also His second outing ¨IVLIANVS Suite with the same rhythm section plus Chris Cheek on sax and Felix Rossy ( Jordi's son) on trumpet. 

Jordi's band has-been touring around Spain, the east coast of USA, Marroco, Italy and Also Performed in 2010 in Basel Switzerland. 

But During This Time Jorge has Also Been busy playing drums occasionally With Lee Konitz and Ethan Iverson quartet, Charlie Haden's Quartet West and Land of the Sun Septet, Carla Bley's Liberation Orchestra, Joe Lovano's Quartet Europe, Kurt Rosenwinkel quintet, Seamus Blake Quartet, Trio 2000 With Chick Corea and NHOP and another threesome With Brad Mehldau and Charlie Haden. More Recently Played With Wayne Shorter Quartet in European Tour 2012.

Biography- Mike Kanan

Michael Kanan hails from Boston, Massachusetts where he first began to play the piano at age 7. He started improvising at the keyboard early on, and by age 10 he was listening to jazz. His first instructor was pianist Harvey Diamond, a student of jazz innovator Lennie Tristano. During his years at Boston College, Michael had the opportunity to perform with several jazz greats including Tal Farlow, Lee Konitz, Al Cohn, and Alan Dawson. After graduating college and doing some freelance work around Boston, he moved to New York in 1991 to study with another Tristano student, the pianist Sal Mosca. He established himself in New York, playing and recording with Kurt Rosenwinkel, Mark Turner, and Jorge Rossy, among others. He also developed a growing reputation as a vocal accompanist. In 1996, he joined the band of legendary singer Jimmy Scott, touring the US, Europe, and Japan and recording 4 CDs. In 2001, Michael became the accompanist and arranger for one of today's most celebrated vocalists, Jane Monheit. With Ms. Monheit's group, he has toured all over the world, recorded several CDs and DVDs, and made many TV appearances, including The David Letterman Show and The Conan O'Brien Show.

When not on the road with the Monheit band, Michael performs and records with his own groups. He has made two trio recordings for Barcelona's Fresh Sound New Talent label: "Convergence" and "The Gentleman Is A Dope", both featuring bassist Ben Street and drummer Tim Pleasant. He has also recorded a duet with his longtime collaborator, alto saxophonist Nat Su, entitled "Dreams And Reflections". He can be heard around New York with his trio featuring drummer Eliot Zigmund and bassist Lee Hudson.

Today, Michael lives in Brooklyn, and is a student of classical piano teacher Sophia Rosoff.

Biography: Jimmy Wormworth

“Jimmy Wormworth is a powerful drummer, whose boundless energy is not easily contained in any room, and who exemplifies [...] ageless musicality.” – Luke Kaven

James E. “Jimmy” Wormworth III, born August 14, 1937 in Utica, New York, is a seasoned, veteran jazz drummer who trumpeter John Marshall (WDR Big Band) calls “a living part of jazz history.” At age 20 he toured Europe with his own quartet, then went to New York City on the invitation of arranger Torrie Zito and soon began touring the United States with Nellie Lutcher.

Along with Mal Waldron and Peck Morrison in the house rhythm section of the legendary Five Spot café in 1959, he worked with Art Farmer, Kenny Dorham, John Coltrane, Booker Little, Pepper Adams, Bobby Jaspar and many more. In the late 1950s and early 1960s he worked with Lou Donaldson, “Les Jazz Modes” (Charlie Rouse, Julius Watkins), Phineaus Newborn, Sahib Shihab, Babs Gonzalez and Lambert, Hendricks and Ross.

In 1969, Jimmy Wormworth was invited by Barry Harris to perform with Coleman Hawkins at The Fillmore East for Mr. Hawkins' second- to-last performance before his death. He has also performed with Roy Eldridge, Ernestine Anderson and Helen Humes. He worked regularly with Al Haig from 1969 until 1982 as well as with J. R. Monterose, Charles Davis, Lonnie Hillyer, Charles McPherson, Barry Harris and Dizzy Reece. In addition, he performed with baritone-saxophone legend Cecil Payne in 2003.

His extensive discography includes seminal recordings with Charlie Rouse and Julius Watkins, Lou Donaldson, Lambert, Hendricks and Ross, Jon Hendricks, Al Haig, J. R. Monterose, Allen Eager, Hod O’Brien and Josh White, more recently, highly acclaimed albums with Annie Ross, Joe Magnarelli, Tardo Hammer, Charles Davis and John Marshall.

Jimmy Wormworth is also a recipient of "The Barry" award, given to him in 2005, by Barry Harris "For True Jazz Mastery."

These days, as one of the generation of great bebop drummers in New York City, Jimmy keeps a busy working schedule. Recently he toured Germany and Switzerland with both Charles Davis and John Marshall and has also toured Europe with Annie Ross, Warren Vaché and Tardo Hammer.

In 2011 and 2012 he taught in two of Europe’s capitals (Berlin and Vienna) and performed in Austria, Hungary, Switzerland and Germany with, among others, Gábor Bolla, Wolfgang Köhler, Claus Raible, Roman Schwaller, Joe Haider and Isla Eckinger.

Biography Putter  Smith

Born in Los Angeles, bassist Putter Smith is a musical product of the vast diversity that defines Los Angeles Metropolitan area. 

This jazz legend has performed with many of the greatest musicians in the biz, including Thelonious Monk Quartet, Art Blakey and the Jazz Messengers, Duke Ellington Orchestra, Billy Eckstine, Alan Broadbent, Bob Brookmeyer, Willie Bobo, Dianne Schuur, Warne Marsh, Dave Koonse, Larry Koonse, Sue Raney, Gary Foster, Lee Konitz, Ray Charles, Jackie and Roy, Carmen Macrae, Bob Dorough, Rio Hondo Symphony, Tootie Heath, Mark Murphy, Blue Mitchell, Patrice Rushen, Art Farmer, Marlene Dietrich, Burt Bacharach, Errol Garner, Gerry Muligan, Jack Sheldon, Charlie Haden, Art Pepper, Claude Thornhill Orchestra conducted by Mark Masters, New American Symphony conducted by Jack Eliot, T-Bone Walker, Manhattan Transfer, Lew Tabakin, Toshiko Akiyoshi, Johnny Mathis, Steve Huffstetter, Eric Von Essen, Shelly Manne, George Duvivier, Tommy Newsome, Roy Mcurdy, Kevin Tulius, Art Pepper, Jake Hannah, Janis Segal, Stephanie Haynes, VR Smith, Mark Turner, Joe Labarbera, Bill Mays, Jeff Hirshfield, Billy Mintz Quartet, Mose Allison, Walter Norris, Larance Marable, Sam Most, Abe Most, Bud Shan , Charlie Mariano, Roberta Piket, Dexter Gordon, J.R. Monterose, Tommy Flanagan Don Randi, Earl Palmer, Charles Davis, Bobby Bradford, Don Preston, Billy Higgins, Don Cherry, Paul Bley, Carla Bley, Diana Krall, Natalie Cole, Jim Hall, Stix Hooper, John Gross, Chuck Manning, Tim Pleasant, Bill Holman and many more.

 He has performed in concert halls and jazz clubs in the USA, Europe and Asia.

Michael Kanan-Piano

Jorge Rossy- Vibraphone

Putter Smith- Double Bass

Jimmy Wormworth- Drums

01.Who Cares

02.He Loves He Loves

03.They All Laughed

04.How long has this been going on

05.Summertime

06.I was doing alright

07.Strike up the Band

08.Embraceable You

09.Soon

10.The man I love

BUY THIS ALBUM!!!

Domi