Joe Farnsworth | "City of Sounds" | Available October 1 via Smoke Sessions Records

Drummer Joe Farnsworth Celebrates the Fortitude of

New York City’s Jazz Community with

Second Release for Smoke Sessions Records

Due Out October 1, City of Sounds Features

Kenny Barron and Peter Washington

Prior to the events of 2020, it may have been easy to take New York City’s thriving and diverse music scene for granted. But when clubs went dark and an unsettling silence descended on the metropolis, it served as a stark reminder of just how vitally important it is to keep the music alive. Drummer Joe Farnsworth determined to do just that, and remained a stalwart jazz warrior throughout the pandemic. His celebratory new album, City of Sounds, is both a testament to his efforts and a heartfelt tribute to the musical melting pot he’s called home for more than three decades.

Due out October 1 via Smoke Sessions Records, City of Sounds was captured onstage at Smoke Jazz & Supper Club with a superb trio featuring legendary pianist Kenny Barron and bass titan Peter Washington. The three are reunited from Farnsworth’s Smoke Sessions debut, Time To Swing, which also included Wynton Marsalis in the line-up. Here Farnsworth sticks to the core trio, a format in which he’s thrived throughout his storied career – including collaborations with McCoy Tyner, Cedar Walton, Harold Mabern, Hank Jones, David Hazeltine and ELEW, among many others.

“I've learned so much from this city,” Farnsworth declares. “Then the city got rocked, so I wanted to try to give back. One of the ways I could do that was by staying here and playing whenever and however I could to keep the sounds alive.”

The performance represented by City of Sounds is just one example of that effort. A thrilling live concert from Farnsworth’s birthday week in February 2021, it bears the traces of the strange period we’re just now emerging from, with musicians in masks and separated by plastic barriers, playing to an empty club for an audience of virtual listeners streaming the music live at home.

Not that any of those inconveniences are reflected in the music. The trio plays with as much vigor, wit and muscularity as if the place was packed throughout a rollicking set that spans the stylistic spectrum. That’s one of – if not the main – reasons that Farnsworth remains so dedicated to his adopted hometown, and one that he was proud to see survive the travails of a turbulent period.

“I went on a Black Lives Matter march from Inwood through Harlem that ended up at a park on the West Side Highway,” he recalls. “As we marched, people were flying the flags of the Dominican Republic, and Puerto Rico, and you’d hear salsa music playing from their windows. Then you went through Harlem and heard funk and soul and rap music. Everyone was cheering for the same thing, but there were all these different sounds. You can't get that anywhere else in the world.”

If that trek can be summed up in a single tune, it’s here in Barron’s “Bud-like,” a tribute to bebop pioneer Bud Powell that also bears a slight Latin tinge. Farnsworth continues the Latin feel with his sultry original “Ojos Cariñosos.” Translated as “brown eyes,” the tune is dedicated to a Dominican friend and was inspired by his collaborations with percussionist/bandleader Bobby Sanabria and lessons learned from Miguel “Mike” Amadeo, the Puerto Rican-born songwriter and proprietor of Casa Amadeo, the city’s longest-running Latin music store.

The set gets off to a brisk and swinging start with Barron’s “New York Attitude.” The song was originally recorded on the pianist’s 1996 album of the same name, but it’s an apt kick-off to an exhilarating evening dedicated to the toughness and tenacity of the jazz mecca’s steadfast musical community.

“We're at Smoke and there's no one there, there're baffles between us, and we have masks on – Kenny Barron, who is royalty and could easily have decided just to stay home and not deal with this, is across the stage with a double mask on. But he's out there. That’s the fortitude of the New York musician. You have to have it to be here because you get smacked around by so many different things, but you just keep showing up.”

The flip side of that attitude is the tenderness and grace that Barron brings to a classic standard like “The Surrey with the Fringe on Top,” buoyed by Washington’s fleet basslines and the airy touch of Farnsworth’s nimble brushwork. “Moonlight in Vermont” is taken at an achingly slow pace, inspired by an encounter that Farnsworth shared with vocalist Betty Carter while playing at the now-defunct Greenwich Village club Sweet Basil in Benny Golson’s band. Album closer “Softly, as in a Morning Sunrise,” meanwhile, takes on an uncharacteristic brightness that represents the dawn after the darkness.

“Kenny suggested that tune,” Farnsworth says. “Everybody was so worried about the future at that point. We were constantly talking about taking things day by day. That's all you heard during the pandemic, but it’s something you should hear every day. So ‘Softly’ is a reminder that today is a new day.”

Farnsworth’s “City of Sounds” is a woozy blues that hints at an after hours jam session, while the blistering “No Fills” recounts a formative lesson taught to him by saxophonist George Coleman. “After the set George asked me, ‘Do you want some butter with them rolls?’ I was playing too much. He wanted me to be more like Billy Higgins. If you listen to Hank Mobley’s Straight No Filter, they do a tune called ‘Soft Impressions’ where McCoy Tyner is on fire but Billy never plays a fill. It's just straight through the top like George was talking about. For me, that's really the bible of no fills.”

The continuity of tradition represented by the album is also captured in its cover photo, which was taken in Weehawken, New Jersey at the same spot where saxophonist Benny Golson is depicted on the cover of 1959’s New York Scene. Golson was one of Farnsworth’s earliest employers, and the site is not far from the homes of Thelonious Monk and Barry Harris, which Farnsworth says affected the very atmosphere of the place.

“People ask all the time if it's still relevant to come to New York anymore,” Farnsworth concludes. “Without a doubt, if you were to spend a year here, you would be a better musician. Why? Charlie Parker's not here, but you still feel him. Monk's not here, but you still feel him. Their presence flows through the streets. It flows through the people. It’s the ultimate power source.”

"City of Sounds" was produced by Paul Stache and Damon Smith,

recorded live at Smoke Jazz & Supper Club, NYC from February 19-21, 2021

and mastered to ½” analog tape using a Studer mastering deck.

Joe Farnsworth · City of Sounds

Smoke Sessions Records · Release Date: October 1, 2021

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Jim Snidero - Live at the Deer Head Inn (March 26, 2021 Savant)

As with many professions, it was a difficult thing to be a jazz musician during the pandemic year of 2020, but alto saxophonist Jim Snidero found himself in a unique situation: he was able to assemble a quartet for a feasible, safe, limited-audience gig at Pennsylvania's famed Deer Head Inn. Snidero and his colleagues relished the chance to commune with listeners, and one another, on the bandstand again at long last. Live at the Deer Head Inn is the result, and as Snidero remarks in the liner notes, "It just felt like the perfect opportunity to cut through the fog of this damn pandemic and mark this moment in time." The energy and excitement are palpable on this, as Snidero rallies his players and the audience in an exuberant set of what he calls "comfort music," beginning with a trenchant take on Charlie Parker's "Now's the Time" (with Bird's daughter, Kim Parker, in attendance to hear it). The depth of swing and interplay is evident in every measure, and Snidero's sound and phrasing reveal a disposition of his own, guided by a unique melodic and harmonic concept — qualities that have earned him recognition in the Downbeat and JazzTimes Critics Polls.

Band Intro by Denny Carrig

Now's the Time

Autumn Leaves

Intro to "Ol' Man River"

Ol' Man River

Bye Bye Blackbird

Idle Moments

Who Can I Turn To

My Old Flame

Yesterdays

Jim Snidero, alto saxophone

Orrin Evans, piano

Peter Washington, bass

Joe Farnsworth, drums

Pre-order

David Chesky - Trio in the New Harmonic: Aural Paintings (CHESKY RECORDS 2018)

While conceived as a series of tonal paintings, somehow David Chesky's cornucopia of oblique ruminations on TRIO IN THE NEW HARMONIC suggest to this scribe something more declamatory, and poetically austere, like some non-denominational evening service at a distant Northern latitude and longitude, bathed in a wintery glow, with the faint promise of spring colors peeking through the firmament-illuminating a largely black and white canvas with pastel intimations of some elusive wakening. 

As such, the sonic pedigree of Chesky's conceptions, informed as they are on one hand by a tonality redolent of the Second Viennese School of Arnold Schonberg, Alban Berg and Anton Webern, and a collective improvisational sensibility which evokes the prayerful impressionistic ruminations of Bill Evans, Herbie Hancock and Paul Bley, suggests elements of both 20th Century Classicism and of Modern Jazz in its most chamber like iterations. 

But the more I immerse myself in the pointillistic hues of Chesky's pianistic abstractions-mated as they are to the elegant earthen countenance of Peter Washington's bass and Billy Drummond's veiled invocations of skin and bronze-the less the music puts me in mind of European classicism or of a piano trio in the Modern Jazz sense, and the more it suggests subliminal streams of Americana in the iconoclastic tradition of a composer such as Charles Ives-plugged in as he was to undercurrents of a rustic past, which spoke to something half-remembered in our mythological unconscious, yet betokening a future barely imaginable when this renegade composer first fashioned his own iteration of the new harmonic, straddling as it did the 19th and 20th century, while shrugging off many of those well-travelled European conventions with intimations of some bold new beyond. 

Chesky's own new harmonic evokes a sense of time and place less quaintly rural and small town than that of the Tribal Elder Ives-more rooted as it is in a decidedly urban sense of…becoming. 

Chesky's is a chamber music chrysalis seeking to be reborn as a post-modern jazz trio in the left wing traditions of those American pianists, who while they were surely informed by the harmonic cycles of Tin Pan Alley song forms, and a blues/ragtime/swing based tradition of the piano in its virtuoso approximation of post-bop orchestral power, were not beholden to it; seeking instead to depict a more abstract canvas, a painterly sense of the piano's potential for said chamber music sensibility in which, while there is considerable heat applied to the collective improvisational pot, things are consciously never quite fired up to a full boil. 

Reflecting as it does the pianist's fascination with cubist chordal juxtapositions-in lieu of more traditional diatonic steeplechases-repeated immersions into the highways and byways of Chesky's new harmonic reward the listener with fresh epiphanies, unwilling as David is to reveal all of his secrets in a single sitting.

Still, for those listeners who have already taken a dip into the turbulent waters of Chesky's more large scale works, such as his Piano Concerto #2, the tonal clusters, polytonal juxtapositions and calculated rhythmic apposition of David's two-fisted keyboard vocabulary will seem as old friends, though the more muted, pensive approach (not unlike the second movement in the above work) better suits the conversational intimacy of a trio. 

Which is why it is surely a mitzvah for Chesky to be able to engage such attentive, self-effacing listeners as Peter Washington and Billy Drummond in celebration of what I might blithely characterize as the esteemed art of comprovisation (okay, okay, so I made the word up by conflating composition and improvisation…sue me). But as one who has lived with this trio for some time, and who has heard Washington and Drummond on numerous occasions-both together and separately, improvising for all they are worth in pedal to the metal bebop throw-downs-their innate ability to step up and counter-punch or to quietly recede into a more passive, supple posture, is perfectly suited to Chesky's oblique musings, as he vectors purposefully between the reactive and the reflective. 

And as such-again, in the spirit of collective comprovisation-one is hard pressed to divine what aspects of their trio colloquies are composed, classically speaking, or spontaneously conceived in the best sense of what it means to be an improvising jazz musician. 

Be that as it may, it is not incumbent upon the listener to deconstruct the architectonic aspects of the creative process; rather, enjoy the luminous colors writ large upon this collective canvas, and enter into the conversation as an equal-an active, engaged listener. 

- Chip Stern

David Chesky - Piano

Billy Drummond - Drums

Peter Washington - Bass

1. Painting No. 1 04:45

2. Painting No. 2 06:34

3. Painting No. 3 06:59

4. Painting No. 4 05:14

5. Painting No. 5 04:59

6. Painting No. 6 03:52

7. Painting No. 7 06:37

8. Painting No. 8 06:24

Produced by; David Chesky

Executive Producer: Norman Chesky

Recorded, Edited, and mastered by Nicholas Prout

Second Engineer: Janelle Costa

Assistant Engineer: Rich Cerbini

Piano Tuner: Kazuya Tsujio

Recorded Match 13th at The Good Shepard Church , New York

Equipment used : AEA Stereo Ribbon mic, Forssell Technologies mic pre amp, MSB A/D converter, Crystal microphone cables.

Special Thank to Gilbert Soulodre for his brilliant technical assistance.

All compositions by David Chesky (PAMALUC Music)[ASCAP]

Jim Snidero Quartet - While Your Here (RED RECORDS 2018)

A fine post-bop improviser and alto saxman, Jim Snidero is a bit underrated but is well-appreciated by his fellow musicians. He attended the University of North Texas and moved to New York in 1981. Snidero toured and recorded with Jack McDuff, he's been a member of the Toshiko Akiyoshi Jazz Orchestra since the mid-'80s, has worked with the backup bands of Frank Sinatra and Eddie Palmieri, and has spent time playing with the Frank Wess Sextet, the Mel Lewis Orchestra, and the Mingus Big Band. As a leader, Jim Snidero has recorded for the Japanese East World label (1984), Ken, Square Discs, Red, and Criss Cross. He has also recorded as a sideman with Brian Lynch, Conrad Herwig, and Tom Varner, and been active in jazz education both as a teacher and as an author of instructional books. ~ Scott Yanow

1. While Your Here

2. Intimacy

3. A Few To Many

4. Fly Little Birdie

5. State Of Affairs

6. I Concentrate On You

7. I Can't Get Started

8. Front Line

Alto Saxophone – Jim Snidero

Bass – Peter Washington

Drums – Tony Reedus

Piano – Benny Green

Renee Rosnes - Beloved of the Sky (SMOKE SESSIONS RECORDS April 6, 2018)

There’s a painting by Emily Carr that evokes much of what I admire most about Renee Rosnes, and it’s not the painting Rosnes had in mind when she named this album.  She selected the title in homage to one of Carr’s best-known works, an expressionistic landscape that Carr called “Scorned As Timber, Beloved of the Sky.”  Painted in 1936, when Carr was 65 and at the peak of her creative powers, the titular canvas depicts a hilly swath of largely barren land in western Canada, an area ravaged by merciless lumbering.  We see rows of rotting tree stumps, which Carr conceived of as tombstones, elegies to the forests slaughtered for timber.  In the center of the canvas, surrounded by the stumps, is a stalwart surviving tree — reed-thin and branchless but standing tall, impossibly tall.  At the tip of the trunk, piercing the clouds, the tree is in full bloom.  It towers above the despoiled landscape in mournful defiance of human cruelty, a testament to the resilience of nature and the hope it can instill in those attuned to it.

Renee Rosnes is, as Carr was, a native of the Canadian northwest, and she shares Carr’s deep connection to the natural majesty of the area.  “Carr’s canvases of Canadian coastal landscapes and deep woods are familiar territory, and evoke a strong emotional response in me,” Rosnes says.  “She was an environmentalist ahead of her time, and created several paintings that dealt with her concern for the environment, and specifically the clear-cutting of forests.”

Carr painted another canvas in 1912, after she returned to Canada from a visit to Paris, where she had studied at the Academie Colarossi and discovered the Fauvists and Impressionists.  Titled “Gitwangak,” the original name for a part of British Columbia that English settlers renamed the Queen Charlotte Islands, the work captures a scene in a small village of First Nation longhouses along a riverbank.  We see three people in the foreground: one dressed in red, wearing what appears to be a white headdress; and two others, one adult and a child.  Nine tall totem poles, carved with renderings of emotive faces, loom amidst the structures.  In the water, in the distance, a steam ship floats by.  The sky sparkles with painterly dabs of vermillion, silver, white, and gold.

With “Gitwangak,” Emily Carr brings to mind, for me, all that Renee Rosnes achieves as a composer and pianist.  It honors a long and rich tradition: in Carr’s case, the way of life of the original people of the Pacific Northwest; for Rosnes, the deep and complex legacy of jazz music.  At the same time, both the painting and Rosnes’ music are keenly steeping in their own time and utterly contemporary in feeling — in some ways, in fact, radically so.  The visual style of “Gitwangak” is boldly post-Impressionistic, with color effects and textures suggestive of Van Gogh.  As Rosnes makes clear with the first piece on this album, “Elephant Dust,” her work is fearlessly daring and original.  Rosnes, in all her music culminating in Beloved of the Sky, has proven to be a composer and musician of the rarest kind, a master of a tradition that she carries forward toward the future through the force of her authority, her passion, and her individuality.

David Hajdu is the music critic for The Nation and a professor at the Columbia Graduate School of Journalism.

Elephant Dust (Rosnes)

Scorned as Timber, Beloved of the Sky (Rosnes)

Mirror Image (Rosnes)

Rosie (Bobby Hutcherson)

Black Holes (Rosnes)

The Flame and the Lotus (Rosnes)

Rhythm of the River (Rosnes)

The Winter of my Discontent (Alec Wilder/Ben Ross Berenberg)

Let the Wild Rumpus Start (Rosnes)

Renee Rosnes, piano

Chris Potter, tenor sax, soprano sax, flute

Steve Nelson, vibes

Peter Washington, bass

Lenny White, drums

UPCOMING SHOWS

Apr 03, 2018 - Apr 08, 2018

Renee Rosnes Quartet in New York, NY at Village Vanguard

Apr 13, 2018 - Apr 14, 2018

Gary Smulyan in Tarrytown, New York at Jazz Forum

Apr 18, 2018

Renee Rosnes & Bill Charlap Duo in New York, NY at Rose Theater, Jazz at Lincoln Center

May 04, 2018 - May 05, 2018

Renee Rosnes Quartet in Tarrytown, New York at Jazz Forum

May 14, 2018 - May 16, 2018

Ron Carter Quartet in New York, NY at Blue Note Jazz Club

Ferit Odman - Autumn In New York (EQUINOX MUSIC & ENTERAINMENT 2018)

'Autumn in New York' is the 2nd album by highly praised Jazz Drummer Ferit Odman. Contains 7 straight-ahead Jazz tunes such as 'Autumn in New York' by Vernon Duke, 'The Soulful Mr. Timmons' by James Williams, 'Step Lightly' by Benny Golson and many more. Accompanied by trumpeter Terell Stafford and alto saxophonist Vincent Herring, Anothony Wonsey and Peter Washington this album was a great follow-up to Ferit's debut album 'Nommo'. Now available on CD the music for this 2011 released album was recorded at Acoustic Recording in Brooklyn, New York in November 2010.

Steve Hobbs - Tribute to Bobby (CHALLENGE RECORDS 19 January, 2018)

Marimba / vibes veteran Steve Hobbs releases his strongest release in his forty three year career on Challenge Records. The recording is centered mostly around cutting edge originals by Hobbs encompassing modern mainstream examples of post bop, Latin, Funk, Calypso, and more….arranged and performed with the typical creative and hard edged energy you are used to hearing on his past New York Recordings. Hobbs centered the music around marimba, dedicating the recording to his mentor and late friend Bobby Hutcherson.

This is the group’s third recording. It’s a hot all-star group consisting of Steve Hobbs / marimba and vibes, Adam Kolker / saxes, Bill O’Connell / piano, Peter Washington / bass and John Riley / drums. The groups first CD Spring Cycle, released in 2007 was nominated Jazz Recording of the Year by the Jazz Journalists Association of America and made it to #3 on the Jazz Week Jazz Chart. Next in 2010 the group released the critically acclaimed Vibes Straight Up, which hit #1 on its second week of airplay on Jazz Week and remained at #1 for seven weeks!

"This album is a beautiful tribute to Bobby Hutcherson. The playing is masterful, the compositions beautiful, and show a Bobby Hutcherson influence - in essence, a heartfelt and touching tribute."  Ron Miller (pianist and composer for Stan Getz, Pat Metheny, Red Rodney, Joe Lavano, Gerry Bergonzi, Ira Sullivan, Jerry Coker, Bruce Hornsby and more).

"This is a top notch release by one of the very best vibes and marimba players around today, bar none. Great playing, great musicians, top quality sound and very attractive choice of material. Highly recommended!". Randy Johnston, guitarist for Lionel Hampton, Lou Donaldson, Jackie McLean, Etta Jones, Jack McDuff, Houston Person, Dr. Lonnie Smith and more.

“Steve Hobbs has long been one of the most talented, if underrated vibraphonists around.”  Scott Yanow, Jazz Times

“Hobbs sounds killin’!”  Mike Mainieri, award winning vibraphonist and producer

“I sure have enjoyed working several projects with Steve Hobbs; you can expect to hear lots more from him in the future.”  Kenny Barron, pianist

“Vibes Straight Up means swinging and also moving!”  John Ephland, Downbeat

1 The Craving Phenomenon  06:18

2 Into the Storm  06:23

3 Besame Mucho  06:02

4 New Creation  05:34

5 Tres Vias  05:47

6 Millie  07:36

7 Thelonious Funk  05:52

8 The Road to Happy Destiny  06:05

9 Blowing in the Wind  06:06

10 El Sueno de Horace Silver  05:15

11 In From the Storm  04:45

12 Let's Go to Abaco!  05:19

13 Where Or When  03:41

Steve Hobbs: marimba, vibraphone

Adam Kolker: tenor and soprano saxophones

Bill O’Connell: piano

Peter Washington: bass

John Riley: drums

Carol Ingbretsen, Maurice Myers, Marvin Thorne: vocals

Steve Davis - Think Ahead (SMOKE SESSIONS 2017)

IN LIFE AS IN JAZZ, you never know what’s coming around the next corner – so it’s always best to think ahead. Trombonist/composer Steve Davis not only offers those two words as a sound piece of advice on his new album, Think Ahead, but exemplifies the art of putting it into action. Think Ahead offers a master class in reacting to the unpredictable from an elite group of jazz all-stars whose ability to create spontaneously borders on the clairvoyant.

In part, that’s simply due to the fact that Davis has assembled a stellar group of masters: the trombonist is joined by saxophonists Steve Wilson and Jimmy Greene, pianist Larry Willis, bassist Peter Washington and drummer Lewis Nash, each deserving the title of “jazz giant” in their own right. But add the fact that the bandleader shares with every member of the ensemble a long and deep history, and you have the makings of a truly profound, flawlessly swinging, flat-out burning set of music.

“I’ve been deeply involved with everyone in this band on not only a professional level but as friends for decades,” Davis says. “So it was more than an honor to have this group together.”

Davis is also well known as an important composer and the program on Think Ahead features seven of his originals including six striking debuts. The balance includes two beloved standards, Polka Dots and Moonbeams and Love Walked In, as well as two jazz classics by departed giants Tony Williams and Bobby Hutcherson. Williams’ “Warrior” and Hutcherson’s “Little B’s Poem”

Lee Konitz - Frescalalto (IMPULSE! 2017)

At 89, Lee Konitz has nothing left to prove, but the legendary saxophonist, who began his long recording career on Miles Davis’ Birth of the Cool back in 1949, proves here nonetheless that he remains one of the most original and truly improvisatory talents in jazz.

Konitz has always sounded like a man searching for the least obvious path through a standard, and here – with long-standing associates pianist Kenny Barron, bassist Peter Washington and drummer Kenny Washington – on a set of hoary old chestnuts including Stella by Starlight, Darn that Dream and Out of Nowhere, he steadfastly avoids cliché once more.

Frescalalto is the sound of a venerable musical mind – one of the last living links with jazz’s classic period – still sharp, still searching, still capable of the sound of surprise. impulse-label.com

1. Stella By Starlight 9:35

2. Thingin 6:25

3. Darn That Dream 5:17

4. Kary's Trance 4:57

5. Out Of Nowhere 7:26

6. Gundula 3:25

7. Invitation 9:19

8. Cherokee 3:57

Alto Saxophone, Vocals – Lee Konitz

Piano – Kenny Barron

Double Bass – Peter Washington

Drums, Producer – Kenny Washington

Recorded on November 30 & December 1st 2015 at Avatar Studios, NY

Mastered at Battery Studios, NY

Michele Hendricks (with Tommy Flanagan Trio) - A Little Bit Of Ella (Now & Then) 2016

Michele Hendricks & Cristal Records présentent : A Little Bit of Ella (Now and Then)

Il faut se réjouir que cet album paraisse enfin au grand jour après quelques années d'un inexplicable purgatoire... Il n'en est que plus riche et précieux, dans la mesure où il est devenu un double hommage, à Ella bien sûr, mais également, au grand Tommy Flanagan, disparu en 2001, et qui fut le plus fidèle et le dernier collaborateur régulier de l'irrésistible "First Lady". 

Michele Hendricks, née dans d'un père virtuose du "scat" et du style "vocalise" qui la mit sur scène encore enfant, compte parmi les seules artistes habilités à signer cet hommage. En premier lieu parce qu'elle connait en profondeur tous les secrets du chant de jazz pour l'avoir beaucoup pratiqué, aux côtés de quelques musiciens de premier plan, de Stan Getz et Art Blakey à Herbie Hancock et à divers groupes dirigés par Jon Hendricks, son père. En second lieu parce qu'à certains égards elle est une des seules héritières d'Ella Fitzgerald, dans la diversité de ses talents.

Michele Hendricks : vocals 

Tommy Flanagan : Piano 

Peter Washington : Double Bass 

Lewis Nash : Drums

Brian Lynch : Trumpet 

Robin Eubanks : Trombone 

David “Fathead” Newman : Tenor Sax

Jon Hendricks : vocals track 2

01. Sweet Georgia Brown (Bernie/Pinkard, Casey) short version

02. How High The Moon (Morgan Lewis/Nancy Hamilton) 

03. Love For Sale (Cole Porter) 

04. It Don’t Mean A Thing (Duke Ellington) 

05. Things Ain’t What They Used To Be (Duke Ellington) 

06. Oh Lady Be Good (Georges & Ira Gershwin) 

07. Our Love Is Here To Stay (Georges & Ira Gershwin) 

08. A Little Bit Of Ella (Now & Then) (Michele Hendricks)

09. Airmail Special (Charlie Christian) 

10. Everytime We Say Goodbye (Cole Porter) 

11. Sweet Georgia Brown (Extended Version)

BUY THIS ALBUM!!!

SONIA