The Complete Tony Bennett/Bill Evans Recordings

WMP Live Streams: My Foolish Heart Waltz For Debby
A sublime 2-CD collection that spotlights the iconic song stylist dueting with the legendary jazz pianist from their two albums recorded in 1975 & 1976.

Disc 1 combines the originally issued recordings, The Tony Bennett/Bill Evans Album and Together Again with two bonus tracks.

Disc 2 features alternate takes from both sessions.

Originally produced by Evans manager Helen Keane, the remastered compilations is produced by Nick Phillips with new liner notes by Will Friedwald.

Inarguably popular music's top song stylist, Tony Bennett joined together with the legendary jazz pianist Bill Evans for two albums of sublime duets recorded in 1975 and 1976. Venerated as gorgeous gems of jazz grace, the two LPs along with numerous alternate takes and bonus tracks are combined on the 2-CD The Complete Tony Bennett/Bill Evans Recordings, released on the Concord Music Group Fantasy Records imprint. Featuring sessions originally produced by Evans' longtime manager Helen Keane, the new compilation is produced by Nick Phillips.

Bennett's collaboration with the exquisite pianist is a jazz treat. While the singer was reluctant to classify himself as an improvisational vocalist, his jazz influences were abundant. He learned breathing and phrasing by listening to pianist Art Tatum and got pointers on having a relaxed delivery by studying Mildred Bailey. His vocal influences included Billie Holiday and Frank Sinatra, who later championed him.

While Bennett found favor in the '50s and '60s on Columbia Records with popular hits, he also had the freedom to stretch in the jazz world, recording albums with the Count Basie Orchestra, Stan Getz and Zoot Sims, among others. However, with the business changing in the early '70s, Bennett left Columbia (in 1972) and began recording on Fantasy Records as well as on his own Improv label.

Originally released in 1975 on Fantasy Records, The Tony Bennett/Bill Evans Album, the first meeting of the vocalist and pianist, featured the pair performing standards, as well as a moving rendition of the pianist's classic tune, "Waltz for Debby" (with lyrics written by Gene Lees). Other standards include "But Beautiful," "The Days of Wine and Roses," "Young and Foolish" and "The Touch of Your Lips."

Bennett recalls that the pair didn't even discuss song choices before the session: "I would name a tune, and Bill would say, 'That's good, let's do that.' We'd find a key and then the two of us would work it out. For about 45 minutes, we'd work out the arrangement, he'd say, 'Do you wanna modulate here? How many choruses do you want?' And then we would play it through and work out all the changes and all that. We spent three days doing that, until we had nine songs in the can."

The first meeting established the Bennett-Evans chemistry, with the two having plenty of room to make their own personal statements. The All Music Guide to Jazz comments, "This is a true duet, with Evans getting considerable solo time." Following the recording, the pair performed live on a number of occasions, including the Newport Jazz Festival (in New York) and on television appearances in The Netherlands and Toronto.

In 1976, Bennett and Evans returned to the studio for Together Again for Improv Records (and later reissued on Concord Records). It's another low-lights, high-improv date of standards that opens with an Evans solo rendition of "The Bad and the Beautiful" and continues with such moving renditions of "Lucky to Be Me," "You're Nearer," "You Don't Know What Love Is," "Lonely Girl," "You Must Believe in Spring" and another Evans' original, "The Two Lonely People" (with lyrics by Carol Hall).

Both sessions--recorded together, not in isolation booths--yielded several fine alternate takes that are included on The Complete Tony Bennett/Bill Evans Recordings, as well as two bonus tracks from the second date, with a superb version of Cole Porter's "Dream Dancing."

Liner note scribe Will Friedwald, who is the co-author of Bennett's autobiography, The Good Life (1998, Pocket Books), writes, "It's not merely that the two projects, The Tony Bennett/Bill Evans Album and Together Again have entered the curriculum for jazz pianists and especially singers--something that Bennett, a tireless supporter of musical education...would keenly appreciate. Rather, to a vast extent, they are the curriculum."

While pointing out that Bennett had previously recorded voice-piano recordings before his collaboration with Evans, Friedwald says that this collaboration was greatly different: "Instead of the singer being accompanied by the pianist, with one in the spotlight and the other comprising a supporting cast of one, both participants are equal partners. Indeed, to stress this, Bennett had the idea of opening Together Again with a piano solo by Evans--so no one would have the false idea that this was simply a vocal record with piano accompaniment. Indeed, the way that voice and keyboard interact here seems to have no antecedent in the whole history of jazz; this is more like an American ideal of lieder."

Reflecting back, Bennett remains especially proud of these sessions with Bill Evans, citing them as the most satisfying projects of his long career.

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Blogger - Feedburner problems

As far as I can see through no fault of my own a serious problem has developed with the blog feed after the Feedburner account migrated to Google. If you are subscribed to the feed or via email update it's unclear to me when or what updates you will be receiving. Alternatively please keep stopping in to see new posts. Hopefully Google will have this resolved soon. If you normally pick up the posts on Twitter, I will try and duplicate the posts there manually. Thanks for following, and sorry for the inconvenience.

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Saxophonist Marion Meadows Shares Secrets

From a certain perspective Marion Meadows is something of a magician, in that there is seemingly always something up his sleeve – something he’s not showing outright – that ultimately reveals itself when the music starts.

The next best thing to Meadows fully disclosing his secrets would be the upcoming release of his album, Secrets, which will be available on April 28th.

For Meadows, the secrets lie within the music and reveal themselves on a subconscious level – a place where instinct and intuition take over. And for as much as Meadows may be the keeper of these secrets, they are often just as much a revelation to him as they are to the listener.

“Secrets are things that are kept hidden beneath the surface of our own intellect, our own decision-making,” he says. “They’re these treasures that are often right in front of our eyes and yet we don’t even see them or know they’re there.”

Unearthing these subconscious treasures requires a more organic approach to the music, says Meadows. “I wanted to incorporate a more live sensibility into the recording process in the making of this record,” he explains. “I wanted to use musicians who have also been part of my live performances.”

The majority of the tunes on Secrets, such as “Let the Top Down,” “Soul Sugar,” “Flirt” and the title track, were written by Marion and keyboardist/programmer Michael Broening. Marion also includes a cover version of Bobby McFerrin’s “Friends,” which features vocalist Brian Chartrand, and Pat Metheny’s classic song “Here to Stay.”

Secrets is ultimately an album that takes into consideration the assembly of ears on the other side of the musical equation, says Meadows. “When we put these records out, we tend to forget about the fans’ initial response to them,” he says. “We live with these projects from their conception and birth all the way up to the final details of post-production and pressing. In a lot of cases, once it’s done and out the door, we need some distance from it for a few weeks. But at that same time, it’s a fresh new experience for the fans who buy it. They’re saying, ‘What’s this thing going to sound like?’ For them, it’s still a secret. It’s something that has yet to be discovered and explored.”

For more information on Marion Meadows you can visit his website, marionmeadows.com.

Posted by: smoothjazznetwork.com

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Paul Brown Keeps Things Electric On CD With Marc Antoine

Streaming Media [WMP]
Foreign Exchange
Feel The Love
Guitarist and producer Paul Brown says he and fellow guitarist Marc Antoine definitely stuck to their distinct roles while recording their new collaborative CD, Foreign Exchange. Brown stuck to playing electric jazz guitar while Antoine focused on the acoustic, nylon string guitar, which created some interesting interplay between the two.

Brown, who produced the Peak Records release with Antoine, says that while he's played some acoustic guitar over the years, it's not his thing: "Um, I mean, I do play it, it's not something I do a lot of. I played a little on Jessy J's album, I played quite a bit of nylon string guitar. But essentially I play the jazz box and more of a warmer jazz sound."

The title track from the set, "Foreign Exchange," is climbing the national smooth jazz airplay chart this week.

By: Janine Coveney

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Jazz Museum and Cinema Are Chosen for Harlem Site

Two nonprofit arts groups, the National Jazz Museum in Harlem and ImageNation, which supports independent cinema and progressive music, were selected on Monday to be part of the proposed Mart 125 redevelopment project, which would transform a centrally located but currently abandoned eyesore on Harlem’s main commercial thoroughfare into a mixed-use space.

But for the project to move forward, it must be able to attract interest from developers, which could be a questionable proposition given the economic downturn that has stagnated the real estate market....

Read the entire article by Sewell Chan at City Room Blog NY Times

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Candy Dulfer - "Funked Up" - 5/12

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Nearly two decades after her GRAMMY®-nominated recording debut in 1990, saxophonist Candy Dulfer has earned a reputation as a high-energy performer with charisma and sex appeal to burn.

Dulfer bares it all – the brassy and edgy, along with a few mellow touches – with the May 12, 2009, worldwide release of Funked Up! (HUCD 3152) on Heads Up International, a division of Concord Music Group. The 12-track set features the revved-up funk and R&B typical of her legendary live shows, laced with a few cooler, quieter grooves to keep things interesting.

The more lively tracks on Funked Up! started coming together not long after the 2007 release of Dulfer’s previous Heads Up recording, Candy Store. In the meantime, she and her band had been asked by Dutch filmmaker Fred van Dijk to record the soundtrack for Kissed by the Grape, a documentary exploring the world of organic winemaking. The film project steered them into a more ambient groove – the ideal complement to the rhythmically intense material that they’d already recorded.

“It came together over the course of a year and a half,” says Dulfer. “First, we had the beginnings of the album. Then we made the soundtrack to the movie. After that, we even wrote a couple more songs. It’s almost like a best-of album representing my funky and softer sides. It’s great when you have so many good songs, and you get to choose the ones you like best.”

With so much to choose from, the result is something for everyone. Funked Up! kicks off with the high-powered and percussive “First in Line,” a track built atop the rock-solid rhythm section of bassist Chance Howard and drummer Kirk Johnson, and augmented by the backing vocals of Dulfer and Monique Bakker (a recurring vocalist on Dulfer’s recordings). Assisting Dulfer with the brass is a three-piece horn section that includes trumpeter Jan van Duikeren, tenor saxophonist Guido Nijs and trombonist Louk Boudesteijn.

“My Funk,” one of Dulfer’s favorites, showcases the vocals of Pete Philly, one of the most prominent rappers in the Netherlands. “He just came in, heard the music and loved it,” says Dulfer. “He said, ‘Just leave me alone in this room for about twenty minutes.’ After a while, he came out and said, ‘Okay, I’ve got it.’ That’s the beauty of hip-hop artists. If they’re good, that’s the way they work. Like jazz musicians it’s a very intuitive, very immediate creative process.”

Midtempo and melodic, “Still I Love You” has already become part of Dulfer’s live show in recent months, and the early feedback has been very favorable. “We first played it in Japan, and we invited the Japanese audiences at the Blue Note to come up with ideas for the title,” she says. “We got a lot of great responses, but this very tall, very beautiful Japanese woman at one of our gigs wrote this title on a piece of paper and handed it to us. We knew immediately that it captured what the song was about.”

Full of sass and spice, vocalist Leona barrels through the rollicking techno-beat of “Step Up,” and later the reggae-flavored “True & Tender.” Dulfer calls Leona “a force to be reckoned with, a very talented singer and performer and entertainer. Before she put the vocal track down on ‘True & Tender,’ it was just a jam, and we didn’t even know if it would end up on the album. But she really made it her own.”

The nostalgic “CD 101.9” is a tribute to the former New York radio station that gave Dulfer and her band a lot of airplay around the time of their first visit to the States in 1991. In between the solos and chorus breaks are sound bytes from an original broadcast by veteran DJ Russ Davis hyping the band’s gig at The Bottom Line. “It’s from a cassette tape that my father had saved for years,” says Dulfer. “Thomas Bank, our keyboardist and producer, took the DJ’s comments and put them into the song. It’s such a great reminder of the first time I played in New York. Both the station and Russ helped me a lot in the early part of my career, and they helped launch a lot of other artists as well.”

Things slow down significantly with the smoky and suggestive “Bliss2This,” featuring rapper and trombonist Joseph Bowie of Defunkt. “I told him my feelings about this song reminded me of the deterioration of a relationship. He said, ‘I know exactly what you mean.’ A couple days later, he came back with a vocal track, and he put some really cool trombone tracks in there as well. I just played a little bit around what he did, and Chance Howard – who worked with us on Candy Store – put some beautiful vocals to it that gave it a bit more of an R&B groove.”

“Roppongi Panic” is the rhythmic closer that that allows Dulfer plenty of room to strut her stuff on top of a Euro-style keyboard shimmer. The track’s steady and insistent backbeat conjures a feeling of driving into the night in search of limitless possibilities.

Front to back, Funked Up! is a snapshot of all the benchmarks that make up Candy Dulfer’s live performances – lots of high-energy, in-your-face grooves, punctuated by intriguing moments of subtlety and nuance. “I love an album that has the same flow as, say, a movie or a book,” she says. “It starts slowly, then builds tension, and then you take it down a bit in certain places. That’s the kind of concert I play when I’m touring, and that’s what I wanted to capture on this recording.”

There’s something sweet and sexy happening here. Get some Candy and get Funked Up!

1. First In Line 4:02
2. My Funk 4:55
3. Still I Love You 4:08
4. Step Up 3:08
5. Don't Go 3:14
6. CD 101.9 3:25
7. Bliss 2 This 4:16
8. Finger Poppin' 4:19
9. Be Cool 3:14
10. On & On 4:35
11. True & Tender 3:49
12. Roppongi Panic 4:03

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Smooth Jazz Chart | 3/30/09

LW - TW - Artist - Album - (Label)
1 - 1 - Boney James - "Send One Your Love" - (Concord)
2 - 2 - Dave Koz - "Greatest Hits" - (Capitol)
3 - 3 - Earl Klugh - "The Spice Of Life" - (Koch)
4 - 4 - Michael Lington - "Heat" - (NuGroove)
5 - 5 - Jackiem Joyner - "Lil' Man Soul - (Artistry/Mack Avenue)
7 - 6 - The Rippingtons - "Modern Art" - (Peak)
8 - 7 - Kim Waters - "I Want You" - (Shanachie)
12 - 8 - Gregg Karukas - "GK" - (Trippin 'n' Rhythm)
6 - 9 - Fourplay - "Energy - (Heads Up)
16 - 10 - Richard Elliot - "Rock Steady" - (Artistry/Mack Avenue)
10 - 11 - Eric Essix - "Birmingham" - (Essential/Lightyear)
9 - 12 - Walter Beasley - "Free Your Mind" - (Heads Up)
14 - 13 - Oli Silk - "The Limit's The Sky" - (Trippin 'N' Rhythm)
13 - 14 - Euge Groove - "Born 2 Groove" - (Narada/BlueNote)
19 - 15 - Kenny G - "Rhythm & Romance" - (Concord)
11 - 16 - Warren Hill - "La Dolce Vita" - (Koch)
15 - 17 - Chris Standring - "Love & Paragraphs" - (Ultimate Vibe)
18 - 18 - Wayman Tisdale - "Rebound" - (Rendezvous)
21 - 19 - Jess Kashiwa - "When It Feels Good" - (Shanachie)
20 - 20 - Tim Bowman - "Tim Bowman" - (Trippin 'n' Rhythm)

Our thanks to smoothjazz.com

Visit smoothjazz.com to view the latest complete top 50 chart.
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First Round Of Performers For 30th Annual Blues Music Awards

The Blues Foundation has announced the first round of performers for the 30th annual Blues Music Awards. B.B. King will present the award named in his honor, the B.B. King Entertainer of the Year Award. These performers are just the first to be announced as part of a six-plus hour blues marathon May 7 in Memphis, TN representing a supreme diversity of blues talent, often in all-star collaborations.

All performers are also nominated for 2009 Blues Music Awards except Taj Mahal:

* Bettye LaVette - Detroit-born singer has performed at the Kennedy Center and at Obama's inauguration and counts a #1 Blues Album on the Billboard chart in her storied career.

* Taj Mahal - beloved 2009 Blues Hall of Fame inductee and GRAMMY winner with a four-decade-plus career.

* Irma Thomas - newly minted Blues Hall of Famer and GRAMMY winner is "The Soul Queen of New Orleans."

* Otis Taylor - the banjo-toting trance-blues man and "one of the most innovative, thought-provoking blues artists to emerge in the last 20 years." (Billboard).

* Marcia Ball - piano player/singer counts #1 Blues Albums, of whom Rolling Stone said, "Her songs ring with emotional depth."

* A Chicago Blues Jam with drummer Kenny Smith, drummer/harmonica player Willie Big Eyes Smith (Muddy Waters), bassist Bob Stroger (Otis Rush), guitarist Lurrie Bell (Carrie Bell, Buddy Guy), and others.

* Gaye Adegbalola - acclaimed singer and member of Saffire: The Uppity Blues Women, blues historian, and openly gay activist.

* Rory Block - slide guitar player/singer learned directly from Son House and has been called "an inspiration" by Bonnie Raitt.

* Albert Castiglia - Miami-based and a former member of Junior Well's band.

* Janiva Magness - blues/soul songstress of whom No Depression said, "She simply sings heartbreak, hunger and humor-sings 'em with equally great chops and feeling-and lets that speak for itself."

* Kenny Neal - son of Louisiana harmonica great Raful Neal and "one of the brightest young stars on the blues horizon, and a gifted artist" (Blues Revue).

* Maria Muldaur - has scored a platinum record and has recorded with the likes of Ry Cooder and Stevie Wonder.

* Eden Brent - Mississippi piano player nicknamed "Little Boogaloo, " performed at President Bush's inauguration in 2005, and won the International Blues Competition in 2006.

* The Mannish Boys - this LA-based "electric blues supergroup" (All Music Guide)

The presenting sponsor for the 30th Blues Music Awards is The GIBSON Foundation, and are also sponsored by ArtsMemphis, BMI, Casey Family Programs, Eagle Rock Entertainment, FedEx, Legendary Rhythm & Blues Cruise, Memphis Convention and Visitors Bureau, the Sierra Nevada Brewing Company, and the Tennessee Arts Commission.

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Dave Brubeck Unable to Perform, due to Illness

Legendary pianist Dave Brubeck has canceled all appearances for the next few weeks due to an illness that is preventing him from traveling. According to a press release from the University of the Pacific, which houses Brubeck's archives, Brubeck, 88, was hospitalized late last week with a viral infection. He currently is under observation at Norwalk Hospital in Norwalk, Conn., and has been ordered by doctors not to travel. No media access will be granted during his stay at the hospital.

Brubeck was scheduled to perform his classic album Time Out at a concert on Fri., April 3 at his alma mater, University of the Pacific in Stockton, Calif., in honor of the 50th anniversary of the revolutionary concept recording. Dave’s eldest son, Darius Brubeck, will perform along with the rest of Dave’s quartet in place of his father.

Read the entire article by Jeff Tamarkin at jazztimes.com

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Jazz star connects music to life in latest book

Grammy-winning jazz musician Wynton Marsalis is not known for his commentary on philosophical and social issues, but maybe he should be after his latest work.

Moving to Higher Ground: How Jazz Can Change Your Life, written with Geoffrey C. Ward, is an entertaining, informative and self-reflecting look at how music, and jazz in particular, has the power to stimulate self-expression. With its emphasis on improvisation and innovation, jazz allows artists to be themselves, not for the consumer driven market, but for the salvation of music. And, Marsalis argues, for the growth of the American populace's psyche.

Jazz music has lost its place atop America's musical charts and this, Marsalis believes, is as detrimental to Americans as it is to the jazz musicians themselves. Often referred to as "America's only true art form," jazz is synonymous with the United States and her struggles. And if it were to vanish off the edge of the music lover's conscience, so would America's collective understanding of her history and herself.

Unlike other genres, Marsalis argues that jazz represents America's challenges and triumphs without much judgment. Someone has to stop and listen, really listen, to understand the mark jazz musicians are making in their music. They are expressing their anger, their joy, their sadness, their excitement at the comings and going of life and without their genius, Americans would not have known how powerful it is to be oneself, all day, every day.

"Jazz doesn't have a target demographic; it doesn't carry the label 'For old folks only,' " Marsalis writes. "In a country that now may be the most age-segregated one earth jazz demonstrates that anyone can swing regardless of age; it has a mythic power to remind us who we once were, who we are now and who we hope to be in the future."

Marsalis might be writing about saving his own future (he is a jazz musician, after all), but he also feels it is time for all Americans, younger Americans included, to learn about jazz music's influence on the other well-known genres, such as rock-and-roll and R&B.

As such, he provides as much historical information about jazz giants such as John Coltrane and Art Blakey as he does about his own life experiences and opinions. He doesn't mince words when it comes to jazz and race relations or the "minstrel quality" of today's hip-hop music, not to denigrate generations past or present, but to open up a dialogue about where America is going in terms of its musical culture.

Moving to Higher Ground is an excellent book and a reader doesn't have to be jazz aficionado to agree. Marsalis provides enough information about artists to encourage exploration on one's own, while offering his opinion about everything that crosses his path. But he's not providing a commentary to force others to think like him, he just wants readers to think. And to save one of America's premier musical forms, as well as America's historical memory, from extinction before it's too late.

By IVY FARGUHESON
ifarguheson@muncie.gannett.com

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Jay Soto - "Mesmerized" 4/28

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Jay’s debut album on NuGroove “Stay Awhile” rocked the Contemporary Jazz Charts for over a year, spawning two of the formats biggest hits in 2007, and 2008. “Slammin’” which reached # 2, and “Stay Awhile” which reached Top 10, earning him the title of 2008’s #1 Breakout Artist Of The Year. Soto returns in 2009 with his sophomore release, “Mesmerized”, produced by Darren Rahn and Grammy winner Michael Broening. Is this America’s next rising young idol? The proof is in the music. Take a listen an you’ll hear the sound that is indeed taking contemporary jazz radio by storm.

Jay is a mutli-instrumentalist, recording artist, songwriter, producer and session guitarist. At 36, he feels his life has only begun. In 2004, he entered a national guitar competition and ended as one of the 6 grand finalists in the nation out of over 3,000 guitarists at Eric Clapton's Crossroads Festival in Dallas, Texas. In 2004, he also was invited to sing the National Anthem at a presidential rally at the Memorial Coliseum in front of thousands.

In 2005, Jay released his first album, Long Time Coming, which featured sax wizard, Michael Lington, and gave Jay the recognition he needed within the Smooth Jazz genre.

In 2007, he released what quickly became his breakout CD, Stay Awhile, which got him signed to the NuGroove label and landed him a #2 smash hit, Slammin', on national radio.

He has toured, recorded with or opened for many acts including, Jeffrey Osborne, Vicki Carr, Craig Chaquico, The Rippingtons, Jeff Lorber, Euge Groove, Paul Brown, Michael Lington, Acoustic Alchemy and others.

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Chuck Loeb | Between 2 Worlds

By Woodrow Wilkins allaboutjazz.com
A knock on smooth jazz is that it's too bland--safe for those who don't fully appreciate instrumental music, but boring to those who do. Once in a while an artist whose music fits within the format breaks from the pack. Enter guitarist Chuck Loeb.

Over the years, Loeb has associated with many across the jazz spectrum, including Stan Getz, Jay Beckenstein, Michael Brecker and Victor Bailey. In addition to his solo career, he has been a member of Metro, Steps Ahead and The Fantasy Band. Between 2 Worlds presents Loeb with a jazz trio and a few additional players here and there throughout.

The title came about because the songs were recorded in sessions in both Europe and North America, but it is also symbolic of the bridge between smooth jazz and more adventurous music. The supporting cast includes several major session players along with his wife, Carmen Cuesta, and daughter Lizzy Loeb.

Will Lee plays a fretless bass melody to start “Hiram,” a mellow song to honor the late guitarist Hiram Bullock. Though Bullock thought of himself more as a rock musician, he recorded with numerous jazz artists, including Lee. Gerald Veasley provides the main bass line and Cuesta injects an ethereal vocal chant while drummer Dave Weckl and percussionist Barshiri Johnson help underscore Loeb's solo.

The title song again features Cuesta's airy vocal chant, but this time Wolfgang Haffner takes drum duty. Loeb and Cuesta co-wrote the song, based on a chorus she had been practicing; the vocal-guitar combination gives the song a night-on-a-moonlit-beach feel.

“Let's Play” features Loeb, Weckl and Veasley in a high-speed, straightforward jazz mood. After the opening melody and middle break, the song shifts into an ostinato passage, with Loeb and Veasley repeating the same phrase while Weckl steps outside the box and incorporates his entire drum kit.

Loeb, like many smooth jazz artists, normally records albums that are heavy on keyboards, programming and production--elements lacking on Between 2 Worlds that result in a freer, more natural sound. Cuesta and Lizzy Loeb contribute compositionally to some of the original tunes, with Antonio Carlos Jobim and James Taylor represented by one song each. Among the other artists who appear on the album are Eric Marienthal, Brian Culbertson, Nathan Eklund and David Charles.

Track Listing: Let's Go; Hiram; Mittens; Between 2 Worlds; Oh No You Didn't; Let's Play; So Tinha De Que Ser Com Voce; The Great Hall; Mean Old Man; 360; Early Turns to Late.

Personnel: Chuck Loeb: guitar; Carmen Cuesta: vocals (2, 4, 7); Lizzy Loeb: vocals (5); Eric Marienthal: saxophones, flute; Till Bronner: trumpet (3); Nathan Eklund: trumpet (1), trombone (1); Brian Culbertson: trombone solo (1); Pat Bergeson: harmonica (11); Will Lee: bass (1, 3, 5), fretless bass melody (2); Gerald Veasley: bass (2, 6); Dieter Ilg: bass (8-11); Dave Weckl: drums (1-3, 5-7); Wolfgang Haffner: drums (4, 8-11); Bashiri Johnson: percussion (1-3); David Charles: percussion (5, 7, 10, 11).

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