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CD Reviews - March 2006
by George Fendel

Blue Scarlett, Russ Reinberg, clarinet. Russ Reinberg is a clarinetist who "called it a career" about twelve years ago. He met and married Scarlett, who convinced him that his retirement was premature. And so, here's Russ Reinberg, one of the better kept secrets in the jazz world, back again. His quartet includes Larry Koonse, guitar; Dave Stone, bass and Ray Brinker, drums. They deliver a very satisfying, often gorgeous set with a few Reinberg originals and standards like I Surrender Dear, Stardust, Daydream, The Very Thought Of You and many more. Reinberg's sound is flawless, relaxed and totally unforced on the ballads. It's even Johnny Hodges-like on numbers like Johnny's own Squatty Roo, Reinberg's Never Enough and the old warhorse, If I Had You. This pianoless quartet is perfect for Reinberg's sophisticated, laid back style, and while Koonse in particular contributes some sumptuous solos, the rest of the guys mainly lay out the musical carpet for Reinberg. He takes full advantage with a memorable performance.Jazzed Media, 2006; Playing Time: 61:58, ****.

East To West, Tony Monaco, organ. It seems that the Hammond B3 has risen to previously unattained status in recent years. While I personally am not the most exuberant advocate of the B3 "sound," this CD was a delightful surprise, and I'll tell you why. There's the organ sound of the r&b influenced cats, and there's the sound of jazz and masterful improvisation à la Jimmy Smith. Monaco opts for the latter, and with the inclusion of Bruce Forman playing guitar without r&b slurpiness, this trio does it right. Rounded out by Adam Nussbaum on drums, Monaco and company begin with a rousing Jimmy Smith tribute called I'll Remember Jimmy. Off to a great start, they continue with standards like Donna Lee, Softly As In A Morning Sunrise, Like Someone In Love and Indiana. Don't Be That Way introduces tenor man Byron Rooker who also keeps it close to the vest on a very tasty solo. Perhaps the two surprises of the set were Joe Henderson's Recordame (which I don't usually associate with an organ trio) and a lovely Brazilian melody which Charlie Byrd had a "minor" hit with, O Barquinho (My Little Boat). As excellent and tasteful as Monaco is throughout, Foreman comes through as the masterful guitar player we all know him to be. Chicken Coup Records, 2006; Playing Time: 53:18; ***1/2.

Savivity, Anthony Wilson, guitar. Well, well, here's yet another Hammond B3 trio, but this time led by the versatile guitarist, Anthony Wilson. Who, by the way, just happens to be the son of the great LA bandleader and arranger, Gerald Wilson. Whereas the above CD was more tuned in to Tony Monaco's B3, this one is understandably geared more in Wilson's direction. But I like the fact that on a tune such as the done-to-death (but still a great piece of music) All The Things You Are, Wilson simply burns on a sizzling improvisation. Despite a high flying solo of his own, Joe Bagg's B3 is right on the money accompanying Wilson's dizzying heights. Savivity is, apparently a late twentieth century term (perhaps in LA jazz circles) meaning, in part, knowingness, compassion, inquisitiveness and depth. Kinda like the word "savvy." You're The Top is taken at a moderate, even danceable clip. Wilson's Sea Blues is the best and grooviest of his four originals, and a delicate reading of Thad Jones‚ A Child Is Born brings this session to a close. This recording has some good moments and clearly illustrates Anthony Wilson's versatility and creative bent. Groove Note, 2005; Playing Time: 53:01, ***.

In Amsterdam - Live At The Bimhuis, Fred Hersch, piano. Put Fred Hersch at the piano, and he can accomplish most anything he pleases. He is one of a few very lyrical, constantly creative pianists; appearing here before a captivated audience. The concert opens with his original, A Lark. During the course of the picce, one can visualize the lark in free and glorious flight. Hersch then toys with a lengthy mood-setting intro for The Nearness Of You until if finally delicately unfolds. He recorded an entire album of Monk's music some years ago, so it's not surprising to see Monk's Evidence on the program. Another Hersch original, At The Close Of The Day, paints a reflective and sensitive portrait and O Grande Amor is a lovely melody that I associate with Stan Getz. It's nice to see it reprised here. Jimmy Rowles' tune, The Peacocks, has, by now, become a jazz standard. It's near 12 minute length gives Hersch time to fully explore its every gorgeous nuance. I might add that The Peacocks is reason enough to buy this disc. Finally a little surprise in a freshly harmonic take on Don't Blame Me and a gentle set closer entitled Valentine. Hersch is among the most expressive musicians on planet Earth. Fly away with him on this stunning solo performance. Palmetto, 2005; Playing Time: 61:33, *****.

Trios, Brent Jensen, alto saxophone. Some of you may remember Brent Jensen from his earlier Origin recordings, particularly "The Sound Of A Dry Martini," where, if you closed your eyes, you'd think you were hearing Paul Desmond. Well, Jensen's admiration for Desmond is born anew on this fine outing with two different trios. The first one puts him in the company of Jamie Findlay, guitar; and Zac Matthews, bass. On other selections, Jensen is joined by Doug Miller, bass and John Bishop, drums. Regardless of his mates, Jensen is once again very impressive with his suave, laid-back sound on a menu of great tunes like Beautiful Love, How Deep Is The Ocean, Giant Steps, Softly As In A Morning Sunrise, East Of The Sun and two Monk classics, Bemsha Swing and Well, You Needn't. The similarity to Desmond is particularly profound on the guitar trio selections with Jensen and Findlay sounding, for all the world, much like the gorgeous things Desmond did with the likes of Jim Hall or Ed Bickert. Try How Deep Is The Ocean or East Of The Sun if you don't believe me. Jensen is a neighbor of ours across the mountains in Idaho. We've got to get him to play in our yard. I think Portlanders would eat him up. Origin, 2006; PT: 47:33, ****.

Love Is Here To Stay, Sandy Stewart, vocals; Bill Charlap, piano. Bill Charlap's Portland area following is well aware that he is the offspring of a very musical family. His mother, Sandy Stewart, was an accomplished band singer, and her charming, unadorned voice is so very welcome on a selection of great standards from Songbook Americana. In listening to this heartfelt recording of mother and son, one can just picture such sessions around the Charlap family piano during Bill's youth. Indeed this recording has the intimacy of just such an occasion with Bill and Sandy interpreting timeless compositions like The Boy Next Door, I've Got A Crush On You, Always, Dancing On The Ceiling, It Might As Well Be Spring, Our Love Is Here To Stay and a little known Cole Porter gem, After You. A highlight of the album is a two song tribute to Moose Charlap, Sandy's late husband and Bill's father. Here I Am In Love Again and I'll Never Go There Anymore are gorgeous examples of resonant, sophisticated songwriting. Pianist Barbara Carroll put it this way: "this CD is a reaffirmation of the power and magic of good music." I couldn't say it any better. Blue Note, 2005; ****1/2.

East Coast Cool, John McNeil, trumpet. Here's how it works: back in the 50's there was this pianoless quartet starring Gerry Mulligan on baritone sax and Chet Baker on trumpet. Their music was described as the "cool" West Coast sound. It mainly consisted of Mulligan originals with attractive melody lines at just about any tempo, but also extended into the realm of standard Tin Pan Alley tunes. Well, along comes trumpet ace John McNeil leading an East Coast quartet with Allan Chase, baritone sax; John Hebert, bass and Matt Wilson, drums. This group has decided to forego the standard tunes (with the exception of Bernie's Tune) in favor of an all original menu, but one which often retains the lyricism of its predecessor. McNeil and Chase are smart enough not to attempt to imitate the instrumental sound of Gerry and Chet, but the simple combination of trumpet and baritone without the piano will take you right back to the "original." The difference here is stated nicely in the notes. It merges an East Coast intensity with West Coast economy of expression. There's a high level of creativity here, and although it might not work for everyone, I found it to be quite captivating listening. Omni-Tone, 2006; Playing Time: 55:40, *** 1/2.

My Romance, Jon Mayer, piano. Jon Mayer is one of those great, lyrical pianists that you don't know. But the musicians are hip to him. He's worked with the likes of John Coltrane, Thad Jones-Mel Lewis, Sarah Vaughan, Jackie McLean and Anita O'Day, among countless others. Such an imposing list doesn't evolve without supreme talent. That's what Mayer brings to the piano and that's why you should get acquainted with him. Working with Rufus Reid, bass and former Portlander Dick Berk, drums, Mayer's third CD for Reservoir simply sings with lyricism, creativity, and, let's call it what it is, bountiful bop chops. How could it be otherwise as this piano marvel takes on a list of Americana tunes of timeless grandeur. Try finding your own favorite among Dream Dancing, But Beautiful, Yesterdays, I Have Dreamed, Everything I Love, My Romance and more. It's early in the year, but I have no doubt that this stunning piano trio performance will rank high on my personal top ten list for 2006. I repeat: you need to get to know Jon Mayer. Reservoir Recordings, 2006; Playing Time: 47:15, *****.

The Thang, Anthony Wonsey, piano. Here's yet another of those hard-boppy New York piano cats who's been around the block for several years, but still deserves to be recognized more fully. Wonsey's ever-swinging trio includes two players getting ever increased Gotham gigs: Nat Reeves, bass and Joe Farnsworth, drums. They explode out of the gate with Jerome Kern's All The Things You Are, a veritable jazz anthem. Part of the strength of this CD is that the trio becomes a quartet on four tunes with the addition of the brilliant Eric Alexander on tenor sax. He joins the fray on the funky title tune, The Thang; plays at a medium clip on Wonsey's original, Hey Jimmy; adds some fire to another of the leader's tunes, The Paper Chase; and helps give Speak Low a slight turn in the road. Wonsey's Pamela is a charming bossa with a delicate melody line and I'd imagine that Stevie Wonder fans will recognize a new tune to these ears, Overjoyed. The set concludes with the trio's version of Billy Boy, evoking memories of earlier versions by such standouts as Red Garland and Ahmad Jamal. It was an in-studio decision to play Billy Boy and it turned out to be too good not to include it. Make no mistake about it, Anthony Wonsey is in the top echelon. Sharp Nine, 2005; Playing Time: 53:47, ****.

Vintage, Kathy Kosins, vocals. In this age of the ease of making a CD, there are scores of female singers doing "debut" CDs, and sounding rather sophomoric. Not Kathy Kosins. Her mature voice, with subtle jazz phrasing and unexpected little turns and twists, is the real deal. On this recording, she chooses tunes you haven't thought of for years. How about King Pleasure's Tomorrow Is Another Day or Cy Coleman's When In Rome. And maybe some of you remember Nice Girls Don't Stay For Breakfast, a tune written by Bobby Troup for his wife, Julie London. Or consider Look Out Up There, a bountiful tune associated exclusively with June Christy, but how nice to hear it reprised by Ms. Kosins. Something as seemingly out of place as These Boots Are Made For Walkin' gains a hipness never given us by Nancy Sinatra or Mrs. Miller. A highlight of the CD is Tiptoe Gently, a quirky melody which would be a tough test for most singers. Kosins also benefits from the presence of a sextet which provides solid support throughout. The best known of the players is Aaron Goldberg, piano; Peter Bernstein, guitar and Jeremy Pelt, flugelhorn. Kosins gets kudos for both her choices of rarified material and for her ability to put it all across in a strong jazz context. Mahogany Jazz, 2005; Play Time: 56:38, ****.

Just Like Me, Jeff Kaye, trumpet, flugelhorn, leader. A soulful romp called Harvey Headbanger opens the proceedings for trumpet man Jeff Kaye and his quintet. He's assembled some of his longtime pals for this hardbop session, including George Harper, saxophone, John Campbell or Josh Nelson, piano; Isla Eckinger, bass and Paul Kreibich, drums. Eckinger's Two Deaf Lice is a medium-up line based loosely on, believe it or not, Three Blind Mice. Well, I seem to recall that Art Blakey recorded the nursery rhyme, so,why not Jeff Kaye and friends? Sozhino is Portuguese for "alone" and it becomes a nice feature for the leader. Real Gone is a sizzler based on After You've Gone changes and Partido In Mar Vista is Kreibich's Brazilian line. Everything I Have Is Yours is played ballad-style and becomes an album highlight for Kaye's flugelhorn. That's Earl, Brother is a bop staple from Dizzy Gillespie's early days and Jay is Eckinger's exquisite ballad tribute to the late saxophonist Jay Migliori. Other Steps is a burner based on Giant Steps changes and JB's Waltz again features Kaye's attractive flugelhorn solo. Harper's original, Shalabunga, closes out a satisfying set with some strong musical statements. Jazzed Media, 2005; PT: 65:29, ***1/2.

Prestige Profiles, The Red Garland Quintets, Red Garland, piano. It's interesting to me that Prestige would choose to feature Red Garland's work with John Coltrane on this compilation. As excellent as it is, it seems to illustrate once again that Red Garland played second fiddle to both Coltrane and Miles Davis. It can't be denied that that's where he achieved his greatest fame, but Garland was a superb trio pianist as well. Just check out the large collection of his own trio dates for Prestige. For my ears, Garland's trademark, beautiful bell-like block chords, placed him very high on the ladder of great jazz pianists. In addition to Coltrane, this reissue places Red in the company of such bright lights as Donald Byrd, Arthur Taylor, Richard Williams and Oliver Nelson, among others. The titles read like a primer on the basic jazz book: Billie's Bounce, Solitude, Soft Winds, Soul Junction, On Green Dolphin Street and Our Delight. At no extra charge, Prestige (now part of the Concord Music Group) throws in a bonus CD featuring the likes of Coleman Hawkins, Tommy Flanagan, Ray Bryant, Billy Taylor, Monk, Miles and Mose. All in all, a pretty good deal, wouldn't you agree? Prestige Records, 2005; Playing Time: 2 CDs: 54:06 & 46:25, ****1/2.

Phoenix, A Tribute To Cannonball Adderley; Chris Stewart, soprano and alto saxes; arrangements. Chris Stewart has chops on prominent display in this Julian Adderley tribute. Perhaps by plan, the recording took place on the 50th anniversary of Adderley's first record date AND the 50th anniversary of the passing of an alto genius by the name of Charles Parker. The players, I must say, are all unfamiliar to me. Since the recording was made in Tempe, Arizona, they're probably all Arizona resident musicians, but they're obviously steeped in this tradition and they play with skill and inspiration. For the record, in addition to Stewart, they are: Lucas Pino, tenor sax; Dan Delaney, piano and Fender Rhodes; Chris Finet, accoustic and electric bass; and Dom Moio, drums. Any Cannonball fan will recognize titles like High Fly, Work Song, Sack O' Woe, Stars Fell On Alabama, Jive Samba, Dis Here, Country Preacher and a medley of Walk Tall and Mercy, Mercy, Mercy. The one tune which wandered into the menu from I'm not sure where is the ancient Sidewalks Of New York. Cannonball probably recorded it one time or another, and Stewart's quintet puts in new dress with a cool, understated electric piano. You wanna talk heroes? One listen to this CD and you can tell where Chris Stewart "comes from." For more info, check out http://www.docstewart.com. Tempest, 2005; Playing Time: 73:53, ***1/2.

The Complete Village Vanguard Recordings, 1961, Bill Evans, piano. Considered among the essential jazz recordings, these were especially admired due to the presence of Scott LaFaro, Evans' ground breaking bassist who perished at 25 in an auto accident. This performance, dated June 25, 1961, was his last. Completing the trio was drummer Paul Motian, and many consider this to be the very best of the various Bill Evans trios. The material heard here has been issued and reissued, but never before in its complete form. That's probably because a few of the songs on this three CD package are played two or more times during the three set performance. But Evans freaks won't care. They'll want to hear all the little nuances which make one performance differ from another. Some call this very trio the zenith of piano trio communication, with Evans' poetic piano solos and the magnificence of LaFaro's bass work. The tunes? Well, you've heard ‘em before, but revel in them again with Gloria's Step, My Romance, Detour Ahead, Waltz For Debby, Alice In Wonderland, Jade Visions, and many more. Now, more than 25 years since his passing, the music of Bill Evans is as much celebrated as ever before. The Village Vanguard recordings are an important part of that legacy. Riverside Recordings, 2005; PT: 3 CDs: 49:21; 64:21; 39:31, *****.

A Summer Afternoon With You, Eugene Marlow, composer, arranger. Perhaps some of you remember that nearly extinct species that wrote songs. You know, real melodies that could stand on their own without bright lights, choreography, back-up singers and excessive volume. Well, Eugene Marlow demonstrates clearly on this CD that he has no need for the hoopla; that his melodies swing with sophistication and charm. You know you're off to a good start with a tune named for a certain veteran piano maven. It's titled Taylored For Billy.

A couple other dedications find their way onto this CD with a nicely swinging Thanks, Duke and probably a tip of the hat to Dizzy Gillespie with Com Calma (Take It Easy), a play on words for Con Alma. Marlow enlists some outstanding players to present his music in Michael Abene, piano; Chip Jackson, bass; Dave Meade, drums; Mike Mossman, trumpet and flugelhorn; and Bobby Porcelli, alto saxophone.

The title tune is a shimmering feature for pianist Abene; Gentle Breeze is delivered in a lightly Latin mood and Send My Regrets is a medium blues in memory of Manny Albam, a leading arranger and band leader from years back. Of the remaining four tunes, I especially liked the upbeat, fresh melody line on Memories And Reflections.

Gene Marlow's talent for composing and arranging tunes deserves high praise and careful listening. Me II Enterprises, 2005; Playing Time: 53:06, **** 1/2.

In A Word, Nicole Pasternack. I don't know for sure if this is Nicole Pasternack's initial CD, but if so, what good fortune for her to start out with accompanists like Don Friedman, piano and Dennis Irwin, bass. Toss in tenor titan Ralph Lalama on some of the tunes, and by golly, we've got something good going here! Nicole sings not only these timeless melodies, but she's a very skilled scat singer, and seems to understand that "reeling it in" is the secret to good scatting. The tunes: (in part) Remember, Imagination, Impossible, Yesterdays, Four, Smile and You. Hence the title, In A Word. I very much liked what I heard, and I hope there'll be more from Nicole Pasternack. Garagista Music, 2005; PlayTime: 57:16, ****.

At Sea, Ingrid Jensen, trumpet, flugelhorn. It may surely be said that Ingrid Jensen produces a stunning tone and paints colorful musical portraits on both trumpet and flugelhorn. But this album of mostly original music gets a bit cerebral for me. As far as the two standards on the disc, well, There Is No Greater Love doesn't swing and Everything I Love is so loaded with electronic gimmickry that it's nearly unrecognizable as Everything I Love. Some may call this kind of music "reflective". For the most part, despite Jensen's obvious talent, I find it depressing. Artist Share, 2005; times not indicated, **.

Stridemonster! Dick Hyman, piano, Dick Wellstood, piano. Wow! This full-o-fun CD is well titled. From the opening notes of James P. Johnson's Keep Off The Grass, these two piano wizards stride and stomp through Thou Swell, Caravan, Fine And Dandy, Ol' Man River, Manhattan, Crush On You and several lesser known but equally effervescent titles. Not all tunes are duets, as both players get a solo spot here and there. Piano devotees, you're gonna get a real kick out of this visit to an invigorating style of playing. Don't call it dated. Call it timeless. Sackville, 2005; Playing Time: 68:26, ****.

Free Association; Jim Hall, guitar, Geoffrey Keezer, piano. This review was written weeks before the First Jazz Performance of this duo, so it'll be interesting to compare their performance with this one. It has some pretty moments such as the unexplained title, Bibo No Aozoa. For the most part, as the CD‚s title suggests, this is mostly a "free playing" type of thing, and although from a purely sonic point of view, there is interest here, I simply haven't reached the point where music like this draws me in. Artist Share, 2005; Playing Time: 38:51, **.

Playing The Word; Dan Jaffe, poetry, Mike Melvoin, piano. Jazz poet Dan Jaffe recites his work much as a great jazz musician would take a solo, with straight forward honesty and passion. Mike Melvoin has tailored his piano accompaniment to the content of the poetry and the result is both stimulating and artistic. Jafee recites his work as though he has lived it and loved it, and the more one listens, the more one realizes that he indeed expresses little jazz innuendoes and subtleties in words. You'll find yourself waiting to hear how each of his stories spins to a close. City Light Records, 2005; PT: 68:34, ***.

Days Of Wine And Roses, Maria Schneider Orchestra. With this new CD, composer-arranger-conductor Maria Schneider will undoubtedly continue to win new fans for her stimulating, swinging and creative jazz orchestra. This time around, she concentrates on both original pieces and a menu of standards like That Old Black Magic, Over The Rainbow and, of course, the title piece. The many moods and textures represented here are played with passion by soloists like Rich Perry, Scott Robinson, Ingrid Jensen and many more. Greg Gisbert's flugelhorn solo on My Ideal is an album highlight. Artist Share, (probably) 2006; Playing Time: 63:59, ****1/2.

In The Ring, Ray Marchica, drums. This is kind of a mixed bag of bop, ballads and some funk. Marchica is an accomplished drummer and Teodross Avery is a mighty force on tenor. The quartet is completed by Rodney Jones, guitar and Lonnie Plaxico, bass. They arrive with a bang on Billie's Bounce, but don't hit the mark with material like Tequila. Following several originals of varying tempos, the quartet scores on a shimmering treatment of I Can't Get Started. But then they seem to forget that Gershwin's Summertime is a lullaby. Like I said, this is a very mixed bag. Sons Of Sound, 2005; Playing Time: 50:29, **1/2

Vintage Vocals, Tonic. Here's a group whose rich harmonies can give Manhattan Transfer a run for their money. Vocal groups, once a staple in American music, are rare nowadays, and Tonic has produced an album of nostalgic oldies and fresh new material ranging from Lazy River to Smoke Rings; from I've Got A Crush On You to Lemon Twist. The group shows its flair for writing as well, with a number of polished originals. Put this all together with fiery big-band arrangements and even some strings on the ballads and, well, you've got a quite an impressive production. A pleasant tonic, indeed, for vocal jazz fans. Self-produced, 2004; Playing Time: 46:27, *** 1/2.

Sell Your Soul Side, Upper Left Trio. This piano-bass-drums trio of Clay Giberson, Jeff Leonard and Charlie Doggett presents an album of nearly all originals by pianist Giberson and drummer Leonard. Sometimes I lose the melody line on recordings like this, and I "long for" a standard or two. Or something that swings a little more. Origin, 2006; Playing Time: 55:56, ***.

Brightness Of Being, Paul Bollenback, guitar. Despite the presence of some heavy cats like David Fathead Newman, James Genus and Terri Lynn Carrington, Bollenbeck doesn't quite get a handle on what he wants to do here. With composers ranging from Puccini to Neil Young to some of Bollenback's brittle work, there's too much fill in this burger. Elefant Dreams, 2006; Playing Time: 68:07, **.

Prestige Profiles, Miles Davis, trumpet. They keep dressing these old chestnuts in new clothing, (packaging, graphics etc.) in hopes that new jazz fans will discover them. Any why not? This compilation includes early Miles "hits" like Doxy, Walkin' Airegin, Oleo, When Lights Are Low and lots more. And there's a bonus record featuring Chet, Rollins, Dorham, Coltrane and more. A great buy! Prestige, 2005; Playing Time: 2 CDs: 68:17 and 49:10, *****.

The Cellar Door Sessions 1970, Miles Davis, trumpet. This six CD set features Miles' last band and it's loaded with electricity (guitar, electric piano, electric bass, etc.) I understand Miles insistence on "changing with the times," but from Bitches Brew on, Miles left this reviewer cold. This is what I refer to as his "rock era" and it was a bitter pill for many of us to swallow. Columbia, 2005; 6 CD set of varying times; *1/2.

Lucky To Be Me; Dewey Erney, vocals. How many guys get the opportunity these days to do a classic vocal album with a big band as polished as that of Tom Kubis? And Dewey Erney handles fifteen evergreens in a stylish, easy going manner with the likes of Never Let Me Go, I'm All Smiles, Why Did I Choose You, Time After Time and the title tune, Lucky To Be Me. Primrose Lane, 2005; Playing Time: Unknown; ***.

Dedicated To You, Gloria Cooper, piano, vocals. Give her credit for unearthing some stunning little known tunes by jazz performers like Hank Mobley, Jon Burr, James Williams, Renee Rosnes and Tommy Turrentine. For good measure, toss in the title tune, Dedicated To You and the old standby Come Rain Or Come Shine and Ms. Cooper and arranger-trumpeter Don Sickler have come up with a winner. Origin, 2005; Playing Time: 64:54, ***1/2.

Hall Sings Hines, April Hall, vocals,Pamela Hines, piano. Composer-pianist Pamela Hines has constructed some intricate, sometimes challenging melodies, some of which prove to be a little too much to handle intonation-wise for singer April Hall. Hines, with her trio including John Lockwood, bass and Reed Dieffenbach, drums, plays a nicely swinging piano. Perhaps for her next album, she would be wise to consider it a non-vocal affair. Spice Rack Records, 2005; Playing Time: 42:19, **.

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