Grand Masters Of Jazz; Clark Terry, trumpet, Buddy DeFranco, clarinet, Terry Gibbs, vibes.
Yeah, I think it might be safe to refer to these three marvels as Grand Masters of jazz. These recordings were all made between 1998 and 2001. And not every guy plays on every track. The disc also features various members of Swing Fever, a 35-year-old, much beloved swing band in San Francisco. To all of this luscious music, add the solid vocals of Jackie Ryan on six of the 19 cuts, and you end up with a real gem of a record. To break it all down a bit: Gibbs is featured on “Airmail Special,” “Love For Sale” and “Autumn Leaves.” Clark is in fine fettle on “Topsy,” “I Want a Little Girl,” “Swingin’ the Blues” and “Please Don’t Talk About Me When I’m Gone.” And Buddy shines on “Speak Low,” “Liza” and “My Lean Baby.” The graphics are outstanding and feature a 20-page booklet chock full of photos, bios, history, color and style. In the dozen years that have passed since these sessions were done, all three of these Grand Masters are, happily, still with us. Their contribution to jazz, individually and collectively, is immeasurable. They are jazz royalty and it’s pretty darn cool to hear them on this “old but new” recording.
Open Art Productions; 2013, 74 minutes,
Blue’s The New Green; David Sills, tenor saxophone and flute.
I must admit that I’ve lost track. But I think that this is my sixth or seventh review of an album by Sills, a formidable tenor sax presence in Los Angeles jazz circles. He also happens to be a no nonsense, gimmick-free player in the highest echelon of straight ahead jazz musicians. For this set of mostly Sills originals and a couple of standards, Sills joins up with four Southland heavy duty players. Guitarist Larry Koonse is all over the place in LA, as is bass man Darek Oles. Pianist Chris Dawson, a former protege of Alan Broadbent, is a rapidly rising player, and drummer Jake Reed, tasty and solid, is a new name to me. Catch Sills on the standard “Tis Autumn” and you’ll hear the Lester Young lineage -- quite beautiful. The other familiar choice is “I’m a Fool to Want You.” Frank Sinatra and Al Hibbler broke many hearts with this tune, and Sills gives it an equally compelling rendition. You might also like to know that his original compositions, often fresh and invigorating, are powered by distinctive melody lines. In other words, they’re all “going places,” and those place make sense. I’ve been a David Sills admirer since discovering his music perhaps 15 years ago. His newest release simply renews my enthusiasm.
Gut String Records; 2013, appx. 64 minutes.
Special Requests; Kenny Burrell, guitar.
In describing certain of his fellow musicians, Duke Ellington often used the expression “beyond category.” But I’ll give it a whirl anyway. When it comes to one of the undisputed pillars of the jazz guitar, Kenny Burrell is truly beyond category. Still going strong well into his 70s, and looking handsome as ever, Burrell’s new album speaks of the wisdom of “doing what you love.” And obviously Burrell, after all these years, still loves making music. This performance features a well-oiled quintet live at an LA club called Catalina’s. His basic quartet includes three stalwarts of the Los Angeles jazz community: Tom Ranier, piano, Tony Dumas, bass, and Clayton Cameron, drums. On several selections, they are joined by Justo Almario’s tenor sax and flute. Burrell’s playlist, as always, includes both jazz gems and quality Songbook America tunes. And so we go effortlessly from Freddie Hubbard’s “Little Sunflower” to “Make Someone Happy”; or from J. J. Johnson’s “Lament” to the ancient “Bye Bye Blackbird”; or how about Burrell’s original “Chitlins Con Carne,” to Legrand and Bergman’s beauty, “The Summer Knows.” Finally, a Kenny Burrell concert would be incomplete without representation from Ellington. This time around, it’s “Sunset and the Mockingbird,” “In a Sentimental Mood” and a real treat featuring Burrell’s vocal on “The Feeling of Jazz.” Burrell debuted on record in 1951. Sixty two years later, he remains a living jazz treasure. The proof is in the hearing.
High Note; 2013, appx. 73 minutes.
Six Bethlehem Reissues ...
Certainly dedicated jazzophiles remember and respect the offerings of Bethlehem Records, an East Coast label quite prominent back in the glory years of the fifties. Some of their material has been reissued from time to time. And while it’s all welcome, it’s been spotty. Well, an outfit called Verse Music (not to be confused with Verve), along with Naxos of America, have just released the first six of what will be a 12-month “re-launch” of gems from Bethlehem. Look for as many as 18 more between now and August, 2014. The initial half dozen include “The Jazz Experiments of Charles Mingus”; “Modern Quartet” by Oscar Pettiford; Nina Simone’s “Little Girl Blue”; Booker Ervin’s “The Book Cooks”; “Chris Connor Sings Lullabies For Lovers”; and “Daddy Plays The Horn” by Dexter Gordon. All of these classics date to the mid and late 1950s, and each title retains it’s original cover art. Over the course of the next year, you’ll want to watch for names like Zoot Sims, Bobby Troup, Johnny Hartman, Mal Waldron, Stan Levey, Lockjaw Davis, John Coltrane, Art Blakey and more!
Bethlehem Records; 2013 and more in 2014.
Second Wind; Chuck Israels Jazz Orchestra, Chuck Israels, arranger, bass.
This album was destined to happen. Why? Well, Israels played bass in the Bill Evans Trio from 1961 to 1966. And this recording is subtitled “A tribute to the music of Bill Evans.” I would assume that Chuck could have taken on this project at just about any time. But how fortuitous that he waited until he became a resident of Portland, Oregon. As a result, Chuck is surrounded by some stunning Portland-based talent. All of the tunes were either written by, associated with, or composed in the spirit of Bill Evans. Israels’s arrangements on the up-tempo material are swift, brisk, full of motion and occasional counterpoint and, all in all, a joy to hear. An all inclusive example is Evans’s “Five,” an adventurous arrangement that pleases from the first note to the last. And on the ballads, Israels puts rich combinations of instruments together and produces a polished and beautiful result. You’ll recognize these song titles as staples in the Evans repertoire: “Show-Type Tune,” “Spring Is Here,” “Waltz for Debby,” “Some Other Time,” “Israel,” “Detour Ahead” and more. Chuck Israels is an enchanting arranger who gets the best that his troops can give. I’m not indulging in hometown favoritism when I offer the opinion that this long-awaited project will find its way somewhere in my personal top ten CDs of 2013.
Self-Produced; 2013, 56:11
Wilford Brimley with The Jeff Hamilton Trio.
Several years ago, Dave Frishberg was kind enough to give me a never-issued recording on which he was the accompanist for Wilford Brimley. Yes, that Wilford Brimley. The actor and television pitchman that you’ve seen forever. I remember thinking at that time that while Brimley ain’t Sinatra, there was something very warm and sincere about the way he delivered the meaning and the message of a song. Well, now he’s done it again. And again in stellar company — Hamilton and his trio, featuring the phenomenal Tamir Hendelman on piano and the musical Christoph Luty on bass. In case you’re still in doubt, this isn’t a case of “famous Hollywood actor trying his hand at singing.” The 78-year-old Brimley warms up the room on no less than 15 tunes. Most are etched-in-marble standards, including “I Wish You Love,” “I’ve Grown Accustomed to Her Face,” “Pick Yourself Up,” “Nice Work if You Can Get It”, “Love Letters” and “Bidin’ My Time.” There are also some golden oldies such as “Ain’t She Sweet,” “When I Take My Sugar to Tea” and “Walkin’ My Baby Back Home.” And finally, a few surprises in Bill Evans’ “Waltz for Debby,” Sinatra’s “This Love of Mine,” and from the Broadway stage, “I Have Dreamed.” On all these and others, Brimley and his three rollicking friends are stirring up the action. Wilford Brimley?!!! You bet
Capri Records; 2013, appx. 56 minutes.
Solo; Ray Kennedy, piano.
“I will tell you this,” guitarist John Pizzarelli said, “Ray Kennedy is one of the greatest piano players who has ever walked this planet.” How’s that for an endorsement? Some of you may be familiar with Kennedy via his work on the Arbors label. But this time around, his solo assignment is for The Victoria Company, another label dedicated to swinging, entertaining jazz. And how would we describe Kennedy? Touches of Fats Waller, Earl Hines, Dave Frishberg, Teddy Wilson, John Bunch and Dave McKenna, and a few others whom I’ve undoubtedly omitted. His touch is often more punchy and solid, a la Hines or McKenna, but he can also make very elegant statements which remind more of Bunch or Wilson. And what great standards from the timeless list! Among them are “Sweet Georgia Brown,” “Talk of the Town,” “On the Sunny Side of the Street,” “Honeysuckle Rose,” “The Very Thought of You” and lots more. We have learned that Kennedy is experiencing some health issues right now. We wish him renewed vigor, best of health and lots more wonderful albums like this one.
The Victoria Company; 2013; times not indicated.
What I See; Judy Wexler, vocals.
Somehow, you’ll have to deal with the fact that you’ll never see Wexler on “American Idol.” You see, she has this odd habit of simply singing the song. No screechy excess; no painful vocal posturing; and to make matters worse, no noisy guitars and electronic gorp for accompaniment. I look forward to every new Wexler disc because she’s a pure and dedicated jazz singer. Her intonation is spot-on; she often chooses little gems deserving of greater exposure; and she hires some of the best musicians in her neighborhood! She gets the proceedings underway here with a King Pleasure “re-write” of “Dear Old Stockholm,” a staple in the bop literature. King Pleasure called it “Tomorrow Is Another Day,” and I can’t couldn’t think of a single vocal version other than his until now. And Wexler nails it! “The Moon Is Made of Gold” follows with its romanticism and melodic perfection. Among other favorites on this altogether delicious disc are “They Say It’s Spring,” a near-standard with a lilting, uplifting melody; Andre and Dory Previn’s “Just For Now,” a real obscurity I’ve only heard sung by Jackie Cain; “Another Time, Another Place,” from the gorgeous writing of Benny Carter; and “Laughing At Life,” a lesson once sung so pleasurably by Billie Holiday. On all these and a half dozen more, Wexler and her handpicked jazz stars get absolutely everything just right!
Jazzed Media; 2013; appx. 50 minutes.
Compatability; Zoot Sims, tenor saxophone.
This session, in which Sims was in a supportive role, has seen the light of day on a few different labels. But the music is uniformly fine, and Zoot does get at least his share of attention. The first four tracks were actually issued originally under the name of trumpet player Hall Daniels, the leader of the session. Interestingly, five additional alternate takes were originally issued as the Zoot Sims-Dick Nash-ville Octet. Same tunes, same titles, alternate takes and brand new leadership. Well, the entirety of the session, plus two additional alternates (!), can be found here. It may be confusing, but just the same, Zoot, Nash, Daniels and the octet also featured Bob Gordon on baritone sax. Gordon was a promising young player sadly lost in an automobile mishap. In the years that followed this 1955 session, Sims would go on to enormous fame. That alone makes his limited presence in this octet historically interesting. One thing’s for sure: Zoot was just starting out on this date, but it’s unmistakably him. And that alone makes it worth hearing.
Jump Records; 2013, appx. 56 minutes.
Remembering Blakey; Ron Aprea, alto saxophone.
I must admit that I wasn’t familiar with Aprea at first glance. However, a couple of things caught my eye and pushed my “curious button.” First, the CD is a tribute to Art Blakey, a pillar of hard bop jazz. Second, it includes a couple of familiar names in Joe Magnarelli, trumpet and flugelhorn, and Jerry Weldon, tenor sax. Straight ahead alto, tenor, trumpet and rhythm section on 10 tunes. Magnarelli is a typical New York monster, and Weldon, a more recent arrival in my jazz world, is rapidly ascending the ladder. Pianist Celia Coleman is another player making waves. The tunes are, for the most part, heavy duty rhythmic adventures which reflect Blakey’s muse very well. One or two seem to have changes built on standards which I couldn’t peg for sure, and the session also includes Aprea features on “My Foolish Heart,” “Goodbye” and “Lover Man.” His alto sound is muscular and confident, but never travels into the “look what I can do” zone. If he reminded me of anyone, well, perhaps alto hero Sonny Criss. There’s a lot of invigorating “jam style” blowing here, but also some sterling ensemble work. I’d suspect that Aprea is going to gain some well-deserved attention as a result of this finely-honed session.
Early Autumn Productions; 2013, times not indicated.
After Blue; Tierney Sutton, vocals.
A few years ago, it was Cyrus Chestnut playing the music of Elvis Presley. More recently, Dave Liebman tackled rock ‘n’ roll hits of the fifties. And now, believe it or not, Tierney Sutton, a very good singer, takes on the music of Joni Mitchell. Why do legitimate jazz artists feel a necessity to intervene in the world of pop and rock? Springsteen will never sing Strayhorn. Get my drift? Well, this is a big deal album with a host of arrangers, occasional strings and prominent jazz players like Hubert Laws, Peter Erskine, Larry Goldings and even pop-jazz heartthrob Al Jarreau. But the fact remains that the material is, for the most part, second-rate folky pop writing. Even Tierney’s glorious tones can’t save Mitchell’s odd, and to my ear, wholly uninteresting creations. For instance, I would remain totally fulfilled if I never again heard the banal “Both Sides Now.” Curiously, Sutton decides to toss a couple of good songs into this odd mix. But not even “Don’t Go to Strangers” or “Answer Me My Love” can rescue this tired detour into folk music.
BFM Jazz; 2013, 58 minutes.
One For Rudy; Joey DeFrancesco, Hammond B-3 organ.
Okay, you know all about me and organ records. The reason most of them don’t resonate with me is that they’re usually more about funk and r & b than jazz. This one is the rare exception. DeFrancesco is playing jazz. There are no over the top licks here; nothing “show-offy” or pretentious. DeFrancesco and his trio — Steve Cotter on guitar and Ramon Banda on drums — start well and continue impressively. The opener is the rarelyheard charmer, “I Don’t Want to Be Kissed.” From there, they take on Bud Powell’s “Budo,” a bop staple. The ballads for this session are also winners: Gordon Jenkins’ “Goodbye” and the timeless “Stardust.” The other jazz gems include Freddie Hubbard’s “Up Jumped Spring,” Sonny Rollins’s “Way Out West,” and “Monk’s Dream.” The surprises of session may be “Canadian Sunset” (remember Eddie Haywood?) and the ancient “After You’ve Gone.” Finally, some brief studio chatter precedes the organist’s original, an oddly shaped blues which serves as the title tune. So here it is, an organ record that not only gets it right, but impresses the heck out of yours truly. And that’s quite an achievement!
High Note; 2013, appx. 59 minutes.
Plays Well With Others; Mike Jones, piano.
I couldn’t muster up much of an argument with the title. It’s apparent that Jones does indeed play well with others — in this case, Mike Gurrola, bass, and Jeff Hamilton, drums. Jones is one of those “do everything” types; the kind of pianist you’d love to hear in a good “listening room.” One gets the idea that, like the late Jimmy Rowles, Jones probably knows a zillion songs, both the familiar, the obscure, and the out-of-left-field goodies known only to historians and/or “tune freaks.” Jones and his trio launch into 13 winners on this session, including goodies such as “Besame Mucho,” “It’s a Wonderful World,” “September Song”, “Day By Day,” “Corcovado,” “I’m Old Fashioned,” and even Fats Domino’s mega-hit, “I’m Walkin’.” If you lean toward great melody players, guys like John Bunch, Eddie Higgins and Paul Smith, I think you’ll find that Jones does indeed “play well with others.”
Capri; 2013, 63:39.
Hey, I Know This Song! Vol. 1; David Ricard Big Band.
Do you remember those “swingin’ the classics” albums from the fifties? There really were such things back then. Glossy, brassy arrangements of famous classical themes that were meant for the unwashed masses who somehow knew, but would never listen to these familiar refrains. Well, big band leader Ricard has assembled 10 of these melodies without the extraneous stuff which would surround it on a pure classical recording. So, if the thought of such a thing is intriguing to you, get ready for brand new big band attire created for such hip heroes as Tchaikovsky, Strauss, Grieg, Mozart, Bizet, Beethoven, Ravel and others. The band cooks along with loads of energy, and a handful of soloists provide some spirited licks. Ricard is responsible for all of the arrangements, and he puts some sizzle into the wigged heads. Heavy duty jazz? Not really. But an enjoyable diversion? Absolutely!
Lesterbeat Records; 2013, times not indicated.
The Bluebird of Happiness; Bryan Shaw, trumpet.
If you’ve been wondering where the heck is Arbors Records, well, after quite a long hiatus, I was glad to wrap my hands around their first release in what seems like a year. And they sure re-emerged with a winner! True to their historical muse, they’re back in the game with trumpet ace Shaw and the Hot Shots. And if that sounds like the name of a swing group, well, bingo! The leader, it might be said, is somewhere in the line of greats like Ruby Braff, Bobby Hackett and Warren Vache. His “hot shots” include established cats like Dan Barrett, trombone, and Jeff Hamilton, drums. A couple of up and coming voices which were perfectly suited to these goings-on, were Evan Arntzen, reeds, and Ehud Ahserie, a versatile pianist who is rapidly ascending the jazz ladder. The tunes, about half familiar and half obscure, include “Love Me or Leave Me,” “All My Life,” “I’m Just a Lucky So and So,” “Blue Room,” “Vignette,” and the title tune, a dusty old manuscript once sung by none other than Jan Peerce. And one can’t help experiencing happiness in excess when listening to the finely honed musicianship and abundant fun happening here.
Arbors; 2013, times not indicated.
The Contender; Diego Rivera, tenor and soprano saxophones.
Detroit based Rivera is one of those startling talents whose playing and writing grabs you immediately and holds on tight. With a cast of sizzling colleagues — including Greg Gisbert, trumpet, Michael Dease, trombone, Miki Hayama, piano, Rodney Whitaker, bass, and Ulysses Owens Jr., drums — Rivera states his case with the opening hard bop lines of the title tune. This is followed by “The Pachuco,” a rhythmic feast celebrating the flamboyant hip, in-charge cat in Latin culture. One of three standards on the album, Jerome Kern’s “Yesterdays,” receives a brisk treatment with Gisbert’s trumpet leading the way. Another familiar choice is Stevie Wonder’s “My Cherie Amour,” and Rivera and friends bring some life to it. “The Whit” is a Rivera blues and a good opportunity to hear Whitaker’s full-figured solo. “Silver’s Serenade” is a fine example of Horace Silver’s creativity, albeit not one of his best-known tunes. Once again, Gisbert’s fluid, muscular trumpet wins the day. On all these and several more, Rivera displays exciting technique, heady arranging skills, and chops, man, chops!
Clef Records; 2013, appx. 57 minutes.
For Joe; Frank Potenza; guitar.
Guitar great Joe Pass was the idol of young guitarist Potenza, and through a set of fortunate circumstances, the two met and formed a solid friendship for the remainder of Joe’s life. This recording is, as the title tells us, Potenza’s tribute to his hero. It isn’t by chance that it also features two players who worked frequently with Pass: Jim Hughart on bass and Colin Bailey on drums. The first thing one hears in the playing of Potenza is a beautiful, classic jazz guitar sound. In an age of so many guitarists falling in love with reverb and other tomfoolery, one can’t always assume that a guitar is going to sound like a guitar! No problem here. Potenza and his colleagues are in a solid, unpretentious, straight down the highway groove here, with a combination of tunes once performed by Pass on his own “Django salute” and others from the standard bag. For example, from the standards category comes “Do Nothin’ til You Hear from Me,” “Love Is Here to Stay,” “Rosetta” and “Beautiful Love.” To these, add a few of Joe’s originals and varied additional selections. Joe Pass was a guitar savant with endless ideas and head shaking virtuosity. How nice it is that he is honored here by Potenza, himself a formidable presence on guitar and one who can pull off a challenging task such as this.
Capri; 2013, appx. 45 minutes.
The Space Between; Kathy Kosins, vocals.
One can learn a bit about a singer before hearing a single note from simply perusing her tune list. In the case of Kosins, I’m looking at a menu of tunes which likely reflect the singer’s search for quality songs rarely “covered” by anyone else. Thus, we are treated to the rare lyric to Horace Silver’s “Song for My Father”; a Steve Allen tune, “Spring Is Where You Are,” a beauty which never achieved the standard status it deserved; then there’s a medium tempo swinger which I associate with Buddy Greco called “You’d Better Love Me While You May”; “You Fascinate Me So,” a Coleman-Leigh charmer that I remember from none other than Morgana King; and “Social Call,” a Gigi Gryce tune which Betty Carter introduced. Among others, “I Keep Goin’ Back to Joe’s” is a tune that Mark Murphy nailed. All are great tunes and every one of them is under-rated. And what’s most important is that Kosins has the jazz chops to make it work to perfection. Finally, kudos to a sparkling trio led by Tamir Hendelman, one of the brilliant, swinging pianists steadily climbing the ladder. Kosins is the real deal — a natural jazz singer who phrases and scats with ease and a sense of delight. And she sure knows how to choose great tunes!
Self-Produced; 2013, appx. 52 minutes.
One More For The Road; Mac Chrupcala, piano.
Do you remember some grand piano wizards like Gene Harris, Junior Mance and Ronnie Mathews? Well, these were the first few names I thought of when I heard Chrupcala and his trio. You see, the three above named players always had one foot in the blues, and yet all were inventive, renowned and respected jazz players. One can’t help but hear that bluesy touch in the leader’s approach. His trio is rounded out by Jim Cammack, a near twenty-year member of Ahmad Jamal’s trio, and Bernard Purdie, a drummer who has played with dozens of very famous cats. You gotta hand it to Chrupcala for some very good tune selections as well. How about “Summertime,” “I Love Paris,” “I Remember You,” “Bluesette,” “Meditation” and a take on “Two for the Road,” which gives it a bit more tempo than usual. Two tunes that didn’t quite score for me were the pop thing, “Imagine,” and a much-too-funky “The Letter.” But that’s a minor complaint on an 11-tune album that is otherwise a very tasty example of the joy of the classic piano trio.
Cats Paw Records; 2013, times not indicated.
The Super Villain Jazz Band, Matt White, trumpet.
Nashville music is country music. So how are Nashvillians (?) going to deal with this fresh hard bop outfit with no shtick? White is currently a faculty member in one of the Carolinas, but prior to that he spent time in Nashville. And he hooked up with what must be the city’s premier jazz cats. The group is actually a sextet with two saxes, one tenor and one alto. White’s bristling trumpet completes the front line. And they’re all supported with a steamy rhythm section. The nine tunes are mostly the creations of the leader, and it’s apparent he’s done his homework. The music has muscle and strong, well-defined lines. But White still appears to be an advocate for plenty of breathing room. All the tunes are sharp musical statements, but a few that stood especially tall for me included the opener, “The Yankee Poured Out the Bacon Grease,” a boppy, fast moving, tricky delight. Then there’s “Like Woody,” White’s shout out to one of his trumpet heroes, Woody Shaw. This is another rouser, and it features a particularly impressive solo by pianist Joe Davidian. It’s obvious that these guys have played together for a long time. There is communication, intensity and dedication here. It’s something we rarely hear these days. Long live hard bop!
Arc Artists Recording Collective; 2013, appx. 74 minutes.
Intrada; Dave Slonaker Big Band.
When I hear a big band playing nearly all original material, I’m looking for intricacy, creative arrangements, scintillating solos and melody lines that don’t enter the land of confusion. And that’s just what we have in this Los Angeles gathering of undoubtedly some of the finest players in Smogville. Oddly, the only standard in the set is “It’s Only a Paper Moon.” The rest of the selections are outstanding examples of current big band writing. Fresh and invigorating, and highly listenable, this is some premium stuff!
Origin; 2013, appx. 67 minutes.
West Coast Strings; Diane Hubka, vocals.
Los Angeles-based singer Hubka gets to the essence of a song on an album which features no less than eight SoCal guitarists, but not every guy on every track. Among them are Peter Sprague, Larry Koonse, John Pisano and Ron Eschete. Hubka’s varied repertoire ranges from Wes Montgomery to Van Morrison; from A. C. Jobim to Artie Shaw; and from Horace Silver to Billy Strayhorn, 13 tunes in all. And Hubka interprets a lyric with straight forward honesty and respect.
SSJ Records; 2013, 56:21.
North By Northwest; Joe Manis, tenor saxophone.
If you’re a fan of organ-based trios, this one at least is not the usual r & b, soul-drenched prescription. Instead it’s a mix of the leader’s original compositions and some standards with attitude. Among them are “Pennies From Heaven,” “I Can’t Get Started,” “Cheek To Cheek,” “How High the Moon,” “Brilliant Corners” and “There Will Never Be Another You.” But, be aware, you’ve never heard them quite like this. A note of local interest is the presence of Portland State University faculty member George Colligan on organ, Rhodes and lots of other stuff!
SteepleChase Productions; 2013, 61:59.
Game Changer; The Ali Ryerson Jazz Flute Big Band.
Call the Guiness Book of Records! This must be a first. Sixteen (you read that right) flute players and a rhythm section. Each tune has one featured soloist, but the bulk of the accompaniment comes from the other 15! And what great, timeless tunes! “Daahoud,” “Stolen Moments,” “Con Alma,” “Impressions,” “Sail Away,” “Li’l Darlin’” and more. If you’re a flute fan or a flute player, you’ll want to get out the plastic. This is great fun, and I’ll just bet that it’s never happened before.