Monday, August 21, 2017

Mode Plagal - Mode Plagal II

Ebullient originality and improvisational skill describe the audibly provocative new CD by Greek jazz band, Mode Plagal. "Mode Plagal II" is the long-awaited follow-up to the group's 1995 album "Mode Plagal", on the alternative Ano Kato Records label. Full of inventive touces, this just-out album gives the listener a taste of jazz as seen through the eyes -and ears- of innovative Greek musicians. Ladies and gentlemen, meet Mode Plagal: Thodoris Rellos on alto saxophone, Kleon
Antoniou on electric guitar, Antonis Maratos on electric bass, Takis Kanellos on drums and Angelos Polychroniou on percussion. These skilled musicians dared to "jazzify" Greek traditional music (demotika) and the outcome is indeed impressive. Conventional ingredients of the demotika have been enhanced with thick icings of jazz harmonies and distinctive bass lines. They have resourcefully taken a marginalised music and literally given it a new lease of life. And these audacious improvisers don't hide their influences either, instead, they put them on centre stage transforming these blatant borrowings into a newly emerging musical style that has the melodic appeal of fine jazz and the weightier rhythmic line of the Greek demotika tradition. By skillfully manipulating the musical time of a traditional tune from western Macedonia they come up with "Funky Vergina", an attractive example of jazz improv with sax, bass and drum solos intact. The best thing about this CD is that these guys bring conviction to what they do, and the penetrating clarity of their individual performances bears that out. Those who attended last week's performance at the Megaron know that all too well. With a set of personal modes and a radical approach, Mode Plagal have created a style that absorbs tradition, making it an integral part of their music without delivering pale imitations. Particulary delicious is the wonderfully arranges ethnic-tinged "Kalanta" - Christmas carols from Thrace - bolstered by shouting percussion and feather-light saxophone fillings. But if sustained intensity is what you're after, look no further than the stylistically diverse "Pikrodafni (...a blues)" which draws from the Epirot rhythmic heritage. This potent six-minute-plus track, featuring a dynamic sax lead and a driving drum beat, is exhilarating. There's also the more atmospheric "Salona", from Roumeli (continental Greece) where a sonorous sax solo takes the listener to the plains of the region, and the bluesy guitar riffs to Chicago's moody blues joints. What makes this CD, released on Lyra, well worth exploring? It's fresh, well-crafted and finally downright radical. Demotika ill never sound the same after Mode Plagal II. The band has pushed contemporary Greek music into new territories. As for Mode Plagal, keep your eyes and ears open, these guys are probably somewhere in town doing their gig... by Maria Paravantes, Athens News

Artist: Mode Plagal
Album: Mode Plagal II
Year: 1998
Label: Lyra Records
Runtime: 68:15
Recorded in Athens, Greece

Tracks:
1.  Funky Vergina (Traditional/arr. Mode Plagal) 5:48
2.  Miles' Leventikos (Mimis Doutsoulis/Thodoris Rellos) 7:00
3.  The Letter (Thodoris Rellos) 9:31
4.  Carols (Traditional/arr. Mode Plagal) 6:10
5.  Ulysses (Thodoris Rellos/Kleon Antoniou/Antonis Maratos/Takis Kanellos) 1:26
6.  Kalamatianos (Folk Dance/arr. Mode Plagal) 4:31
7.  Pikrodafni (Traditional/arr. Mode Plagal) 6:36
8.  Helios (Traditional/arr. Mode Plagal) 3:52
9.  Cyclops (Thodoris Rellos/Kleon Antoniou/Antonis Maratos/Takis Kanellos) 0:18
10.  Rock Around Eleven (Thodoris Rellos) 3:44
11.  Ivo (Traditional/arr. Mode Plagal) 5:05
12.  Solo Sax (Thodoris Rellos) 2:27
13.  Salona (Traditional/arr. Mode Plagal) 4:15
14.  Solo Drums (Takis Kanellos) 1:06
15.  On Foreign Lands (Traditional/arr. Mode Plagal) 4:42
16.  Blazing Sun (Thodoris Rellos/Kleon Antoniou/Antonis Maratos/Takis Kanellos) 1:44

Personnel:
Thodoris Rellos (Alto Saxophone and Vocals)
Kleon Antoniou (Electric Guitar and Vocals)
Antonis Maratos (Bass Guitar and Vocals)
Takis Kanellos (Drums and Vocals)
Angelos Polychroniou (Congas and Tambourine) - 1-4,7,10,11,15
Maria Aristopoulou (Vocals) - 7
Sophia Papazoglou (Vocals) - 7
Vassilis Hadjinikolaou (Vocals) - 7

Thursday, August 17, 2017

Jimmy Smith - Root Down (Jimmy Smith Live!)

Toward the end of his stint with Blue Note, Jimmy Smith's albums became predictable. Moving to Verve in the mid-'60s helped matters considerably, since he started playing with new musicians (most notably nice duets with Wes Montgomery) and new settings, but he never really got loose, as he did on select early Blue Note sessions. Part of the problem was that Smith's soul-jazz was organic and laid-back, relaxed and funky instead of down and dirty. For latter-day listeners, aware of his reputation as the godfather of modern soul-jazz organ (and certainly aware of the Beastie Boys' name drop), that may mean that Smith's actual albums all seem a bit tame and restrained, classy, not funky. That's true of the bulk of Smith's catalog, with the notable exception of Root Down. Not coincidentally, the title track is the song the Beasties sampled on their 1994 song of the same name, since this is one of the only sessions that Smith cut where his playing his raw, vital, and earthy. Recorded live in Los Angeles in February 1972, the album captures a performance Smith gave with a relatively young supporting band who were clearly influenced by modern funk and rock. They push Smith to playing low-down grooves that truly cook: "Sagg Shootin' His Arrow" and "Root Down (And Get It)" are among the hottest tracks he ever cut, especially in the restored full-length versions showcased on the 2000 Verve By Request reissue. There are times where the pace slows, but the tension never sags, and the result is one of the finest, most exciting records in Smith's catalog. If you think you know everything about Jimmy Smith, this is the album for you. - by Stephen Thomas Erlewine, AMG

Artist: Jimmy Smith
Album: Root Down (Jommy Smith Live!)
Year: 1972
Label: Verve Records (Remastered, 2000)
Runtime: 67:05
Recorded live at the Bombay Bycicle Club, Los Angeles in February 8, 1972

Tracks:
1.  Sagg Shootin' His Arrow (Jimmy Smith) 11:47
2.  For Everyone Under The Sun (Peter Chase) 5:54
3.  After Hours (Erskine Hawkins / Avery Parrish) 7:46
4.  Root Down (And Get It) (Jimmy Smith) 12:29
5.  Let's Stay Together (Al Green / Al Jackson, Jr. / Willie Mitchell) 6:26
6.  Slow Down Sagg (Jimmy Smith) 10:30
7.  Root Down (And Get It) (Previously Unissued Alternative Version) (Jimmy Smith) 12:13

Personnel:
Jimmy Smith (Organ)
Wilton Felder (Double Bass)
Buck Clarke (Congas, Percussion)
Paul Humphrey (Drums)
Arthur Adams (Guitar)
Steve Williams (Harmonica) - 3

Sunday, July 30, 2017

Ben Webster - Ben Webster And Associates

Ben Webster and Associates is a 1959 session that took full advantage of the long-playing LP format. Highlighted by the 20-minute version of Ellington's "In a Mellow Tone" in which tenor titans Ben Webster, Coleman Hawkins, and Budd Johnson plus trumpeter Roy Eldridge stretch out, not so much in a cutting contest as a laid-back jam session amongst friends. This summit meeting turned out to be a tribute to another tenor master of the same generation, Lester Young, who had died less than four weeks before this session. The chosen rhythm section of Jimmy Jones on piano, Les Spann on guitar, Ray Brown on bass, and Jo Jones on drums equally matches the performance of the featured horns. Also tackled for this session were three Webster originals: "De-Dar," "Young Bean," and "Budd Johnson" and the standard "Time After Time." Unfortunately no bonus tracks are included (if they even exist) but the excellent sound restoration more than makes up for it. - by Al Campbell, AMG

Artist: Ben Webster
Album: Ben Webster and Associates
Year: 1959
Label: Verve (Master Edition, 24bit remastered, 2000)
Runtime: 44:40
Recorded in New York City, USA 09.04.1959

Tracks:
1.  In A Mellow Tone (Duke Ellington/Milton Gabler) 20:15 
2.  De Dar (Ben Webster) 4:40 
3.  Young Bean (Ben Webster) 6:02 
4.  Time After Time (Jule Styne/Sammy Cahn) 4:35 
5.  Budd Johnson (Ben Webster) 9:08 

Personnel: 
Ben Webster (Tenor Saxophone) 
Coleman Hawkins (Tenor Saxophone) 
Budd Johnson (Tenor Saxophone) 
Roy Eldridge (Trumpet) 
Les Spann (Guitar) 
Jimmy Jones (Piano) 
Ray Brown (Double Bass) 
Jo Jones (Drums) 

Sunday, July 23, 2017

Sonny Stitt - In Brasil

You start collecting the albums of an artist, get to fifty or so, and decide, "what the heck, might as well go the whole distance--he can't have made many more." Unfortunately, in Sonny Stitt's case he did. There are times it seems that not a day went by that Sonny didn't agree to cut a record for someone. He was the "Lone Wolf" of jazz as well as the most peripatetic, ubiquitous of all American musicians. Between 1960 and 1980 (and certainly for the 15 years prior to 1960) you could practically take up temporary residence (a couple of months if not less) in any major city, and eventually Sonny would drift into town, two saxophone cases in tow, and maybe a few phone numbers to help him locate the best local musicians available as well as a venue willing to support his major habit--which can be summarized as playing the saxophones--alto and tenor--more "perfectly" than any musician who has lived while simultaneously keeping alive the flame struck by Charlie Parker, in the process demonstrating what "swing" was all about and spreading the gospel of the Great American Songbook (he was practically the instrumental equivalent of a Bing, Ella, or Sinatra). I'd never heard of this record or of the Zimbo Trio, but it doesn't surprise me all that much that during the last 2-3 years of his life he should find his way to Brazil and leave behind a record of the experience. Looking on the internet, I find the Zimbo Trio has impressive credits, at least in Brazil--first recording in 1965 and continuing to represent a standard of excellence in the performance of both Brazilian music and American jazz. Chances are you will learn none of this from the album--all of the liner notes, apparently in the form of testimonials written by the musicians on the date, are in Spanish. But there are some photos of Sonny in the control room--looking in better spirits than I've ever seen him--that may be the best thing about the album. He's having a blast, and the musicians are obviously thrilled and fully aware of the significance of the moment. As for the music, it's not as bad as some Stitt recordings, bootleg and otherwise, that I've quickly had to put out of their misery. But if you've heard a lot of Sonny already, you know pretty much what to expect. Just be assured that he's fully on his game--the intonation, the embouchure, the mind and fingers, the mastery of both horns--it's all working fine, quite worthy of Stitt and his legacy among those privileged to know it. The rest of it isn't quite up to that level, though the quality of the supporting musicians and of the audio reproduction itself is no doubt professional enough to satisfy most listeners. True to so many recordings of the 1970s the bass is over-miked and (ugh) electric (or sounding like it), and the bassist tends to sound like he's running away with his own walking lines rather than locking in "tight and right" with the drummer's high hat. As a result, it's hard for the listener to feel the same groove that the musicians themselves obviously were experiencing during the recording. The pianist has chops and swings, and the drummer sounds like he'd work well with a Sam Jones or Ray Brown (what a difference that would make). Like too many of those CTI-type recording sessions of the '70s, this one is "over-engineered" to the detriment of the sound of Sonny's rich, true, uncluttered tone. He sounds unnecessarily pinched and "distant" on the date, as though he's wearing headphones and has been placed in a separate room from the rhythm section (which may well be the case). But most importantly, the tones of the alto and tenor, while unmistakably Sonny Stitt (he really comes to life on Bird's "Little Suede Shoes"), don't do justice by the way he "really" sounded (I heard him in person at least twenty-five times). The pity's all the more if only because Sonny, and for that matter the musicians on the date, are all playing well. In sum, this one is a keeper, but you'd best EQ it, rolling back on the low frequencies and providing some boost to the mid-frequencies covering Sonny's alto and tenor saxophones. Either that or retitle the date: "Bass in the Foreground." - by Samuel C., Amazon.com

Artist: Sonny Stitt & Zimbo Trio
Album: In Brasil
Year: 1979 (Clam Records)
Label: Fresh Sound Records (1991)
Runtime: 41:03

Tracks:
1.  Hope's Blues (Sonny Stitt) 4:41
2.  Corcovado (Quiet Nights) (Antonio Carlos Jobim) 5:17
3.  There Will Never Be Another You (Mack Gordon / Harry Warren) 5:10
4.  Little Suede Shoes (Charlie Parker) 5:25
5.  Autumn Leaves (Joseph Kosma / Johnny Mercer / Jacques Prévert) 6:00
6.  Samba Do Orfeu (Luiz Bonfa / Antonio Maria) 5:20
7.  Blues For Gaby (Sonny Stitt) 6:22
8.  Assim Está Certo (Amilton Godoy) 2:48

Personnel:
Sonny Stitt (Alto Saxophone)
Amilton Godoy (Piano)
Luiz Chaves (Bass)
Rubens Barsotti (Drums)

Wednesday, July 12, 2017

Coleman Hawkins - Soul

This is a decent but not very exciting outing. Then 52, Hawkins uses a typically young rhythm section (including guitarist Kenny Burrell and pianist Ray Bryant) and plays melodically on a variety of originals and standards. This insipid version of "Greensleeves" is difficult to sit through but the rest of this CD is enjoyable if not overly inspiring. - by Scott Yanow, AMG

Coleman Hawkins may not have been the Godfather of "Soul" but he certainly was the Godfather of the Jazz Saxophone. After kick starting his second career with "The Hawk Flies High" and "The Genius of Coleman Hawkins" in 1957, Hawk recorded the first of several successful sessions for the Prestige label on November 7, 1958, and the album was called "Soul." That session featured the talents of a young Kenny Burrell on guitar, Ray Bryant on piano, Wendell Marshall on bass and Osie Johnson on drums. The group smoothly glides through three standards (including the traditional
"Greensleeves"), two Burrell originals ("Groovin'" and "Sunday Mornin'") and two Hawkins originals ("Soul Blues" and Sweetnin'"). "Soul" probably only deserves 4 1/2 stars, as it is not quite as masterful as "The Hawk Flies High," but I have no problem rounding up to five stars. In fact, all of Hawk's half-dozen OJC discs are well worth purchasing. - by Michael Brad Richman, Amazon.com

Artist: Coleman Hawkins
Album: Soul
Year: 1958 (Prestige Records)
Label: OJC (1984)
Runtime: 41:21
Recorded at the Rudy Van Gelder Recording Studios, Hackensack, New Jersey, November 7, 1958

Tracks:
1.  Soul Blues (Coleman Hawkins) 9:52
2.  I Hadn't Anyone Till You (Ray Noble) 4:34
3.  Groovin' (Kenny Burrell) 5:43
4.  Greensleeves (Traditional) 3:12
5.  Sunday Mornin' (Kenny Burrell) 6:29
6.  Until the Real Thing Comes Along (Sammy Cahn/Saul Chaplin/L.E. Freeman/Mann Holiner/Alberta Nichols)  4:42
7.  Sweetnin' (Coleman Hawkins) 6:49

Personnel:
Coleman Hawkins (Tenor Saxophone)
Kenny Burrell (Guitar)
Ray Bryant (Piano)
Wendell Marshall (Double Bass)

Osie Johnson (Drums)

Friday, June 30, 2017

United Future Organization - No Sounds Is Too Taboo

Featured on 1994's Red Hot and Cool compilation, the Japanese production trio UFO heads a loose collective of musicians and vocalists present here. Jazz, R&B, trip-hop, Spanish, Caribbean, and Brazilian rhythms all appear in one form or another; surprisingly, these disparate elements flow well through the course of ten songs. - by John Bush, AMG

UFO's creatively bizarre mixing of styles produced some of the best mid 90's funky, acid-jazz and "No Sounds too Taboo" is arguably their best album. Despite the typically odd arrangements that permeate most of its tracks - a mixture of off-the-wall vocals, weird instrumentation and "lounge-lizard" backbeats - there's nothing too challenging here other than a set of ingenious, well produced workouts that are ideally suited for a lazy afternoon's listening. Sounds negative?... well making genuinely interesting laid-back music is no easy task and on "Stolen Moments", "Mistress of Dance" and most of the other tracks on this album UFO hit the button perfectly. Arty, clever and fun... the cover says it all ! - by nicjaytee, Amazon.com

This album is simply excellent. It's funky, groovy and quite sophisticated. You can't prevent from dancing around when you hear it and at the same time, it's enough elaborated to be appealing for a demanding audience... As I was saying, also check out the brand new heavies' releases (especially shelter and brother sister or the best of, "trunk funk")" - by Simone Oltolina, Swapacd.com

Artist: United Future Organization
Album: No Sounds Is Too Taboo
Year: 1994
Label: Bronswood Recordings
Runtime: 53:57

Tracks:
1.  United Future Airlines (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 4:48
2.  Magic Wand Of Love (Earl DeRoun) 6:22
3.  Stolen Moments (Oliver Nelson) 5:21
4.  Future Light (Toshio Matsuura / Mark Murphy / Raphael Sebbag / Tadashi Yabe) 5:58
5.  Make It Better (Cleveland Watkiss) 5:33
6.  Sunday Folk Tale (Raphael Sebbag / Tadashi Yabe) 6:17
7.  Mistress Of Dance (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 4:25
8.  Bar-F-Out! (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 5:00
9.  Doopsylalolic (Derek Delves / Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 4:38
10.  Tears Of Gratitude (Toshio Matsuura / Raphael Sebbag / Tadashi Yabe) 5:35

Personnel:
Tadashi Yabe (Keyboards, Programming)
Toshio Matsuura (Programming, Mixing)
Raphael Sebbag (Programming, Mixing, Voice)
Simon Richmond (Percussion) - 1
Linda Muriel (Vocals) - 2
Noriyoshi Sasanuma (Bass) - 2
Gemi Taylor (Guitar) - 2
Jessica Lauren (Piano) - 2
Time Five (Choir) - 3
Yae Nishikawa (Violin) - 3
Mike Emenau (Vibraphone) - 3
Mike Murphy (Vocals) - 4
Gill Manly (Backing Vocals) - 4
Mikiko Sakai (Scratch) - 4
Cleveland Watkiss (Vocals) - 5
Shinichi Osawa (Bass) - 5
Hiroyuki Komagata (Guitar) - 5
Francis Silva (Vocals) - 6
Snowboy (Percussion) - 6
Steve Williamson (Soprano Saxophone) - 7
Nishikawa Quartet (Strings) - 7
Urban Poets Society (Vocals) - 8
DJ Krush (Scratch) - 8
Derek Delves (Vocals) - 9
Talin Chamber Choir (Choir) - 10
Junichi Iwabuchi (Piano) - 10

Sunday, June 18, 2017

Michael Shrieve - Twoo Dors "In Palace Of Dreams"

Former Santana drummer Michael Shrieve's 1995 release Two Doors is appropriately titled, for it is really two albums in one, with two different trios providing the music. The first half of the record, subtitled "Deep Umbra," features Shrieve with guitarist Shawn Lane and bassist Jonas Hellborg performing eight jazz-rock compositions full of catchy themes and fiery improvisations. Lane is, simply put, one of the most technically gifted guitarists ever to pick up the instrument, and he records far too obscurely and infrequently. It is to his great credit that he never displays his abilities
gratuitously, but instead carefully measures them out for maximum impact. He is a consummate musician. The same could be said about Hellborg, who not only holds down the bottom end with his sensitive yet powerful bass, but also shares co-writing credits for seven of the eight songs that he appears on. The second half of the record, subtitled "Flying Polly," features Bill Frisell and Wayne Horvitz. This half of the record is jazzier and more avant-garde than the first half, and frankly doesn't work nearly as well. There are moments where some of the rockabilly jazz elements that Frisell and Horvitz explored in John Zorn's Naked City come to the foreground, but, besides that, most of this portion of the record sounds flat and uninspired. It is a shame that this had to be the case, especially considering how good the Lane-Hellborg trio is. However, Shrieve's drums are very nicely recorded, and he always plays the most appropriate thing for any given song, never showboating or otherwise distracting from the integrity of the composition. There is much merit in this frustratingly inconsistent album, and for fusion fans it is worth searching out. - by Daniel Gioffre, AMG

Artist: Michael Shrieve
Album: Two Doors "In The Palace Of Dreams"
Year: 1993-95
Label: CMP Records (1995)
Runtime: 76:31

Tracks:
Deep Umbra (1995)
1.  Stellar Rays (Jonas Hellborg / Shawn Lane) 3:21
2.  Deep Umbra (Jonas Hellborg / Shawn Lane) 4:39
3.  Sorcerer (Jonas Hellborg / Shawn Lane / Michael Shrieve) 3:29
4.  Baraji (Jonas Hellborg / Shawn Lane) 6:04
5.  Caress Of Lillith (Jonas Hellborg / Shawn Lane) 4:18
6.  The Smiling Tarshishm (Michael Shrieve) 3:59
7.  Juvalamu (Jonas Hellborg / Shawn Lane) 5:15
8.  Palace Of Dreams (Jonas Hellborg / Shawn Lane) 5:57

Personnel:
Michael Shrieve - Drums
Jonas Hellborg - Bass Guitar
Shawn Lane - Guitar, Voice

Flying Polly (1993)
9.  Locomotion (Michael Shrieve) 1:55
10.  Data Trash (Bill Frisell / Michael Shrieve) 0:55
11.  Stella (Bill Frisell / Wayne Horvitz / Michael Shrieve) 7:17
12.  Your Saviour (Chris Cornell) 1:48
13.  Pipeline (Bill Frisell / Michael Shrieve) 0:46
14.  Crocodile (Bill Frisell / Wayne Horvitz / Michael Shrieve) 4:21
15.  Lincoln Logs (Bill Frisell / Wayne Horvitz / Michael Shrieve) 2:53
16.  First Train (Bill Frisell / Michael Shrieve) 0:37
17.  Queen Bee (Bill Frisell / Wayne Horvitz / Michael Shrieve) 12:04
18.  Flying Polly (Bill Frisell / Wayne Horvitz / Michael Shrieve) 1:51
19.  Stella (Bill Frisell / Wayne Horvitz / Michael Shrieve) 5:02

Personnel:
Michael Shrieve - Drums
Bill Frisell - Guitar
Wayne Horwitz - Organ

Thursday, June 8, 2017

Archie Shepp - I Know About the Life

Recorded in 1981 in a quartet setting featuring the great drummer John Betsch, bassist Santi Debriano, and pianist Ken Werner, I Know About the Life doesn't so much explore these standards as re-contextualize them in the canon. Opening with Thelonious Monk's "Well You Needn't," Shepp does to Monk's tune what Monk did regularly with pop tunes: he smears the melody all around a different harmonic context, adds a boatload of blues feel and a smattering of soul. His double times
with Betsch in the middle of the cut are stunning and humorous, and in spite of his solo honks and squeals, he never loses sight of Monk's tune. On his own "I Know About the Life," one can hear Lockjaw Davis, Ben Webster, and John Coltrane in his playing as Shepp builds on the deep soul and blues roots of his 1970s records like Cry of My People. The other two cuts here, a steaming muscular and frenetic read of Coltrane's "Giant Steps," and a nearly heartbreaking version of "'Round Midnight," reveal that the tradition for Shepp was not as it was for the coming reign of neo-trad revisionists who would re-imagine it in their own images: for Shepp here, as on many of his 1980s recordings (check "I Feel Like Going Home" with Horace Parlan), the tradition was an open-ended conversation to be annotated in the ballroom and on the back porch anytime one wished to step into it. Shepp's perception of the language of Ellington was -- and remains -- no less profound than Ellington's understanding of the language of Mingus, or Mingus' of Eric Dolphy's. The whispering sweetness tinged with crackling blues feel in "'Round Midnight" is one of the most important reads of this tune because it gives back to Monk what so many generic players tried to take away: the blood that lies at the heart of the ballad. Hearing Shepp in this light makes any serious jazz fan completely reconsider his contribution after the 1970s. - by Thom Yurek, AMG

Artist: Archie Shepp
Album: I Know About the Life
Year: 1981 (Sackville Records)
Label: Hatology Records (2003, Remastered)
Runtime: 42:47

Tracks:
1.  Well, You Needn't (Thelonious Monk) 8:46
2.  I Know About The Life (Archie Shepp) 13:48
3.  Giant Steps (John Coltrane) 8:04
4.  'Round Midnight (Thelonious Monk) 12:09

Personnel:
Archie Shepp (Tenor Saxophone)
Kenny Werner (Piano)
Santi Debriano (Double Bass)
John Betsch (Drums)

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