Tuesday, April 29, 2014

Recent Additions to the Northeast Ohio Music Collection

Recent Additions to the Northeast Ohio Music Collection at the Hiram College Library

We put out our monthly newsletter, A Fistful of Music, for May, and it seems that we added a few older Northeast Ohio items.  We are getting closer to 1,000 items.  Here they are:

Cletus Black.  One More Card to Play.  (Certainly he has more than one, since he’s put out more albums since 2010)
Elias and the Error.  Aren’t We So Lucky to Be Alive?  (Elias Gowens with a 2012 release)
15.60.75 (The Numbers Band).  Jimmy Bell’s Still in Town. (This collects some of their 1970s work)
Wanda Hunt Band.  Wanda Hunt Band.  (Raucous R&B/Soul, from 2000)
James Ingram.  Greatest Hits.  (The Cleveland smooth R&B singer’s 1991 collection)
Keelhaul.  Keelhaul II.  (Oddly enough, the third album from this band that has been described as mathcore/sludge metal)
Rosavelt.  Carp & Bones.  (This one’s from 1997, but they just came out with a new one)
Terrible Parade.  Where Were You When the Lights Went Out?  (A collection of the post-punk band’s output from the 1980s)
Whiskey Daredevils.  Introducing the Whiskey Daredevils.  (From 2009, long after they were introduced)

Folk/Country/Other Stuff:
International Sound Machine.  The International Sound Machine Presents German American Favorites.  (ISM = Fred Ziwich on just about every instrument)
The Mighty Wurlitzer Radio Hour.  Voices of Spring.  (WCLV seasonal variety show, from 2004, featuring the voices of Robert Conrad and Del Donahoo)
Charlie Mosbrook.  Coverage: The Songs of Charlie Mosbrook. (2010 release, with lots of folks singing Charlie’s songs, including Hal Walker, Carlos Jones, Alan Grandy, Matt Harmon, & others)
Frankie Yankovic.  20 More Polkas and Waltzes. (Because Yankovic!)

Ernie Krivda.  Ernie Krivda & the Art of the Trio. (2008 release by the sax player, with a small group for a change)
Mike Petrone Trio.  A Lot Like Us. (Another small-group project, from way back in 1996, by this pianist)


Sunday, April 27, 2014

Tracey Thomas Jazz Quintet. Fine & Mellow: The Music of Billie Holiday.

Tracey Thomas Jazz Quintet.  Fine & Mellow: The Music of Billie Holiday.
TraceyThomasMusic, 2013.  Tracey Thomas: https://www.facebook.com/traceythomasmusic

I normally associate Tracey Thomas with a more Americana-like sound--country/folk/rock.  I did not know that she cared to sing jazz, but apparently this is so.  At the Akron Civic Theatre on the night of June 6, 2013, she performed a concert of songs associated with Billie Holiday.  This CD is the result of that performance, and a very good one it is.  

I have no doubt that this would be an intimidating effort, to sing a program of songs related to so central an artist to the vocal jazz canon, but Thomas manages quite well.  Her voice tends to follow Holiday’s inflections a bit, a difficult thing not to do given the songs, but she still has her own voice.  She doesn’t merely imitate, which would be a disaster.  Thomas includes all of the classics, from “Good Morning Heartache” to “God Bless the Child,” (one of Billie’s own songs) and even “Strange Fruit,” a tough one to pull off.  She does so with considerable aptitude for the intelligence and emotion of the songs as well as the style of the times.  Some songs, while sung by Holiday, are more commonly associated with others, such as “Body and Soul,” (by Coleman Hawkins), which was a hit for both Ella Fitzgerald and Sarah Vaughan, and “Stormy Weather,” a tune that in my mind can only be sung by Lena Horne.  Nevertheless, Holiday had her way with them, and thus, they appear here.  Thomas makes an excellent showing with them, even with “Summertime,” a song I don’t particularly care for.

The band is certainly well-chosen for these songs.  I very much enjoyed Tim Longfellow’s piano work, and the solos by Justin Tibbs on sax.  They sometimes push for more of an early rhythm & blues feel, which works for many of these songs.  The rhythm section of Brandon Covey and Matt Middleton is strong, keeping everyone on their toes.

Congratulations to Ms. Thomas, whose fine body of work continues to accumulate.  According to her Facebook page, she repeated this concert late in the year.  I hope that she performs this program again somewhere, as I would love to attend.

Performers:  Tracey Thomas (vocals), Tim Longfellow (keys), Brandon Covey (upright bass), Justin Tibbs (saxophone), Matt Middleton (drums).
Tracks: Gloomy Sunday, More than You Know, When a Woman Loves a Man, Good Morning Heartache, Ain’t Nobody’s Business, Summertime, Body and Soul, Fine and Mellow, Act Two Intro, Don’t Explain, In My Solitude, Lover Man, Billie’s Blues, Some Other Spring, Stormy Weather, God Bless the Child, My Man, Strange Fruit, Lady Sings the Blues.

Gottfried Klaas

Thursday, April 24, 2014

Dennis Nygren. A Clarinet Collective.

Dennis Nygren.  A Clarinet Collective.

Dennis Nygren, Professor of Clarinet at Kent State University from 1983 until his recent retirement in 2012, has been a prolific performer, with among others, the Cleveland Chamber Orchestra, the Cleveland Ballet, the Ohio Ballet, and the Blossom Festival Band.  His arrangements of works for clarinet have also been performed widely.  He’s been around the block.  Here, he has put together a group of musicians including pianist Jerry Wong, and conductor Wayne Gorder, also of the KSU School of Music, with a couple of ensembles, and the Aiden String Quartet (a graduate string quartet in residence at KSU).  All local talent, and very fine talent indeed.  For this CD, Nygren has placed eight works together, some recent, a couple a bit older, plus pieces by Debussy and Mozart.  With most works played with a different set of musicians, Nygren creates a varied program that is extremely enjoyable and very well-performed.  

I love wind ensemble music, although my tastes tend to run toward much earlier music than is principally represented here, so I was skeptical at first.  However, the first work, by Gallois Montbrun won me over immediately with a combination of lush romanticism and jaunty, playful modernism.  Each movement is quite different, and the variety is very pleasing..  At the other end of the CD are the Four Church Sonatas, by Mozart which serves with the first work as bookends to the music of the smaller forces.  While the distance between Gallois Montbrun and Mozart are great, what strikes me is the similar attitude of playfulness in both.  The two ensembles, both led by Wayne Gorder, overlap in personnel considerably in the winds and brass, although the first is more than twice the size and includes percussion.  The Mozart sonatas included both zesty “Allegros” and a more gently-played  “Andante.”  (being over 60, I am allowed to use the terms “jaunty” and “zesty” without irony or postmodern subtext).

Sandwiched in between are the six other pieces, for clarinet and string quartet, clarinet and piano, or solo clarinet.  The work by Frank Wiley is a single movement, written for Nygren as a showpiece for his clarinet abilities (Wiley also teaches at KSU), with contrasting rhythms, considerable range, and long runs.  In some places it is frenetic (the composer’s words, and they are true), and in some ways it recalls the Gallois Montbrun work just before it, but without the larger forces.  Three works, by Griebling, Kennan, and Debussy, bring in Jerry Wong at the piano.  “The Four Elements” was first performed by Nygren in 1991, each movement referring to some aspect of an element.  Nygren and Wong perform it quite effectively, and I especially enjoyed the flow of the quieter passages. The Debussy piece is lovely, as one might expect, and Wong gets to show off a bit more.  Kennan’s work is a short lament, acting as sort of a contrasting bridge between Debussy and Mozart.  Stout’s contribution is also short, one of the works Nygren plays with the Aiden String Quartet.  I think it’s my least favorite piece, so I’ll just stop there.  The quartet gets more work with “Four Debussy Songs,” and play very effectively with Nygren’s clarinet substituting for voice.  The arrangement is exquisite, and the performance my favorite of the album.

This is a fine album for fans of clarinet music, with delightful contrasts, excellent performances, and several surprises.  I hope it is not the last recording for Mr. Nygren, whose playing  is outstanding.

Personnel:  Dennis Nygren (clarinet), Jerry Wong (piano), Aiden String Quartet, Gallois Montbrun Ensemble (Wayne Gorder, conductor), Mozart Ensemble (Wayne Gorder, conductor).
Tracks:  Six Pièces Musicales D’Etude (1955) (arranged for clarinet & wind ensemble by D. Nygren) (Raymond Gallois Montbrun); Invocation and Spirit Dance (2000) (Frank Wiley); Movement for Clarinet and String Quartet (1973) (Alan Stout); The Four Elements (1990) (Mary Ann Griebling); Prélude à l’Après-midi d’un Faune (1894) (Claude Debussy); Four Debussy Songs (arr. for clarinet in A & string quartet by D. Nygren, 2000); Threnody (1992-1993) (Kent Kennan); Four Church Sonatas (1756-1791) (W. A. Mozart).

Jeff Wanser

Sunday, April 20, 2014

Enoch Light: Persuasive, Provocative, Percussion

Enoch Light.  Persuasive, Provocative, Percussion. Reissues of Classic Albums.
Persuasive Percussion 1, 2 & 3/Provocative Percussion 1 & 2.  3-Disc Set.  Goldies, 2011.
Provocative Percussion 3 & 4.  Sepia Records, 2013.
Pertinent Percussion Cha Cha’s/I Want to Be Happy Cha Cha’s.  Sepia Records, 2013.
Big Band Bossa Nova/Let’s Dance the Bossa Nova.  Sepia Records, 2013.
Stereo 35 mm/Far Away Places.  Sepia Records, 2013.
Stereo 35 mm, Vol. 2/Far Away Places, Vol. 2.  Sepia Records, 2013.

Exactly how you perceive this music probably depends on many factors, including age, gender, musical preference, and audiophile tendencies.  If you owned an atomic age bachelor pad in the late 1950s, equipped with high-end stereo technology, you love this stuff.  If your memories of the late 50s and early 60s are rock & roll, you might despise it as the creepy music your parents listened to.  Call it what you will, late big band music, space age pop, easy listening, or exotica, Enoch Light had a huge influence on the development of music from 1958 until the mid-1960s, when other folks caught up with him.  His technological experiments with extreme stereo channel separation and use of 35 mm film for recording rather than regular audio tape changed the way sound was perceived on record albums of the time.  He even popularized the gatefold vinyl album cover to contain the notes for his albums.  Most people with a quality stereo system bought at least one of his albums, if only to test their equipment.  Many of the releases charted in the top ten, with Persuasive Percussion 1 reaching Billboard’s No. 1 in 1960, with others following suit.  Here, we review some of the albums produced by him that have recently been remastered and reissued by two labels, IMC/Goldies, and Sepia.  

Enoch Light was born in Canton, Ohio in 1907 (died 1978).  I haven’t found much on his early life, but I’m sure it’s out there.  Trained as a classical violinist, he ended up working in big bands in the 1930s, forming Enoch Light & the Light Brigade, which had a hit or two before the War, toured Europe and played on the radio until disbanding in 1940.  After World War II, he did session work and got into music production.  After some success with Grand Awards Records, where he headed the Charleston City All-Stars on albums of Roaring 20s music, he recorded a variety of material, including cha cha albums and film music.  He changed band names with relative ease, from the Light Brigade to the Command All Stars, to Enoch Light and His Orchestra.  In 1960, Light formed Command Records, where his biggest hit albums were created.  His fascination with the possibilities of stereo led him to try various experiments through the early 60s with channel separation, sometimes using the “ping-pong” effect of moving rapidly from channel to channel, the effect most extreme on either widely separated speakers or headphones.  For a violinist, he was particularly fond of percussion and its effects in the stereo environment, which may have had something to do with his fondness for Latin music.  Many fans of Latin music would object to his manipulation of the style to suit his own purposes.  Others might object to the relentless cheeriness of the music.  Regardless of their origin in wistful ballads, sentimental oldies , or noir atmospheres, the tunes became bright, upbeat homages to a new ultramodern, sleek decade.  Light sold Command Records in 1965, then formed Project 3, which continued to churn out a variety of big band and easy listening music, including covers of everything from Dylan to the Beatles to film themes.  Many of the more experimental albums had only instrumental tracks, but he used vocalists on others.  Cover art was often minimalist in style, featuring artwork by Jerry Albers.

The above-listed albums are all from the prime period of his creative output, the late 1950s and early 1960s.  The 3-disc set of Persuasive Percussion and Provocative Percussion (the first attributed to Terry Snyder and the All Stars, Snyder being the drummer), from the import label IMC/Goldies, while containing five of his best, is burdened by the lack of notes, either the original liner notes or any sort of overview of Light’s career and impact.  This minimizes the value of the set, which is a real shame, because the remastering is quite good, and the music itself is well-presented.  Persuasive Percussion 2 is split between discs 1 and 2, with all the other albums placed on part of one of the CDs.  The music ranges from pretty nice big band tunes (trumpeter Doc Severinsen, pianist Dick Hyman, and guitarist Tommy Mottola were in the band), to exotic percussive excursions, to somewhat gooey versions of popular hits.  I find many of them entertaining, since I heard this stuff on the radio when I was a kid (“Whatever Lola Wants,” “Blue Tango,” “Hernando’s Hideaway”), and they bring back fond memories of my mother’s favorite radio station when I was 8 years old.  Some are admittedly either over the top, such as some of the wilder experiments (bongos and rasps on “Love for Sale”), or just plain wrong as arrangements of tunes that should have been done differently (“Mood Indigo” is butchered, and “Foggy Day” done as a cha cha is simply ridiculous).  

Provocative Percussion 3 & 4, teamed together, mines much the same vein as its predecessors, although by way of a different label.  The remastering is excellent.  The goal was easy listening/big band in high quality sound and they certainly achieved it.  Compression elimination gives the listener all the highs and lows, and it’s all clean, sharp, and bright.  As with the earlier albums, some of the songs do pretty well in Light’s arrangements. “The Continental,” “Old Devil Moon,” and other big band tunes are friendly enough without being over the top.  Other songs, such as “Pagan Love Song” and “Acc-Cent-Tchu-ate the Positive” are loaded with silliness and gimmickry.  Curiously, the liner notes for Vol. 4 stress how little gimmickry was used.  Eye of the beholder, I guess.  I must note my own personal prejudices here.  The more the orchestra sounds like a hard swing band (i.e. Goodman or Barnet) the more I like them, and when they veer toward sweet band novelties and film themes, the less I want to hear.  The issue in one sense is that in order to please as wide an audience as possible (which they did), Light vacuumed up popular music from everywhere and reprocessed it with his own unique stamp.  Generic Latin beats, 60s-style time changes that sound like themes for TV shows of the period, and lots of percussive and brass tricks continued to make his music harder than Lawrence Welk, but way short of Woody Herman.

Arriving at the Latin rhythm recordings, we begin to have more serious issues.  Pertinent Percussion Cha Cha’s, teamed up with I Want to Be Happy Cha Cha’s gives us 28 tracks, four of which never appeared on the original albums.  As with the other albums, the sound is crystal clear.  However, it is the arrangements that disturb me.  At first, I couldn’t figure out what I didn’t like about them, aside from the irritating low-brass farting that begins and punctuates so many of the tunes.  So, I went to YouTube to check out some other cha cha recordings.  It wasn’t hard to find a recording from the same time period, Antobal’s Cuban All Stars from the late 1950s.  Both are big bands, but the difference is striking.  Antobal’s group flows, swings, and has an irresistible groove.  Light’s tunes are square by comparison--cha cha for middle class Americans who can’t quite get the foxtrot out of their heads.  Added to the problem is the choice of songs once again, with cha cha versions of “Volare,” “Tea for Two,” and “How High the Moon.”  Song choice is less of a problem with Big Band Bossa Nova/Let’s Dance the Bossa Nova, as Light chose plenty of bossa nova and samba tunes for the albums (although “Days of Wine and Roses” and “Moon River” are more than a stretch).  But once again, the rhythms are squared off, and the groove, while better than the cha cha albums, is less soulful than many other choices.  “Blame It on the Bossa Nova,” should be easy, but Light’s version compares less with Eydie Gorme’s version and more with Annette Funicello’s in terms of being hip.  Then again, we must consider the audience, one largely unconcerned with issues of authenticity, and more interested in hearing cheery, pleasant music in full stereo sound.

Finally, we have two CDs that demonstrate more innovation in sound, with Light using 35 mm film to record the music rather than standard tape.  The results at the time were much improved, but less exciting from our current perspective when compared with later recording technology.  It was an interesting experiment.  Volume 1 of Stereo 35 mm is paired with Volume 1 of Far Away Places, and Volume 2 of each appears as a separate CD.  Both have 24 tracks.  In Volume 1, the musical result is a mixed bag of wonderful and cringe-inducing, with lush orchestral versions of “The Man I Love,” “Someone to Watch Over Me,” and “With a Song in My Heart.”  Gone is the heavy percussion, and much of the brass is replaced by strings.  These are songs that work very well in this sort of easy listening arrangement.  However, the songs on Far Away Places change the mood radically, with a move back to extremes of percussion combined with what can only be called bizarre exotica arrangements of everything from “Waltzing Matilda” to “The Banana Boat Song” to “How Are Things in Glocca Morra?”  To me, they sound nearly comical, as if Spike Jones got into the studio.  Far Away Places also introduces vocals, although not sung lyrics, quite a departure from previous albums.  Volume 2 does much the same sort of thing, with two albums on the CD that simply should not be together.  Pleasant orchestral, string-heavy (more brass is evident here than in Volume 1) versions of “September Song” and “The Very Thought of You” hide in embarrassment as they are followed by quirky versions of “Ching Ching Ching Chow,” “Tales from the Vienna Woods,” (complete with vocalese), and “Under Paris Skies” (with terrible vocal “la la la’s”).  The label might have better served its audience by pairing the two Stereo 35 mm volumes and leaving the others in the vault. Then again, some folks might find the most unusual material to be the most interesting. Time will tell.

In sum, we have here a set of historical recordings that are important both as a window into the history of recording technology, with Enoch Light leading the way with experiments that influenced virtually all subsequent audio recordings, and as a time capsule of musical entertainment that has largely slipped away from our grasp, much like fallout shelters, smoking jackets, and The Man Who Reads Playboy.  If you are interested in entering a musical universe not reflected in the oldies stations on the radio, please enter here.  You may find it fascinating.

Personnel:  Enoch Light & the Command All-Stars, Enoch Light & the Light Brigade, Enoch Light & His Orchestra, Terry Snyder & the All Stars (produced by Enoch Light)
Tracks:  Persuasive/Provocative (60 tracks), Provocative 3 & 4 (24 tracks), Stereo/Far 1 (24 tracks), Stereo/Far 2 (24 tracks), Big Band/Let’s Dance (24 tracks), Pertinent/I Want (28 tracks)

Jeff Wanser

Sunday, April 13, 2014

Death of Samantha. If Memory Serves Us Well.

Death of Samantha.  If Memory Serves Us Well.
Valentine Records, 2013.    http://www.deathofsamantha.com/

During the 1980s, Death of Samantha put out three albums, an EP, and a few singles.  I was sort of here (new in town just after they formed), but not plugged into the local music scene, so I pretty much missed them the first time around.  That’s a shame, because they were, and still are, a great band.  Underground, perhaps indie, is what they were tagged, some hybrid of punk, avant-garde, and what-all, with influences ranging from all the Cleveland/Akron greats of the previous decade, plus other stuff  (do I occasionally hear R.E.M., Stooges, and maybe some Rolling Stones in here?).  Influential beyond their limited exposure, they’ve received accolades from Thurston Moore, Robert Pollard, Mark Lanegan, and other ne’er do wells.  They packed it in around 1990, the members joining other bands such as Guided by Voices and Cobra Verde.  John Petkovic is all official now, a writer for the Plain Dealer, but there was a time when he was a raucous, raving frontman for a band that deserved a wider audience and a bigger paycheck.   

This album reunites the original group, reprising 18 of their original songs and doing a damned fine job of it.  These tracks are from a 2011 rehearsal prior to a reunion concert.  One other reviewer asked why they didn’t just record the concert, but I don’t mind a bit  While I gather that their concerts were spectacular festivals, I frankly prefer to listen to studio albums, which have a longer listening lifespan than concert albums.  Apparently the original albums are slated for re-release, along with a planned album of new songs.

The songs are strong, far stronger than one might expect from a regional band.  Still loud and snotty in attitude, but with significant musical abilities (probably much better than in the 80s), they move through these songs like old friends at a comfortable party.  Nearly every tune is uptempo, with excellent hooks, interesting lyrics, and a driving punk rhythm that never outstays its welcome.  The songs are eclectic (we like that term at Hiram), displaying a variety of influences and styles without imitating, while still sounding like a consistent whole.  Vocals are generally slightly out of tune, part singing, part yelling, which is appropriate to the genre.  The guitars are great.  Some of these could and should have been hits back in the 80s, but for a major label contract.  Ah, well, the life of a band can never be predicted, only lamented.  

I recommend the album highly (I’ve got the CD, but apparently you can get a fancy vinyl package if you prefer), for its high energy, consistency of quality, and rockin’ good time.  Watch for future releases and re-releases.

Personnel:  Doug Gillard (guitar, vocals), David James (bass guitar, vocals), Steve-O (drums), John Petkovic (vocals, guitar, clarinet).
Tracks:  Coca Cola and Licorice, Bed of Fire, Now It’s Your Turn (To Be a Martyr), Conviction, Couldn’t Forget ‘bout That (One Item), Savior City, Good Friday (take two edit), Rosenberg Summer, Sexual Dreaming, Blood and Shaving Cream, Geisha Girl, Monkey Face, Simple as That, Yellow Fever, Turquoise Hand, Harlequin Tragedy, Amphetamine, Blood Creek.

The Grand Wazoo

Sunday, April 6, 2014

Travis Haddix. Ring on Her Finger, Rope Around My Neck.

Travis Haddix.  Ring on Her Finger, Rope Around My Neck.
Benevolent Blues, 2013.   Travis Haddix:  http://www.travishaddix.net/home.htm

Travis Haddix has his origins in Mississippi, but has been a Cleveland-area resident for many decades.  He is now in his 70s, but put out his first solo blues album in 1988, and released a string of them on the Ichiban label, even while keeping his day job.  I have lost count of how many subsequent to then. His new album has the same strengths of his previous releases--a strong, ringing guitar style in the manner of B. B. King, a good, soulful tenor voice, memorable tunes, and musical variety from track to track. It suffers from the same weaknesses too--a tendency toward sexist lyrics, and over-reliance on cliché.

He certainly has credibility.  A sharecropper’s son who moved north, did military service, a tradesman who worked the clubs on the side in the Cleveland area before getting picked up by Little Johnny Taylor, putting out his own albums, and extensive touring, he’s certainly had a life to play the blues with.  Haddix is an excellent guitarist who know when to solo, when to punctuate, when to play over the horn section or the keyboards, and when to hold back and let the band work.  An excellent example is the slow burner, “Full, but Frustrated,” where he starts the tune with his guitar over the horns before launching into the song, then leaps in with a lick or two after some verses, but not others, where the horns dominate.  He launches into a solo at the bridge that is sweet and soulfully played.  He tends to alternate fast and slow tunes, which makes for alert listening.  As for the band, I tend to prefer the group playing on Tracks 1, 2, and 4.  The horns seem more balanced and better arranged.  On the other tracks they often sound flat, with too much low brass dominating.  The exception is the last song, “Same Thing, Same Way,” where everything seems balanced and just right.

The lyrics are the problem.  Haddix is stuck in an old-fashioned mode of blues writing where almost everything is about sex, only secondarily about love, and very little else.  She done him wrong.  He wants revenge.  She got what she deserved.  He’s horny and it’s her fault.  Commitment is risky.  He’s getting older, but he’s still a stud.  He works hard and she doesn’t appreciate him.  Please, stop; the ridiculous old idea that women are wicked and men are stupid is so tired and worn.  The worst of these is the title track, but there are plenty of others.  If he would only write songs about how things have worked out, despite difficulties, or how they haven’t worked out, but it’s his own fault, the sexism might not be so noticeable.  Perhaps he could sing about his marriage of over 50 years, which flies in the face of all his lyrics.

Travis Haddix is a very good blues musician, and his music is deserving of a wide audience.  Sadly, his lyrics will continue to limit his appeal.

Personnel:  Tracks 1, 2, 4:  Travis Haddix (vocals, guitar), Rick Hinkle (rhythm guitar, engineer), Marlon Hunter (engineer), Steve Crawford (piano), “Big” Royal Joiner (keyboard), Marion McFarland (drums), John Haamid (drums), Poindexter Evans (bass guitar), Jeff Hager (trumpet), David Ruffin (tenor sax), Tony Fortunato (baritone sax).  Tracks: 3, 5, 7-10:  Travis Haddix (vocals, guitar), Brian Hager (rhythm guitar, engineer, final mix & master), Gil Zachary (piano), Don Williams (organ), ED Lemmers (bass), Lonnie Crosby (bass), Jeremy Sullivan (drums), Vernon Jones (drums), Tony Fortunato (baritone sax), David Ruffin (tenor sax), Scott Tenney (trumpet).
Tracks:  Jodie, Doctor Doctor, Ring on Her Finger, Rope around My Neck, Patience with a Purpose, Old Fashioned Justice, In Good Shape for the Shape I’m In, Full, but Frustrated, She’s Good, She’s Better, She’s Best, Two Jobs with a Paper Route, Same Thing, Same Way.

Gottfried Klaas