General Comments for all Naweedna cds
Love In Vain - Robert Lockwood, Jr Folk Masters (1933)
Download 247.48 Kb.
|
- Navigate this page:
- 20 There Goes My Love - BR5-49 Big Backyard Beat Show (1998)
- 21 What Was It You Wanted - Willie Nelson Across The Borderline (1993)
- 22 Close Your Eyes (Shut Yo Mouth) - Slam Stewart Major Holley
19 Love In Vain - Robert Lockwood, Jr Folk Masters (1933) I didn’t have many Lockwood tracks to pick from. Love In Vain & Sweet Woman From Maine were the clear choices. He wrote Sweet Woman From Maine, but I though Love In Vain was a better representative piece, given his connection to Robert Johnson. This particular track came from a Smithsonian compilation I found in Milne. Robert Lockwood Jr is dead, but his music lives on. Robert Lockwood, Jr., learned his blues firsthand from an unimpeachable source: the immortal Robert Johnson. Lockwood was capable of conjuring up the bone-chilling Johnson sound whenever he desired, but he was never one to linger in the past for long -- which accounts for the jazzy swing he often brought to the licks he played on his 12-string electric guitar. Born in 1915, Lockwood was one of the last living links to the glorious Johnson legacy. When Lockwood's mother became romantically involved with the charismatic rambler in Helena, AR, the quiet teenager suddenly gained a role model and a close friend -- so close that Lockwood considered himself Johnson's stepson. Robert Jr. learned how to play guitar very quickly with Johnson's expert help, assimilating Johnson's technique inside and out. Following Johnson's tragic murder in 1938, Lockwood embarked on his own intriguing musical journey. He was among the first bluesmen to score an electric guitar in 1938 and eventually made his way to Chicago, where he cut four seminal tracks for Bluebird. Jazz elements steadily crept into Lockwood's dazzling fretwork, although his role as Sonny Boy Williamson's musical partner on the fabled KFFA King Biscuit Time radio broadcasts during the early '40s out of Helena, AR, probably didn't emphasize that side of his dexterity all that much. Settling in Chicago in 1950, Lockwood swiftly gained a reputation as a versatile in-demand studio sideman, recording behind harp genius Little Walter, piano masters Sunnyland Slim and Eddie Boyd, and plenty more. Solo recording opportunities were scarce, though Lockwood did cut fine singles in 1951 for Mercury ("I'm Gonna Dig Myself a Hole" and a very early "Dust My Broom") and in 1955 for JOB ("Sweet Woman from Maine"/"Aw Aw Baby"). Lockwood's best modern work as a leader was done for Pete Lowry's Trix label, including some startling workouts on the 12-string axe (which he daringly added to his arsenal in 1965). He later joined forces with fellow Johnson disciple Johnny Shines for two eclectic early-'80s Rounder albums. He also recorded a Robert Johnson tribute album and founded his own label, Lockwood. In 1998, he signed to Verve for the Grammy-nominated album I Got to Find Me a Woman, which featured sit-in guests including B.B. King and Joe Louis Walker. He was still working a weekly gig in Cleveland until early November 2006, when he suffered a brain aneurysm. He died on November 21. Folk Masters Rating 3 Stars Release Date 1993 Recording Date Apr 1, 1992-Apr 8, 1992 Smithsonian Folkways Time 2:40 This 22-cut sampler culled from the Folk Masters radio show series reflects the program's openness -- bluegrass, klezmer, classic gospel, Western swing, mountain music, blues, Cajun, and traditional jazz are represented, as well as international styles and conjunto. It is a quick musical education and one that should forever shatter stereotyped notions about what does and does not constitute folk music. 1 Last Goodbye Johnson Mountain Boys 2:33 2 Orphan's Waltz Dewey Balfa ... 3:31 3 Jolie Catin Boozoo Chavis & Mag ... 2:39 4 Ay Te Dejo en San Antonio Jimenez, Santiago Jr. 3:10 5 Aguinaldo Jibaro Familia Colón 3:41 6 Wai O Ke Aniani Daapana, Ledward 3:52 7 Gray Eagle Wayne Henderson 3:41 8 Black Cat on the Line John Cephas, Phil Wiggins 4:50 9 Love in Vain Lockwood, Robert Jr. 2:58 10 St. James Infirmary Michael White 5:50 11 Ot Azoy Klezmer Plus 3:58 12 Zagrebcani Smo Mi Tamburitza Ensemble 2:56 13 El Rascapetate Marimba Chiapas 2:39 14 Zuni Rainbow Dance Cellicion Family Singers 2:46 15 Adam Picking up Leaves McIntosh County Shouters 2:46 16 Bucket Drums and Rap CJ & Five Galllons Of Fun 5:10 17 It's Gonna Rain Birmingham Sunlights 3:08 18 This Little Light of Mine Fontella Bass 2:32 19 Red River Valley Sun Rhythm Section 2:09 20 Big Ball's in Cowtown Texas Playboys 3:01 21 Smooth Sailing Claude Williams 2:47 22 When the Saints Go Marching In Kings Of Harmony Br ... 2:03 20 There Goes My Love - BR5-49 Big Backyard Beat Show (1998) Okay, BR5-49 is a great group doing really good things – they occasionally appear on PHC, so they are still big on the scene, in my opinion. Mahoney introduced us to their stuff, so we dutifully bought the Backyard Beat Show CD and have been enjoying it ever since. There are other worthy tracks on this CD – maybe they will show up in future Naweedna CDs, who knows ;-) Blending rock and country with a vigorous energy, BR5-49 became one of the most critically acclaimed country-rock bands of the mid-'90s. For the first half of the decade, the group carved out a dedicated following in Nashville's downtown district on Lower Broadway, playing for a variety of music fans, ranging from honky tonkers to punk rockers. Eventually, the group landed a record contract with Arista Records. Their first release was a live EP, appropriately called Live at Robert's, which was released in the spring of 1996. It was followed later that fall with an eponymous full-length record that was greeted with overwhelmingly positive reviews in both the country and rock press. In 1998, BR5-49 returned with Big Backyard Beat Show; Coast to Coast followed two years later. The year 2001 brought another whirlwind tour across the US, all in support of This is BR5-49. - Stephen Thomas Erlewine Big Backyard Beat Show Date of Release Jul 14, 1998 AMG Rating 4 * Time 41:10 When BR5-49 was first signed by a Nashville major, eyebrows were raised on both sides of the country music border. Traditionalists wondered how and what it would cost the hillbilly boys who gained fame while playing in the window of Robert's Western Wear on Lower Broad in Music City. On the other side of the fence, the cats in the suits were shaking their heads, predicting that BR5-49 would be a short-lived novelty act. With some moderate success, no thanks to country-pop radio, and several years on the road, BR5-49 has endured. This, their third release, shows a maturing quintet ready to come into their own. With their integrity intact, the boys have learned a thing or two about writing songs, and display their own material proudly. Sandwiched between a Buck Owens' cover, "There Goes My Love" and ending with Billy Joe Shaver's forever powerful, "Georgia on a Fast Train," Gary Bennett and Chuck Mead provide the band with some worthy tunes. "Storybook Endings (If You Stop Believin')," "My Name Is Mudd," "You Are Never Nice to Me" and "Change the Way I Look" all score big. "Goodbye Maria" is the band's effective salute to the Tex-Mex sound of C&W music. They even present listeners with a fast-moving truck drivin' song, "18 Wheels and a Crowbar." With Don Herron's magnificent musicanship providing steel, fiddle, dobro, mandolin and almost anything else that is required, BR5-49 deserve more than just a modicum of respect for hanging in there despite predictions. If the infinitely listenable Big Backyard Beat Show is any indication of their future, they should be around for a long time. 1. There Goes My Love (Owens) - 2:10 2. Wild One (Greenan/OKeefe/Owens) - 2:34 3. Hurtin' Song (Regan/Sewell) - 2:42 4. Out of Habit (Mead) - 2:28 5. Storybook Endings (If You Stop Believin') (Bennett) - 3:18 6. 18 Wheels and a Crowbar (Mead/Wilson) - 4:57 7. Pain, Pain Go Away (Bennett) - 2:24 8. You Are Never Nice to Me (Bennett) - 2:45 9. Goodbye, Maria (Mead) - 3:45 10. Seven Nights to Rock (Innis/Trail) - 2:48 11. My Name Is Mudd (Mead) - 3:14 12. You Flew the Coop (Bennett) - 2:23 13. Change the Way I Look (Mead) - 2:39 14. Georgia on a Fast Train (Shaver) - 3:03 Santiago Jimenez, Jr. - Accordion Jerry Dale McFadden - Piano Catherine Styron - Piano Gary Bennett - Guitar (Acoustic), Vocals, Harmony Vocals Shaw "Hawk Shaw" Wilson - Percussion, Drums, Harmony Vocals Chuck Mead - Bass, Guitar (Electric), Vocals, Harmony Vocals Don Herron - Guitar (Acoustic), Dobro, Fiddle, Mandolin, Cello, Guitar (Steel), Guitar (Electric Tenor) Smilin' Jay McDowell - Bass (Upright) 21 What Was It You Wanted - Willie Nelson Across The Borderline (1993) I have two versions of this track: one from Across The Borderline (from Mahoney); the other from a Tribute to Bob Dylan (from Steve Phillips). They sound pretty much the same, so I’m attributing the track to what I believe to be the original source: Across The Borderline – which is a bit confusing because Cooder has a track with the same title – two, actually. Anyway, this Willie Nelson track caught my ear on first hearing. I compared it to Dylan’s version, and Willies was the clear winner – for us. As a songwriter and a performer, Willie Nelson played a vital role in post-rock & roll country music. Although he didn't become a star until the mid-'70s, Nelson spent the '60s writing songs that became hits for stars like Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls"), and Billy Walker ("Funny How Time Slips Away") as well as releasing a series of records on Liberty and RCA that earned him a small, but devoted, cult following. During the early '70s, Willie aligned himself with Waylon Jennings and the burgeoning outlaw country movement which made him into a star in 1975. Following the crossover success of that year's The Red Headed Stranger and "Blue Eyes Crying in the Rain," Nelson was a genuine star, as recognizable in pop circles as he was to the country audience; in addition to recording, he also launched an acting career in the early '80s. Even when he was a star, Willie never played it safe musically. Instead, he borrowed from a wide variety of styles, including traditional pop, Western swing, jazz, traditional country, cowboy songs, honky tonk, rock & roll, folk, and the blues, creating a distinctive, elastic hybrid. Nelson remained at the top of the country charts until the mid-'80s, when his lifestyle - which had always been close to the outlaw clichés his music flirted with - began to spiral out of control, culminating in an infamous battle with the IRS in the late '80s. During the '90s, Nelson's sales never reached the heights that he experienced a decade earlier, but he remained a vital icon in country music, having greatly influenced the new country, new traditionalist, and alternative country movements of the '80s and '90s as well as leaving behind a legacy of classic songs and recordings. Nelson began performing music as a child growing up in Abbott, TX. After his father died and his mother ran away, Nelson and his sister Bobbie were raised by their grandparents, who encouraged both children to play instruments. Willie picked up the guitar, and by the time he was seven, he was already writing songs. Bobbie learned to play piano, eventually meeting - and later marrying - fiddler Bud Fletcher, who invited both of the siblings to join his band. Nelson had already played with Raychecks' Polka Band, but with Fletcher, he acted as the group's frontman. Willie stayed with Fletcher throughout high school. Upon his graduation, he joined the Air Force but had to leave shortly afterward, when he became plagued by back problems. Following his disenrollment from the service, he began looking for full-time work. After he worked several part-time jobs, he landed a job as a country DJ at Fort Worth's KCNC in 1954. Nelson continued to sing in honky tonks as he worked as a DJ, deciding to make a stab at recording career by 1956. That year, he headed to Vancouver, WA, where he recorded Leon Payne's "Lumberjack." At that time, Payne was a DJ and he plugged "Lumberjack" on the air, which eventually resulted in sales of 3,000 - a respectable figure for an independent single, but not enough to gain much attention. For the next few years, Willie continued to DJ and sing in clubs. During this time, he sold "Family Bible" to a guitar instructor for 50 dollars, and when the song became a hit for Claude Gray in 1960, Nelson decided to move to Nashville the following year to try his luck. Though his nasal voice and jazzy, off-center phrasing didn't win him many friends - several demos were made and then rejected by various labels - his songwriting ability didn't go unnoticed, and soon Hank Cochran helped Willie land a publishing contract at Pamper Music. Ray Price, who co-owned Pamper Music, recorded Nelson's "Night Life" and invited him to join his touring band, the Cherokee Cowboys, as a bassist. Arriving at the beginning of 1961, Price's invitation began a watershed year for Nelson. Not only did he play with Price - eventually taking members of the Cherokee Cowboys to form his own touring band - but his songs also provided major hits for several other artists. Faron Young took "Hello Walls" to number one for nine weeks, Billy Walker made "Funny How Time Slips Away" into a Top 40 country smash, and Patsy Cline made "Crazy" into a Top Ten pop crossover hit. Earlier in the year, he signed a contract with Liberty Records and began releasing a series of singles that were usually drenched in strings. "Willingly," a duet with his then-wife Shirley Collie, became a Top Ten hit for Nelson early in 1962, and it was followed by another Top Ten single, "Touch Me," later that year. Both singles made it seem like Nelson was primed to become a star, but his career stalled just as quickly as it had taken off, and he was soon charting in the lower regions of the Top 40. Liberty closed its country division in 1964, the same year Roy Orbison had a hit with "Pretty Paper." When the Monument recordings failed to become hits, Nelson moved to RCA Records in 1965, the same year he became a member of the Grand Ole Opry. Over the next seven years, Willie had a steady stream of minor hits, highlighted by the number 13 hit "Bring Me Sunshine" in 1969. Toward the end of his stint with RCA, he had grown frustrated with the label, who had continually tried to shoehorn him into the heavily produced Nashville sound. By 1972, he wasn't even able to reach the country Top 40. Discouraged by his lack of success, Nelson decided to retire from country music, moving back to Austin, TX, after a brief and disastrous sojourn into pig farming. Once he arrived in Austin, Nelson realized that many young rock fans were listening to country music along with the traditional honky tonk audience. Spotting an opportunity, Willie began performing again, scrapping his pop-oriented Nashville sound and image for a rock- and folk-influenced redneck outlaw image. Soon, he earned a contract with Atlantic Records. Shotgun Willie (1973), Nelson's first album for Atlantic, was evidence of the shift of his musical style, and although it initially didn't sell well, it earned good reviews and cultivated a dedicated cult following. By the fall of 1973, his version of Bob Wills' "Stay All Night (Stay a Little Longer)" had cracked the country Top 40. The following year, he delivered the concept album Phases and Stages, which increased his following even more with the hit singles "Bloody Mary Morning" and "After the Fire Is Gone." But the real commercial breakthrough didn't arrive until 1975, when he severed ties with Atlantic and signed to Columbia Records, who gave him complete creative control of his records. Willie's first album for Columbia, The Red Headed Stranger, was a spare concept album about a preacher, featuring only his guitar and his sister's piano. The label was reluctant to release with such stark arrangements, but they relented and it became a huge hit, thanks to Nelson's understated cover of Roy Acuff's "Blue Eyes Crying in the Rain." Following the breakthrough success of The Red Headed Stranger as well as Waylon Jennings' simultaneous success, outlaw country - so named because it worked outside of the confines of the Nashville industry - became a sensation, and RCA compiled the various-artists album Wanted: The Outlaws!, using material Nelson, Jennings, Tompall Glaser, and Jessi Colter had previously recorded for the label. The compilation boasted a number one single in the form of the newly recorded Jennings and Nelson duet "Good Hearted Woman," which was also named the Country Music Association's single of the year. For the next five years, Nelson consistently charted on both the country and pop charts, with "Remember Me," "If You've Got the Money I've Got the Time," and "Uncloudy Day" becoming Top Ten country singles in 1976; "I Love You a Thousand Ways" and the Mary Kay Place duet "Something to Brag About" were Top Ten country singles the following year. Nelson enjoyed his most successful year to date in 1978, as he charted with two very dissimilar albums. Waylon and Willie, his first duet album with Jennings, was a major success early in the year, spawning the signature song "Mammas Don't Let Your Babies Grow Up to Be Cowboys." Later in the year, he released Stardust, a string-augmented collection of pop standards produced by Booker T. Jones. Most observers believed that the unconventional album would derail Nelson's career, but it unexpectedly became one of the most successful records in his catalog, spending almost ten years in the country charts and eventually selling over four million copies. After the success of Stardust, Willie branched out into film, appearing in the Robert Redford movie The Electric Horseman in 1979 and starring in Honeysuckle Rose the following year. The latter spawned the hit "On the Road Again," which became another one of Nelson's signature songs. Willie continued to have hits throughout the early '80s, when he had a major crossover success in 1982 with a cover of Elvis Presley's hit "Always on My Mind." The single spent two weeks at number one and crossed over to number five on the pop charts, sending the album of the same name to number two on the pop charts as well as quadruple-platinum status. Over the next two years, he had hit duet albums with Merle Haggard (1983's Poncho & Lefty) and Jennings (1982's WWII and 1983's Take It to the Limit), while "To All the Girls I've Loved Before," a duet with Latin pop star Julio Iglesias, became another major crossover success in 1984, peaking at number five on the pop charts and number one on the singles chart. Following a string of number one singles in early 1985, including "Highwayman," the first single from the Highwaymen, a supergroup he formed with Jennings, Johnny Cash, and Kris Kristofferson, Nelson's popularity gradually began to erode. A new generation of artists had captured the attention of the country audience, which began to drastically cut into his own audience. For the remainder of the decade, he recorded less frequently and remained on the road; he also continued to do charity work, most notably Farm Aid, an annual concert that he founded in 1985 designed to provide aid to ailing farmers. While he career was declining, an old demon began to creep up on Willie - the IRS. In November of 1990, he was given a bill for 16.7 million dollars in back taxes. During the following year, almost all of his assets - including several houses, studios, farms, and various properties - were taken away, and to help pay his bill, he released the double-album The IRS Tapes: Who'll Buy My Memories?. Originally released as two separate albums, the records were marketed through television commercials, and all the profits were directed to the IRS. By 1993 - the year he turned 60 - his debts had been paid off, and he relaunched his recording career with Across the Borderline, an ambitious album produced by Don Was and featuring cameos by Bob Dylan, Bonnie Raitt, Paul Simon, Sinead O'Connor, David Crosby, and Kris Kristofferson. The record received strong reviews and became his first solo album to appear in the pop charts since 1985. After the release of Across the Borderline, Nelson continued to work steadily, releasing at least one album a year and touring constantly. In 1993, he was inducted into the Country Music Hall of Fame, but by that time, he had already become a living legend for all country music fans across the world. Signing to Island for 1996's Spirit, he resurfaced two years later with the critically acclaimed Teatro, produced by Daniel Lanois. Nelson followed up that success with the instrumental-oriented Night and Day a year later; Me and the Drummer and Milk Cow Blues followed in 2000. The Rainbow Connection, which featured an eclectic selection of old-time country favorites, appeared in spring 2001. Across the Borderline Artist Willie Nelson Album Title Across the Borderline Date of Release 1993 (release) AMG Rating 4 * Genre Country If ever there were doubts about the breadth and depth of Willie Nelson's ambitions and talents, Across the Borderline should put them to rest. Nelson surveys roughly two decades of popular music, tackling songs by writers as varied as Paul Simon, Bob Dylan, Willie Dixon, and Lyle Lovett. That Nelson covers such a variety shouldn't really come as such a surprise: the songs on Across the Borderline simply consolidate the range of material he's covered previously, from the Bing Crosby-inspired pop standards albums Stardust to the folk-rock of "City of New Orleans." Nelson, along with producer Don Was, assembled a stellar cast of musicians for the album. Paul Simon, Bonnie Raitt, and Mose Allison all guest, and a rock band is Nelson's backup unit for most of the tracks. Of course, country music is at the center of Nelson's vast repertoire, and the two Lyle Lovett compositions he chose to cover for Across the Borderline are wonderfully done, with the accompaniment of Nelson's regular backing band. There are also Nelson's own songs, both new ("Valentine") and old (the rather gloomy "She's Not for You"), as well as a writing and singing collaboration with Bob Dylan ("Heartland"). For all the strengths of the other 13 tracks, the most stunning song on the album is Peter Gabriel's "Don't Give Up." The parts originally sung by Kate Bush on Gabriel's So album are sung here by Sinead O'Connor, a brilliant piece of casting. Nelson and O'Connor's rendition is quietly triumphant and every bit as powerful as Gabriel and Bush's original. The result of the apparently scattershot song selection and numerous musicians is an album that possesses a quiet majesty, further establishing Willie Nelson as one of the most important writers and interpreters of the last half of the 20th century. - Martin Monkman 1. American Tune (Simon) - 4:20 2. Getting over You (Bruton) - 4:04 3. Most Unoriginal Sin (Hiatt) - 4:49 4. Don't Give Up performed by Nelson / Sinead OConnor - 6:59 5. Heartland (Dylan/Nelson) - 4:34 6. Across the Borderline (Cooder/Dickinson/Hiatt) - 4:40 7. Graceland (Simon) - 4:45 8. Farther Down the Line (Lovett) - 3:14 9. Valentine (Nelson) - 3:38 10. What Was It You Wanted (Dylan) - 5:24 11. I Love the Life I Live, I Live the Life I... (Dixon) - 3:09 12. If I Were the Man You Wanted (Lovett) - 3:38 13. She's Not for You (Nelson) - 3:15 14. Still Is Still Moving to Me (Nelson) - 3:30 22 Close Your Eyes (Shut Yo' Mouth) - Slam Stewart & Major Holley Shut Yo' Mouth! (1981) Slam Stewart is a musical god – well, at least a ‘superior’ musician as stated in the bio. I got this CD from Milne and every track is worthy of note. I especially like the ‘Tomorrow’ track – the gruffness of Stewart & Holley doing a song usually sung by a little girl is just too good. I believe Major Holley is a disciple of Stewart’s. His vocalization is a little higher and his voice is clearly more youthful than Slam’s. Anyway, this is one of Slam’s signature pieces and it tends to show up frequently on best-of-traditional-jazz compilations. Hope it hasn’t been too overused. Slam Stewart Slam Stewart was a superior swing-oriented bassist whose ability to bow the bass and hum an octave apart made him famous in the jazz world. He had thought of the idea while studying at Boston Conservatory when he heard Ray Perry singing along with his violin. In 1936, Stewart was with Peanuts Holland's group and the following year he started playing regularly with guitarist/singer/comedian Slim Gaillard in a group logically dubbed "Slim and Slam." "Flat Foot Floogie" became a huge hit and kept the group working through the early '40s. After leaving Gaillard, Stewart was in great demand. He played with Art Tatum's trio, was featured on records with the Benny Goodman Sextet, Red Norvo (a famous session with Charlie Parker and Dizzy Gillespie), and Lester Young (a classic rendition of "Sometimes I'm Happy"), and led his own group which for a period featured the up-and-coming pianist Erroll Garner. Stewart performed a couple of stunning duets with tenor saxophonist Don Byas at a 1945 Town Hall concert and later worked with Billy Taylor, Roy Eldridge, Bucky Pizzarelli, the Newport All-Stars, and a countless number of other jazz greats. He even recorded two albums with bassist Major Holley (who also bowed and hummed but in unison). Up until the end, Slam Stewart occupied his own unique niche in jazz. Major Holley Major Holley was best known for using the Slam Stewart trademark of singing along with his bowed bass solos, although he sang in unison while Stewart vocalized an octave above his bass. Otherwise, Major Holley (known as "Mule") was a fine supportive bassist. He originally played violin and tuba, but switched to bass while playing in Navy bands. He played with Dexter Gordon, Charlie Parker, and Ella Fitzgerald in the mid- to late '40s, and in 1950 did a series of duet recordings (never reissued) with Oscar Peterson. After a period working for the BBC in England, he toured with Woody Herman (1958), played with the Al Cohn-Zoot Sims quintet (1959-1960), and worked in the studios, in addition to appearing on some jazz recordings and having a stint with Duke Ellington (1964). Major Holley taught at Berklee (1967-1970), freelanced in New York, and recorded with everyone from Roy Eldridge and the Lee Konitz Nonet, to Quincy Jones; he even met up on two records with Slam Stewart. Shut Yo' Mouth! Rating 3 Stars Release Date Dec 6, 1981 Time 39:19 Briefly available as an LP on the PM label shortly before it went out of business, this fun date featuring two bassists best known for singing and playing bass simultaneously, Slam Stewart an octave above and Major Holley in unison with his bass. Both their humor and great playing are readily apparent throughout this release, especially on classics such as "Misty" and "Undecided." The big surprise is "Tomorrow," the obnoxious song from the musical Annie; its amusing facelift makes it tolerable at last. The title track is a takeoff on "Close Your Eyes." Versatile pianist Dick Hyman and solid drummer Oliver Jackson round out this enjoyable session, one of the last jazz albums on Delos before they returned to classical music exclusively. 1 Tomorrow Charnin, Strause 3:00 2 Close Your Eyes (Shut Yo' Mouth) Petkere 3:30 3 Undecided Robin, Shavers 3:35 4 Misty Burke, Garner 5:00 5 I Love You Archer, Thompson 6:07 6 Would You Like to Take a Walk? Dixon, Rose, Warren 4:45 7 Wrap Your Troubles in Dreams (And Dream Your Troubles Away) Barris, Koehler, Moll 3:44 8 Side by Side Woods 5:29 9 My Blue Heaven Donaldson, Whiting 4:09 Directory: ~boger -> SaturdayAM -> Saturday%20AM%20Downloads -> music music -> General Comments for all Naweedna cds Download 247.48 Kb. Share with your friends:
|