What Are You Listening To?

[Zing]

Ever see them in concert? Damn, they do some things that KISS would be proud of! :scared-eek:

Not yet but it's on the Bucket List.

 

[Dennie]

Happy 12-13-14 everyone... :banana-rock:

Christmas In Concert -- CD

John Denver

2001 RCA Records

A reminder why John Denver was so popular, December 14, 2009
By MPC "Carpe Diem" (Ames, IA) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: Christmas in Concert-John Denver (Audio CD)

I already own John Denver's three previous Christmas CDs (Rocky Mountain Christmas, John Denver & the Muppets, and Christmas Like a Lullaby), and purchased this one more for sentimental reasons. I was surprised and delighted by how this live Christmas concert stands on its own, and wonder why I didn't purchase it years ago. This CD is a reminder of why John Denver's music and personality won such widespread acclaim for so many decades. And while his popularity waned in the 90s, the richness of his voice, as evidenced on this CD, continued to grow. John Denver fans will find this live concert well worth adding to their collection, and those who don't know of his music may find themselves understanding why he was such a popular musician and humanitarian.

Track Listings
1. Christmas For Cowboys
2. Christmas Like A Lullaby
3. The Marvelous Toy
4. Good Evening Talk
5. A Baby Just Like You
6. Rudolph The Red-Nosed Reindeer
7. Introduction Of Choir
8. Away In A Manger
9. Jingle Bells
10. What Child Is This?
11. Introduction To Please Daddy (Don't Get Drunk This Christmas)
12. Please Daddy (Don't Get Drunk This Christmas)
13. Introduction To Alfie, The Christmas Tree
14. Alfie, The Christmas Tree
15. Silent Night
16. Living Legend Story
17. Noel - Chistmas Eve, 1913
18. Little Drummer Boy
19. Oh Holy Night
20. Take Me Home, Country Roads
21. Annie's Song
22. Calypso
23. Introduction To Falling Leaves (The Refugees)
24. Falling Leaves (The Refugees)

 

[Dennie]

I'm Old Fashioned -- CD

Bill Charlap with Peter Bernstein and Peter Washington

2010 Venus Records (Import Japan)

Nobody would argue that Bill Charlap is one of the most preeminent jazz pianists of his generation. His encyclopedic knowledge of the American Songbook is second to none, and his beautiful touch, amazing skills and imagination make it a pleasure to listen to him at all times.

As some of you already know, Charlap has recorded a number of great albums for Venus Records of Japan with his great New York Trio (with Jay Leonhart and Bill Stewart). For this, latest release, he decided to take a slightly different direction with a drum-less trio with guitarist Peter Bernstein and bassist Peter Washington.

Having a guitarist instead of a drummer softenes the texture of the trio sound and make it more intimate. It also makes the sound of the bass come forward so one can appreciate, in this case, the virtuosity of Washington. Charlap's tone is pristine and his solos are sigh-inducingly beautiful. The group's style may seem "old fashioned" on surface, but their interpretations of standards are modern, sophisticated and urban. This CD is a must-have item for fans of Bill Charlap! Enthusiastically recommended!

Produced by Tetsuo Hara & Todd Barkan. Recorded at The Avatar Studio in New York on December 17 & 18, 2009. Engineered by Katherine Miller. Mixed and Mastered by Tetsuo Hara / Venus Hyper Magnum Sound Direct Mix. - Swing Journal Gold Disc.

Track Listings:
1. I'm Old Fashioned (J.Kern) 5:10
2. I Can't Get Started (V.Duke) 4:08
3. Stella By Starlight (V.Young) 3:01
4. Ghost Of A Chance (V.Young) 5:00
5. All The Things You Are (K.Kern) 4:24
6. Easy Living (R.Rainger) 4:17
7. Darn That Dream (J. Van Heusen) 4:18
8. Angel Eyes (M.Dennis) 4:08
9. What Is This Thing Called Love (C.Porter) 4:22
10. Body And Soul (J.Green) 4:11
11. Gone With The Wind (A.Wrubel) 3:37
12. Everything Happens To Me (M.Dennis) 4:46
13. These Foolish Things (J.Strachey,H.Link) 3:56

Recorded at The Avatar Studio in New York on December 17 & 18, 2009

Performed by:
Bill Charlap - piano
Peter Bernstein - guitar　
Peter Washington - bass

 

[Dennie]

Stardust -- Remastered CD

The Dave Brubeck Quartet featuring Paul Desmond

1951-54/1990 Fantasy Records

This CD features the Dave Brubeck Quartet in its early days. Although the dates are unaccountably left off of this two-fer, most of the music is from 1951-52 and features such short-term sidemen as bassists Norm Bates, Fred Dutton (who doubled on bassoon) and Wyatt "Bull" Reuther and drummers Herb Barman and Lloyd Davis in addition to pianist Brubeck and altoist Paul Desmond. Highlights include "Crazy Chris," "Lyons Busy," "Look for the Silver Lining" and "Alice in Wonderland." Two later selections ("Stardust" and a 14-1/2-minute version of "At a Perfume Counter") are from 1954-55 when the personnel stabilized with bassist Bob Bates and drummer Joe Dodge. ~ Scott Yanow

Track Listing
1. Mam'selle
2. Stardust
3. Frenesi
4. Me and My Shadow
5. At a Perfume Counter
6. Crazy Chris
7. A Foggy Day
8. Somebody Loves Me
9. Lyon's Busy
10. Look for the Silver Lining
11. Stardust
12. At a Perfume Counter
13. Alice in Wonderland
14. All the Things You Are
15. Lulu's Back in Town
16. My Romance
17. Just One of Those Things

Dave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (alto saxophone); Fred Dutton (bassoon, bass); Wyatt "Bull" Ruther, Norm Bates (bass); Herb Barman, Lloyd Davis, Joe Dodge (drums).Recorded in San Francisco, California between August 1951 and September 1952 and in Berkeley, California on March 1, 1954. Includes liner notes by Philip Elwood.Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California)

 

[Dennie]

:text-goodpost: Dennie, did you catch all the gas company puns in Last Chance Texaco? That tune gives me goosebumps. :bow-blue:

Yes I did, it is a great (and fun) song...


LAST CHANCE TEXACO:

A long stretch of headlights
Bends into I-9
Tiptoe into truck stops
And sleepy diesel eyes
Volcanoes rumble in the taxi
And glow in the dark
Camels in the driver's seat
A slow, easy mark

But you ran out of gas
Down the road a piece
Then the battery went dead
And now the cable won't reach...

It's your last chance
To check under the hood
Last chance
She ain't soundin' too good,
Your last chance
To trust the man with the star
You've found the last chance Texaco

Well, he tried to be Standard
He tries to be Mobil
He tried living in a world
And in a shell
There was this block-busted blonde
He loved her - free parts and labor
But she broke down and died
And threw all the rods he gave her

But this one ain't fuel-injected
Her plug's disconnected
She gets scared and she stalls
She just needs a man, that's all

It's her last chance
Her timing's all wrong
Her last chance
She can't idle this long
Her last chance
Turn her over and go
Pullin' out of the last chance texaco
The last chance



Dennie bscene-drinkingcheers:

 

[Dennie]

In The Christmas Mood -- CD

The Glenn Miller Orchestra

1992 Delta Music

Great buy for the money, December 4, 2005
By "Gimpy" Peach Johnson - See all my reviews

The "Chicago Swing Fan" who complained below may do well to remember that Glenn Miller's never really was a swing band. Miller was foremost a businessman, and his orchestra played commercial dance music. Good dance music? Good big band music? Yes, I think so, but in terms of swing, he didn't hold a candle to Benny Goodman in his prime. Having said that, don't expect hot, jazzy swing from this CD. If you like the old Miller records, you'll love this CD. It was recorded sometime around 1990 by the current band going under the Miller name, and all in all, represents a tasty selection of holiday goodies in authentic Miller style. Occasionally, some of the arrangements sound bit more "modern" than anything Miller would have played in his lifetime, but the general feeling is there. The disc is well-recorded and has great sound. It's quite pleasant and makes a great accompaniment for decorating the tree, Christmas parties, driving around town, sipping egg nog--just about anything! When my original copy of this broke several years ago (yes, it shattered... don't ask how!) I quickly ordered another copy. This CD has become one of my favorite holiday recordings. And for the price, you can't go wrong. Recommended.

1. Sleigh Ride
2. Yuletide Medley #1:Oh Holy Night/Joy To The World/Oh Little Town Of Bethlehem/Deck The Halls
3. Rudolph, The Red-Nosed Reindeer
4. Silver Bells
5. Jingle Bells
6. Frosty The Snowman
7. Have Yourself A Merry Little Christmas
8. Yuletide Medley #2: Oh Christmas Tree/It Came Upon A Midnight Clear/We Three Kings/What Child Is This
9. I'll Be Home For Christmas
10. Silent Night
11. In The Christmas Mood

 

[Dennie]

In The Christmas Mood II -- CD

The Glenn Miller Orchestra

1993 Delta Music

Lightning DOES strike twice! November 19, 2001
By Bruce Aguilar
Format:Audio CD

I don't know exactly what it is about this cd, but I enjoy it more than the original "In The Christmas Mood". The big band/swing stylings and vocals (on the few tracks that feature them) sound just like they did on the original, the magic is still there. Perhaps it's the song selection itself which seems to weave more spiritual carols into the mix. Whatever it is, it works, as this cd always entertains me and my guests at holiday parties. Invariably, someone asks me where I got it and they wind up purchasing a copy themselves. Glenn Miller would be proud.

1. We Wish You A Merry Christmas
2. White Christmas
3. Yuletide Medley #1: Away In A Manger/Ave MAria/The First Noel
4. The Twelve Days Of Christmas
5. Winter Wonderland
6. The Christmas Song
7. Yuletide Medley #2: Hark The Herald, Angels Sing/Angels We Have On High...
8. (There's No Place Like) Home For The Holidays
9. Good King Wenceslas
10. Santa Claus Is Coming To Town
11. Let It Snow, Let It Snow, Let It Snow
12. Auld Lang Syne

 

[Dennie]

Tales From The Acoustic Planet -- CD

Bela Fleck

1995 Warner Bros. Records

Amazon.com

Bela Fleck has completely transcended any and all expectations we have for the banjo. Having spent the better part of five previous years exploring a variety of formal and improvised designs with his virtuoso ensemble, Bela Fleck & The Flecktones, this banjo innovator chose to celebrate a variety of musical friends and influences on this homey, elegant, immaculately recorded aural novella--one that clearly links him to such progressive jazz/fusion forebears as Return to Forever and Oregon (not to mention Bill Monroe & His Bluegrass Boys). While a manic hoe-down like "Cheeseballs in Cowtown" illustrates his command of post-modern bluegrass, his freeform duet "Bicyclops" (with mentor Chick Corea) is indicative of this great musician's astonishing technical and emotional range. Elsewhere tunes such as "Up and Running," "The Great Circle Route," and "System Seven" seem to reconcile his complex rhythmic inclinations with stately folkish themes, mixing traditional bluegrass instrumentation with the likes of electric bass, drums, piano, and oboe. And on extended forms such as "Circus of Regrets" and "Jayme Lynn," Fleck showcases his ever-expanding breadth and range as a modern composer. --Chip Stern

All tracks written by Béla Fleck except where noted.

1. Up and Running
2. First Light
3. The Great Circle Route
4. Circus of Regrets
5. Three Bridges Home
6. The Landing
7. Arkansas Traveller (trad.)
8. Backwoods Galaxy
9. In Your Eyes
10. System Seven
11. Cheeseballs in Cowtown
12. Bicyclops
13. Jayme Lynn
14. For Sascha


* Béla Fleck - banjo
* Tony Rice - guitar
* Sam Bush - mandolin
* Stuart Duncan - fiddle
* Edgar Meyer - bass, piano
* Kenny Malone - drums
* Paul McCandless - woodwinds
* Jerry Douglas - Dobro, guitar
* Future Man - percussion, drums, woodwind
* Victor Wooten - bass
* Chick Corea - piano

 

[Dennie]

Uncommon Ritual -- CD

Edgar Meyer with Bela Fleck and Mike Marshall

1997 Sony Classical

From Wikipedia, the free encyclopedia...

Uncommon Ritual is the second album released by Sony Classical of string trios, following Appalachia Waltz, with unusual instrumentation and influences from bluegrass and folk music to create an Americana-style of traditional classical music. Uncommon Ritual adds jazz, blues, and elements from world music to the mix. Regarding the genre-defying nature of the music, New York times music critic Ben Ratliff wrote, "Despite its inclusion of Bach and Pablo de Sarasate's "Zigeunerweisen", Uncommon Ritual is not a classical album. But neither does it belong to bluegrass, traditional Irish music, jazz or any of the other traditions it lightly borrows from. It's sort of a chamberized health shake of music that's acceptable to a National Public Radio listenership: it comes with an unmistakable patina of culture, the pieces are brief and funny and the sound of the music is comfortably familiar."[3] The trio includes double-bassist and composer Edgar Meyer, banjoist and composer Béla Fleck, and mandolin player Mike Marshall. The album is noted for the variety of instruments used, and the performers' ability to change instruments fluently within songs. The pairing of these three musicians was new for the recording of this album, however Meyer and Fleck's musical relationship dates back to the mid-80's.

1. Uncommon Ritual
2. Seesaw
3. Sliding Down
4. Chromium Picolinate
5. Contramonkey
6. Chance Meeting
7. Zigeunerweisen
8. Travis
9. Old Tyme
10. Contrapunctus XIII From 'The Art Of The Fugue'
11. Third Movement From 'Amalgamations For Solo Bass'
12. By The River
13. Big Country
14. Barnyard Disturbance
15. In The Garden
16. Child's Play
17. The Big Cheese

 

[Dennie]

Jazz: Red Hot and Cool -- Remastered CD

The Dave Brubeck Quartet

1955/2001 Columbia Legacy

Recorded during three different stays at New York's Basin Street, Jazz: Red, Hot and Cool is making its first appearance in the U.S. on CD. It documents -- with the addition of two additional performances that were previously unissued -- the original Brubeck quartet in its final years. In 1956 Joe Morello would replace Joe Dodge, and in 1958 Eugene Wright would take over the bass chair from Bob Bates. What strikes the listener about this band, is a having been seasoned for five years when the first of these performances were recorded, the Brubeck quartet was far more immersed in the blues than anyone -- at least the critics of the time -- had given them credit for. Paul Desmond's alto tone had yet to take on the dry martini velvety texture that became his trademark, and Brubeck was not yet inserting the totality of his classical ideas about the extrapolation of dissonance from consonance and its resulting harmonic theory that was built on an elaborate contrapuntal system. These ideas, that were introduced to him by the French composer and instructor Darius Milhaud and the music of Shostakovich and Stravinsky would later result in the wildly inventive tonal identity expressed in his compositions on Jazz Impressions of Eurasia, Jazz Impressions of New York, and even Time Out. On this set, while Brubeck is playing with large augmented chords and without the use of arpeggios, his strident melodic sense keeps him rooted in the American vernacular musically. There is the gorgeous, post-bop blues in "Lover," and the Gershwin-esque balladic structure employed in "Little Girl Blue." Desmond, for his part was a constant, the most rock steady part of the band. His solos were the epitome of melodic improvisation even then. His break on "Fare the Well, Annabelle," carries the melody and harmony in its venturing. Brubeck, never content to just comp, offers Desmond a few additions on the diminished seventh and he goes for them stitching his counterpoint through them, taking the tune's body into an entirely new intervallic mode. Brubeck's solo quotes Mozart's "Eine Kleine Nacht Musik," Pachelbel's "Canon," and variations on a classical theme from the Orient -- Korea, in fact, which was provocative, given the time. The beautiful reading given here of "Love Walked In" is worthy of note because it features the band at its most intimate, hunkered down inside the tune's melody, reworking it to close it off even more from undue influence while re-creating its harmonic architecture. And then there's "The Duke," offered to Gil Evans, a simple stroll through the blues with a nod to both Gershwin and Rogers & Hart. As the band launches into "Indiana" the classic quartet flourish becomes evident; the rhythm section keeps it all steady no matter what happens, and, in Desmond's solo, crossing rhythmic patterns, full time signatures, and meter at lightning speed, this was no mean feat. The two added performances "Taking a Chance on Love" and "Closing Time Blues" were recorded a month after the previous four in August of 1955. Both of them display Brubeck's now trademark two-part counterpoint and Desmond's "in flight" manner of response. They are worthy additions to a record that was already wonderful for its inspiration and the way in which it displayed the band's innovative energy that was unique to live ...

Track Listing
1. Lover
2. Little Girl Blue
3. Fare Thee Well, Annabelle
4. Sometimes I'm Happy
5. Duke, The
6. (Back Home Again In) Indiana
7. Love Walked In
8. Taking a Chance on Love - (previously unreleased, bonus track)
9. Closing Time Blues - (previously unreleased, bonus track)

------

Dave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (saxophone); Bob Bates (bass); Joe Dodge (drums).

 

[Babs]

I went Christmas shopping with my friend Jenny today. We had a blast! We enjoyed shopping, which was for ourselves & others, an incredible lunch at a Japenese steak house & some awesome music on the road...

&

It was a most enjoyable day of music, fun & friendship!

 

[PaulyT]

^--- Cool. Philip Aaberg has been a favorite of mine for a LONG time (decades). I have every CD he's produced... good stuff varying from new age to jazz (even a jazz album based on Bach).

 

[Botch]

Pauly, for someone unfamiliar with Mr. Aaberg, what couple CDs would you recommend?

 

[Dennie]

Happy Sunday everyone... :banana-dance:

12 Songs of Christmas -- CD

Etta James

1998 Private Music

Review by Stephen Thomas Erlewine

It's a little surprising to realize that after decades of recording, Etta James finally released her first holiday album, 12 Songs of Christmas, at the late date of 1998. Thankfully, she decided to make the record something of a special occasion.

Working with arrangers Etta and Cedar Walton, producer John Snyder and a terrific lineup of musicians -- including Red Holloway, John Clayton, Billy Higgins, Cedar Walton, Josh Sklair and her son, Sametto -- James has created a terrific Christmas record, one that is firmly in her style yet contains surprises. First of all, she sings "O Holy Night" in both English and French. She also reworks "Silent Night" into a plaintive, bluesy plea.

Each song on the album doesn't sound like a traditional carol, even if they're very familiar -- it all sounds like James, and it all sounds good. James fans may not feel like they need a Christmas album from her, but after hearing 12 Songs of Christmas, they'll be quite pleased indeed.

* 1.Winter Wonderland
* 2.Jingle Bells
* 3.This Time Of Year
* 4.Merry Christmas Baby
* 5.Have Yourself A Merry Little Christmas
* 6.Santa Claus Is Coming To Town
* 7.White Christmas
* 8.The Christmas Song (Chestnuts Roasting On An Open Fire)
* 9.The Little Drummer Boy (Carol Of The Drum)
* 10.Silent Night
* 11.Joy To The World
* 12.O Holy Night

 

[Dennie]

I went Christmas shopping with my friend Jenny today. We had a blast! We enjoyed shopping, which was for ourselves & others, an incredible lunch at a Japenese steak house & some awesome music on the road...

&

It was a most enjoyable day of music, fun & friendship!

Life is good. :eusa-clap:




Dennie bscene-drinkingcheers:

 

[Dennie]

Ben Webster Meets Oscar Peterson -- Remastered 20 Bit CD

Ben Webster - Oscar Peterson Trio

1960/1997 Verve Master Edition

Another fine Webster release on Verve that sees the tenor great once again backed by the deluxe Oscar Peterson Trio. In keeping with the high standard of their Soulville collaboration of two years prior, Webster and the trio -- Peterson is joined by bassist Ray Brown and drummer Ed Thigpen -- use this 1959 date to conduct a clinic in ballad playing. And while Soulville certainly ranks as one of the tenor saxophonist's best discs, the Ben Webster Meets Oscar Peterson set gets even higher marks for its almost transcendent marriage of after-hours elegance and effortless mid-tempo swing -- none of Webster's boogie-woogie piano work to break up the mood here. Besides reinvigorating such lithe strollers as "Bye Bye Blackbird" (nice bass work by Brown here) and "This Can't Be Love," Webster and company achieve classic status for their interpretation of the Sinatra gem "In the Wee Small Hours of the Morning." And to reassure Peterson fans worried about scant solo time for their hero, the pianist lays down a healthy number of extended runs, unobtrusively shadowing Webster's vaporous tone and supple phrasing along the way. Not only a definite first-disc choice for Webster newcomers, but one of the jazz legend's all-time great records. Review by Stephen Cook

Track Listing
1. The Touch of Your Lips
2. When Your Lover Has Gone
3. Bye Bye Blackbird
4. How Deep Is the Ocean?
5. In the Wee Small Hours of the Morning
6. Sunday
7. This Can't Be Love

Personnel: Ben Webster (tenor saxophone); Oscar Peterson (piano); Ray Brown (bass); Ed Thigpen (drums).Producers: Norman Granz, Russ Garcia.Reissue producer: Michael Lang.Recorded at United Recorders, Hollywood, California on November 6, 1959. Originally released on Verve (6114). Includes original liner notes by Stephen Frostberg and reissue liner notes by Kevin Whitehead.Digitally remastered by Chris Herles (PolyGram Studios)

 

[Dennie]

Lester Young with The Oscar Peterson Trio -- Remastered 20bit CD

1953/1997 Verve Master Edition

It could be argued that the modern saxophonist makes some musical allusion to Lester Young--no matter how remote or indirect--in every solo rendered. On this release (1952), we hear the legendary "President of the saxophone" in great company. One can't get much more polished and refined than the Oscar Peterson Quartet (the album's title is incorrect; we do not hear a trio on this recording).Indeed, Young is superbly accompanied by Peterson on piano, Barney Kessel on guitar, Ray Brown on bass, and J.C. Heard on drums. Highlights on WITH THE OSCAR PETERSON TRIO include the somber ballad version of "There Will Never Be Another You" and the lively "Tea for Two." Finally, on "(It Takes) Two to Tango" we hear Young singing: a very rare treat. His bawdy improvised lyrics and carefree delivery are quite charming, as are the number of very funny outtakes from the session itself.

Track Listing
1. Ad Lib Blues
2. I Can't Get Started
3. Just You, Just Me
4. Almost Like Being in Love
5. Tea For Two
6. There Will Never Be Another You
7. Indiana, (Back Home Again in)
8. On the Sunny Side of the Street
9. Stardust
10. I'm Confessin'
11. I Can't Give You Anything But Love
12. These Foolish Things
13. Two To Tango (It Takes) / Two To Tango (It Takes) - (rehearsal/false start chatter/master take)
14. I Can't Get Started - (previously unreleased, false start)

Personnel: Lester Young (vocals, tenor saxophone); Oscar Peterson (piano); Barney Kessel (guitar); Ray Brown (bass); J. C. Heard (drums).Recorded in New York, New York in November 1952. Includes liner notes by Douglas Henry Daniels.

 

[Dennie]

Louis Armstrong Meets Oscar Peterson -- CD

Louis Armstrong, Oscar Peterson

1957/1990 Verve Silver Collection

Since Louis Armstrong just about invented jazz vocals if not popular singing itself, it was inevitable (and fortunate) that someone like producer Norman Granz would set Armstrong down in the studio with a modern '50s combo like Oscar Peterson's trio and watch the seminal musician strut his stuff. Aside from the Dixieland-derived All-Stars live show, Armstrong spent most of the late '40s and early '50s singing it straight for Milt Gabler at Decca Records. Here at Verve in 1957, Satchmo finally gets to ease up a little and stretch those famous gravelly vocal chords on a collection of romantic standards. Unlike Fats Waller, Armstrong rarely undermined the message of a love song with virtuoso clowning. For instance, he provided a wonderfully romantic foil to Ella Fitzgerald on their essential duet sessions. On his own, he proves to be a rhythmically adept contemporary troubadour with such deeply melodic material as "I'll Never Be the Same," "Moon Song," and "You Go to My Head." It should be noted that the earthy Louis gets the last word on the eight-minute version of Cole Porter's "Let's Do It" that closes the set.

1. That Old Feeling
2. Let's Fall In Love
3. I'll Never Be The Same
4. Blues In The Night
5. How Long Has This Been Going On
6. I Was Doing All Right
7. What's New
8. Moon Song
9. Just One Of Those Things
10. There's No You
11. You Go To My Head
12. Sweet Lorraine
13. I Get A Kick Out Of You
14. Makin' Whoopee
15. Willow Weep For Me
16. Let's Do It (Let's Fall In Love)

Personnel: Louis Armstrong (vocals, trumpet); Oscar Peterson (piano); Herb Ellis (guitar); Ray Brown (bass); Louie Bellson (drums)

 

[PaulyT]

Pauly, for someone unfamiliar with Mr. Aaberg, what couple CDs would you recommend?

If you like new age stuff - think George Winston but IMHO Aaberg's a way better pianist - try his first one, High Plains, solo piano only. Upright (his third) is a little more jazzy, some other instrumentation and drums on some tracks. For something completely different - jazz based on Bach - try Three Part Invention.

 

[Botch]

Tan que! bscene-drinkingcheers: