Gene Ammons Got My Own Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Gene Ammons Got My Own Mp3, Flac, Wma Gene Ammons Got My Own mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Got My Own Country: US Released: 1973 Style: Soul-Jazz MP3 version RAR size: 1220 mb FLAC version RAR size: 1576 mb WMA version RAR size: 1715 mb Rating: 4.4 Votes: 607 Other Formats: MOD MP2 ASF AU AHX MPC DMF Tracklist Hide Credits Lady Sings The Blues A1 5:30 Written-By – Legrand* God Bless The Child A2 4:05 Written-By – Herzog*, Holiday* Strange Fruit A3 3:30 Written-By – Allen* Fine And Mellow A4 5:30 Written-By – Holiday* Play Me B1 6:00 Written-By – Diamond* Ben B2 5:30 Written-By – Black*, Scharf* The Shack Out Back B3 7:58 Written-By – Ammons* Companies, etc. Distributed By – Fantasy Records Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Recorded At – Fantasy Studios Published By – Jobete Music Published By – E. B. Marks Published By – Prophet Music Published By – Prestige Music Credits Arranged By, Conductor – Ed Bogas (tracks: A1, B1, B2) Bass, Electric Bass – Ron Carter (tracks: A1 to B3) Drums – Billy Cobham (tracks: A2, B3), Idris Muhammad (tracks: A1, B1, B2), Mickey Roker (tracks: A4) Electric Piano – Hank Jones (tracks: A1, A3 to B2), Sonny Phillips (tracks: A2, B3) Engineer – Rudy Van Gelder Guitar – Joe Beck (tracks: A1, A4, B1, B2), Maynard Parker (tracks: A2, B3) Illustration – Ken Eisner Organ – Ernest Hayes* (tracks: A1, A4, B1, B2) Producer – Ozzie Cadena Tenor Saxophone – Gene Ammons (tracks: A1 to B3) Barcode and Other Identifiers Rights Society: BMI Rights Society: ASCAP Matrix / Runout (side A label): PR 10058A Matrix / Runout (side B label): PR 10058B Matrix / Runout (side A runout etched [except VAN GELDER]): PRST-6058-A-2 VAN GELDER 1 Λ1 Matrix / Runout (side B runout etched [except VAN GELDER]): PRST-10058 B-2 Λ1 VAN GELDER I Other versions Category Artist Title (Format) Label Category Country Year P-10058 Gene Ammons Got My Own (LP, Album) Prestige P-10058 US 1973 PRST-10058 Gene Ammons Got My Own (LP, Album) Prestige PRST-10058 US 1973 PRT-10058 Gene Ammons Got My Own (LP, Album, Promo) Prestige PRT-10058 US 1973 PR 10058 Gene Ammons Got My Own (LP) Prestige PR 10058 France 1973 Related Music albums to Got My Own by Gene Ammons Idris Muhammad - Black Rhythm Revolution! Gene Ammons - Velvet Soul Gene Ammons - The Twister Gene Ammons All Stars - The Happy Blues Various - Funky Beats Gene Ammons / Sonny Stitt - Dig Him! Gene Ammons - Boss Tenor Gene Ammons' Sextet - Woofin' And Tweetin' Ron Carter - Spanish Blue Gene Ammons - My Way Idris Muhammad - House Of The Rising Sun Gene Ammons - Blue Gene.
Recommended publications
  • Tenor Saxophone Mouthpiece When
    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]
  • Charles Ruggiero's "Tenor Attitudes": an Analytical Approach to Jazz
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 Charles Ruggiero's "Tenor Attitudes": An Analytical Approach to Jazz Styles and Influences Nicholas Vincent DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Nicholas Vincent, "Charles Ruggiero's "Tenor Attitudes": An Analytical Approach to Jazz Styles and Influences" (2016). LSU Doctoral Dissertations. 1. https://digitalcommons.lsu.edu/gradschool_dissertations/1 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. CHARLES RUGGIERO’S “TENOR ATTITUDES”: AN ANALYTICAL APPROACH TO JAZZ STYLES AND INFLUENCES A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Nicholas Vincent DiSalvio B.M., Rowan University, 2009 M.M., Illinois State University, 2013 May 2016 For my wife Pagean: without you, I could not be where I am today. ii ACKNOWLEDGEMENTS I would first like to thank my committee for their patience, wisdom, and guidance throughout the writing and revising of this document. I extend my heartfelt thanks to Dr. Griffin Campbell and Dr. Willis Delony for their tireless work with and belief in me over the past three years, as well as past professors Dr.
    [Show full text]
  • INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
    INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161).
    [Show full text]
  • The Microscopic Septet the History of the Micros, Vol
    Excerpts from what the press has said recently about the Microscopic Septet: THE MICROSCOPIC SEPTET THE HISTORY OF THE MICROS, VOL. 1: SEVEN MEN IN NECKTIES CD 2006 CUNEIFORM THE HISTORY OF THE MICROS, VOL. 2: SURREALISTIC SWING CD 2006 CUNEIFORM “DownBeat: Best CDs of 2007: Historical Microscopic Septet, Seven Men in Neckties: History of the Micros Volume One, Cuneiform, 4 1/2 stars/5: June Issue Microscopic Septet, Surrealistic Swing: History of the Micros Volume Two, Cuneiform, 4 stars/5: June Issue” – “Best CDs of 2007”, DownBeat, January 2008, Vol. 75, No. 1 “…during their run from 1980-’90, they managed to record four albums of seminal, brilliant post-modern jazz as well as their best-known piece, the “Fresh Air Theme,” heard daily on NPR stations for more than 15 years now. All of this material plus previously unreleased tracks are on these two double-CDs, handsomely packaged with liner notes by co-leader Phillip Johnston, now-and-then photos of the band and cover art by Art Spiegelman. The Septet…was a laboratory for experimentation for composers Johnston…and pianist Joel Forrester. Mixing the influences of the great early big band arrangers like Fletcher Henderson and Duke Ellington with the zaniness of Raymond Scott and Captain Beefheart, the edginess of Thelonius Monk and Charles Mingus with the theatrics and exploration of Sun Ra and the Art Ensemble of Chicago, and with references from “Hey Jude” to “Harlem Nocturne,” the Micros were dedicated to jazz that swung and was endlessly fun and inventive. Volume One is superior because of the youthful up-all-night sense of discovery and sheer joy found on both their first studio album and only live recording.
    [Show full text]
  • Bebopnet: Deep Neural Models for Personalized Jazz Improvisations - Supplementary Material
    BEBOPNET: DEEP NEURAL MODELS FOR PERSONALIZED JAZZ IMPROVISATIONS - SUPPLEMENTARY MATERIAL 1. SUPPLEMENTARY MUSIC SAMPLES We provide a variety of MP3 files of generated solos in: https://shunithaviv.github.io/bebopnet Each sample starts with the melody of the jazz stan- dard, followed by an improvisation whose duration is one chorus. Sections BebopNet in sample and BebopNet out of sample contain solos of Bebop- Net without beam search over chord progressions in and out of the imitation training set, respectively. Section Diversity contains multiple solos over the same stan- Figure 1. Digital CRDI controlled by a user to provide dard to demonstrate the diversity of the model for user- continuous preference feedback. 4. Section Personalized Improvisations con- tain solos following the entire personalization pipeline for the four different users. Section Harmony Guided Improvisations contain solos generated with a har- monic coherence score instead of the user preference score, as described in Section 3.2. Section Pop songs contains solos over the popular non-jazz song. Some of our favorite improvisations by BebopNet are presented in the first sec- Algorithm 1: Score-based beam search tion, Our Favorite Jazz Improvisations. Input: jazz model fθ; score model gφ; batch size b; beam size k; update interval δ; input in τ sequence Xτ = x1··· xτ 2 X 2. METHODS τ+T Output: sequence Xτ+T = x1··· xτ+T 2 X in in in τ×b 2.1 Dataset Details Vb = [Xτ ;Xτ ; :::; Xτ ] 2 X ; | {z } A list of the solos included in our dataset is included in b times scores = [−1; −1; :::; −1] 2 Rb section 4.
    [Show full text]
  • Clarence Williams
    MUNI 2017-2 – Flute 1-2 Shooting the Pistol (Clarence Williams) 1:26 / 1:17 Clarence Williams Orchestra: Ed Allen-co; Charlie Irvis-tb; possibly Arville Harris-cl, as; Alberto Socarras-fl; Clarence Williams-p; Cyrus St. Clair-tu New York, July 1927 78 Paramount 12517, matrix number 2837-2 / CD Frog DGF37 3 I’ll Take Romance (Ben Oakland) 2:39 Bud Shank-fl; Len Mercer and His Strings Bud Shank With Len Mercer Strings: Giulio Libano (trumpet) Appio Squajella (flute, French horn) Glauco Masetti (alto sax) Bud Shank (alto sax, flute) Eraldo Volonte (tenor sax) Fausto Pepetti (baritone sax) Bruno De Filippi (guitar) Don Prell (bass) Jimmy Pratt (drums) with unidentified harp and strings, Len Mercer (arranger, conductor) Milan, Italy, April 4 & 5, 1958 LP World Pacific WP-1251, Music (It) EPM 20096, LPM 2052 4-5 What’ll I Do (Irving Berlin) 1:26 / 1:23 Bud Shank-fl; Bob Cooper-ob; Bud Shank - Bob Cooper Quintet: Bud Shank (alto sax, flute) Bob Cooper (tenor sax, oboe) Howard Roberts (guitar) Don Prell (bass) Chuck Flores (drums) Capitol Studios, Hollywood, CA, first session, November 29, 1956 LP Pacific Jazz X-634, PJ 1226, matr. ST-1894 / CD Mosaic MS-010 6-7 Flute Bag (Rufus Harley) 2:06 / 2:15 Herbie Mann.fl; Rufus Harley-bagpipes; Roy Ayers (vibes) Oliver Collins (piano) James Glenn (bass) Billy Abner (drums) "Village Theatre", NYC, 2nd show, June 3, 1967 LP Atlantic SD 1497, matr. 12589 8-10 Moment’s Notice (John Coltrane) 4:58 / 1:04 / 0:52 Hubert Laws-fl; Ronnie Laws-ts; Bob James-p, elp, arranger; Gene Bertoncini-g; Ron Carter-b; Steve
    [Show full text]
  • Gene Ammons Éÿ³æ¨‚Űˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)
    Gene Ammons 音樂專輯 串行 (专辑 & 时间表) Velvet Soul https://zh.listvote.com/lists/music/albums/velvet-soul-7919419/songs Funky https://zh.listvote.com/lists/music/albums/funky-5509284/songs All Star Sessions https://zh.listvote.com/lists/music/albums/all-star-sessions-4729674/songs Soul Summit Vol. 2 https://zh.listvote.com/lists/music/albums/soul-summit-vol.-2-15818440/songs Sock! https://zh.listvote.com/lists/music/albums/sock%21-15814227/songs Big Bad Jug https://zh.listvote.com/lists/music/albums/big-bad-jug-4904975/songs Got My Own https://zh.listvote.com/lists/music/albums/got-my-own-5587667/songs You Talk That Talk! https://zh.listvote.com/lists/music/albums/you-talk-that-talk%21-8057541/songs Soul Summit https://zh.listvote.com/lists/music/albums/soul-summit-7564331/songs Free Again https://zh.listvote.com/lists/music/albums/free-again-5499729/songs Twisting the Jug https://zh.listvote.com/lists/music/albums/twisting-the-jug-7858586/songs The Boss Is Back! https://zh.listvote.com/lists/music/albums/the-boss-is-back%21-7719440/songs My Way https://zh.listvote.com/lists/music/albums/my-way-6946594/songs https://zh.listvote.com/lists/music/albums/the-soulful-moods-of-gene-ammons- The Soulful Moods of Gene Ammons 7765379/songs Brasswind https://zh.listvote.com/lists/music/albums/brasswind-4957970/songs The Black Cat! https://zh.listvote.com/lists/music/albums/the-black-cat%21-7718275/songs Brother Jug! https://zh.listvote.com/lists/music/albums/brother-jug%21-4975523/songs Boss Soul! https://zh.listvote.com/lists/music/albums/boss-soul%21-4947520/songs
    [Show full text]
  • November 2019
    NOVEMBER 2019 From the Station Manager’s Desk! WDCB Presents With the completion of our Fall Pledge Drive, we’re all (for more details: WDCB.org) catching our breath and gearing up for the colder weather WDCB NIGHT AT THE JAZZ SHOWCASE soon to come. Thanks to all who contributed during the drive. Sponsored by: Steve Maxwell Vintage & Custom Drums FREE, with one-drink minimum! sets at 8 p.m. & 10 p.m. It was another generous response, raising nearly $140,000 for 11/12: Dwayne Armstrong Quartet WDCB’ operations in total and proving once again that great …paying tribute to Gene Ammons and his the music holds an important place on the airwaves. “Boss is Back” album, recorded 50 years ago, in November 1969 The big news that I don’t want to overlook in the excitement of the drive… WDCB has now launched a 2-week online audio BLUESDAY TUESDAY with Tom Marker archive of our radio programs! Now, on your computer, Sponsored by: Revolution Brewing from Chicago tablet or smart phone, you can listen to any WDCB radio FitzGerald’s, Berwyn 8 p.m. – $10 cover show aired in the past two weeks. Did you miss a week of the 11/5: Corey Dennison Band ”Swing Shift” or “Folk Festival” or “Jammin’ Jazz”? Just go WDCB ENCORE FILM SERIES back and listen to it online at WDCB.org with our new archive Sponsored by: Larc Jewelers Glen Ellyn / Wheaton feature. And while a few the national programs we air are not College of DuPage - SRC 2000 8 p.m.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • Firing the Canon: Multiple Insularities in Jazz Criticism
    FIRING THE CANON: MULTIPLE INSULARITIES IN JAZZ CRITICISM By © 2014 Christopher Robinson Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Sherrie Tucker ________________________________ Randal Jelks ________________________________ Tony Bolden ________________________________ John Gennari ________________________________ William J Harris Date Defended: April 7, 2014 The Dissertation Committee for Christopher Robinson certifies that this is the approved version of the following dissertation: Firing the Canon: Multiple Insularities in Jazz Criticism ________________________________ Chairperson, Sherrie Tucker Date approved: April 7, 2014 ii ABSTRACT Whereas many jazz scholars focus on jazz criticism's construction and implications of a single, or insular, jazz canon, this dissertation argues that what many jazz critics do is precisely the opposite. These critics disrupt the sense of a singular and insular jazz canon by challenging it through the creation of what I call an insularity, which is a bounded collection of artists and music with a definable tradition, values and established criteria which regulates what is suitable for inclusion. This dissertation argues that jazz does not consist of a single canon and music that exists beyond the canon's boundaries; rather, jazz contains multiple insularities that challenge the canon and vie for the opportunity to overthrow the canon in order to reach canonical status. This dissertation conceptualizes jazz critics as cultural authorities who create or deconstruct insularities through a variety of race, gender and nation projects. It examines the criticism of Leonard Feather, Val Wilmer and Nathaniel Mackey to highlight the numerous ways in which critics engage with multiple insularities.
    [Show full text]
  • Marvin Stamm Machinations Mp3, Flac, Wma
    Marvin Stamm Machinations mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Machinations Country: US Released: 1968 Style: Jazz-Funk MP3 version RAR size: 1199 mb FLAC version RAR size: 1841 mb WMA version RAR size: 1690 mb Rating: 4.9 Votes: 159 Other Formats: RA MP4 AU TTA MPC AHX XM Tracklist Hide Credits Machinations A1 5:50 Composed By – John Carisi Soadades A2 3:08 Composed By – John Carisi Wedding Dance A3 5:23 Composed By – John Carisi Bleaker Street A4 3:22 Composed By – John Carisi Eruza B1 5:09 Composed By – John Carisi Flute Thing B2 4:56 Composed By – Al Kooper Jes' Plain Bread B3 3:36 Composed By – John Carisi The March Of The Siamese Children B4 3:25 Composed By – Oscar Hammerstein II, Richard Rodgers Sunny B5 3:05 Composed By – Bobby Hebb Credits Alto Saxophone – Dick Spencer (tracks: A3-B5), George Young (tracks: A3-B5), Jerome Richardson (tracks: A1-A2), Jerry Dodgion (tracks: A1-A2) Arranged By – John Carisi (tracks: A1-B5) Baritone Saxophone – Sol Schlinger (tracks: A1-B5) Bass Clarinet – Sol Schlinger (tracks: A1-B5) Bass Guitar – Chet Amsterdam (tracks: A1-B5) Bass Trombone – Pete Phillips* (tracks: A3-B5), Tommy Mitchell* (tracks: A1, A2) Clarinet – Dick Spencer (tracks: A3-B5), George Young (tracks: A3-B5), Jerome Richardson (tracks: A1-A2), Jerry Dodgion (tracks: A1-A2), Mortie Lewis (tracks: A1-B5) Conductor – John Carisi (tracks: A1-B5) Drums – Bill Lavorgna (tracks: A1-B5) Flugelhorn – Bernie Glow (tracks: A1, A2, B1, B3, B4, B5), Burt Collins (tracks: A1, A2, A3, A4, B2), Ernie Royal (tracks: A3-B5),
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]