The Paul Butterfield Blues Band – Sometimes I Feel Like Smilin’ (1971)

FrontCover1This was the last Butterfield Blues Band studio album. To me it is tied for third best with “Resurrection of Pigboy Crabshaw”–the band’s “Butterfield Blues Band” and “East West” are their two greatest albums to me. However, this is a very enjoyable, excellent album, a big step up from “In My Own Dream” and “Keep On Movin'”. Butterfield sings and plays harmonica very well. The compositions are strong. The group is really tight and together, with the horns integrated better with the rest of the group than on any other album. In terms of something you can enjoy on repeated listens, it is a very successful album. If only the group could have continued on from this point, who knows what continued heights they could have hit. (by an unknown amazon customer)

PaulButterfieldTake an Album done in the 1970’s and wait 40 years. Most of the time the production and music don’t age well….well this has aged very well. I just got this album again after a 30 year absents and was hoping to listen to only “Trainman”. This time I rediscovered the entire album. Played it for my picky Bro-in-Law. He went wild. Paul does not over burden the album by constantly hammering on his harmonica. He sprinkles the right amount and lets the rhythm,, the horns,,, the vocals round out the entire album. It strikes a very, very balanced approached in the instrumentation. I think this is one of his best…yes the other, more popular albums are good, but this one is a FULLER rounded album. Now that I listen to it more and more and more, I think Paul was a genius in not over doing it on the harp. Yes there are some awesome harmonica parts, but not tiresome. Some harp players just blast away on an entire album. Not here. Just look at the liner notes and who is on this album. Empressive list and the talent jumps out when you listen. This is a perfect album to play in the car, on the road with some spiritual condiments to accompany the tunes. This one is a winner and perhaps my No. 1 Blues album,,,for the time being. (by Jimi Z)

Paul Butterfield (vocals, harmonica, piano)
Gene Dinwiddle (saxophone, flute, vocals, tambourine)
Rod Hicks (bass, vocals)
Ralph Walsh (guitar, vocals)
Dennis Whitted (drums)
George Davidson (drums on 01. + 07.)
Bobby Hall (percussion)
Ted Harris (piano on 01. + 07.)

01. Play On (Butterfield) 3.44
02. 1000 Ways (Hicks) 4.48
03. Pretty Woman (Williams) 3.48
04. Little Piece Of Dying (Butterfield) 3.30
05. Song For Lee (Butterfield) 3.46
06. Trainman (Dinwiddle) 5.47
07. Night Child (Harris/Hicks/Dinwiddle/Butterfield)
08. Drowned in My Own Tears (Glover) 5.18
09.  Blind Leading The Blind (Butterfield) 4.02



Ben Schultz Band – Tri Ality (1992)

FrontCover1Attention please: This is a killer album !

“Move over Hendrix” Ben Schultz Band – Tri Ality A fast, finger-tickling classical flourish erupts into an in-your face rock electric blast reminiscent of Jeff Beck. The guitarist is Ben Schultz. The title of the album is Tri Ality. This is some great stuff, but what would you expect? Ben was an apprentice of both Jimi Hendrix and B.B.King. “The Rosa Queen” is a wicked blues number with an out-of-it feel to it. The guitar grinds and then hangs. The vocals are almost distorted beyond recognition, but the feeling the sound leaves you with seems right, “You Got Me Floating” is another classic. It’s a Hendrix original with the style of an acid trip. My favorite song on this CD is the last cut. ThePhilosopher”. Its as if B.B.King, Jimi Hendrix, and Jeff Beck had a three way wreck (which I participated in recently) The lyrics on this CD are weak, but if you like creative guitar work, this is for you. (Jim Clark)

This album is a killer … this album is one of the finest hard-rock albums ever recorded and it´s one of the most criminally underrated hard-rock albums ever made !

You don´t believe me ? Listen !!!

Tim Bogert (bass, background vocals)
Ray Brinker (drums)
Ben Schultz (guitar, slide-guitar, keyboards, bass, drums, percussion, vocals)
Paul Sisemore (vocals)
Gregg Bissonette (drums, percussion)
Steve Gottlieb (guitar)
Steve Lukather (guitar)
Christopher Ross (drums, percussion)
Background vocals:
Laura Harding – Mimi – Charlott Ross – Allan Satchwell – Susan – Teretia

01. Welcome to… (Schultz) 0.32
02. Tampa (Schultz/Braun) 4.53
03. The Rosa Queen (Bogert/Schultz) 4.49
04. Ready For Love (Schultz/Phillips-Oland) 4.25
05. 2Good 2b 4Gotten (Schultz/Phillips-Oland) 3.41
06. Cabo Real (Schultz) 4.33
07. In The Light Of Love (Bogert/Schultz/Phillips-Oland) 5.02
08. Lestat (Schultz) 4.16
09. Intermission (Schultz) 1.41
10. Jizz Whizz (Appice/Beck/Bogert) 4.16
11. You’ve Got Me Floating (Hendrix) 3.40
12. Gapistoni (Schultz) 1.08
13. The Knife (Cuts Both Way) (Schultz/Sisemore/Phillips-Oland) 3.44
14. Philosopher, Pt. 1 – 3 (Schultz) 8.10


Eric Burdon – My Secret Life (2004)

FrontCover1My Secret Life is an album by Eric Burdon released in 2004. It was his first solo album release, which contains new titles, in nearly 16 years. It was his comeback album.

It features many different musical directions such as jazz, blues, soul, rock, ska, rhythm and blues, folk, boogie, world and pop. Burdon said in an interview that every song is different. The album peaked No. 93 on the German album chart after it sold 20,000 copies in the UK.

Musicians on this album includes Red Young, Martin Gerschwitz, Terry Wilson and Jon Cleary.

The working title was “The coat of many colours”. (by wikipedia)

Eric BurdonAMy Secret Life consists of 13 tracks that form a loose song cycle revolving around Eric Burdon’s love of American music, specifically R&B, soul, blues, and jazz. While that theme dominates the entire record it is especially true on the eight tunes penned or co-written by Burton. “Can’t Kill the Boogieman” is a heartfelt tribute dedicated to John Lee Hooker featuring Burdon’s cherished memories of the blues legend sung over the tune of Hooker’s classic “Boogie Chillen.” He also shades/characterizes such artists as Sam Cooke, Marvin Gaye, James Brown, Jimi Hendrix, Janis Joplin, Philly Joe Jones, Billie Holiday, Josephine Baker, Otis Redding, and Chet Baker with first person observations, a skill no doubt honed with a foray into writing his autobiography Don’t Let Me Be Misunderstood: A Memoir. Burdon’s voice is in fine shape, and he effortlessly jumps from soft spoken passages to his trademark blues grit that remains instantly recognizable from his days as vocalist of the Animals in the ’60s. What really makes this effort stand out from previous solo albums is the music itself. Instead of relying on the vocals to carry the music, My Secret Life allows the music to flow with unrestrained character darting off in several eclectic directions. “Once Upon a Time” apes both the Band and Van Morrison circa 1970, “The Secret” has slight elements of world rhythms, “Factory Girl” and “Highway 62” are dominated by a snaky Memphis guitar reminiscent of Pops Staples, and “Black and White World” (not the Elvis Costello tune) combines a breezy Hammond B-3 organ penetrated by a hyper ska beat. This disc should please any Burdon or Animals fan, but, more importantly, it may gain him some new listeners as well. (by Al Campbell)

Tony Braunagel (percussion, drums, percussion)
Eric Burdon (vocals)
Lenny Castro (percussion)
Jon Cleary (piano)
Mike Finnigan (keyboards)
Martin Gerschwitz (keyboards)
Bob Glaub (bass)
James “Hutch” Hutchinson (bass)
Nick Lane (trombone)
Darrell Leonard (trumpet, flugelhorn, trombonium)
Reggie McBride (bass)
Ivan Neville (keyboards, background vocals)
Eric Rigler (uillean pipes, Irish whistle, whistle)
Michito Sánchez (percussion)
Johnny Lee Schell (guitar, background vocals)
Joe Sublett (saxophone)
Daniel Timms (organ)
Tony B! (percussion)
Terry Wilson (bass)
Red Young (keyboards, strings)
Background vocals:
Gromyko Collins – Valerie Davis – Julie Delgado – Billy Trudell – Teresa James – Marlena Jeter – Kudisan Kai

01. Once Upon A Time (Burdon/Bradley) 3.51
02. Motorcycle Girl (Burdon/Nova) 3.52
03. Over The Border (Munyon) 4.27
04. The Secret (Barnhill/Chapman) 5.47
05. Factory Girl (Braunagel/Burdon) 4.40
06. Highway 62 (Braunagel/Burdon/Schell) 5.29
07. Jazzman (Burdon/Restum) 3.47
08. Black And White World (Burdon/Nova) 3.28
09. Heaven (Byrne/Harrison) 4.44
10. Devil Slide (Burdon/Nova) 3.35
11. Broken Records (Burdon/Nova) 3.25
12. Can’t Kill The Boogieman (Burdon) 3.59
13. My Secret Life (Cohen) 5.51


Crowded House – Alone Together (1993)

FrontCüver1Together Alone is the fourth studio album by the band Crowded House. It was released in October 1993 and was their first album to feature multi-instrumentalist Mark Hart as a full band member. Unlike the band’s first three albums, which were recorded in the US and Australia and produced by Mitchell Froom, Together Alone was recorded in New Zealand with producer Youth. Seven singles were released from Together Alone, including “Distant Sun”, which was a top 10 hit in New Zealand and Canada, and “Locked Out” which reached number 12 on the UK singles chart and number 8 on the US Modern Rock chart, the latter on the strength of the song’s inclusion on the soundtrack of the 1994 film Reality Bites.

The album was mainly recorded at Neil Finn’s friends Nigel and Jody Harrocks’ house at Karekare Beach in New Zealand, with additional recording in Melbourne, Australia at both Periscope and Platinum Studios. The album’s opening track was named “Kare Kare” after the beach near where the album was recorded.

Booklet05AThe album topped the album chart in New Zealand, reached number 2 in Australia and number 4 in the UK. Due to its inclusion on the Reality Bites soundtrack, the song “Locked Out” was bundled with The Knack’s “My Sharona”, which also features in the film, as a promotional jukebox single. The video single release of “Nails in My Feet” featured a documentary of the making of Together Alone entitled Footage from the Together Alone recording session.

The song “Catherine Wheels” was written by Neil and Tim Finn while with Split Enz and was originally titled “The First To Say Gone”. The final version included input from bass player Nick Seymour which earned him a co-writing credit, one of only five he has with Crowded House. (The others are “Recurring Dream” and “Help Is Coming” from Afterglow, “Newcastle Jam” from the Special Edition Live Album and “Isolation” from Intriguer).

Booklet01AAllmusic noted that the album is, “More experimental and musically varied than any of their previous releases” and cited the addition of Mark Hart to the band’s line-up and new producer Youth as reasons for this. The album features more complex, layered guitar and keyboard arrangements than on Crowded House’s previous works. The title track features a New Zealand Māori choir and log drummers and was co-written by Ngapo ‘Bub’ Wehi of the Te Waka Huia Cultural Group Choir, who also provide backing vocals on “In My Command” and “Catherine Wheels”.

Bassist Nick Seymour created the album cover, which features a red car, possibly a taxi. It contains Jesus, a golden figure and a third occupant in the back of the car of whom only an arm, clad in a striped shirt, is visible. The car is surrounded by a golden halo and has fluffy dice hanging from the rear view mirror. The cover of the 2007 single “Don’t Stop Now” has a similar red car and the song’s video features the car during its animated sequences. The album artwork was co-designed by Seymour and Margo Chase. It incorporates photography, by Youri Lenquette and Merlyn Rosenberg, of the band and of landscapes including Karekare beach.

PromoPic1993AMore experimental and musically varied than any of their previous releases, Together Alone finds Crowded House branching out into traditional Maori music and heavy guitars, as well as the shining pop songcraft that is Neil Finn’s trademark. Picking up a new guitarist and adding the production skills of ex-Killing Joke member Youth, Crowded House energize their sound without losing sight of Finn’s classic pop songwriting, as “Locked Out” and “Distant Sun” prove. (by Stephen Thomas Erlewine)

Neil Finn – vocals, acoustic and electric guitars, piano, keyboards
Mark Hart (keyboards, guitar, lap steel guitar, mandolin, background vocals)
Paul Hester (drums, percussion, vocals)
Nick Seymour (bass, background vocals)
Noel Crombie (percussion on 08.)
Dror Erez (accordion on 09.)
Tim Finn (background vocals on 02. + 11.)
Sharon Finn (background vocals on 04., 06. + 08.)
Geoffrey Hales (percussion on 05. + 07.)
Eddie Rayner (keyboards on 01. + 06.)
Brass Band on 02. + 13.:
Clyde Dixon – Stephen Bremner – Laura Astridge – David Bremner – Shaun Jarret
Te Waka Huia Cultural Group Choir (vocals on 02., 11. + 13.)
Log Drummers on 08. + 13.:
Joe – Tereo – Martie – Jamee – Benjamin

01. Kare Kare (Finn/Hart/Hester/Seymour) 3.35
02. In My Command (Finn) 3.43
03. Nails in My Feet (Finn) 3.39
04. Black & White Boy (Finn) 4.00
05. Fingers Of Love (Finn) 4.26
06. Pineapple Head (Finn) 3.27
07. Locked Out (Finn) 3.17
08. Private Universe (Finn) 5.39
09. Walking On The Spot (Finn) 2.54
10. Distant Sun (Finn) 3.49
11. Catherine Wheels (N.Finn/T.Finn/Seymour) 5.12
12. Skin Feeling (Hester) 3.56
13. Together Alone (Finn/Hart/Wehi) 3.55


Mina Mazzini & Adriano Celentano – Mina Celentano (1998)

FrontCover1Mina Celentano is an album by Italian singers Mina Mazzini and Adriano Celentano, issued in 1998.

An immediate success upon release, Mina Celentano became the best selling album of the year in Italy (over 1.600.000 copies sold). (by wikipedia)

One-off and long overdue collaboration of two giants who probably know each other for decades.

Celetano’s street smart charm and Mina’s icy glamour are not an obvious fit but they create magic together and it works so well that it makes one wonder why it took them so long to get in the studio. Both started at the early dawn of 1960s as young punks ready to shake the world and endured long years in business to the point that they became living legends. If somebody had put them together in way back than, who knows what explosion that might have been, with young Celentano roaring and Mina answering in her energetic style – however at this point they are middle-aged people comfortable with slow-to-medium funky ballads.

Booklet03ABoth artists have huge following so it was natural that this album soared to the top of italian charts, as it should have – modern production,nothing nostalgic here, strong melodies and voices blending naturally. It’s kind of mild funk one might hear in italian coffee bars graced with top-notch than-current production and first few songs are truly classy pop that shows everything was taken seriously and nobody thought about artists as being old or over the hill. Most of the music here are duets but both artists have also a solo spot – Mina does her usual slow-burning rock ballad on “Io Ho Te” while Celentano raps on “Dolly”. There is even a comical “Che T’Aggia Dì” acted as argument between husband and wife who demands more bedroom attention or else she won’t cook anymore. (It’s almost a parody on Mina famous “Parole parole”)

Nice pop album that shows old foxes still having power, however it does make one wonder how they might have sounded together some 30 years ago. (Sasha)

I include the complete booklet (70 pages !).


Adriano Celentano (vocals, guitar)
Giorgio Cocilovo (guitar)
Umberto Fiorentino (guitar)
Nicolò Fragile (keyboards)
Paolo Gianolio (guitar)
Alfredo Golino (drums)
Maurizio Dei Lazzaretti (drums)
Mina Mazzini (vocals)
Massimo Moriconi (bass)
Massimiliano Pani (keyboards, background vocals)
Massimo Varini (guitar)
Background vocals:
Emanuela Cortesi – Giulia Fasolino – Moreno Ferrara – Paul Rosette – Silvio Pozzoli – Simonetta Robbiani – Stefano De Maco

01. Acqua e sale (Donzelli/Leomporro) 4.42
02. Brivido felino (Cenci/Audino) 3.44
03. Io non volevo (Celentano) 4.08
04. Specchi riflessi (Donzelli/Leomporro) 4.59
05. Dolce fuoco dell’amore (Fasolino) 4.39
06. Che t’aggia di’ (Celentano) 5.09
07. Io ho te (Donzelli/Leomporro) 4.54
08. Dolly (Celentano/Vaccaro) 5.35
09. Sempre sempre sempre (Albertelli/Riccardi) 4.46
10. Messaggio d’amore (Pani) 2.36



John Barry – Out Of Africa (OST) 1985

LPFrontCover1Out of Africa is a 1985 American epic romantic drama film directed and produced by Sydney Pollack and starring Robert Redford and Meryl Streep. The film is based loosely on the autobiographical book Out of Africa written by Isak Dinesen (the pseudonym of Danish author Karen Blixen), which was published in 1937, with additional material from Dinesen’s book Shadows on the Grass and other sources. This film received 28 film awards, including seven Academy Awards.

The book was adapted into a screenplay by the writer Kurt Luedtke, and directed by the American Sydney Pollack. Streep played Karen Blixen; Redford played Denys Finch Hatton; and Klaus Maria Brandauer played Baron Bror Blixen. Others in the film included Michael Kitchen as Berkeley Cole; Malick Bowens as Farah; Stephen Kinyanjui as the Chief; Michael Gough as Lord Delamere; Suzanna Hamilton as Felicity, and the model/actress Iman as Mariammo.

OurOfAfrica01The story begins in 1913 in Denmark, when Karen Dinesen (a wealthy but unmarried woman) asks her friend Baron Bror Blixen (Klaus Maria Brandauer) to enter into a marriage of convenience with her. Although Bror is a member of the aristocracy, he is no longer financially secure; therefore, he agrees to the marriage, and the two of them plan to move to Africa to begin a dairy farm.

Upon moving to British East Africa, Karen marries Bror in a brief ceremony, thus becoming Baroness Blixen. She meets and befriends various other colonial residents of the country, most of whom are British. She also meets Denys Finch Hatton (Robert Redford), a local big-game hunter with whom she develops a close friendship. However, things turn out differently from her expectations, since Bror has used her money to purchase a coffee plantation rather than a dairy farm. He also shows little inclination to put any real work into it, preferring instead to become a game hunter. Although theirs was a marriage of convenience, Karen does eventually develop feelings for Bror, but she is distressed when she learns of his extramarital affairs. To make matters worse, Karen contracts syphilis from her philandering husband (at the time, cures were uncertain) and is forced to return to Denmark for a long and difficult period of treatment using the then-new medicine Salvarsan. Bror agrees to look after the plantation in her absence.

OurOfAfrica02After she has recovered and returns to Africa, the First World War is drawing to an end. However, it becomes clear that her marriage to the womanizing Bror has not changed, and she eventually asks him to move out of their house. No longer able to have children of her own due to the effects of the syphilis, she decides to open a school to teach reading, writing, arithmetic, and also some European customs to the African tribal children of the area. However, her coffee plantation runs into financial difficulties, and she is forced to rely on bank loans to make ends meet. Her friendship with Denys Finch Hatton develops further.

OurOfAfrica03Despite her expectation and desire to have what begins as an affair turn into a lasting relationship, Karen realizes that Denys is as impossible to domesticate as the wild animals he hunts and often refers to. Although he moves into Karen’s house, he criticizes her desire to “own” things; this implies even people. He refuses to commit to marriage or give up his free lifestyle and tells her that he will not love her more just because of a “piece of paper”. Karen grudgingly continues in the relationship, knowing it will not ever be official. He decides to invite a female mutual acquaintance on one of his safaris, which exceeds Karen’s ability to tolerate his justifications for his lifestyle and behavior. Karen asks him to accede to her request to not take her along, and he refuses. She asks him to move out. The plantation finally yields a good harvest at long last, but a devastating fire breaks out in the processing shed, and the crops and all of the factory equipment are destroyed.

OurOfAfrica04Now financially broke, and her relationship with Denys over, Karen prepares to leave Africa to return home to Denmark, just as British East Africa is becoming Kenya Colony. She arranges to sell everything that she owns and empties the house of all her luxurious items for a rummage sale. In the now empty house, Denys visits her that night, and the two of them enjoy a drink and a dance. He asks her if he might escort her to Mombasa in his biplane to begin her journey home. She agrees and he promises to return after a few days. However, Denys never returns, and Karen is told that his plane has crashed and that he has been killed. Her loss now complete, Karen attends his funeral in the Ngong Hills. With Denys gone, Karen’s head servant, Farah, takes her to the station, for the train to Mombasa.

Karen later became an author and a storyteller, writing about her experiences and letters in Africa, though she never returned there. (by wikipedia)

OurOfAfrica05The music for Out of Africa was composed and conducted by veteran English composer John Barry. The score included a number of outside pieces such as Mozart’s Clarinet Concerto and African traditional songs. The soundtrack garnered Barry an Oscar for Best Original Score and sits in fifteenth place in the American Film Institute’s list of top 25 American film scores. The soundtrack was released through MCA Records and features 12 tracks of score at a running time of just over thirty-three minutes. A rerecording conducted by Joel McNeely and performed by the Royal Scottish National Orchestra was released in 1997 through Varèse Sarabande and features eighteen tracks of score at a running time just under thirty-nine minutes. (by wikipedia)

And this is a classic soundtrack by John Barry (3 November 1933 – 30 January 2011)

Unknown Orchestra conducted by John Barry
Academy of St Martin in the Fields conducted by Neville Mariner (on 04.)
Jack Brymer (clarinet on 04.)

01. Main Title (I Had A Farm In Africa) (Barry) 3.14
02. I’m Better At Hello (Karen’s Theme I) (Barry) 1.18
03. Have You Got A Story For Me” (1:14)
04. Concerto For Clarinet and Orchestra in A (K. 622) (Mozart) 2.49
05. Safari (Barry) 2.44
06. Karen’s Journey/Siyawe (Barry/Traditional) 4.50
07. Flying Over Africa (Barry) 3.25
08. I Had A Compass From Karen (Karen’s Theme II) (Barry) 2.31
09. Alone On The Farm (Barry) 1.56
10. Let The Rest Of The World Go By (Ball/Brennan) 3.17 (3:17)
11. If I Know A Song Of Africa (Karen’s Theme III) (Barry) 2.12
12. End Title (You Are Karen) (Barry) 4.01


Donald Harrison – Nouveau Swing (1997)

FrontCover1Harrison began his professional career in music playing with Doc Paulin’s New Orleans Brass Band at the age of 16. Three years later he was playing in NY with Roy Haynes at 19 . Haarison and went on to play with Jack McDuff, Art Blakey’s Jazz Messengers, Lena Horne, Miles Davis, Tony Williams, and Don Pullen in the 1980s. He also played with the re-formed Headhunters band in the 1990s. In 1991 he recorded “Indian Blues,” which captured the sound and culture of Congo Square’s off shoot culture in a jazz context. In 1994 Harrison created a new style of jazz called “Nouveau Swing”, which merges the swing beat with many of today’s popular funk and soul dance styles of music. Presently, Harrison tours leading his own groups, is a member of a trio with Ron Carter, and Billy Cobham super trio, is a member of The Cookers, and play’s with The Headhunter’s. On television Harrison was featured in Spike Lee’s HBO documentary, When the Levees Broke, and has appeared as himself in 11 episodes of HBO’s Treme where the characters Albert and Delmond Lambreaux are based on aspects of his life and the innovative jazz music he created. Another important aspect of Harrison is his work as a band leader who nurtured many young musicians into becoming band leaders. This work led to him becoming an educator at The Tipitina’s Foundation where he helps many more students. Harrison is also a Big Chief in Afro-New Orleans culture an offshoot culture of the famous Congo Square where Africans played drums in the 1700’s and 1800’s. He participates in costume making, drumming, singing. (by

DonaldHarrisonOn his Impulse! Records debut, Donald Harrison mixes his usual straight-ahead work with rhythmic elements from tropical climates. Albert Wonsey plays appropriate piano on all tracks, though Harrison employs two different rhythm sections, Christian McBride and Carl Allen for the more conventional tunes and Ruben Rogers and Dion Parson for the others. The others include “Bob Marley,” twhich borrows its rhythmic feel from such later Marley songs as “Exodus”; “Little Flowers,” which also has a Caribbean lilt; “Septembro,” the requisite samba; and “Duck’s Groove,” the requisite New Orleans second-line number. The concept is slight and inconsistently applied, as if Harrison was looking for something distinctive, but not too challenging. As ever, he is a proficient alto player with a comfortable retro style. But one might have expected more from producer Tommy LiPuma, who is usually able to make things lively even if not impressive, and one certainly hoped for more from Harrison, who is too old to be a young turk yet still shows no signs of mature mastery. (by William Ruhlmann)


Carl Allen (drums on 01., 03. – 05., 08., 10. + 13.)
Donald Harrison (saxophone)
Christian McBride (bass on 01., 03., 05. – 08., 10.)
Dion Parson (drums on 02., 04., 09. + 12.)
Reuben Rogers (bass on 02., 04., 09., 11. – 13.)
Anthony Wonsey (piano)

01. Nouveau Swing (Harrison) 5.36
02. Bob Marley (Harrison) 5.58
03. Come Back Jack (Nocenteli) 5.09
04. Little Flowers (Harrison) 6.13
05. Eighty-One (Davis/Carter) 5.26
06. Sincerely Yours (Harrison) 6.38
07. Septembro (Lins/Peranzzetta) 5.00
08. One Of A Kind (Harrison) 3.28
09. New Hope (Harrison) 7.18
10. Christopher Jr. (Harrison) 5.01
11. South Side People (Harrison) 1.10
12. Dance Hall (Harrison) 6.42
13. Duck’s Groove (Harrison) 0.53
14. Amazing Grace )Traditional) 0.50