Miles Davis – Jack Johnson (OST) (1971)

FrontCover1.jpgJack Johnson, later reissued as A Tribute to Jack Johnson, is a 1971 studio album and soundtrack by American jazz trumpeter, composer, and bandleader Miles Davis. In 1970, Davis was asked by Bill Cayton to record music for his documentary of the same name on the life of boxer Jack Johnson. Johnson’s saga resonated personally with Davis, who wrote in the album’s liner notes of Johnson’s mastery as a boxer, his affinity for fast cars, jazz, clothes, and beautiful women, his unreconstructed blackness, and his threatening image to white men. This was the second film score he had composed, after Ascenseur pour l’échafaud in 1957.

The music recorded for Jack Johnson reflected Davis’ interest in the eclectic jazz fusion of the time while foreshadowing the hard-edged funk that would fascinate him in the next few years. Having wanted to put together what he called “the greatest rock and roll band you have ever heard”, Davis recorded with a line-up featuring guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, clarinetist Bennie Maupin, and drummers Jack DeJohnette and Billy Cobham. The album’s two tracks were drawn from one recording session on April 7 and edited together with recordings from February 1970 by producer Teo Macero.


Jack Johnson was released by Columbia Records on February 24, 1971. It was a turning point in Davis’ career and has since been viewed as one of his greatest works. JazzTimes later wrote that while his 1970 album Bitches Brew had helped spark the fusion of jazz and rock, Jack Johnson was Davis’ most brazen and effective venture into rock, “the one that blew the fusion floodgates wide open, launching a whole new genre in its wake”. According to McLaughlin, Davis considered it to be his best jazz-rock album. (by wikipedia)


None of Miles Davis’ recordings has been more shrouded in mystery than Jack Johnson, yet none has better fulfilled Davis’ promise that he could form the “greatest rock band you ever heard.” Containing only two tracks, the album was assembled out of no less than four recording sessions between February 18, 1970 and June 4, 1970, and was patched together by producer Teo Macero. Most of the outtake material ended up on Directions, Big Fun, and elsewhere. The first misconception is the lineup: the credits on the recording are incomplete. For the opener, “Right Off,” the band is Davis, John McLaughlin, Billy Cobham, Herbie Hancock, Michael Henderson, and Steve Grossman (no piano player!), which reflects the liner notes. This was from the musicians’ point of view, in a single take, recorded as McLaughlin began riffing in the studio while waiting for Davis; it was picked up on by Henderson and Cobham, Hancock was ushered in to jump on a Hammond organ (he was passing through the building), and Davis rushed in at 2:19 and proceeded to play one of the longest, funkiest, knottiest, and most complex solos of his career.


Seldom has he cut loose like that and played in the high register with such a full sound. In the meantime, the interplay between Cobham, McLaughlin, and Henderson is out of the box, McLaughlin playing long, angular chords centering around E. This was funky, dirty rock & roll jazz. The groove gets nastier and nastier as the track carries on and never quits, though there are insertions by Macero of two Davis takes on Sly Stone tunes and an ambient textured section before the band comes back with the groove, fires it up again, and carries it out. On “Yesternow,” the case is far more complex. There are two lineups, the one mentioned above, and one that begins at about 12:55. The second lineup was Davis, McLaughlin, Jack DeJohnette, Chick Corea, Bennie Maupin, Dave Holland, and Sonny Sharrock. The first 12 minutes of the tune revolve around a single bass riff lifted from James Brown’s “Say It Loud, I’m Black and I’m Proud.” The material that eases the first half of the tune into the second is taken from “Shhh/Peaceful,” from In a Silent Way, overdubbed with the same trumpet solo that is in the ambient section of “Right Off.”


It gets more complex as the original lineup is dubbed back in with a section from Davis’ tune “Willie Nelson,” another part of the ambient section of “Right Off,” and an orchestral bit of “The Man Nobody Saw” at 23:52, before the voice of Jack Johnson (by actor Brock Peters) takes the piece out. The highly textured, nearly pastoral ambience at the end of the album is a fitting coda to the chilling, overall high-energy rockist stance of the album. Jack Johnson is the purest electric jazz record ever made because of the feeling of spontaneity and freedom it evokes in the listener, for the stellar and inspiring solos by McLaughlin and Davis that blur all edges between the two musics, and for the tireless perfection of the studio assemblage by Miles and producer Macero. (by Thom Jurek)

AlternateFrontCoverAlternate frontcover


he first track and about half of the second track were recorded on April 7, 1970 by this sextet:

Billy Cobham (drums)
Miles Davis (trumpet)
Steve Grossman (saxophone)
Herbie Hancock (organ)
Michael Henderson (bass)

John McLaughlin (guitar)

The “Willie Nelson” section of the second track (starting at about 13:55) was recorded on February 18, 1970 by a different and uncredited lineup:

Chick Corea (piano)
Miles Davis (trumpet)
Jack DeJohnette (drums)
Dave Holland (bass)

Bennie Maupin (clarinet)
John McLaughlin (guitar)
Sonny Sharrock (guitar)


01. Right Off (Davis) 26.54
02. Yesternow (Davis) 25.35LabelB1


More Miles Davis:

More Miles Davis


Jimmy Smith – Groove Drops (1970)

FrontCover1.jpgGroove Drops is a 1970 jazz album by Jimmy Smith, arranged, conducted and produced by Johnny Pate and released on the Verve label.Groove Drops is a 1970 jazz album by Jimmy Smith, arranged, conducted and produced by Johnny Pate and released on the Verve label.
On the Billboard albums chart, Groove Drops peaked at number 197, and at 13 on the top Jazz albums chart. (by wikipedia)

I love this album! It was a favorite of mine as a kid growing up in the 70’s, and revisiting it in the present day has been no less fun for me. Jimmy is in fine form on all tracks, with infectious grooves on the aptly named title track, as well as Sunny and Ode to Billie Jo. The funky backbeats heard on this album were a favorite thing for Smith. He loved that beat and used it on numerous tunes in his career. The other songs on the album, Days of Wine and Roses, Who Can I Turn To, feature gorgeous Hammond balladeering as none other was capable of quite like Jimmy Smith. Why AllMusic gave this album 2 out of 5 stars is beyond me. I’ll give it 5 any day, it’s one of my favorite albums. It showcases a great master of the Hammond organ at the top of his form. There are many great organists then and now, but this is one of Jimmy’s best albums of the 70s. (by Mark Twain)


Jimmy Smith (organ)
unknown orchestra conducted by Johnny Pate


01. Groove Drops (Smith) 4.15
02. Days Of Wine And Roses (Mancini/Mercer) 5.23
03. Sunny (Hebb) 6.01
04. Ode To Billie Joe (Gentry) 6.23
05. Who Can I Turn To (When Nobody Needs Me) (Bricusse/Newley) 3.38
06. By The Time I Get To Phoenix (Webb) 4.40


If – Same (1970)

LPFrontCover1If were a progressive rock band formed in Britain in 1969. Referred to by Billboard as “unquestionably the best of the so-called jazz-rock bands”, in the period spanning 1970–75, they produced eight studio-recorded albums and did some 17 tours of Europe, the US and Canada.

If, often referred to as If 1, is the eponymous debut album by the English Jazz rock band if. It was released in 1970 on the Island Records label in the UK and Capitol Records in the US. The original artwork and the if logo, which was an award-winning design, were by CCS Advertising Associates. (by wikipedia)

If’s first album came out in the summer of 1970, while most horn-driven jazz-rock bands were still mimicking the successful formula employed by Chicago and Blood, Sweat & Tears. If was different, with more of a jazz feel on both the instrumental and the vocal ends. The material on If provides plenty of room for reedmen Dave Quincy and Dick Morrissey, plus guitarist Terry Smith, to stretch out. Though not particularly deep or profound, the lyrics nonetheless express the positive, optimistic sentiments prevalent at the time.


J.W. Hodgkinson’s unusual tenor vocal timbre fits like a lead instrument in the mix, soaring above and within the arrangements. “What Can a Friend Say” kicks the album off in fine style, setting the parameters within which the band works throughout the rest of the disc, with the horns complementing Hodgkinson’s rendering of the verses, which wrap around excellent, extended sax and guitar solos. The instrumental “What Did I Say About the Box, Jack?” showcases Morrissey’s high-octane flute work and the speedy fingers of guitarist Smith. The album continues in the same consistently excellent vein, with the ballad “Dockland” providing a beautiful respite toward the end of the album. (by Jim Newsom)

In other words: Another timeless masterpiece of British Jazz-Rock !


Dennis Elliott (drums)
J.W. Hodkinson (vocals, percussion)
John Mealing (keyboards, background vocals)
Dick Morrissey (saxophone, flute)
Dave Quincy (saxophone, flute)
Jim Richardson (bass)
Terry Smith (guitar)

01. I’m Reaching Out On All Sides (Quincy/Fishman) 5.45
02. What Did I Say About the Box, Jack? (Morrissey) 1.51
03. What Can A Friend Say? (Quincy) 6.59
04. Woman Can You See (What This Big Thing Is All About) (Hodkinson) 4.11
05. Raise The Level Of Your Conscious Mind (Fishman/Marsala) 3.13
06. Dockland (Runswick) 4.44
07. The Promised Land (Quincy) 3.43


Toe Fat – Same (1970)

FrontCover1Toe Fat was an English rock music band, active from June 1969 to 1971, notable for including two future members of Uriah Heep.

Formed in June 1969, the band was fronted by former Rebel Rouser Cliff Bennett and, in the course of its two-year, two-album career, featured lead guitarist and keyboardist Ken Hensley; bassist John Glascock (who replaced original bassist John Konas (Joseph Stanley Konas)); and drummer Lee Kerslake. After the first album, Kerslake and Hensley were replaced by Brian Glascock (drums) and Alan Kendall (guitar) respectively.

The band was founded by Bennett, a former pop star, after the dissolution of the Cliff Bennett Band. He teamed with the former Gods keyboard player Hensley, who drafted in fellow ex-Gods members Kerslake and Glascock. The name was decided over dinner when Bennett and his manager attempted to create the most disgusting band name possible.

Toe Fat was signed to the record label, Rare Earth, in the US. In the UK, the band signed with EMI, who released their first album on the Parlophone label, and the second on Regal Zonophone.


The eponymously titled first album flopped commercially, but gained considerable critical praise.[citation needed] Such was their stir that after their first single, “Workin’ Nights”, (the B-side was an early Elton John composition “Bad Side of the Moon”) they were booked for a tour supporting Derek and the Dominos in the US. The album was also notable for its cover designed by the recently formed graphic art company Hipgnosis. The cover showed a beach scene with four people who have large toes superimposed over their heads. For the US release, a man and a topless woman in the background were replaced by the image of a sheep. The photo of the band on the back of the US album shows Cliff Bennett, Alan Kendall, John Glascock, and Lee Kerslake even though Alan CliffBennettAKendall did not play on the first album. This was an interim line-up, Lee Kerslake would soon depart also before second album was recorded.

Hensley quit the band to form Uriah Heep. Alan Kendall replaced Hensley, before their second album, Toe Fat Two. Bennett admitted in the sleeve notes of his Rebellion album that when asked he “probably should have joined them”. Kerslake left to join the National Head Band, before also joining Uriah Heep in 1971. Glascock later joined Jethro Tull. Another ex-Gods man, Brian Glascock, became the new drummer.

Jonathan Peel (not the DJ) produced Toe Fat 2, after hearing them on several BBC radio sessions, including one for Terry Wogan. However, this LP also flopped, despite more radio airplay, and a reasonably successful US tour promoting it. Following these successive failures, their management and labels informed the group that they could no longer fund them.

Bennett recorded Rebellion, before quitting the music industry to become a shipping magnate. He used to occasionally tour with the Rebel Rousers. Wh

Alan Kendall and Brian Glascock went on to play with, and write for, the Bee Gees. (by wikipedia)


Rare single from Italy, 1970

The late-’60s success of heavy-handed acts like Cream, the Jimi Hendrix Experience, and Led Zeppelin instigated many British musicians — young and old — to grow their hair and start hard rock bands, and London’s oddly named Toe Fat were no exception. Formed in June 1969 by veteran singer Cliff Bennett (ex-Rebel Rousers) with multi-talented guitarist and keyboard player Ken Hensley, bassist John Glascock, and drummer Lee Kerslake (all of them ex-Gods), Toe Fat quickly parlayed their respectable résumés into a deal with KenHensley1969AParlophone in the U.K. and Rare Earth in the U.S. But their eponymous first album didn’t pack nearly as much bombast as the musical titans named above, sounding more like contemporaries Savoy Brown, Status Quo, or Humble Pie (at about 75 percent of Steve Marriott’s intensity). If anything, the group’s typically midpaced, R&B-steeped fare owed as much to the on-the-wane British blues boom as anything hot and heavy; although at their best, memorable cuts like “That’s My Love for You,” “But I’m Wrong,” “Working Nights,” and the driving “You Tried to Take It All” cast out great hooks to match the band’s top-notch musicianship and Bennett’s emotionally soulful voice. Some controversy remains as to who really played on the record, but if Hensley was truly the man, as credited, he really takes over on “Nobody” (boasting wildly distorted fuzz guitars and extended soloing) and “I Can’t Believe” (featuring more forceful guitar work and just as many keyboards), then strums along in suitably controlled fashion on the acoustic-laced “The Wherefors and the Whys.” Speaking of dubious performances, largely forgotten Ian Anderson doppelgänger Mox was brought in to add flute to “Just Like All the Rest,” which only serves to bring about inevitable Jethro Tull comparisons.

But the album’s two covers fare quite well, with “Just Like Me” delivering a punchy update on the standard popularized by the Coasters and Hollies, while the album’s tough-rocking first single, “Bad Side of the Moon,” was actually written by none other than the emerging Elton John/Bernie Taupin team (and would also be covered by Canadians April Wine a short time later). Unfortunately, although it met with widespread critical kudos, Toe Fat’s debut was a resounding commercial flop, and may now be best remembered because of its curious, Hipgnosis-designed cover art, featuring toe-headed people lounging on a beach. The group would persist through one more album, but with Hensley and Kerslake already gone to form Uriah Heep (they had left even before Toe Fat’s first American tour in support of Derek & the Dominos), that album’s greater stylistic inconsistency did the band no favors. (by Eduardo Rivadavia)


Alternate backcover from the US edition

Cliff Bennett (vocals)
Ken Hensley (keyboards, guitar, vocals)
Lee Kerslake (drums, vocals)
John Konas (bass, vocals)
Mox Gowland (flute, harmonica)


01. That’s My Love For You (Bennett/Allen/Roberts) 4.05
02. Bad Side Of The Moon (John/Taupin) 3.25
03. Nobody (Beatty/Cooper/Shelby) -6.07
04. The Wherefors And The Whys (Bennett) 3.43
05. But I’m Wrong (Bennett) 3.58
06. Just Like Me (Guy/Carroll) 4.14
07. Just Like All The Rest (Bennett) 2.32
08. I Can’t Believe (Bennett) 4.00
09. Working Nights (Bennett) 2.31
10. You Tried To Take It All (Bennett) 4.23



Dave Mason – Alone Together (1970)

FrontCover1Alone Together is the debut solo album by former Traffic member Dave Mason, released in 1970. Mason was joined on the album by a roster of guest musicians, including Bonnie Bramlett, Leon Russell, Jim Capaldi, Rita Coolidge, Carl Radle and Jim Gordon. The song “Only You Know and I Know” reached number #42 on the Billboard charts in the US and was the record’s major commercial success.

About 30% of the records were produced in so-called marble vinyl,[citation needed] a swirled mix of pink, brown and beige, rather than the usual black vinyl.[3] The original record jacket is a tri-fold with a half-pocket on the inside to hold the record (originally issued without a paper inner sleeve). The top of the tri-fold has a die-cut image of Mason in a top hat, collaged behind a rocky outcrop, and there is a small die-cut hole at the top to permit the jacket to be hung on the wall as a poster.


Dave Mason’s first solo album was one of several recordings to come out of the Leon Russell/Delaney & Bonnie axis in 1970. (Other notables included Eric Clapton’s solo debut and Joe Cocker’s Mad Dogs & Englishmen.) Alone Together contains an excellent batch of melodically pleasing songs, built on a fat bed of strumming acoustic guitars with tasteful electric guitar accents and leads. Mason’s vocals are embellished with harmonies from Rita Coolidge, Claudia Lennear, and Delaney & Bonnie.

Besides the well-known semi-hit “Only You Know and I Know,” and which was also a number 20 hit for Delaney & Bonnie, highlights include the bouncy gospel-inflected “Waitin’ on You” and the banjo-bejeweled “Just a Song.” “Look at You Look at Me” and the wonderfully wah-wahed “Shouldn’t Have Took More Than You Gave” are reminiscent of Mason’s former band, Traffic, whose drummer, Jim Capaldi is among the all-star cast assembled here. Alone Together represents Dave Mason at his peak. Later releases would betray lyrical shallowness, forced rhymes, and clichéd guitar licks. But here, everything comes together perfectly. The original vinyl release of Alone Together was also noteworthy for the marble grain of the record itself — as the record played on the turntable, the tone arm appeared to be floating through the clouds. (by Jim Newsom)


John Barbata (drums)
Jim Capaldi (drums)
Michael DeTemple (guitar)
Chris Ethridge (bass)
Jim Gordon (drums)
Jim Keltner (drums)
Larry Knechtel (bass)
Dave Mason (guitar, vocals)
Don Preston (keyboards)
Carl Radle (bass)
Leon Russell (keyboards)
John Simon (keyboards)
background vocals:
Bonnie Bramlett – Rita Coolidge – Mike Coolidge – Claudia Lennear – Lou Cooper – Bob Norwood – Jack Storti


01. Only You Know And I Know (Mason) 4.07
02. Can’t Stop Worrying, Can’t Stop Loving (Mason) 3.03
03. Waitin’ On You (Mason) 3.03
04. Shouldn’t Have Took More Than You Gave (Mason) 6.01
05. World In Changes (Mason) 4.32
06. Sad And Deep As You (Mason) 3.36
07. Just A Song (Mason) 3.01
08. Look At You Look At Me (Mason/Capaldi) 7.38



One of the finest songs, Dave Mason ever written:

Lips that are as warm could be
Lips that speak too soon
Lips that tell a story
Sad and deep as you

Smile that’s warm as summer sun
Smile that gets you through
Smile that tells a story
Sad and deep as you

Eyes that are the windows
Eyes that are the view
Eyes that tell a story
Sad and deep as you

Tears that are unspoked words
Tears that are the truth
Tears that tell a story
Sad and deep as you

Amazing Blondel – Same (“Amazing Blondel and a Few Faces”) (1970)

LPFrontCover1Amazing Blondel are an English acoustic progressive folk band, containing Eddie Baird, John Gladwin, and Terry Wincott. They released a number of LPs for Island Records in the early 1970s. They are sometimes categorised as psychedelic folk or as medieval folk rock, but their music was much more a reinvention of Renaissance music, based around the use of period instruments such as lutes and recorders.


John Gladwin (guitar and vocals) and Terrance (Terry) Wincott (guitar and vocals) formed a band called The Dimples along with Stuart Smith (drums) and Johnny Jackson (bass guitar). Signed to the Decca label they recorded a single, the “A” side “Love of a Lifetime” and the “B” side written by John Gladwin titled “My Heart is Tied to You”, disappointingly the record didn’t chart, although more recently the “B” side has become popular on the Northern Soul scene.

Following the break up of The Dimples John and Terry formed a loud “electric” band called Methuselah. However, at some point in Methuselah concerts, the duo would play an acoustic number together: they found that this went down well with the audiences and allowed them to bring out more of the subtlety of their singing and instrumental work. They left Methuselah in 1969 and began working on their own acoustic material.


Initially their material was derived from folk music, in line with many of the other performers of the time. However, they began to develop their own musical idiom, influenced, at one extreme, by the early music revivalists such as David Munrow, and the other extreme, by their childhood memories of the Robin Hood TV series, with its pseudo-mediaeval soundtrack by Elton Hayes.

The band was named after Blondel de Nesle, the musician in the court of Richard I. According to legend, when Richard was held prisoner, Blondel travelled through central Europe, singing at every castle to locate the King and assist his escape. This name for the band was suggested by a chef, Eugene McCoy, who listened to some of their songs and commented: “Oh, very Blondel!” and they began to use that name. They were then advised to add an adjective (in line, for example, with The Incredible String Band) and so they became “Amazing Blondel”.

Blondel02Their first album The Amazing Blondel (also called “Amazing Blondel and a Few Faces,”) was recorded in 1969 and released by Bell Records. It was directed by session guitarist Big Jim Sullivan. At about this time, Eddie Baird (who had known the other members at school) joined the band. On 19 September 1970 they were one of the bands to play at the first Glastonbury Festival. Following what Baird described as “a disastrous ‘showbiz’ record signing”, Amazing Blondel were introduced, by members of the band Free, to Chris Blackwell of Island Records and Artists. Blackwell signed them up to Island …  (by wikipedia)

This was actually the first Amazing Blondel album, but spent most of the last 25 years of the century as one of the most sought after collector items. While it’s fair to say that the value of the LP was based more on rarity than quality, this is in fact a very good album.

To recap the history up to this point, most members of the band had been in a group called Methuselah, which issued one fairly heavy psychedelic album featuring several strong themes, some of which can be seen infiltrating this somewhat uneven AB debut. About half the tracks owe more to Methuselah while the other half have that Elizabethan flavour for which the group would become better known, if not exactly household Blondel03names, through the first part of the 1970s.

This juxtaposition of styles in almost alternate order actually works quite well, with Wincott’s more rugged voice on the delightful “Bethel Town Mission” and the somewhat Blood Sweat and Tears influenced “Canaan” contrasting well with Gladwin’s more elfin voice on “Saxon Lady” and “Season of the Year”. It doesn’t hurt that the songwriting and arrangements are already pretty mature, if simultaneously a bit naive. The rousing and raucous closer, “Bastard Love”, produces an unlikely combination of the two styles, resulting in a humour that later would only be perceptible from their live shows.

The weaker tracks hint at Blondel’s occasional tendency to overestimate the elasticity of some of their material, as in “Shepherd’s Song” which is frankly a bore. But on the whole this is a document that is likely to make more than a few faces happy. (by kenethlevine)


John Gladwin (guitar, vocals, bass)
Terrance (Terry) Wincott (guitar, vocals, flute, recorder, harmonium, percussion)
Clem Cattini (drums)
Chris Karan (percusion)
Gary Taylor (bass)


01. Saxon Lady 3.10
02. Bethel Town Mission 3.15
03. Season Of The Year 2.46
04. Canaan 3.50
05. Shepherd’s Song 6.14
06. You Don’t Want My Love 3.59
07. Love Sonnet 4.08
08. Spanish Lace 2.46
09. Minstrel’s Song 5.34
10. Bastard Love 4.10

All sings written by John Gladwin




What a great cover !

Krzysztof Sadowski – And His Hammond Organ (1970)

FrontCover1This is the first album on the legendary Polish Jazz series, which is dedicated to the Hammond organ, the godfather of the electronic keyboards and probably the most significant new instrument, which dominated Jazz and Progressive Rock in the late 1960s and early 1970s (although available since the 1930s). Keyboardist Krzysztof Sadowski belongs to the first post WWII generation of Polish Jazz musicians, debuting in the 1950s and active on the local scene for many years. He combined his love of Jazz and Rock, playing with the leading ensembles of both genres with equal dedication and success.

This album presents his Hammond organ performances in two different environments: Side A of the original LP captures him accompanied just by drummer Andrzej Dabrowski and the duo moves through a Rocky set, which includes a Beatles medley. Side B finds him accompanied by the Polish Radio Jazz Studio Orchestra, led by saxophonist / composer Jan “Ptaszyn” Wroblewski and featuring top Polish Jazz players, among them saxophonist Janusz Muniak, bassist Bronislaw Suchanek, drummer Janusz Stefanski and many others. This set is much closer to Jazz and features a beautiful version of Krzysztof Komeda’s ballad from “Rosemary’s Baby”. (by Jazzis)

Krzysztof Sadowski sounds like Hardin & York in their best period … so you will hear a high class jazz-organ … superb !

Krzysztof Sadowski01

Andrzej Dąbrowski (drums on 01. – 04.)
Józef Dębek (trumpet)
Franciszek Górkiewicz (trumpet)
Józef Grabarski (trumpet)
Franciszek Kowalski (trumpet)
Stanisław Kowalczyk (trombone)
Kazimierz Morawski (trombone)
Janusz Muniak (saxophone)
Andrzej Piela (trombone)
Albert Pradella (saxophone)
Zdzisław Przybyszewski (saxophone)
Krzysztof Sadowski (organ)
Bronisław Suchanek (bass)
Janusz Stefański (drums on 05. – 08.)
Michal Urbaniak (guitar)
Pankracy Zdzitowiecki (trombone)
Władysław Żurkowski (saxophone)

01. Z Małej Chmury Duży Deszcz / Heavy Rain From A Little Cloud (Sadowski) 2.56
02. Impressions Of The Beatles 8.44
02.1. With A Little Help From My Friends (Lennon/McCartney)
02.2. Yesterday (Lennon/McCartney)
02.3. A Hard Day’s Night (Lennon/McCartney)
03. Kołysząc Się / Swinging (Sadowski) 3.25
04. Skąd My To Znamy / Something Familiar (Sadowski) 2.32
05. Blues Z Morałem / Don’t Count On Neal (Karolak) 4.32
06. Ballada Do Filmu “Rosemary’s Baby” / Main Theme From “Rosemary’a Baby” (Komeda) 4.27
07. Punkt Docelowy / Aim Point (Wróblewski) 4.30
08. Za Parę Dzięków / For Thanks (Urbaniak) 4.37