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Blink 7

Double Moon Records

$14.99 Apr 24, 2026

Composer and guitarist Marcus Klossek, long recognized as a distinctive voice on the Fender Telecaster, presents Blink 7, the latest chapter in a band whose sound has evolved steadily from his long-running Electric Trio. Rooted in clarity, dynamic contrast, and a deep sense of interaction, the project reflects more than fifteen years of close musical collaboration. At the core of the ensemble are Carsten Hein on bass and Derek Scherzer on drums, longtime partners with whom Klossek has refined a highly responsive and nuanced group language. With Blink 6, this foundation expanded into a sextet, joined by three prominent figures from Berlin's jazz scene: Nikolaus Neuser, Ignaz Dinne (tenor saxophone), and Anke Lucks. The enlarged group quickly developed a strong collective identity, equally at ease with precise structure and open improvisation. Blink 7 continues this collaboration and introduces a new and distinctive voice: Korean vocalist Chamin. Appearing on three tracks-Go Not, Another One Beyond, and Unexpected Return-she sings and partially speaks Korean lyrics written by herself. Her voice adds a new layer of texture and expression, expanding the ensemble's tonal range and interacting organically with the instrumental voices rather than standing apart from them. In contrast to Blink 6, which was composed before the musicians were chosen, all eight compositions on Blink 7 were written specifically for this lineup. Klossek shaped each piece around the individual strengths and musical personalities of the players. "I knew what everyone could bring to the music," he explains. "That allowed me to write more precisely for the sound of the band." The result is music that unites clear compositional intent with the intuitive understanding that comes from long-standing collaboration. The album opens with Violet Shift, a rhythmically intricate piece built from interlocking patterns that suggest mechanical precision while maintaining an organic flow. Go Not begins with Chamin's whispered voice, creating an atmosphere of quiet tension and ambiguity. Ephyra (Third Dance) unfolds with a restrained, melancholic beauty, while Half Past Never features one of Klossek's most unrestrained guitar solos-raw, spontaneous, and unpredictable. On Another One Beyond, Chamin's voice further broadens the ensemble's harmonic space, while Begin Again, Swift highlights the band's agility, moving fluidly between tightly woven rhythms and open, airy phrasing. Glass Bridges introduces otherworldly sounds from Carsten Hein, blending acoustic bass with electronic elements. The closing track, Unexpected Return, brings the album to an energetic conclusion, driven by rhythmic momentum as Chamin's voice merges seamlessly with the horn section. Blink 7 captures a band at a mature and confident stage, balancing detailed composition with freedom and collective improvisation-music shaped as much by individual voices as by the shared identity they have built together.

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Blink 7
Double Moon Records Apr 2026
CD
$14.99

Mix & Match

+ ELEVEN: MODERN JAZZ CLASSICS

CRAFT RECORDINGS

Vinyl

$32.99 May 13, 2022

Limited 180gm vinyl LP pressing housed in tip-on jacket. Released as part of the Acoustic Sounds Series celebrating 70 years of Contemporary Records, saxophonist Art Pepper's classic big band album, + Eleven, features modern jazz classics by Dizzy Gillespie, Thelonious Monk, Charlie Parker, and more. First released in 1960 and recorded by legendary engineers Roy DuNann and Howard Holzer, this reissue features all-analog mastering from the original tapes by Bernie Grundman.

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+ ELEVEN: MODERN JAZZ CLASSICS
CRAFT RECORDINGS May 2022
Vinyl
$32.99

Automobiles - Documentations Sonores 1892-1963

Frémeaux

$32.99 Mar 20, 2026

Based on the recordings of motor vehicles made in the 1960s by ORTF (Radiodiffusion-Télévision Française), to provide sound effects for it's radio dramas, this 3-CD box set, co-published with Radio France, is one of a kind. It faithfully captures the evolution of the automotive soundscape and brings back to life the mechanical melodies of a forgotten past. It allows us to rediscover the sounds of another century, from the horns of the famous Taxis de la Marne to the roar of the 1918 Cadillac Series 57 and a 1946 Jeep, to the clatter of the legendary 4L. The 16-page booklet is written with passion and precision by Bruno Guermonprez. The perfect tool for audiovisual productions, documentaries, or sound creations seeking to recreate the authentic atmosphere of an era. -Patrick Frémeaux

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Automobiles - Documentations Sonores 1892-1963
Frémeaux Mar 2026
CD
$32.99

FURTHER DEFINITIONS
IMPORTS Sep 2016
CD
$16.49

WORKS FOR ENSEMBLE

KAIROS

$16.88 Mar 08, 2024

Pasquale Corrado - Works For Ensemble / Pasquale Corrado has been able to develop both his activities as a composer and conductor, increasing one with the experiences of the other. Explaining his music, he says: "There is an internal neurosis in my works. All the music we are immersed in is full of particles that have to vibrate, this is the principle I try to put into my music: everything is always, constantly, on the move." In his portrait album, he presents five impressive works for ensemble, interpreted by the renowned Ensemble intercontemporain, conducted by Matthias Pintscher, and the Syntax Ensemble, conducted by the composer himself.

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WORKS FOR ENSEMBLE
KAIROS Mar 2024
CD
$16.88

FILLES DE KILIMANJARO

MOBILE FIDELITY

Vinyl

$88.99 Aug 21, 2015

Davis' Self-Proclaimed 'Directions in Music' March Begins Here Mastered from the Original Master Tapes: Abundant Jazz, Funk, and Rock Textures Rotate Around a Luscious Tonal Center Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion: Exotic Suite-Like Album Beautiful, Intense, Adventurous Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for it's historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2-LP set. Mastered from the original master tapes and pressed on 180 gram vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth. Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968. The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted 'Frelon Brun.' Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled freedom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, 'Petits Machins' is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic. Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.

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FILLES DE KILIMANJARO
MOBILE FIDELITY Aug 2015
Vinyl
$88.99

We Give You Thanks

GIA

$18.99 Jan 01, 1998

This major endeavor from David Haas includes an innovative new Mass setting—the first complete Mass he has written in five years—drawn from the musical motifs of his top-selling new communion song, "We Give You Thanks." David covers important musical ground with this project. In addition to the usual ritual moments set to music (the Kyrie, Gloria, gospel and eucharistic acclamations, Lord's Prayer, and Lamb of God), this project includes music for the dismissal of children and for children's Liturgy of the Word.

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We Give You Thanks
GIA Jan 1998
CD
$18.99

FRENCH PIANO IMPRESSIONS / DEBUSSY - FAURE - RAVEL

ALTO

$22.81 Jun 01, 2018

Tirimo is a fine pianist with first-rate technical command, and understands Debussy's world well. (Gramophone). "Probably first choice for those wanting a modern digital recording offering the complete set... recording most realistic and natural." (Penguin Guide). "A most enjoyable recital, and one for which listeners will be grateful... What is Impressive is the pianist's integration of fragility and firmness, simplicity and complexity." (Gramophone). "I'm glad to be able to praise a fluid but unhurried Jeux d'eau that is well served, too, by the velvety-rich recorded sound... it 's attractive. So are the Sonatine, and the tenderly solemn Pavane pour une infante defunte." (Gramophone). "Dickinson made Satie's music a center point of his repertoire, and his thoughtful approach to this highly rewarding music is all his own... variety of articulation and color is fully at the service of the composer." (Penguin Guide).

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FRENCH PIANO IMPRESSIONS / DEBUSSY - FAURE - RAVEL
ALTO Jun 2018
CD
$22.81

The Standard is The Standard
Prophone Jul 2025
CD
$20.99

No Greater Love

GIA

$18.99 Jan 01, 1988

Recorded in 1988 and still considered one of the most beautiful mass settings ever written, Michael Joncas's No Greater Love offers cathedral-style music that invites congregational participation. Multiple arrangements allow for flexibility in format and variety of instrumentation. Perfectly suited for Lenten liturgies, No Greater Love uses the Eucharistic Prayer for Reconciliation II, which has as its theme the mystery of reconciliation. The setting includes the beloved song "No Greater Love," which has become a popular "classic" and is used regularly at Catholic Masses year after year.

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No Greater Love
GIA Jan 1988
CD
$18.99

Akutagawa: Ellora Symphony, Etc / Yuasa, New Zealand So

Naxos

$19.99 May 17, 2005

As a result of his varied activities inside and outside the concert hall, as composer, conductor of professional and amateur ensembles, lecturer on television and radio, author of books on music, and a visible supporter of the anti-nuclear movement, Yasushi Akutagawa (1925–89) might be considered the Japanese equivalent of Leonard Bernstein. Thanks to Morihide Katayama’s thorough program notes, we learn that Akutagawa’s compositional career can be divided into three periods: early, in which he attempted to integrate the rhythmic impulses learned from his main teacher, Akira Ifukube, with a lyrical strain identified with another teacher, Qunihico Hashimoto (who himself had studied with Egon Wellesz in Vienna), while also absorbing musical influences from Russian composers like Prokofiev, Khachaturian, and Shostakovich (he conducted the Japanese premiere of the latter’s Fourth Symphony); middle, exploring avant-garde tendencies as Akutagawa aligned himself with fellow composers Toru Takemitsu and Toshiro Mayuzumi; and late, attempting a populist combination of elements from the first two. Helpfully, on this disc we are given one work illustrating each of these respective periods.

Listening to these attractive works, however, one can hear commonalities that run consistently through Akutagawa’s music—a rhythmic vitality, colorful orchestration, and ability to paint a mood, all of which may be attributed to Akutagawa’s childhood love of Stravinsky’s early ballets. Occasional echoes of The Firebird and The Rite of Spring emerge and quickly recede—so quickly, in fact, that they sound less like an influence and more like a brief, subconscious, unattributable memory. Much more substantial, primarily in the earliest of these compositions, the Trinita Sinfonica (1948), is the post-Stravinsky Russian influence. There is a playful tone and flair unheard in the later works, especially in the jubilant roller-coaster finale, and a hint of dark undercurrent to the otherwise romantic flow of lullabies in the slow second movement.

Even though the Ellora Symphony (1958), a product of Akutagawa’s exploratory period, was originally designed to allow an aleatoric re-ordering of its 20 (now reduced to 15) concise movements from performance to performance, the alternately tranquil passages and turbulent outbursts (heavy on percussion) contain a motivic and symbolic unity that keep their dramatic logic intact. Built from Akutagawa’s primary compositional method of manipulating small units, each movement’s close-knit intervallic motifs represent masculine and feminine characteristics. Katayama states that the symphony is “a hymn to primitive reproduction,” but the fantasy and power of the music—especially those Stravinskyan ostinatos—suggest sources and a setting more mythic than merely primitive.

From the period of his greatest popularity, the Rapsodia (1971) fluidly mixes these propulsive rhythms, via small energetic units and ostinato figures, with long-lined counterpoint and tone painting. Despite his occasional use of indigenous dance melodies and pentatonic scales, if these three works are typical, Akutagawa’s compositions contain less specific Japanese musical references than many of his contemporaries. But his fluency in the mid-century modernist vocabulary—especially in the hands of an experienced conductor like Yuasa—makes his music worthy of attention.

Art Lange, FANFARE

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Akutagawa: Ellora Symphony, Etc / Yuasa, New Zealand So
Naxos May 2005
CD
$19.99

FALSTAFF & LA FORZA DEL DESTIN

Dynamic

DVD

$36.99 Mar 27, 2012

Falstaff: Stefano Posda, Ruggero Raimondi, Luca Salsi, Virginia Tola, Sabina Puertolas, Cinzia de Mola, Liliana Mattei, and Tiberius Simu star in this production of the Verdi opera with Paolo Arrivabeni conducting the Orchestra and Chorus of the Opera.

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FALSTAFF & LA FORZA DEL DESTIN
Dynamic Mar 2012
DVD
$36.99

COMPLETE JAZZ INFORMATION RECORDINGS

GHB JAZZ FOUNDATION

$13.86 Feb 22, 2005

12 songs recorded in 1942 by Gene Williams for the Jazz Information label, which was part of Commodore at the time, plus two very different takes of Big Chief Battle Axe and Franklin Street Blues that were recorded for Purist Records in England. Some of the finest work this New Orleans jazz legend ever did!

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COMPLETE JAZZ INFORMATION RECORDINGS
GHB JAZZ FOUNDATION Feb 2005
CD
$13.86

Opus 2576

Aeolus

SACD

$34.99 May 10, 2024

The Bremen-born painter and sculptor Hugo Körtzinger (1892 - 1967) was a close friend of his much more famous colleague Ernst Barlach. Both were in the favor of the well-known Hamburg art patron Hermann F. Reemtsma. In 1937, Reemtsma financed a new workshop for Hugo Körtzinger in the small town of Schnega (Wendland), where he saved sculptures of his friend Barlach, which were considered "degenerate art", from being melted during the Nazi era. In 1937, Germany's most important organ-building company at that time, E.F. Walcker, built a new 3-manual instrument for Körtzinger's studio as their Opus 2576 - at the request of the customer with many unusual timbres. The instrument was continuously extended in individual construction steps until 1947.

A few years ago, the studio and the organ, which had been completely unplayable for many decades, were renovated thanks to the support of the Hermann F. Reemtsma Foundation. Martin Schmeding presents the instrument on a double SACD with music by baroque composers, played in the style of the 1930s aesthetic, as well as with original works from the time the instrument was built. This program gives an impression of the works that may have been played in the Körtzinger atelier between 1937 and 1967. The program is supplemented by Schmeding's improvisations on sculptures by Ernst Barlach.

USP: the first recording of an organ that is probably one of the largest private organs in Germany. Very comprehensive booklet (48 pages) with many illustrations and descriptions of Körtzinger and the recorded music. Double SACD in stereo and 5.1 surround sound. Rarely heard works from the 1930s and 1940s.

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Opus 2576
Aeolus May 2024
SACD
$34.99

VIOLIN SONATAS
HYPERION Nov 2001
CD
$18.49

Bach: Organ Works, Vol. 4 / Masaaki Suzuki

BIS

SACD

$21.99 Aug 04, 2023

This album was released in the summer of 2023; it may not have been intended as a Christmas album, but it would make a wonderful purchase at that time.

The fourth volume of Masaaki Suzuki’s Bach works for organ series features one of the most important surviving instruments of Bach’s time, made by the German organ builder Christoph Treutmann the Elder. Widely known for its extraordinary tonal quality, the instrument was built between 1734 and 1737. A recent general restoration preserved all essential structural elements or renewed them, remaining faithful to the originals, making it an ideal instrument for Bach interpreters who wish to come close to the sound ideas of the Leipzig Thomaskantor.

Suzuki now takes up the Orgel-Büchlein (literally, ‘little organ book’), a collection of 45 short chorale preludes on melodies from the Lutheran hymn book, a project that came into being in connection with Bach’s appointment as organist and chamber musician at the Duke’s court in Weimar in 1708. Presenting chorales for different periods of the church year, this collection serves as a general guide to text-based composition focusing on specific word-sound relationships and content-specific musical expression. Two Preludes and Fugues complete the first volume dedicated to the Orgel-Büchlein, illustrating the principle of variety and structure historically practised by concert organists in order to demonstrate the tone colours and expressive possibilities of their instrument.

REVIEW:

The great Masaaki Suzuki’s traversal of Bach’s keyboard music is well underway, and several attractions have become clear. In general, he is a bit less concerned with a pearly surface and a bit more with direct expression. In works for organ, he has shown a willingness to delve into period instruments, and the one here is a real find. Suzuki is willing to take a bit of time to bring out its colors; there is nothing too radical, but there are subtle adjustments to the tempo throughout that define the profile of each little ornamented chorale, and all the performances are vivid. This album was released in the summer of 2023; it may not have been intended as a Christmas album, but it would make a wonderful purchase at that time.

-- AllMusic.com (James Manheim)

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Bach: Organ Works, Vol. 4 / Masaaki Suzuki
BIS Aug 2023
SACD
$21.99

COLUMBIA STUDIO ALBUMS COLLECTION 1955-1966

SONY

$135.49 Jun 12, 2012

The inventor of West Coast jazz gives his all in this arrangement of his most recognized work. You'll enjoy 19 albums on 19 CDs protected by slip cases of the original album artwork. 9 of these albums are being released on CD for the first time. Includes all of his greatest hits digitally remastered and a comprehensive booklet.

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COLUMBIA STUDIO ALBUMS COLLECTION 1955-1966
SONY Jun 2012
CD
$135.49

Standard Issue
SteepleChase Apr 1998
CD
$22.99

3ELEMENTS: CONVERSATIONS OF HOPE
EDITION RECORDS May 2026
Vinyl
$31.89

MOSTLY STANDARDS

CRISS CROSS

$20.21 Feb 17, 2009

Pianist David Kikoski, who's partnered so ably on past Criss Cross albums with horn men like Alex Sipiagin, Seamus Blake, Conrad Herwig and Wycliffe Gordon, is perhaps best known for a series of compelling trio albums he's recorded for the label over the past decade. Now along comes Almost Standards, on which he mixes it up with bassist Eric Revis (Betty Carter, Louis Hayes, Billy Harper and a bunch of Marsalis family members), and much-in-demand drummer Jeff "Tain" Watts (Branford Marsalis), and an invigorating presence on two earlier Kikoski CDs. The new album's a mix of material serving as takeoff points this time out: harmonically intriguing tunes that are already standards or probably ought to be.

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MOSTLY STANDARDS
CRISS CROSS Feb 2009
CD
$20.21

Four Temperaments: Byrd, Ferrabosco, Parsons, Tallis

Linn Records

$20.99 Oct 14, 2014

Originally released on Avie, the viol consort Phantasm’s ‘Four Temperaments’ is now part of Linn’s ECHO re-issue series. Representing the golden age of Elizabethan England are four distinct musical personalities - or ‘temperaments’ - the dissonant Robert Parsons, the cool Ferrabosco the Elder, the warm and sanguine Thomas Tallis, and the polar opposites of ecstasy and melancholy of William Byrd. Critics have described the award-winning ensemble’s performances and recordings as 'intoxicating', 'revelatory', 'electrifying' and ‘pervaded by a truly burning spirit'.

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Four Temperaments: Byrd, Ferrabosco, Parsons, Tallis
Linn Records Oct 2014
CD
$20.99

EVEN BETTER

INTAKT RECORDS

$18.35 Oct 18, 2019

One marker of bassist Michael Formanek's creativity and versatility is the range of distinguished musicians of several generations he's worked with. While still a teenager in the 1970s he toured with drummer Tony Williams and saxophonist Joe Henderson. Starting in the '80s he played long stints with Stan Getz, Fred Hersch and Freddie Hubbard. Formanek is also a composer and leader of various bands. One of his principal recording and international touring vehicles has been his acclaimed quartet with Tim Berne, Craig Taborn and Gerald Cleaver. His occasional groups include the 18-piece all-star Ensemble Kolossus, roping in many New York improvisers he works with. Currently his primary focus is the Michael Formanek Elusion Quartet with Tony Malaby, Kris Davis, and Ches Smith. In putting together the Elusion Quartet, interpreting his music with these specific musicians, Michael Formanek says he sought "a more direct connection to emotions: mine, theirs and the listener's." Hank Shteamer writes in the liner notes: "As one zeroes in on the details of Time Like This, it's clear that this sort of emotional immediacy permeates the album. You hear it in Kris Davis' flowing, balletic solo on "A Fine Mess"; in Tony Malaby's ululating tenor cries on "The Soul Goodbye"; in Ches Smith's raucous grooves on "That Was Then"; or the leader's poised, sinewy lines on "Culture of None." Elusive? Certainly. But as this album proves, under the right conditions, with the right personnel, it's still out there."

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EVEN BETTER
INTAKT RECORDS Oct 2019
CD
$18.35

Schuman: Symphony No 8, Night Journey / Schwarz, Seattle Symphony

Naxos

$19.99 Feb 23, 2010

For enthusiasts of the orchestral Schuman and the American 20th century symphony this brings the Naxos Schuman project to a close in style.

Rejoice! With this disc Naxos complete their survey of the numbered Schuman symphonies. You will look in vain for symphonies 1 and 2: they were disclaimed by the composer. That’s a pity as it would be fascinating to hear these works of the 1930s. I have not given up hope.

Schwarz here has the conqueror-advocate’s measure of the bell-haunted Eighth Symphony. It was premiered in the Lincoln Center in 1962 with Bernstein conducting and was recorded by Bernstein the same year. That recording is easily and inexpensively accessible on a 1998 Sony CD alongside symphonies 3 and 5 via Amazon. While I still recommend that CD for an unassailably vital and kinetic Third Symphony Schwarz is to be preferred in the often more tensely reflective Eighth Symphony. He takes a minute and a half more than the comparatively opaque Bernstein but the Seattle results positively glow. This is a work that can be difficult to approach but I find it completely accessible in this Schwarz-Naxos version. Schwarz’s reading is as much of a revelation as Walter’s Brahms 3, Oramo’s Sibelius 6 and Ormandy’s Nielsen 6. The lucid and directly engaging recording is a co-conspirator in the results. The prestissimo finale showcases the audio engineering which accommodates solo strands and florid climactic material with a natural ease and without any sense of perspective zooming. Even Schwarz cannot completely transform the rather hollow gestures of the last page or two of this score but overall the Symphony emerges wonderfully well – better than ever.

Night Journey was one of four ballets on which Schuman collaborated with Martha Graham. Its spareness of utterance and angularity is only partly accounted for by the score which specifes fifteen instruments. A diminutive orchestra was not an unusual restriction for Graham ballets of that era – no doubt sensitive to cost and touring practicalities. The music has a Bergian astringency whether pensive, charged with nocturnal foreboding or fitfully frenetic. That inward quality echoes Barber’s tense dark chocolate romanticism but presents in more transparent textures. Night Journey has been issued on CD before by CRI but is not currently available. The Ives/Schuman Variations on ‘ America’ is a brilliant showcase built around a song that most Brits will recognise as God Save the Queen. The familiar tune is put through some wheezingly irreverent transformations. This is in no sense a representative Schuman work but is full of left-field fun.

It’s too easy to forget the sponsors without whose sense of judgement and even courage we would not hear the music. It’s much to the credit of the National Endowment for the Arts that they have financial sponsored this disc.

The more than capable notes are by Schuman biographer Joseph W Polisi.

For enthusiasts of the orchestral Schuman and the American 20 ^th century symphony this disc brings the Naxos Schuman project to a close in style.

-- Rob Barnett, MusicWeb International

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Schuman: Symphony No 8, Night Journey / Schwarz, Seattle Symphony
Naxos Feb 2010
CD
$19.99

Palestrina: Stabat mater, Canticles & Motets
CRD Records Jan 2006
CD
$20.99

Time Out (Rmst)

SONY

$11.99 Mar 25, 1997

Cited as one of the 2 largest selling jazz albums of all time (Kind of Blue being the other), this record made "Take Five" the most recognizable of jazz tunes and Dave Brubeck a household name. Remixed and remastered from the original 3-track master tapes for enormously improved sound, this definitive reissue is full of rare and previously undiscovered photos of the great quartet (Brubeck on piano, Paul Desmond on alto sax, Eugene Wright on bass and Joe Morello on drums) in action.

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Time Out (Rmst)
SONY Mar 1997
CD
$11.99