In memory of Johnny Peret

In memory of Johnny Peret
In memory of my friend Johnny Peret, vibist, drummer, accordeonist extraordinaire

Monday, April 29, 2013

VYNIL GALORE

Zbignew Namylowski - Winobranie (Poland) /
 Interjazz 86  (Poland) (€10 each)
 Big Band Aktuell (DDR)  bought for 5 €/
 / Etienne Verschueren 4tet (B) - 3 €

I arrived in Brussels this Saturday for a two-weeks holiday.  On Sunday morning I went for a stroll , heading for the Vieux Marché (Flea Market) when I noticed a small poster on a lamppost for a "Vynil Record Fair", it wasn't far from where I was, perhaps 15 minutes walk so I went straight to Galerie Ravenstein and spent a couple of hours browsing thru' loads of vynils.

What a bliss!


There were sellers from Belgium, Holland, France and Germany, a great selection of records and excellent prices.

There was a good selection of EuroJazz (the demand is there so prices are on the way up but there are still bargain to be made)

No need to tell you that I walked back home with  a bagfull of LPs!


Two LP by the United Jazz Rock Ensemble - 10€
/ Big Nick Nicholas  (India Navigation - 2 €)/
Bobby Bryant - Big Band Blues (2€)




Here are pictures of some of the LP I bought.  Some may already be available in the blogsphere, the others I'll post in the coming months (provided that they are not re-issued on CD).

Carmen McCrae w/Clarke Bolland Big Band / Emil Mangelsdorff (D, 1966)
KKFBBB live @ Ronnie Scott's / Peter Herbolzheimer's Jazz Gala Concert '79





Brussels is definitely THE place for cratediggers.
Don't miss the Jazz Record Fair of the Sweet & Hot @ the Jazz Station

(St Josse Ten Noode / Brussels)
on Saturday 11th May.

I'll be there.

A few more albums that still have to make it to the blog in the coming weeks or months
Buddy Rich Very Live @ Buddy's Place /
E. Parker Mc Dougall -Chicago Hard Core Jazz /
Errol Dixon -That's how you got killed before /
MJT+3

Monday, April 22, 2013

MAINSTREAM JAZZ PIANO


16 SWINGIN’ STANDARDS

PLAYED BY JOHN EVANS AND REINHOLD SVENSSON

LP OMEGA SL-49  (rec. 1958, issued c. 1961)

When it comes to unearthing really obscure jazz records, few could beat our friend Paul D.  Today’s posting is a delightful album that should please all fans of Mainstream Jazz Piano.  
It is also very rare!
One side is devoted to Belgian pianist Jean Evans (aka John Evans for the English-speaking public), the other to a Swedish pianist: Reinhold Svensson.

There is no detail of the sessions on the record sleeve but Paul D. volunteered the following info, courtesy of W. Bruyninckx’s discography:

  • Side A : John Evans (p) prob. Clement De Mayer (b) prob. Armand Van De Walle (d, perc) à Bruxelles en 1958.
  • Side B : Reinhold Svensson (p) Pär Grip (b) Robert Edman (d) à Örebro en Suède en 1958.


The Brussels session was recorded around the same time as a series of Francis Bay Big Band albums on the OMEGA label.  Omega's Francis Bay series (recorded at the Brussels World's Fair) was the label's most ambitious original recording project. Omega travelled to Belgium to produce these spectacularly lifelike recordings. 

Jean ("John") Evans played piano in the Francis Bay Band.  His side (all from "Porgy and Bess") was intended to be OSL 36, but instead a second pianist was added (via Phonotapes, Omega's Swedish distributor) and the combination became OSL 49. 

Evans’ rhythm section was Francis Bay Big Band rhythm section.  They would later on become the nucleus of the BRT Jazz Orchestra and you may also recognize them as rhythm team of  The Clouds.


John Evans (Antwerp, 1927 – Brussels, 1984) was born Jean Evens but changed his name to John Evans as it sounded “more  jazz”.  He accompanied and married singer Martha Love, who recorded also with Francis Bay Big Band.  In addition to this session for OMEGA, he also recorded under his own name for Directional Sound (1958) and Palette (1983).  He recorded extensively with Francis Bay (source: Dictionnaire du Jazz en Wallonieet a Bruxellles).


Reinhold Svensson (Husum, 1919 – Sundbyberg,1968), blind from shortly after birth, trained as a piano tuner and ultimately became a jazz pianist.  He recorded from the early 40s until the early 60s. Some of the greatest names in Swedish Jazz played in his band (Putte Wikmans, Rolf Ericson, Lars Gullin to name a few.)..

SL-49 alternate cover


Putting my national pride aside (I 'm one of the last Anciens Belges), I feel that Reinhold is a more advanced pianist compared to Evans.  I really dig his reading of I’ll remember April (Am I the only one to hear a slight Tristano’s influence there?).

Reinhold Svensson

Tracks:

Evans: It Ain't Necessarily So / Summertime / I Love You Porgy / A Woman Is a Sometime Thing / There's a Boat Dat's Leaving For New York / My Man's Gone Now / Bess You Is My Woman Now / I Got Plenty o' Nothin'

Svensson: What Is This Thing Called Love? / Long Ago and Far Away / Too Late Now / All of Me / Love Walked In / Love Me or Leave Me / I'll Remember April / Tenderly

Wednesday, April 17, 2013

MUSIC FOR A TELEVISION BALLET


RIEDAIGLIA

SWEDISH RADIO JAZZ GROUP & CHAMBER CHOIR
conducted by GEORG RIEDEL & ERIC ERICSON

SVERIGES RADIO label (RELP 1051), 1967

Those of us who have known the “golden age” of jazz blogging a few years ago do fondly remember El Reza’s blog.  Reza, Bacoso, Ish, Arkadin, Katonah, El Goog Ja, Simon, Basso … all these blokes inspired me to start a jazz blog of my own.  I am therefore much honored and pleased to present today El Reza’s first contribution to the Boogieman’s blog. 

Superb Nordic jazz with shades of Sun Ra / Art Ensemble Of Chicago / Palle Mikkelborg Mysterious Corona / Marion Brown's Le Temps Fou funky free jazz and groovy psychedelic sounds of the period. Experimental mood music recorded in the studios of the Swedish Broadcasting Corporation for the TV ballet, Riedaiglia (an avant garde dance production by Lars Egler with choreography by Alvin Ailey). Features the psychedelic club tune Gluttony, Strange, spacey and addictive atmospheres with lots more improvised jazz horns / scat voices / sophisticated rhythms and solos throughout the whole LP (El Reza / Discogs)


RIEDAIGLIA

Bo Broberg, Lars Samuelson, Weine Renliden, Bertil Lövgren (tp) Runo Ericksson (b-tb) Arne Domnérus (as,cl) Claes Rosendahl (ts,fl) Jan Garbarek (ts,ss) Lennart Åberg (ts) Erik Nilsson (bar,b-cl) Jan Johansson (p) Rune Gustafsson, Nicke Wöhrmann (g) Georg Riedel, Palle Danielsson (b) Stefan Brolund (el-b) Egil Johansen (d) Rupert Clemendore (cga) Stig Arnorp, Georg Vollbrecht (perc) Kammarkören (vcl)

Stockholm, June 1967

Inledning        (Introduction)                                    Sveriges Radio (S) RELP1051
Girigheten (    Covetousness)
Lättjan             (Sloth)
Lustan              (Lust)
Hogmodet        (Pride) 
Avunden           (Envy)
Vreden             (Anger)
Svartsjukan     (Jealousy) 
Frosseriet        (Gluttony)
Epilog               (Epilogue)



(discography thanks to Paul D & Walter Bruyninckx)

Sunday, April 14, 2013

PRAGUE 1964


Echoes From The Prague Jazz Festival 1964

Various Artists       LP SUPRAPHON (1964, Czech)

It has always been the philosophy of this blog to welcome and encourage collaborations.  I can even say that without a small but expending group of collaborators - some regular (Paul D., onxidlib), some occasional, this blog wouldn’t be what it has become.  This collaborative effort is the most exciting and rewarding  aspect of blogging.

I’m therefore much thankful to El Porco Rojo for sending us this rare Eastern European album  featuring Benny BaileyLeo Wright, Kenny Drew and Andre Condouant a.o.  He could have posted it on his own blog but he thought it would fit better here, in the company of Andre Condouant’s Brother Meeting and Leo Wright Jazz Studio’s LP (a contribution by Paul D).  Thanks my friend, it is much appreciated.
 
It doesn’t stop here: I’m both pleased and honored to announce that the next post will be a contribution from the legendary El Reza!  So keep posted!


Recorded: October 1964 live in Prague, 
#B3,4 recorded at the Supraphon Studio, 
Issued as issues: 1964 SUPRAPHON ST 55633 (Czech) ; 1964 or `65 SUPRAPHON SUA 15633 ;
Also released as: Ozveny Jazzoveho Festivalu Praha 1964 SUPRAPHON DV 10166 ; Czechoslovakian Jazz / Various Artists SUPRAPHON SV 9005

#A1 & #B1appear  also on Baby Douglas And His Negro Jazz In Europe,
1965 EP SUPRAPHON SUK 35628 (CSSR) (mono)

Tracks

Side A

  1. Hallelujah, I Just Love Her So (Charles)
  2. Dobbing The Red Fox (Moody)
  3. Yesterdays (Kern)
  4. Sonny Moon For Two (Sonny Rollins)











Side B

  1. My Blues (Green)
  2. I Can´t Get Started (Gershwin)
  3. Ain´t Misbehavin´ (Waller/Razaf)
  4. Blues For Festival (Camrda)











Credits

DONALD "BABY" DOUGLAS (voc #A1, B3);
"DR. BLUES" CANDY GREEN (voc #B1?,4; p);
BENNY BAILEY (tp #B2);
ZDENEK PULEC (tb #B4);
LEO WRIGHT (as #A2, B4) or (as #A2, B1-4; fl #A2) ? ;
KENNY DREW (p #A3);
ANDRÉ CONDOUANT (g #A4);
ROLAND HAYNES (b);
FRED BRACEFUL (dr);
PRAGUE DIXIELAND BAND /w K. KRAUTGARTNER (#B3,4);
BABY DOUGLAS & THE BLACK JAZZ IN EUROPE (#A1-4,B1,2)
Note: Leo Wright is wrongly credited as Leon Wrighte

Condouant, Bailey, Wright
Original liner notes
Towards the end of October 1964, the first International Jazz Festival took place in Prague. A number of the foremost European ensembles and soloists participated.
The United States, the cradle of Jazz, was represented by a group of Afro-American soloists who live at present in Europe and whom the singer Donald "Baby" Douglas organized into a group for the express purpose of participating at the Festival.
Douglas, who is 27, comes from LA and is at present studying the piano and cello at the Royal Academy of Music in Stockholm. He is the vocalist of the well-known Swedish Jazz Orchestra headed by Putte Wickman, with whom he visited Czechoslovakia in 1963. It was then that he promised to revisit Prague in the company of a group of eminent Afro-American Jazz soloists, and he fulfilled that promise on the occasion of the Jazz Festival Praha 1964.
Leo Wright, an alto-saxophonist and flutist who came to Prague from West-Berlin (where he played in a nightclub), was really the star of this ad hoc group and its virtual leader. Wright was born in Texas in 1933 and so far has played in several leading orchestras including those of Charles Mingus and Dizzy Gillespie. His perfect phrasing and easy fluency of playing won him a multitude of admirers during his stay in Czechoslovakia. Wright is the soloist (flute) in James Moody´s composition 'Dobbing The Red Fox'.
The second member of the melody section was Benny Bailey, the 40-year-old trumpeter from Cleveland/Ohio, who is at present a member of the Munich Radio Orchestra. Bailey has been a professional performer for 24 years and has been with such Jazz men as Jay McShann, Dizzy Gillespie, Lionel Hampton, Quincy Jones and Harold Arnold in Sweden. He proves his extraordinary art in Gershwin´s 'I Can´t Get Started'.

Baby Douglas, Cndy Green, Kenny Drew, Andre Condouant, (sitting), Fred Braceful, Roland Haynes
Kenny Drew, one of the most distinguished personalities in contemporary Jazz, was the pianist of the group. He has played with Coleman Hawkins, Lester Young, Charlie Parker, John Coltrane and other soloists. Born in New York in 1928, he came to Prague from Copenhagen where he was playing at the time of the festival. Kenny Drew´s playing is not spectacular but his well-thought-out accompaniments are highly functional. He is heard as a soloist in Kern´s song 'Yesterdays'.
Other members of the rhythm group included André Condouant (guitar) from Martinique [actually he is from Guadeloupe !], a former partner, in Paris, of the organist Lou Bennett, the young Parisian bassist Roland Haynes and Fred Braceful, the drummer, who lives in the German Federal Republic. Singers Baby Douglas and "Dr. Blues" Candy Green each contributed a song to the programme: Douglas sang Charlie´s foxtrot 'Hallelujah, I Just Love Her So' and Candy Green, who also plays the piano, 'Mr. Blues'.
Since all the members of this ad hoc group live in different European cities and met in Prague for the first time just before the opening of the festival, they did not include in their programme any very complicated arrangements but concentrated instead on individual solo performances. Two pieces, however, were recorded by Baby Douglas and Leo Wright accompanied by the leading Prague amateur ensemble, the Prague Dixieland Band. These recordiings, made in the Supraphon studio, will certainly be a welcome addition to the record library of any lover of good Jazz.
A variety of groups recorded live at the Prague Jazz Festival - vocalist Candy Douglas singing with the Putte Wickman band with solists Leo Wright and Benny Bailey, Kenny Drew with Andre Condouant, Roland Haynes and Fred Braceful, and several others.

SUPRAPHON: generic sleeve

Friday, April 12, 2013

THINGS AIN’T ALWAYS WHAT THEY CLAIM TO BE


INDO-JAZZ FUSIONS
Disques Somethin' Else ‎– 849 497 BY, France, 1969

I’ve always enjoyed this album.  Bought it when I was still a student, in the earlyseventies, at the “Pele Mele”, now one of the most famous second-hand books and records (and DVD, computer games etc) shops in Brussels.  I’m talking about the "old" Pele Mele , when it was still run by Monsieur Henri and his elderly mother.  Pele Mele is still there: different location(s), - they moved a few times but always in the same vicinity - different management but always a popular cratedigging place although their selection of records (CD especially)  has dwindled and the prices have expended (but they’re still very reasonable).  So many of my records came from that place!  

It was pretty cheap in those days.  I could buy three or four second-hand albums at Pele Mele for the price of a new one elsewhere.  For many years I never bought a new album. I am of the opinion that good music is like wine, it gets better with age.  
.
For some forty years this album fooled me into believing that Joe Harriott was playing o it because that’s what on the sleeve notes on the back of this French LP.

Avec la participation de : Trumpet, Flugelhorn – Kenny Wheeler / Alto Saxophone – Joe Harriott  / Flute – Chris Taylor / Piano – Pat Smythe / Double Bass – Coleridge Goode / Drums – Alan Ganley / Violin, Harpsichord – John Mayer / Sitar – Diwan Motihar / Tabla – Keshav Sathe / Tambura – Chandrahas Paigankar

Well, as I recently discovered, it is almost completely wrong:  exit Joe Harriott, Kenny Wheeler and Alan Ganley. Enter Tony Coe, Ian Hamer and John Marshall.

The actual line-up:

Trumpet / Flugelhorn – Ian Hamer
Tenor Saxophone/ Clarinet – Tony Coe
Flute – Chris Taylor
Piano – Pat Smythe
Bass – Coleridge Goode
Drums – John Marshall
Violin – John Mayer
Sitar – Diwan Motihar
Tabla – Keshav Sathe,
Tambora – Viram Jasani


Because of the absence of Joe Harriott, this album is not as highly regarded as the previous Indo-Jazz Fusion albums.  I do not agree.  Tony Coe on reeds, Ian Hamer – already a veteran, he’d been playing since the 50s - on trumpet and flugelhorn and John Marshall (the youngest in the band) on drums are top-notch players who bring their own individuality into the band.  Bur the music remains definitely John Mayer’s own. “Inclassable” as I’d put it in French, Delightful music from a bygone era when the expression “World Music” hadn’t been invented yet.

N.B This is the same album as “Etudes” released in the UK on Sonet with the right credits in the sleeve notes.

Tracks:

1                      Intro And Rondo
2                      Capriccio
3                      Serenade
4                      Toccata
5                      Saraband

Tuesday, April 9, 2013

RE UP

By popular request ... well, kinda ...  

See comments of the original posts for the updated links.


Nobody asked for a re-up of this one and it is a damn' shame.  How often do you get to hear Jazz from Fiji?  And excellent jazz it is!  I was lucky enough to catch him live in Suva.
Don't miss it this time!









Third (and last)  time I post it.
One of the great unsung jazz guitarists.

















More Condouant on this rare East European album .
With the great Leo Wright on tenor and flute.










Remember the Golden Age of Blogs, when there was blogs like the Strata East Fan Club, Magic Purple Sunshine, and Cheeba's comprehensive Shad Shack.  Just as a souvenir of these bygone days, here is an  old favorite.  Not my rip.  With thanks to whoever posted it first on Shad Shack (see link in the comments of THIS here post).

Great guitar by Freddie Robinson and Joe Pass.




And here is the first one., feat. Fred Robinson on guitar (link in comments)













Danny Gatton. Need I say more.  Posted long ago.  See link in comments here.












This post has turned into a guitar post.  Here is an early Joe Beck LP, psychedelic rock with jazz chops.
I think I got it from RedTelephone66 but not too sure.  If you don't know this album but are familiar with Joe Beck's jazz outings, give this album a try and expect to be surprised (link in comments).






More psychedelia with jazz chops: the Jerry Hahn Brotherhood.  I "discovered" Jerry Hahn 40 years ago on Gary Burton's THROB album (1969).  Amazing guitarist, listen to his solo in Martha's Madman!
And there's a version of Ornette Coleman's Ramblin' too.  (link in comments).

+ great organ by Mike Finnigan.
Clyde Graves (bass) - George Marsh (drums)




I'm in the process of re-uping some Belgian Jazz albums.  Check in the comments of the original posts.
JACK SELS
EDDY HOUSE 5tet
THE CLOUDS (feat. Freddie Sunder)
JANOT MORALES
BABS ROBERT & THE LOVE PLANET
JAZZ HOEILAART 92
NO VIBRATO
THOMAS-PELZER NDR Jazz workshop

also reposted:
Rarity #31: JO JAGUAR (Martial Solal)
Rarity #15 & #16

You're welcome to help (see message at the bottom)

Thursday, April 4, 2013

LIVE AT PHOENICIA


Clarence Big Miller

Big Miller...Live From Calgary

Black Bear Record ‎– BBR 1006, Canada, 1982

It always makes my day when I find records in the most unexpected places.  I found this album last year when strolling thu’ the souks in Rabat's old medina.  Probably left behind by a Canadian expat’ years ago.  I don’t think this album was distributed outside of Canada.

It was pretty dusty but in good condition and played well after a good cleanup.





Clarence “Big” Miller ((December 18, 1922, Sioux City, Iowa - June 9, 1992, Edmonton, Alberta) was a US born, Canadian Blues Shouter / Jazz singer and actor who started as a teenaged blues shouter in Kansas City with Jay McShann during the years 1949-54.  The following year he sang with the Duke Ellington Orchestra.  He started performing in Canada in the early 60s, travelled to Australia and and toured briefly with the Jo Hendricks’s revue The Evolution of the Blues which left him stranded in Vancouver.



Instead of returning to the USA, Miller began to perform on an itinerant basis in western Canada, settling in 1970 in Edmonton. There he emerged in the mid-1970s as a popular figure on the local jazz scene and, under the aegis of the provincial government, performed in many small Alberta communities and on a promotional tour in Japan. In 1978 Miller sang with the Tommy Banks Big Band at the Montreux Jazz Festival in Switzerland; a recording of the performance (Jazz Canada Montreux 1978, RCI 485) received the Juno Award in 1979 for best jazz album. (More here.)

Big Miller (courtesy Edmonton Jazz Society Photos Archives)

Tracklist
A1       Shuckin'
A2       After My Laughter Came Tears
A3       Ain't Nobody's Business But Our Own         
A4       Lullaby
A5       I'll Always Love You So
B1       For All We Know
B2       I Got That Feeling
B3       Sermon
B4       Find Out Yourself

Credits
Vocals – Clarence "BIG" Miller*
Saxophone / Flute – Eric Friedenberg
Piano [Fender Rhodes] – Bob Erlendson
Piano [Yamaha Grand] – Wayne Feschuk
Acoustic Bass / Electric Bass – George Koller
Drums  – Ken Searcy

Monday, April 1, 2013

APRIL FOOL OR IS IT REALLY STAN GETZ’S WORST ALBUM EVER ?


Stan Getz – Jurre Haanstra

Forest Eyes (OST)

CBS ‎– CBS 84113 – Netherlands, 1980

Nice gatefold album bought for 1 euro at the annual spring “brocante” in my Brussels’ neighbourhood.  I had never heard about this album which seems to have been forgotten by CD re-issue programs – obviously for good reasons IMHO - until very recently since it was included in a recent CBS box set.   This is a mp3 rip from my LP .  If you want it in a higher definition (I doubt anyone would spend more than 1 euro on this album, despite – I repeat – a nice gatefold sleeve), get the box set (and still you won’t get the nice gatefold sleeve, which is the best part of the album).

I wanted to know if I was the only one to find this album dreadful.  As you all know, Stan Getz is a bit of an icon in jazz circles, therefore daring to criticize (some of) his works may be verging pretty close to anathema.  But, being iconoclastic by nature, I persist and sign.  Anyhow, I did a search on the net and found two fairly different sets of opinions.

On the one side, Doug Payne who’s pretty benign in his assessment: “Getz is typically lovely from start to finish”.

On the other side, I found on the French Amazon website a rather sarcastic but lucid comment  Stan Getz nous livre ici ce qui est sans doute la plus mauvaise prestation de sa carriere (Stan Getz gives us here what is probably the worst performance of his whole career).  No more Mr Nice
guy!





Doug Payne: the nice guy
Forest Eyes, a “strings” album the tenor saxophonist recorded in Holland in late 1979 with Dutch composer Jurre Haanstra. The little-known album has never appeared before in the United States and recalls such previous Getz triumphs waxed years earlier with Eddie Sauter, namely Focus (Verve, 1962) and the soundtrack album Mickey One (Verve, 1965). Haanstra (b. 1952), best known as a composer of film and TV scores, notably for his father, director Bert Haanstra (1916-97), and for the popular Dutch detective series Baantjer, featuring harmonica player Jean 'Toots' Thielemans as guest soloist, got his start as a jazz drummer and percussionist (he plays drums on this album’s “Tails Part 2” and “Little Lady”). He has since gone on to become a world-class conductor and composer and arranger for a diverse range of artists including Petula Clark, Michael Franks, Johnny Griffin, Julian Joseph, Michel Petrucciani and Clark Terry. Haanstra crafts a lovely canvas for Getz to splash his lyrical watercolors upon here, mixing traditional orchestral jazz with some late 70s fusion grooves, among which stand out as the album’s best moments (the Bob James-like “Tails Part 1 & 2” and “Little Lady” especially). Though often considered a soundtrack album, Forest Eyes only features several of Jurre Haanstra’s songs from his father Bert’s 1979 film Een Pak Slaag (the main theme, “Shades of Blue,” “Silva” and “Eye of The Storm”). Getz is typically lovely from start to finish. But brief as it is, Forest Eyes sadly never offers that one compositional moment that makes you feel this is anywhere near as significant as something like Focus. Forest Eyes was issued on CD in Europe in the mid ‘90s and has long been out of print until now.


La plus mauvaise période de Stan Getz se situe entre 1967 et 1980. Victime de ses addictions (à l'alcool et à la drogue), il enregistre quelques rares réussites et de nombreux autres disques assez médiocres voire, pour certains, désastreux.
Stan Getz nous livre ici ce qui est sans doute la plus mauvaise prestation de sa carrière.
Entre cordes et synthétiseurs, la musique est dans de trop rares moments sans intérêt, le reste du temps pénible.
Les thèmes de Jurre Haanstra sont d'une indigence rare.
1/ "We Are Free : Sur un arrangement "symphonique", notre liberté nous est précieuse car elle nous permet de zapper très vite. A noter, pour être objectif, la magnifique sonorité de Stan.
2/ "Tails Part 1 & 2" : Là, on a droit au synthé sur du binaire. Un gérant de super marché qui passerait ça prendrait le risque de faire fuir ses clients.
3/ "Shades Of Blue" est le thème principal du film "Een Park Slaag" que les cinéphiles ont pu éviter sous son autre nom "Mr. Slotter's Jubilee". Si le thème semble s'inspirer, mais juste dans les premières notes de certaines compositions de Nino Rota, c'est plus le plagiat de quelques accords et l'inspiration a donné lieu à une expiration de mauvaise haleine.
4/ "Heron's Flight" On attend toujours le décollage du héron.
5/ "Forest Eyes" nous rend heureux que la forêt n'ait pas d'oreilles.
6/ "Drowsy" est un thème guilleret, sans doute le moins pire du disque car il laisse plus de liberté à Stan pour s'exprimer. Mais bon, pas de quoi crier "venez écouter".
7/ "Silva" est un autre thème tiré du même film que "Shades Of Blue". Si l'on a faim, cela peut servir de soupe sans saveur. Le compositeur devait être un précurseur du recyclage des déchets.
8/ "Little Lady" est mon "plus pire" avec "Tails Part 1 & 2"

9/ "Eye Of The Storm" : troisième morceau tiré du même film a deux qualités : on retrouve la sonorité de Stan et, surtout, c'est le dernier morceau du CD.
Enregistré en Hollande en 1979, ce disque a été édité en Hollande en 1980, ponctuant ainsi de la pire des manières la plus mauvaise décennie de Getz.


Tracklist & Credits
A1       We Are Free   5:11
A2       Tails - Part 1 & 2        6:00
Bass Guitar – Paul Bagmeyer / Drums – Jurre Haanstra / Electric Piano – Rob Franken / Guitar – Henk Braaf

A3       Shades Of Blue (Main Theme From The Bert Haanstra Film "Een Pak Slaag")     3:14    
A4       Heron's Flight 4:02
B1       Forest Eyes     3:20
B2       Drowsy           4:07
Bass – Jan Hollestelle / Drums – Victor Jones (2) / Electric Piano – Jurre Haanstra / Guitar – Chuck Loeb / Percussion – Jurre Haanstra, Willy Tjon Ajong / Synthesizer – Peter Schön

B3       Silva (From The Film "Een Pak Slaag")        3:30
B4       Little Lady     4:00
Arranged By – Henk Braaf, Jurre Haanstra / Bass Guitar – Paul Bagmeyer / Drums – Jurre Haanstra / Electric Piano – Willy Tjon Ajong / Guitar – Henk Braaf / Synthesizer – Peter Schön

B5       Eye Of The Storm (From The Film "Een Pak Slaag")          2:52    
Credits
•          Composed By, Arranged By, Conductor, Producer – Jurre Haanstra
•          Concertmaster – Benny Behr
•          Tenor Saxophone – Stan Getz
•          Double Bass – Koos Serierse (tracks: A1, A3, A4, B4)
•          Electric Piano – Rob Van Kreeveld (tracks: A1, A3, A4, B1)
•          Piano – Rob Van Kreeveld (tracks: A1, A3, A4, B1)
•          Producer – Ruud Jacobs
•          Recorded By, Engineer [Mixing] – Emile Elsen