[JPL] Bopndicks 10 picks March 2009

[Dick Crockett]

Bopndicks
10 picks March 2009
ENRICO RAVA        NEW  YORK  DAYS ECM
Nowadays
are for the spirituality, as Enrico Rava takes a sabbatical.  
Italian trumpet player Enrico Rava  'made his bones' in New York City
in 1967. No doubt, the Miles modal period of the time shaped his
conception, which is very much a part of the new CD,“New York
Days.”
Currently,
Enrico Rava is one of the world's elite trumpet players. His
influence in the European post bop movement is warming and
undeniable.  
The
band consists of  Mark Turner on saxophone, whose interchange with
Rava on “Outsider” is door stopper significant.   Italian
pianist, Stefano Bollani, Rava's close colleague since the nineties,
whose steady stoic lyricism comports with Rava's soaring modalities.  
The
overall impact in “Lulu” is simple and profound, and as the pace
slows to an “Improvisation 1,” imagination becomes the cure, with
post acoustic jazz bassist Larry Grenadier and legendary Paul Motion
on drums  
Yes,
this is a special session. The reflections are different and
inviting, for the pace and tempo are exotic, yet different.
Enrico
Rava and Mark Turner enjoy the repartee of vertical lines with a
Felliniesque view in “Certi Angoli Segreti,” a quaint folksy
plume, where the bass player and the drummer really set the tone.
There's so much irony in this presentation with Bollani's soaring
complicity.  
Can't
you just see them playing on the street corner.
“Interiors”
communes a cool post modern glow, so well constructed, you smell the
fresh varnished and comfort counter tops of the modern movement, yet
it's very soft, slow with ethnicity, two elderly lovers quietly
dancing in the square, after dark.  
Mark
Turner's mood was influenced by Warne Marsh vertical lupe of the cool
school fifties.  
Imagine
what was going on in those days in Los Angeles, the cool school
dancing  in re- harmonized second thoughts, romantic interludes in
Rava's bop, “Thank You. Come Again.” It could be a Charley Parker
signature. Then there's comfort in a rumba in “Luna Urbana.” as
jazz decided lyrics from a hastily written poem.
You're
in the home of the new century.  
The
music is forward, not soon enough for old anecdotes,
for
it's now in the know we live in.  
as
though, you don't dare turn away
from
“New York Days” and modern thinking...
EDDIE
DANIELS and ROGER KELLAWAY    LIVE AT THE JAZZ BAKERY / A DUET OF ONE IPO
Records
You couldn't ask for anything more, a duet with two
giants, who enjoy the play of a nice sunny day of interplay in this
CD, with fast Eddie Daniels clarinet opposing Kellaway's  calliope-
energized stride piano on “I'm Getting Sentimental Over You,”
performing live before a willing jazz audience at the Jazz Bakery in
L.A..  “Slow Dance” is a lush romantic piece by Daniels,
embellished by Kellaway's subtle piano modes, in person when the
lights are low.
“Adagio
Swing” may take you on a ride along the Seine in pratfall dynamics
for Roger Kellaway and Eddie Daniels have been around contributing
much to the modern jazz show with cool sophistication and technique
“I
Want To Be Happy,” two prolific artists having fun with this,
blending standards with originals in a willowy wisp fashion, for
stride be damn good!  
Before you fall off your chair, this is special for the
band, as well as the audience. So commiserate. You should have been
there.
Then there's Hoagy Carmichael's “New Orleans,” don't
worry you won't step on any body's toes. The piano player is copping
great stride through other figuratives and the clarinet player is
swaying back and forth.  
Don't worry because Roger Kellaway and Eddie Daniels are
laughing, singing, telling great stories on their respective horns.
Kellaway's “This Is The Time,” is a more mellow
sophisticated piece. Could be a music sound scape to a breath of
fresh air of a fifties romantic film' “The  
Apartment” with Jack Lemon, Shirley MacLain and Fred
MacMurray.  It's beautiful.
The concluding songs, “After You've Gone,” “Blue
Waltz,” “Love Of My Life” and  “We'll Always Be Together”
are a dashing clarinet, dancing, the romantic pianist in the corner,
prancing, two in one together, saying a complete message-”A Duet
For One,” for certain.
TORBEN
WALDORFF    AFTERBURN Artist Share Records
This
is about guitarist, Torben Waldorff and his new CD,“After Burn”and
about the great players, assembled here. Donny McCaslin, Sam Yahel,
Matt Clohesy and drummer, Jon Wikan, beginning with a heroic
anecdotal “Daze,” then a forwarding moniker, “JWS” with Sam
Yahel establishing a nice progressive bottom. It's all a method for
Torben Waldorff  trading some blazing lines as thearticulate burner with McCaslin on “Espresso Crescent.”
“Choro
Dancado,”written by Maria Schneider is a particularly gorgeous
piece.
Torben Waldorff 's cool contemporary jazz guitar is a
reharmonization in the laid back style of Kurt Rosenweinkel/Pat
Metheny's new thoroughly modern dynamics with “Heilmet.”  
Then, as your pheromones begin gleaming, they take it up
a notch with Jon Wikan's effective deliberate cadence, to very
uplifting Waldorff/McCaslin harmonies. “Squealfish” is full of
embellished harmonies and featuring Sam Yahel on acoustic piano
between Torben Waldorff fast sure licks with McCaslin doing scales.  
“Skyliner”
is fast lean synergism with everyone doing their part. Of course,
there's Torben Waldorff's high end magic.  
You're fixed in the untenable position of what's next.
The mysterious blues, “Man In  The Black Hat.”  
It's all very mysterious, salient and warm, Torben
Waldorff;s “Afterburn.” As you listen to each song on
“Afterburn,” “Squealfish” leaves you powerless in his
message. Torben's new CD has taken you away to another almost
comatose euphoria, a space where romantic cowboys play, riding trail
horses on a beach in Big Sur in May.
SEAMUS
BLAKE QUARTET   LIVE  IN  ITALY Jazz Eyes Records
Right off, you know it's good with Seamus Blake. Born in
England, raised in Canada, attended Berklee with all great things
bestowed on the exceptional ones of talent.  
The Universe gives all the blessings. And those who
accept the gifts as Seamus Blake, are those given to the ever
expanding music.  
“Live
In Italy” is a 2CD set recorded on the 2007 tour of Italy with an
opening powerful “Jupiter Line”statement setting the tone. 
Seamus Blake has the presence of a Stan Getz and a valid reason why
this two CD set works so well, because he can really carry the water,
especially live, on stage.  
Veteran pianist Dave Kikoski provides the spunk,
especially on Blake's “Way Out Of Willy,” just hear the two,
attesting things, higher powers, upstairs, downstairs, inadvertent
upside down things. There are funky wawa's and mamas,' Blake
electronics with Kikoski's best 'killer'  solo. The absolute funk of
it, working on multitudinous levels.
Then a transforming Claude Debussy's “String Quartet
in G minor,” 17 minutes of mind boggling articulation, without a
string quartet.   Bassist Danton Boller and drummer Rodney Green 
complete the quartet and in “Fear of Roaming,” get back to basics
with this great post bop tune.  
This is only the first of two CD's.   How great thou
art! The antithesis of radio airplay. That's why it's so wonderful.
You walk away with a music metaphysical  buzz. Only jazz can do that
for you.
The second CD starts with a strut “The Feeling Of
Jazz.”  If you can't tell that Stan Getz is in the room with this.
This is how modern jazz on your stereo in your neighborhood is
supposed to sound. Side two says, It's the age of Seamus Blake!  
David Kikoski's “Spacing” is told in  remarkable
clarity with evolving tone and subtle signature. Brazilian singer,
Djavan's “Ladeirinha” is handled with care and articulation for
it's romance and flavor by the Seamus Blake group.
And then there's the light fantastic “Darn That Dream”
with a best open by a tenor. Seamus Blake's distinctive prominent
tone will have you fumbling through a stand alone Stan Getz
collection, again.  
But this is the power of Seamus Blake, most evident in
this song that transcends all eras.
And you have the right personnel, Dave Kikoski, Rodney
Green and Danton Boller to keep the sun shining through.  John
Scofield's up tempo and wailing “Dance Me Home” with Kikoski's
blazing funky sequences tell an ongoing story.
The more you listen, the more you understand. “Live In
Italy” two CD set is Tolstoy's “War and Peace,” the more you
read, the more you understand.
DIEGO
BARBER    CALIMA Sunnyside Records
He's a young, articulate, consummate acoustic guitarist,
fluent in both jazz and classical music.
“He's
been  recognized for writing pieces for classical guitar, inspired by
jazz.”
A salient point, when listening to Diego Barber's new
CD, “Calima,”especially with Mark Turner, Larry Grenadier and
Jeff Ballard.  These are what make a dynamic deliberation, so
personal, emphatic and different in approach, inspired by his roots.  
Born in 1978,  Lanzarote, Canary Islands, Spain, Diego
Barber completed music studies at School Of Music in Salamanca.
Studied guitar under Costas Cotsoilis, at School Of Music, Athens
Greece, Marco Tamayo, Mozartium University of Music, Salzburg.
Awarded first prize at the 2005 Miami International
Guitar Competition.
Diego Barber's mentor is Spanish classical guitar
virtuoso, Ricardo Gallen.
Diego Barber's experience relates to conception,
original ideas, thoughts and movements. “Piru” opens with
Barber's thoughtful nostalgic linear moments with  Mark Turner's
voice, aggrandizing, no small providence with Grenadier and Ballard.  
You're aware this is one the most prominent rhythm
sections in the world. With Mark Turner's modifying aspect, you have
a real new world dialogue. “190 East.”  
And
you listen to “Calima” and understand that Diego Barber is a
special player.  
“Air”
is a Coup de grace, twenty minutes of his prominent message, meshing
jazz with classical voices.  
You realize this is a powerful new voice of  Diego
Barber as a Spanish world class guitarist.
You'll hear more from Diego Barber, and it's credible to
do so.  Unless, he may lay back some, for if you please, Diego
Barber's music is so good without the theater, but if you hear, even
see him perform in our continuous media culture, then that's good.  
It's only a beginning for an emerging talent as Diego
Barber.
JACQUES
VOYEMANT SEPTET     ARRIVAL Elyria
Records
Los Angeles trombonist Jacques Voyemant brings to mind
all that's good with West Coast jazz.  
His Septet consisting of Bob Sheppard, reeds, Alan
Pasqua, piano, Bill Hulting, vibes, marimba and rhythm assortments ,
Dave Carpenter, acoustic and electric bass, Dave Tull, drums and
Brian Kilgore, percussion and many other rhythm assortments.
A  somewhat crude assessment by this writer to the new
Jacques Voyemant Septet might be a comparison to The Caribbean Jazz
Project.  
The differences are Jacques Voyemant's Septet isn't
necessarily as Latin as TCJP,  it has a softer tone, more versatile,
more modern West Coast cool, utilizing many Latin signatures.  
“Desert
Tale” offers bop counter point and harmony with Voyemant  and
Sheppard. Visions of J.J. Johnson linger with a Septet arrangement,
utilizing subtly dynamic intuition.”Sakura, Sakura” confuses then
writer with Albert Manglesdorff in Tokyo. This is just not a name
dropping thing, but a post modern observation and a tribute to
Voyemant's versatility as writer, musician.  
And listening to Ephesus,” you begin to realize that
Jacques Voyemant is in very heavy territory with superb articulation
with a groovy up tempo baseline by Dave Carpenter, to whom this CD is
dedicated from his recent passing.  Alan Pasqua's piano is so much
fun in the groove as drummer David Tull explores the inevitable with
joyous percussion. Also, Brian Kilgore's percussion drives this
Septet, establishing the unique sound. “Need For Peace” is a warm
ballad.   “Paradigm Shift” steps up with forceful trombone/bass
interludes, Pacqua's running piano solo, Sheppard's soprano leads
with Voyemant's trombone and Dave Tull's strong percussion gives it
more action.
This title tune, “Arrival” is a celebration of what
songs have come before it.  
Jacques Voyemant has created all this wondrous music and
designed the order of the selections so well, a beginning, middle, a
climax and denouement.  
“All
Grown Up” sounds like a theme from the French film, “Cache,” or
Dexter Gordon's cache', with Bob Sheppard superb tenor cache'. He's
understated, lyrical and poignant here. “Brasilia” features
Sheppard's superb flute lines, adjacent to shades of  Voyemant's
trombone.  
The most subtle, almost inconsequential element of this
Septet is everyone is joyful music, in sync with one another.  
Jacques Voyemant's sensational new CD “Arrival” has
superb writing, crafty articulate arrangements and with superb
musicians.  
It's very sophisticated and nice, and you'll think it
so.  
Give thanks to the producer and  the engineer for
putting  this memorable show on record.

TIERNEY SUTTON  BAND        DESIRE Telarc Records
“It's
a Barnum & Bailey World, as phony as it can be,  but it wouldn't
be make believe, if you believe in me.”  
Tierney Sutton's  progressive opening to Kip Harburg's
“It's Only A Paper Moon,” offers extant comic-serious thirties
effects, to a post modern spirited version from this Celtic lass, 
trained at Berklee School Of Music to view music with unlimited
elastic surrealism.
Sutton's band is the Christian Jacobs Trio. They've
worked together-know the other's moves and predilections for almost a
decade- as you know, the longer the marriage, the more lasting the
friendship.
The band interprets the great American songs by
composers, as Yip Harburg, Cole Porter and Dave Frishberg.  
She effuses Cole Porter's “My Heart Belongs To Daddy”
with serendipity and double entendre', a sexy comic portrayal that
Mae West would say, thank you, gorgeous!
In Dave Frishburg's “Long Daddy Green,” a story of
the vice of sweet seduction and the soft glow of avarice, the kind of
greed, so sweet that it melts in your mouth like chocolate, which
Tierney is so skilled an interpretor of the lyric, almost Freudian,
even Shakespearian.
The arrangements on “Fever” and “Cry Me A River”
are stunning, with a kind of depth not adhered by many, but dramatic,
noir and storied in 8 millimeter lettered bliss.  
Tierney Sutton has rare originality, range and
discipline, not many jazz vocalists possess. The tendency to over
dramatize is non existent.  
She tells the stories inside the original American
songs.  Her lyrical conception moves from what is, and what is not
philosophical.  This is the swinging depth of it, our universe, that
which is the terra firma of that.  
All
this. All that, defines conscription that the Tierney Sutton band
uses as a carry on bag to a spur of the moment flight to new
beginnings to the great songs of the 20thcentury.
VINNIE
CUTRO & NEW YORK CITY SOUNDSCAPE      SAKURA Royal
Ensemble Records
Trumpet player Vinnie Cutro has a rapacious fiery
conception,  blazing through Woody Shaw-like flurries and with
saxophonist Jerry Bergonzi serving willing counterpoint, pianist
Charles Blenzig offering  still another time conveyance, it's all
strong and works well with this organic and vigorous septet.
The Japanese folk song, “Sakura” opens to this
septet in full bore, two full Chevrolets in a drag race to a driving
beat established by veteran drummer Billy Hart
Vinnie Cutro is so right on his game on this CD, playing
with blazing speed and flawless technique, so much so, as a highly
regarded trumpet player, and now a post hard bop player, band leader
and producer of the new “Sakura” CD, playing some originals,
“Three For Me,””What Is This Thing some great  classics. “Round
Midnight,” “Willow Weep For Me,” Eddie Harris, “Freedom Jazz
Dance.”  
Cutro's solo on “Willow” is captivating and
flawless, reminiscent Lee Morgan's soulful statements, sure to back
memorable Messenger days and nights at “The Five Spot.”
It's why Vinnie Cutro's new “Sakura”CD is so special
for vintage hard boppers, for as it was there decades ago, it's in
the hear and now with a back to back “Tell Tale.” Noir harmony of
Vinnie Cutro's trumpet runs, Jerry Bergonzi's visceral saxophone
modes and  Bob Ferrell's succulent trombone lines for emphasis. “Tell
Tale”is also a compendium of time signatures. Then a Billy Hart
solo, then a full blue intro and exit of the horns, and that's what
hard bop is about.  
“Blues
For Roy” has a major up tempo scat rage going on here. The kind
you'd hear in the small jazz clubs in the late fifties in Detroit,
but not so clean and flawless as this.
It's the kind you'd prefer to bare witness, have a
baleful baptism of light and magical bop lyricism.  
“Round
Midnight “ is more up tempo and still cool with Vinnie Cutro's
effervescent  solo.  
If you don't know Cutro by now, you will, when you
listen to this CD.
“Big
Chief” and “Time Will Tell” are Vinnie Cutro originals that go
back down the tobacco road to septet nirvana, inspiring the chaste
and somewhat damaged human spirits to the right direction on “La
Strada,” to vigorous spiritual activity.  
We 're not sure whether this plays over the loud
speakers at the Ashram in Grass Valley. The Ashram of post bop
realism, maybe.
For Vinnie Cutro has rare major chops on trumpet, for
symphonic jazz orchestral and small group sessions.
“Sakura”
is a compendium of his genius and rare talent.  
THE
BAD  PLUS joined by Wendy Lewis    FOR ALL I CARE Heads
UpRecords
It has to be one of the most progressive jazz CD' s  of
the year.  
There's tongue-in-cheek, intricate time, dynamic
signatures throughout. It reverberates with it. There's a whole lot
to examine in this music and not nearly enough time. It's cliché,
but remember, jazz groups have been interpreting pop music for ages
and Bad Plus is adding to a new pop alternative phase as the ground
below us is shaking with amazing changes.
Bad Plus and singer Wendy Lewis begin with Kurt Cobain's
“Lithium” and ...I thought ...lost my train of thought...for  a 
moment, an edit in a small movie on the Sundance channel.  
“Lithium”
is a satire  of Cobain's adolescent meanderings and powerful wishes. 
Then Wendy sings Pink Floyd's “Comfortably Numb” and the whole
spectrum turns on my era, or is it my aura.  
I have a different relevance to understanding Bad Plus
relevance. It is to be interested and fascinated with their
forwarding perplexity.
“Fem
(Etude
no. 8)
is a Legeti whereabouts. “Radio Cure” is nonetheless an epoch to
the insignificance of the eighties barreling forward to 2012 , when
sun spots spray the earth. Hopefully,  you'll have your small web
phone with local disaster capabilities, for radio, as we now know is
dead.  
Me: “My
Mind Is Filled With Radio Cure.” 
They: “Cheer Up Honey, I know you can.”
The Bee Gees, “How Deep Is Your Love” is a rather
vacant euphoric disco classic. It has a renaissance  Rachmaninoff
beginning  as the Bad Plus thinks it through avant language.
I know it, because I was there at the Marrakesh, dancing
the night through, And I have the bad knees to prove it.)
Wendy Lewis, known for her work in the Minneapolis
alternative rock scene has the range and vocal discipline to
incorporate her views with Bad Plus music.  
There's a comparison with Roger Miller's “Lock, Stock
and Teardrops” and Sheila Jordan's version of “You Are My
Sunshine” with George Russell in early sixties.
Wendy
Lewis and Bad Plus turn The Flaming Lips, “Feeling Yourself
Disintegrate”
into an anthem to the human condition, antithetical to
rage,revenge, greed, avarice, ambition.
These are fifties philosophical notions not embraced by
Wall Street. Too-Big-To-Fail corporate state, One World Order, as if
outliving, downsizing usefulness. Hopefully so, for what goes around,
comes aground.
We live in the absurdity of flagrant fast changing
difficult worlds and like The Bad Plus, we crave it another day.
THE
BLUE NOTE 7          MOSAIC Blue Note
70thAnniversary tribute to Alfred Lion and Frank Wolff, who emigrated
from Berlin to America in  1939 and started one the most prominent
jazz record labels of the time, Blue Note Records. This  CD reviews
the classic fifties, early sixties hard bop. These are stellar post
modern performances by a septet, considered in the day,  as great as
post conceptual. The players here are Nicholas Payton, trumpet, Bill
Charlap, piano, Ravi Coltrane, tenor saxophone, Steve Wilson, alto,
Lewis Nash, drums,  Peter Washington, bass, Peter Bernstein, guitar.
“Mosaic,”
Cedar Walton wrote it during his tenure with the jazz messengers and
is recorded for an impressionistic noir view of Blue Note's 
influence with the edgy blues feel of hard bop  on the jazz scene in
the fifties. Art Blakey was a driving force on many Blue Note
recordings in those days. Drummer Lewis Nash arranged this piece on
the CD, capturing the spirit and intensity of the music.
Next is Bill Henderson's classic “Inner Urge.” The
septet scores big on this one, with Nicholas Payton settling in like
a Freddie Hubbard on his solo and arrangement, Ravi Coltrane tight
blues phrasing and Steve Wilson's  groovy alto lines compliment this
version.
Renee Rosnes arranges McCoy Tyner's “Search  For
Peace.” Husband and premier pianist Bill Charlap perform with
Payton, offering his sage with Ravi Coltrane's lamentation to
Wilson's articulation, for subtle nuance is the interplay of the day
on the Rosnes arrangement.  
She also arranges Herbie Hancock's early career classic, “Dolphin Dance,” to an easy going soft shoe modality.  
Bill Charlap creates a different jump to Thelonious
Monk's “Criss Cross,” catering to Steve Wilson's arrangement,
offering cognitive imagery to Monk, jumping up from his piano and
dancing around on stage.  
This celebration of 70 years of Blue Note Records is a
nocturnal visual, so cosmopolitan and so noir the music, that graced
AM all night radio, glossing over small grim life with romance and
big city nuance as in Duke Pearson's “Idle Moments.”
“The
Blue Note 7 MOSAIC” is referentially omniscient and pure with real
reference to those early Blue Note years and the musicians who
created this music.
Those of you who may not know the history will enjoy the
music and those of you, like me will enjoy for it's altogether
goddamn honesty. It's that serious and good!

ONES
TO WATCH:
BILL
MAYS/MARVIN STAMM/ALISA HORN    INVENTIONS TRIO    DELAWARE RIVER
SUITE No
Blooze Music  
There's a little bolero gravitas in Bill Mays life, the
impetus is prevalent in the first  lyrical articulate rendering of
Jobim's romantic “Zingaro.” Trumpeter Marvin Stamm offers bliss
and young cellist Alisa Horn offers a ballast with her extraordinary
cohesive approach. “The Delaware River Suite” tells an
interesting story.  
And “Sippin' At Bells” tells another interesting
story.
GREG
SKAFF     EAST HARLEM SKYLINEZOHO Records
The guitarist Greg Skaff group revives the Hammond B-3
trio series, popularized in the fifties with Richard 'Groove' Holmes,
Jimmy Smith, Jack McDuff leading many jazz polls through the decades.
The Wichita native, NYC based guitarist with heavy immersion in  the
blues, George Skaff has rather striking performances here with
organist George Colligan and drummer E.J. Strickland.  
Skaff is credited for many memorable articulate solos on
his new “East Harlem Skyline with a voice that can give Kenny
Burrell, Wes Montgomery and the incredible guitar rhythmist Grant
Green cause for celebration.  
Skaff
will 'Jeff Beck' it up too with his  tribute to Willie Dixon in
“Willie D” and a high ending “Fast As You Can.”
“East
Harlem Skyline” projects Greg Skaff as one smokin' molten guitar
player.
Bob
Sneider/Joe Locke Film Noir Project     NOCTURNE FOR AVA Origin
Records
This
2ndin film noir projects for trumpet player Bob Sneider and vibraphonist
Joe Locke is as seductive as the name, “Nocturne For Ava.”  
Ava Gardner had sexy eyes and a deep raspy voice. Once
you fell under her spell, both off and on screen, it was romantic,
ruinous, sensuous, beguiling, even deadly. Isn't that what Film Noir
is about!
So while listening to this wonderful CD, and for those
who loved and lost, we take a mythical drag off an invisible
cigarette, a slug from the glass of a metaphorical double shot of
scotch and distill faded memories.
ELIANE
ELIAS   BOSSA NOVA STORIES Blue Note Records  
Eliane Elias revives the classic Bossa Nova songs
performed by Astrid Gilberto, Antonio Carlos Jobim and Claudine
Longet of the sixties with lush string orchestrations. Eliane Elias
is an accomplished jazz pianist and singer. She provides warm
interpretations to bossa nova, as well as, classic standards, even an
intimate reflection of a Stevie Wonder pop standard.
“Bossa
Nova Stories” is well conceived with prime arrangements by Rob
Mathes with the versatile jazz piano vocalist, Eliane Elias, sure to
stimulate romantic memories.

TONY
DESARE   RADIO SHOW Telarc
Records
His voice is part pop swinging Bobby Darin of the
sixties and a dashing young Frank Sinatra of the forties.  
Mix that with the enthusiasm of a Buddy Greco and you
have a real bona fide post modern pop star.
Tony Desare is an amazing talent with a love for the
great songs and a penchant for writing the new love songs of an
impresario.  
And there you have a Barry Manilow.
Tony Desare is all the above and much more.  
Listen and discover for yourself. But do it soon before
everyone else has discovered Tony Desare!  
The musical arrangements on “Radio Show” will recall
prime old days of radio, where  personalities ruled the night radio
waves with big band swing and the great singers, from Clooney to
Sinatra, from Dick Haymes to Sara Vaughn.  
Tony Desare captures that mood and distributes a little
magic dust of his own.

Dick Crockett
“The
Voice” 88.7fm
4623 T Street, Suite A
Sacramento, Ca 95819-4743