An old school recording, where you hear Joey and Pete discussing their business while Rebecca and Tom coo in the corner, Henry,the bartender, swapping a joke with a couple regulars at the bar....." Nick Joyce, Producer

Details

Contents

#		Title	Length	Sample
1		Introductions	1:30
2		Gone With The Wind	3:50
3		I'm Confessin' That I Love You	5:28
4		How Deep Is The Ocean?	6:27
5		My Foolish Heart	6:38
6		Frim Fram Sauce	3:23
7		If I Had You	6:26
8		What Are You Doing New Year's Eve?	5:42
9		Orange Colored Sky	3:11
10		Steppin' Out With My Baby	3:26

Items may also be purchased individually.

Royalties

See the payment distribution when this media is bought.

Description	Amount
Bitmunk Marketplace Service	USD $0.98
CD Baby Artist Royalty	USD $5.97
CD Baby 9% Digital Distribution Cost	USD $0.54
Bitmunk WebBuy Service	USD $0.60
Bitmunk MicroPayment Service	USD $0.03
Total	USD $8.10

Bitmunk uses a micropayment system that is accurate to 7 monetary digits. Mouse over an individual amount to see its exact value.

Description

Boston, MA ". . . A question for all you cynical, sarcastic Jazz fans: What is the last thing you'd expect to run into at a Jazz brunch? Yes. Jazz. But not so fast. I sat down for brunch 2/6 at Ryles and caught Ray Santisi (on acoustic piano!), Marshall Wood and Bob Moses doing what they know how to do superbly. Vocalist Patricia Adams had the good taste to bring along that fine trio and put them to work. It did work. There was plenty of room for them to solo, support and interact. And nobody got in the way of the words. Good thing, too, because Ms. Adams knows about words. The young vocal starlets of the Jazz world today seem to pick up the chestnuts for the first time out of the fake book. But Patricia Adams had these items for breakfast and lunch as a child, living and breathing before some of those tunes saw sunlight. And so when she offers "Every Time We Say Goodbye", the patina of World War Two comes with it. No gimmicks. Just really good music. She's there every first Sunday of the month." Stu Vandermark, Cadence Magazine, April 2005

___________________________
"Patricia Adams sings as if she's been entertaining audiences all her life. In fact, she didn't get started until 1992, when she took the Scullers stage for a few minutes, got hooked, and left a 35-year career in human resources. How can a woman with this many years in middle management sound so warm and personable, and even a bit like Lena Horne? Go! doesn't know, but she's got it. She brings her quartet for brunch gigs at Ryles today and Sundays from 10 a.m. to 3 p.m. Adams and band will use the brunch gigs as live recording sessions, so we predict a knockout of a show." Amy Graves, BOSTON GLOBE, December 2004.
_________________________
"Dearest Diva,
Prints of brunch/1st Sundays at Ryles have the great Ray Santisi on Piano, Patricia Adams singing 'n swinging the standards, Marshall Wood, Bass, Rakalam Bob Moses with his drums - - from the bar at Ryles This incredible trio lets the first Sundays any month become your memorable Ryles Jazz Club brunch. Five year's luck to be here so often, listening, to watch, play, watercolor-ing as fine Sunday morning jazz is growing as intimately as it does in Ryles' atmosphere of friends together.

"By now, I am nestled into ink and pen-in-hand as Ray's piano begins this morning visit, melt, belt, cool, Marshall implore, she'll coo and Rakalam's time's cooking. I draw live! With her feel for her audiences . . . Patricia's noticed.
-------------------
BACKGROUND . . .
"Spring 2000, old friends, Joanne McKracken and George Mokray, got me out to hear Patricia Adams at Ryles. I still remember a thought: 'This'a first since Nat "King" Cole I've listened to lyrics so effortlessly and intently.'

"Set's finished and Patricia's at our table. George introduces Joann, then me. "Hello, Oh! You're doing?!" I explained I often sketch at live performances. Delighted by my pen and inks, she wants to borrow them for just a moment. She turned, faces the audience and shouts: "Emmanuelle! Look what we have!" Not a gospel shout - - as I first thought. Emmanuelle LeGal's art directing Patricia's "Out of this World" CD "it's our cover!" Patricia excitedly exclaimed while she whisked away my 20-odd drawn-on-paper-shards to a nearby table. More booking's made new watercolors even few of the 20 reached Out Of this World." Bill Commerford/Boston www.nogome.com/blogs/bill/

_______________________
Patricia Adams, bandleader and vocalist, shuttles her renditions of standards from renaissance Harlem and Tin Pan Alley between New York and Boston venues. Reviewers say, " . . . reigns when she steps to the microphone . . . backed by a superb trio . . . classy song stylist . . . her ability to put together a musical road atlas sets Adams apart . . . voice is silky smooth, yet strong".
Stepping onto a nightclub stage for the first time in 1992 at Scullers Jazz Club in Boston, Adams segued to designated show opener there for the Frank Wilkins' Vocal Showcase until 1996. Two years, a hundred open mic's and twenty nursing homes later, she took the plunge and traded three decades of a Fortune 500 career for life as a full time artist. Her performances attract those who enjoy the jazz and blues standards of the 1930's and '40's.
Holding BS and MBA degrees, Adams also studied music theory, harmony, and improvisation at the New England Conservatory in Boston and at the Performing Arts School of Worcester. She has studied with Semenya McCord, Dominique Eade and Frank Wilkins in Boston and she continues her vocal study now with Jeannie Lovetri of Voice Workshop, Sheila Jordan and Kirk Nurock in Manhattan.
Adams' discography includes Live@Ryles Jazz Club, Sets 1, 2 & 3 (2005), With Our Compliments!(2004), Out Of This World (2001)which placed in four categories on the 2001 Grammy Awards ballot, Blue For You (1998),and Raw Silk (1996). Her recordings are available through CDBaby.com and subscribers to music services offering digital distribution.
She is a voting member of the National Academy Of Recording Arts & Sciences and served on the board at the New England Conservatory.


RAY SANTISI is an internationally known jazz pianist who has played as featured soloist with Charlie Parker, Stan Getz, Mel Torme, Irene Kral, Natalie Cole, and countless other well-known jazz greats. He has recorded on major labels, such as Capitol, Roulette, United Artists, Bethlehem, Transition, Rasan and Sonnet. Boston Globe jazz critic Ernie Santusuosso: "a man sitting on top of the world, professionally speaking." The Raleigh, N.C. News and Observer called him " the most exciting piano player I've heard since those first sessions with Bill Evans and Marian McPartland and Oscar Peterson."The Boston Phoenix has said that he is "Boston's most in-demand jazz pianist." Teaching with Stan Kenton's summer jazz clinics on college campuses throughout the country, and performing in Europe, Scandinavia, and Asia and having received two grants for composition andperformance from the National Endowment for the Arts attest to the fact that he is a sought-after jazz pianist worldwide.

Ray also heads up a band called Ray Santisi's "The Real Thing," a multi-talented group that brings the vitality of fresh, contemporary arrangements to the classic music of the Great American Song Book. The group's internationally-known instrumentalists are complemented and enhanced by fine vocalise, creating a unique ensemble effect.


MARSHALL WOOD [bass], Born in Omaha, Nebraska and raised in Washington, D.C., Marshall moved to New England in 1979, where he quickly became one of the most sought after bassists in the area. His reputation as a swinging and sensitive musician landed him recording dates with Anita O'Day, Monty Alexander, Tommy Flanagan, Dave McKenna, Ruby Braff, Scott Hamilton, and Gray Sargent. He has also performed in top jazz festivals in the U.S., Canada, Europe, and South America, and has toured with Tony Bennett

BOB MOSES
Drummer, Composer, artist, poet, visionary, nature mystic, Moses' life is a continuous quest for vision, spirit, compassion, growth and mastery in a multiplicity of art forms.

Born in New York City in 1948, he grew up in an atmosphere of musical and artistic ferment, living and dreaming in the same building as Max Roach, Abbey Lincoln, Elvin Jones, Art Blakey and Rahsaan Kirk. Moses was exposed to this through his ultra hip parents, Richard and Greta (who gave shelter and support to many great musicians). Other close friends included pianist Elmo Hope, Eric Dolphy, legendary drummer Edgar Bateman, and Charles Mingus (who was a frequent visitor to the Moses household and would play piano and drum duets with the precocious thirteen-year-old). Moses, would later play with Roland Kirk's band and contribute a few small bits to classic recordings (Rip, Rig and Panic and I Talk with the Spirits).Moses began playing drums at age ten, and soon after piano and vibes, began composing at age fourteen. Around this time, he played his first professional gigs with various Latin jazz bands in the Bronx where he began his life long appreciation of Latin music, rhythms, culture and the art of playing for dancers. In 1965, Moses came together with the great Native American saxophonist Jim Pepper, and guitarist Larry Coryell, to form the Free Spirits, widely acknowledged as the first jazz rock band. The Free Spirits were the house band at Steve Paul's, "The Scene", where rock notables like Jimi Hendrix, Mtch Ryder, the Young Rascals, and jazz greats such as Randy Brecker, Dave Liebman and Gary Burton sat in to jam. After the Free Spirits disbanded, Moses, Coryell and bassist Steve Swallow became members of Gary Burton's groundbreaking quartet. This would be the first of three stints with Burton and included a memorable week at the Filmore West (1968 "Summer of Love") opposite Cream and The Electric Flag.In the early 70's, Moses co-founded Compost, another vanguard jazz rock band with drummer Jack DeJohnette and saxophone great Harold Vick. Compost recorded two albums for Columbia and their explosive live sets always concluded with lengthy double drum workouts by DeJohnette and Moses, as well as a "People Sandwitch". In 1975, Moses created his own label, Mozown Records, to release Bittersuite in the Ozone. This early masterpiece for large ensemble, including Randy Brecker, Eddie Gomez, Dave Liebman, Stanley Free, Daniel Carter, Jeanne Lee, Howard Johnson, Billy Hart, and others, received 5 stars in Downbeat magazine and has been re-released on Billy Martin's Amulet Records.During the mid and late 70's, Moses did a second stint with Gary Burton, played and recorded Bright Size Life with Pat Metheny and Jaco Pastorius, toured England with Michael Gibbs' Big Band, played and recorded with Hal Galpers' band, featuring the Brecker Brothers, played with Jaco's Word of Mouth band, with Randy Brecker, Bob Mintzer, and Othello Molineaux. In 1979, Moses recorded Family, later reissued in 1995 with extra tracks as Devotion on Soulnote Records featuring Dave Liebman (on tenor sax), Terumasa Hino, Steve Kuhn, and Steve Swallow.For Moses, the 80's began with a 5-month sojourn to Brazil and Peru where he met one of his musical heroes, Hermeto Pascoal. From the early 80's through the mid-80's, he did some of his most important large ensemble works for Gramavision Records, recording When Elephants Dream of Music, Visit with the Great Spirit and the monumental double LP, The Story of Moses.In 1987, on the magical day of September 23rd (John Coltrane's birthday), Bob, with guitarist and spiritual guide Tisziji Munoz recorded Love Everlasting (Amulet Records 003), a free music classic with Goerge Garzone, Jerry Bergonzi, John Medeski, John Lockwood, and others. In the late 80's, Moses formed Mozamba, an ever-evolving musical family of like-minded spirits, applying Moses' unique compositional style to funk and world music influences, creating a music that is great for listening and dancing.The Mozamba ManifestoTo take the best aspects of jazz (i.e. spontaneity, interaction, subtlety, dynamics, beautiful melodies and sophisticated harmonies) and blend with the danceable grooves of funk, hip hop, second line, Brazilian, Afro-Cuban, African, and other ancient and future rhythm traditions to create a music that is a ritualistic, celebratory, artistic and spiritual experience. Mozamba began in the late 80's and still exists today. Some of its illustrious contributors have included Stan Strickland, Tiger Okoshi, Bob Mintzer, Bob Gay, Darren Barret, Jacques Schwarz-Bart, Miles Evans, Bryan Carrot, Duke Levine, Dave Fiuczynski, Kai Eckhart, Matthew Garrison, Billy Martin, Ben Whittman, P.J.Adamson, Sa Davis, Phillip Hamilton, Alvin Roberts, and many others. These days, Mozamba features turntable wizard, Mr. Rourke, and often sitting in is Moses' talented son, rapper, Rafael.Through the 90's, Moses has led various "Mozambiquian" combinations and has been changing, growing, and inventing new sounds and methods of making music. "Groove Canon", "Simulcircular Loopology", "Divisionary Melotivity", "Harmonic Drumming", and "Full Body Ride" are some of the radically different methods he has developed. Moses offers workshops and private instruction to anyone interested in learning more about these principals.In 1993, Moses recorded Time Stood Still, his last great large ensemble work for Gramavision/Rykodisc, which received 5 stars in Downbeat.On December 13th, 1997, Moses played on guitarist Tsziji Munoz's epic recording Alpha Nebula, The Prophecies", available through Anamimusic.com. Moses considers this the most powerful music he's ever been part of. "It's intense, scary, and definitely not for the meek. I love it, particularly because I don't recognize my playing at all. I'm just part of the majestic, transcendent, celestial mess".In July of 1998, Moses recorded Nishoma on Grapeshot Records, a jazz ballads or "heart songs" album dedicated to his extraordinary mother, Greta Moses (1917-1997), featuring Abbey Lincoln, Luciana Souza, Steve Kuhn, Chris Wood, and master tap-dancer Jimmy Slyde, among others. This album features beautiful melodies, unusual harmonies, and is a heartfelt look back of some of the forces that helped shape Moses' life. Currently, Moses teaches at the New England Conservatory, heads Mozamba, has been playing duo with saxophonist/singer Stan Strickland and sometimes pianist John Medeski. He has been fortunate to play with two great spirits of the music world, saxophonist Pharaoh Sanders and the great Sam Rivers."As for the present, with the help of my beloved spiritual teacher Bhapuji Tisziji Munoz the Archangel of Fire Sound, I, Rakalam (the inaudible sound of the invisible sun) have been moving toward a place of no self, no thought, no mind and no body. As I surrender to the original source Godfire, nature mind, sound healing, I become far more free of all human, earth time, ethnic, mechanical, karmatic gravitys and concerns thereby enabling and enobling me to enter the true Heart Domain of selflessly aware Buddha zero creative infinity. I've never felt lighter, happier, and creatively free as I do now and this is just the beginning."- Bob Moses, July 2001 Moses' biographyMoses' letter to the Boston PhoenixBittersuite in the Ozone (1972)Love Everlasting (1987)Gramavision recordings

Bob Moses on drums is a great experience. He has been playing over the past 30 years mainly as drummer and composer. He has appeared as a guest artist on hundreds of CDs, recorded 8 albums in his own name and has had musical partnerships with many great musicians such as Charles Mingus, Pat Metheny, Keith Jarret, David Sandborn, Gary Burton, Sheila Jordan, Larry Coryell, Jack DeJohnette, Bill Frisell, Bobby McFerrin.

A fine drummer, Bob Moses has received his strongest recognition as a colorful and adventurous arranger/composer for large ensembles. He played as a teenager with Rahsaan Roland Kirk (1964-1965), formed the early fusion group Free Spirits with Larry Coryell (1966), and toured with Gary Burton's quartet (1967-1969). Moses collaborated with Dave Liebman in the trio Open Sky, recorded with Gary Burton in the mid-'70s, and worked with Jack DeJohnette's Compost, Pat Metheny (recording Bright Size Life), Mike Gibbs, Hal Galper, Gil Goldstein, Steve Swallow, the Steve Kuhn/Sheila Jordan group (1979-1982), George Gruntz's Concert Jazz Band, and Emily Remler (1983-1984). He recorded as a composer for his own Mozown label in 1975, but Moses' reputation as a writer rests primarily with his Gramavision releases, especially When Elephants Dream of Music (1982), Visit With the Great Spirit (1983), and 1994's Time Stood Still. Nishoma was issued in fall 2000. ~ Scott Yanow, All Music Guide